Suche:sun ra

LA underground hubs DISCOS XXX aka DX3 and Elbow Grease join forces to proudly present Point Winona Sound Library Vol 1 — featuring 20 distinct artists from the inspired local dance music scene, working under one unified studio roof in various collaborative
formation at the mighty Los Feliz hilltop palace Point Winona, overseeing the city they collectively represent. These timeless warehouse-wrecking tracks all stand on their own, but the compilation as a whole offers a solid geographic sonic statement with shared rhythmic DNA and bold rooted-futurist production blueprints, guided by the champion efforts of studio executive producers/curators Tavish DJ and Dave Aju.
The BPS stage-setting opener evokes crispy A.M. hours with lush Detroit-meets-Cali feels on “Within Reason” — then studio dream team 5 ATMs bring the dubwise floor vibes up a notch on “A Dub Called Mondo” and Chitown-to-LA legend Scott K lays down an FM bass-laced acid house heater with “Tighter & Tighter”. Nashville-born producer Gryph funks things up on the live space boogie bump of “Winona at Sunset” while SSRI, comprised of Underground Resistance’s DJ Dex/Nomadico, Aju, and Black Lodge’s fearless leader Kosmik, drop fierce robo-Italo bliss on “Omnicallora”. Things take a further psychedelic twist with the PW edit of Scotty Coats’ sublime midtempo tripper “Be Work Zone Alert”, then Omakase’s own Gold Code alongside longtime rave brother Aju drop the nasty J Saul-salute “Yolo Jungle”, and Warehouse Preservation Society aka Tavish DJ & TK fully detonate floors inna raucous Wicked Crew stylee with “Data Bliss”. Undisputed LA scene queen Stacy Christine arrives with her shining debut “Smart Move”, where she and Aju trade sly vox lines of party advice over a bouncing tech banger for the ages, before the “Obsesion Romantica (Free Winona Dub)” sees Sisters Of Sound aka Maddy Maia and Tottie's, OG track getting stripped back and fired up to acidic peak time form. Then Dave Aju and SF homies Moniker aka EO & Kenneth Scott unleash wild uptempo melodic bruk heaven on “Chuy Luis”, and Vastir sends us home with the stratospheric drum n bass closer "Turnpike"

(180g Axis Audiophile Series / color label/ black generic jacket) Including audio commentary by Jeff Mills himself

(incl. Nina Simone, The Swiss, Greko Feat. Gosha, Toto , Nneka, Reflekt Feat. Delline Bass, Ragged Life & Julien Jabre) After the successful release of 12 Inch Lovers vinyl 1 & 2, a sequel was inevitable. Again 2 compilations with a fresh and contemporary mix of true classics combined with more recent, hard to find club hits.

Nightcode EP finds UK deep-house craftsman Jacksonville in full control, lacing warm chords, swinging drums and basslines built for red-lit basements. Across “Nightcode”, “Ecstasy in Starlight”, “Octobers in Love” and “Blind Spot”, he fuses classic Detroit/UK house textures with his own emotional, story-telling touch—timeless deep house for DJs who play past sunrise.

Feedbacks:


Laurent Garnier : Octobers in Love <3 <3 <3
Nick Holder : dope
Gina Breeze (Classic / Get Up / Homoelectric) : Feeling the deepness! Look forward to playing.
Nightmares On Wax (Warp Records) : Ecstasy in starl;ight and Blind spot are my jams !
Josh Wink (Ovum) : Deep, old old school flavored with new school production.
Alexkid (Rawax / FUSE / NG Trax) : Lovely
Lauren Lo Sung (LOLiFE records, e1even records) : Octobers in love is nice!
Dj Hutch (Ambers / Rinse FM) : grooves
Louise Chen (NTS) : This is so so sooo good! Can't wait to play on the radio!
Rob Pearson (Evasive Records / Sine 102.6fm) : Nightcode is the standout for me, will play tonight on Evasive
Eviltron / Paul Donton (Bombis / Triangle) : Blind Spot and Ecstasy in Starlight are the ones on the
D'Julz (Bass Culture) : feeling night code and blind spot . merci!
Junior Sanchez (Strictly Rhythm / Cube Recordings) : Really Cool EP!
DJ Three (Hallucienda.com) : this is all very high quality house that feels very much a
nd_baumecker (Ostgut Ton) : Nightcode and Octobers In Love for me. Quality as usual.
Sasha (Last Night On Earth) : Downloading for Sasha
William Kiss (Rekids) : very nice!
Monty Luke (Rekids / Black Catalogue) : thx for this...
Mystic Bill (Classic / Trax / Relief) : Will try some of these out, thanks!
Carista : beautiful
Crackazat (Freerange / Local Talk) : Sick sick sick
Jhobei (Bizarre Trax / FUSE / Felon 5) : Nice smooth deep
Khadija (Rek'd / Rafiki Collective) : Danke
Ben Sims : Now downloading - will check asap!
DJ Bone (FURTHER) : Very nice tunes here, thanks
Bake (All Caps/Rinse FM) : thank you!
Dj Deep (Deeply Rooted) : very nice tracks!
Oliver $ (Classic Music Company / Play It Down) : nice one!
Tripmastaz (Plant 74) : Nightcode is tight
Harvey Sutherland (MCDE / PPU / Voltaire Records) : couple of nice tunes here!
Anthony Collins (Frank & Tony / Scissor & Thread) : super nice deep tunes
Marcel Dettmann : thx
Voigtmann (Subsequent) : Ecstacy in Starlight is the one!
Gerd (4Lux / Clone) : dope house trax from the phonogramme crew once again!
Groove Armada : Great EP - Love Nightcode, Ocotber is love so good too±
Harri (Sub Club) : nice, will play and support
Jorkes (Freeride Millenium) : ecstasy in starlight..yes yes yes yes
DJ Minx (Women On Wax Recordings) : Every one of these...top tier! I'm on 'em!
DJ Rocca (Nang Records, Mantra Vibes) : Great EP. Nightcode is great, super bassline indeed
Jacques Renault : Ectasy In Starlight for me here!
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Mark Farina : dig it
Âme (Innervisions) : thanks
Djebali ( ( djebali ) / INFUSE / Freak n Chic) : Love it ! thanks for sharing. Blind Spot is my fav
Jaye Ward (Dalston Super Store / Netil Radio) : wicked release!! night code is a belter!!! thx
Iron Curtis (Mule Musiq, Morris Audio) : thank you!

At the age of 72, "Evil" Graham Lee, the legendary pedal steel pioneer and veteran of the iconic Australian band The Triffids, delivers his first ever album under his own name titled ‘I Think I’m Alone Now’. In addition to his work with The Triffids, Graham’s place in ambient history was cemented in 1990 when his evocative pedal steel became the soulful centerpiece of The KLF’s masterpiece, Chill Out (specifically on the highlight “Baltimore to Fair Play”).

I Think I’m Alone Now is a profound exploration of the instrument's emotional range, blending traditional country infused melodies with vast, reverb drenched ambient textures. The album spans six tracks, anchored by the Side B title track, a 15 minute textural piece that leans heavily into the ambient genre. From the delicate melancholy of "Seeking Beauty in Sadness" to the curious abstraction of "Nursery in the Beehive," Lee uses his pedal steel and an array of pedals to sculpt unique, haunting soundscapes that exist between tradition and the avant garde.

The connection is brought full circle with exclusive liner notes written by The KLF’s Bill Drummond. Reflecting on a forty year friendship that began when The Triffids served as the backing band for Drummond’s solo debut, The Man, Drummond provides a personal and poignant context for this long awaited solo bow.

A 180g pressing housed in a full sleeve designed by Bradley Pinkerton with metallic sticker and bespoke inner sleeve featuring liner notes signed by Bill Drummond.

Suicide AFTR 7 moves deeper into the shadows on this release, stripping things back while letting the groove hit harder. Built on pumping 808s, restless synth lines, and a subtle acid pulse, the project blends electro, cold wave, and leftfield instincts into something leaner and more focused than earlier records. There’s a proto-80s spirit running through it: raw, tactile, and slightly unpolished, where tension lives in the negative space and repetition becomes hypnotic rather than obvious.

For the first time, real bass guitar and drums enter the picture, adding human weight beneath the electronics without diluting Suicide AFTR 7’s core identity. The result feels rawer, more intimate, and quietly confrontational. Music for late nights, dim rooms, and inward motion. Still unmistakably SA7, but closer to the bone.

Ayô Dele — which means "joy comes to me" in Yoruba — is neither a slogan nor a promised miracle. It is a breath of fresh air. That of an album born in the interstices, where the word find their way between shadow and light, between the disorder of the worldand the impulse to be .
At the heart of the project, Julien Gervaix and Damien Tesson, multi-instrumentalist beatmakers, share a groove language that is both dense and airy, where every detail breathes and finds its place.
With background in Afrobeat, Dub, Funk, Soul, Roots Reggae, and Electronic Music, they treat the studio to be their playground. Their music is a hybrid groove that speaks to the body: round or bouncing basslines, brass oscillating between melodic warmth and funk energy, textured guitars, arpeggios, enveloping Rhodes, clavinet that slides, presses, and embraces. Everything comes together with precision and flexibility, in an inventive and warm composition. The meeting of their experiences and sensibilities gives rise to open, generous music, made for dancing and vibration.
With Ayô Dele , Ireke is embarking on a new chapter: the duo is refining its style,allowing the voices to breathe. The groove remains the driving force but opens up to intimacy. This intimacy is carried by two unique female voices: Nayel Hoxo, a Beninese-Nigerian singer/rapper, and Agnès Hélène, who has already made a name for herself on Tropikadelic with "Petit a Petit". They don't sing side-by-side; they coexist, respond to each other, and sometimes intersect. But each follows her own path: Nayel, with the power of her words in Yoruba, offers songs of elevation, healing, and resistance — a light born in the cracks Agnès explores these cracks themselves: what wavers within us, what reinvents itself in bonds, glances, and gestures.
For one track, Olivya (Dowdelin) joins this dialogue in Martinican Creole. Her sunny soul sketches the contours of gentle resistance and celebrates rediscovered light.
Ayô Dele embodies a quiet yet radical determination: to smooth nothing over, to let plurality, contradictory emotions, and mixed heritage live. An album that moves forward through vibrations, that speaks of emancipation without slogans, love without clichés, anger without uproar.
Two women, two inner worlds: a sensitive complicity, a shared breath. Music that seeks not effect, but echo, weaving a living soundscape between reinvented traditions and contemporary textures. An alchemy faithful to the spirit of Underdog Records, where music unites and brings people together. Ayô Dele : "joy comes to me." A lucid joy, crossed by shadows, patiently regained. Music that welcomes, releases, gives, and in doing so, makes us feel good.
In a saturated world, Ayô Dele chooses nuance: transmission without emphasis, joy without naivety. An album that vibrates more than it demonstrates, that connects more than it imposes, and which, in its quiet clarity, resonates with a deep desire to be fully alive.

2026 Repress

International DJ and collector Elado is well known to edit lovers for his work on the likes of Funkyjaws Music, Razor N Tape and Eddie C's Red Motorbike. He has been digging in his vaults again, this time for Scruniversal, and turns out a pair of blazing Brazilian edits. First up is 'Sabor' ,which is a tight, funky sound that sways low with lush claps and wandering basslines, but the vocal harmonies are what make it, and your heart, soar. 'Debbie' then follows off with some soft, honours Portuguese soul vocals and instrumental disco-funk grooves that are super sophisticated and perfect to go with a cocktail at sundown somewhere nice.

2025 Repress

“We created a holiday inside our heads.”

A Deeper Life, Chaos In The CBD’s debut album over 10 years in the making, is nostalgic for the duo’s nature-filled youth, exploring the magical coastline and lush rainforest of New Zealand. “The title refers to our childhood, which was idyllic,” says Ben. “It was just the sun, the sand, the sea, waterfalls, birds and fish…” The album’s blissful setting is also depicted on the album cover: a painting, by a childhood friend, of the beach where they grew up in Devonport.

A Deeper Life whirls that profound love of house music and wide-ranging influences – from Brazilian to R&B, ambient to Italo to deep house and downtempo pop – into a serene, cohesive whole with their signature finesse. The result is an international dance sound that feels unmistakably like Chaos and ebbs and flows from the beach party to the club to the afterhours.

On the album they’ve teamed up with a number of US legends and married their vocals with the UK underground: Josh Milan of house pioneers Blaze brings his soulful vocals to the bossa nova beats of ‘I Wanna Tell Somebody,’ a future jazz-dance anthem. Unheralded Chicago house hero and Larry Heard collaborator Lee Pearson Jr. goes deep over ‘More Time’s broken beat flex. And on ‘Maintaining My Peace’, the brothers have matched veteran house singer-songwriter Stephanie Cooke with UK grime MC Novelist, on a slinky LDN interpretation of LA hip-hop and g-funk.

Also featured on the album are New Zealand jazz artist Nathan Haines, frequent collaborator Isaac Asaeili and more.

San Francisco artist Ross Hogg has been grafting away on his grooves for many years. He has plenty of styles in his arsenal and here digs into some sun-baked reggae and lovers' rock. Up first, he reworks 'Rose Inna Di Dark', the title cut from the debut album by British soul singer Cleo Sol. Her angelic vocal rides a clean reggae rhythm with sleek melodies reflecting rays outwards. On the flip is 'Come Around & Kick It', a deep cut groove with an r&b vocal and classic reggae guitar riffs. It's a steamy combination that's designated to get plenty of backyard parties and beefy sound systems ablaze as we head into the warmer months.

From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Saul Williams, Tunde Adebimpe, Mahogany L. Browne, Abiodun Oyewole, Anthony Joseph and Tara Middleton are the featured voices that turn rhyme into rhythm and revelation into resistance Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Saul Williams, Tunde Adebimpe, Mahogany L. Browne, Abiodun Oyewole, Anthony Joseph and Tara Middleton are the featured voices that turn rhyme into rhythm and revelation into resistance Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

Massimiliano Pagliara celebrates 20 years of music production with a special anniversary compilation on Funnuvojere. The release brings together solo productions and collaborations spanning a rich and abundant period that began when Pagliara acquired his first analogue machines, five years after moving to Berlin from Milan, where he worked as a professional dancer and choreographer.

The compilation features 20 previously unreleased tracks, deeply infused with italo grooves, wonky bass-lines, balearic pads, drama, love, sex, and dreams. These tracks evoke a wide spectrum of moments, ranging from intimate, pleasure-driven home listening to full-blown dance-floor euphoria. Throughout the compilation, one can feel Pagliara’s enthusiasm for discovery—his excitement in encountering new machines and immediately putting them to work.

Pagliara’s sonic identity is unmistakable, present in every track and in the compilation as a whole. Like the facets of a crystal, the music reflects his many nuances while maintaining a strong, coherent core. Tracks such as Waves of Desire pay homage to Dream House, reimagined through contemporary production with cosmic tones and infectious drums. Flicker Of Us reveals a dramatic tension between a rowdy bass-line and melancholic pads, while We Can Touch The Sky features Pagliara himself on vocals, blending synth-pop with elements of new wave and glam rock. Cool Breeze unfolds as a sunlit, optimistic walk through a wide Berlin avenue—funky, warm, and filled with curiosity for what lies ahead.

A notable strength of the compilation lies in its collaborations, which highlight Pagliara’s joy in working with other producers and vocalists. Each collaboration reveals a distinct character: the balearic sensibility of A Journey of Discovery with Gatto Fritto, the French house flavour of Neon Memories with Alinka, the 70s disco inflection of It’s In Your Eyes with the late Aérea Negrot, and the driving techno attitude of Whirlwind with Fabrizio Mammarella, to name just a few.

Ultimately, this compilation stands as both a gift to Massimiliano’s long-time fans and an open invitation to new listeners. It offers entry into a world shaped by beauty, order, balance, and ecstasy—guided by an enduring love for the craft.

Ltd Edition 10"

Budapest based concept label Blue Sun welcomes formerly independent local afrobeat-jazz ensemble to its catalogue with a nuanced 4 tracker EP. The release not only marks the beginning of the collaboration, but a definite new musical direction in the band’s life.

Written in a one week jam session retreat in the Hungarian countryside, and recorded at one of the highest peaks of Hungary after a year of global touring, The Garden becomes an amalgamation of the band's personal and artistic experiences. The material conveys a more jazzier approach, with complex harmonies, and an almost cinematic, dreamlike atmosphere, somewhat distancing from (but not completely forgetting) the previously emphasized, dance-oriented Afro- and Latino roots. Song for Ramon serves as the EP’s emotional climax inspired by the passing of a close friend and local underground chef pioneer.

Formed in 2019 in Budapest, Hakumba is a staple of the Hungarian festival circuit, with a growing international presence (SXSW London, SHIP, PIN Music Showcase). They’ve recently finished a tour in Australia this January.

The groove-driven ensemble blends afrobeat, jazz, and various strands of world music into a sound that is both rhythmically powerful and harmonically adventurous. With an eleven-piece lineup featuring an expansive horn section, multiple vocalists, percussion, and keys, the band moves effortlessly between dancefloor energy and more intricate, jazz-influenced musical ideas.

Like the band’s previous album, the EP was again recorded, mixed, and mastered by András Weil, the producer behind The Qualitons, the only hungarian band ever performed Live at KEXP. This continuity preserves Hakumba’s recognizable sonic identity while giving space for new colors and more complex musical ideas to emerge.

Written & performed by:

Soma Számel – drums
Endre Szép – bass
Imre Hegedűs – guitar
Zalán Bendegúz Huff – guitar, vocals
Csongor Mari – keys
Noel Nagy – percussion, vocals
Dorka Foster – flute, vocals
Kristóf Szabó – alto sax
Alpár Sikó – tenor sax
Gáspár Simon – trumpet
András Téglásy – baritone sax

Produced, recorded, mixed and mastered by Andras Weil
Artwork by Eszter Lukács
Graphic design by Péter Tóth
Manufactured by AD Records
Distributed by Rush Hour

Recorded at Galyatető, Hungary

Released under the Blue Sun

Surrrealism label boss EdOne returns to HABITAT with the ‘Show Me Love’ EP, following the release of his track ‘Madness Diary’ on the ‘METAFLORA III’ compilation in April 2025. Dropping on 26th February,
‘Show Me Love’ is a striking four-track EP that captures the full emotional range of his meticulously crafted sound. With multiple top ten Beatport chartings and releases on respected imprints such as Innervisions, Bedrock, Global Underground, and Renaissance, EdOne now brings his signature intensity, tension, and melodic precision into one of his most complete and expressive works to date, with the package featuring a collaboration from Rotterdam’s Beswerda.

Title track ‘Show Me Love’ opens the EP, delivering a backbeat-driven, clap-heavy groove, with soothing maracas, sundrenched synths, and warm pads creating an inviting, melodic house cut. ‘DTS’ serves as a moodier counterpart; its thudding bassline, rattling central synthline, and atmospheric low-end strings build a deep, cinematic tension. On the flip side, ‘The Next Men’ leans into EdOne’s progressive, hypnotic sound, featuring preaching vocals, minor-key progressions, and steadily building emotional weight. Closing with ‘Lahn’ , EdOne and Dutch mainstay Beswerda descend into a raw aesthetic, blending industrial grit with dub-like textures for a brooding final statement.

,Ruin Everything" ist das fünfte Studioalbum der Stockholmer Psychedelic-Rock-Pioniere Les Big Byrd. Seit ihrer Gründung im Jahr 2011 hat das Quartett seine Mischung aus Space Rock, hypnotisierender Psychedelia und diszipliniertem Krautrock perfektioniert. Angeführt von Songwriter und Produzent Jocke Åhlund Byrd um die ganze Welt getourt und sich dabei eine begeisterte Fangemeinde aufgebaut, wobei sie abwechselnd zu Hause als eine der größten Rockbands Schwedens und im Ausland als Underground-Psych-Act auftraten. Nach dem experimentellen und stark instrumentalen ,Diamonds, Rhinestones and Hard Rain" (2024) kehren Les Big Byrd auf ,Ruin Everything" zu einem stärker songorientierten Ansatz zurück, der an ihren Klassiker ,Iran Iraq IKEA" aus dem Jahr 2018 erinnert. Da die abenteuerlichsten Tendenzen der Band zugunsten eines strafferen, fokussierteren Sounds zurückgenommen wurden - der von dem dystopischen Epos ,Big Flood" bis zum Vollgas-Space-Rock von ,Hökvind" reicht -, ist ,Ruin Everything" Les Big Byrd in ihrer bisher besten Form.

,Ruin Everything" ist das fünfte Studioalbum der Stockholmer Psychedelic-Rock-Pioniere Les Big Byrd. Seit ihrer Gründung im Jahr 2011 hat das Quartett seine Mischung aus Space Rock, hypnotisierender Psychedelia und diszipliniertem Krautrock perfektioniert. Angeführt von Songwriter und Produzent Jocke Åhlund Byrd um die ganze Welt getourt und sich dabei eine begeisterte Fangemeinde aufgebaut, wobei sie abwechselnd zu Hause als eine der größten Rockbands Schwedens und im Ausland als Underground-Psych-Act auftraten. Nach dem experimentellen und stark instrumentalen ,Diamonds, Rhinestones and Hard Rain" (2024) kehren Les Big Byrd auf ,Ruin Everything" zu einem stärker songorientierten Ansatz zurück, der an ihren Klassiker ,Iran Iraq IKEA" aus dem Jahr 2018 erinnert. Da die abenteuerlichsten Tendenzen der Band zugunsten eines strafferen, fokussierteren Sounds zurückgenommen wurden - der von dem dystopischen Epos ,Big Flood" bis zum Vollgas-Space-Rock von ,Hökvind" reicht -, ist ,Ruin Everything" Les Big Byrd in ihrer bisher besten Form.

Mike Cooper returns to Discrepant with The Dream Island of Birds, a release that blurs the lines between memory, field recording, and reimagined sound.

In the early 1990s, Cooper met illustrator and writer Charles van Sandwyk while walking on a small island in Fiji. Van Sandwyk was living there quietly, working from a modest bamboo house near the beach. Years later, Cooper learned that following a serious car accident, van Sandwyk experienced vivid dreams during his recovery — one of which became a small illustrated book titled The Dream Island of Birds. A signed postcard from that book still hangs in Cooper’s studio.

In 2012, Cooper spent a month as artist-in-residence on Pulau Ubin, a small island between Singapore and Malaysia, recording birds and insects across the island. Home to more than 300 resident and migratory bird species, Pulau Ubin provided the source material for this album, later combined with electronics and digital processing. The track titles reference some of the island’s more evocatively named birds, though the sounds themselves are not literal representations. One piece is not derived from live birds at all, but imagined entirely through electronic means.

Neither documentary nor abstraction, The Dream Island of Birds sits between field recording, memory, and invention — an island heard through time and circuitry.

Bliss Point is proud to welcome the Bogotá born, New York based Matük to the label with Sendero, a collection dripping with life, with lust, with joy in the face of it all.

Birthed from weekend-long studio sessions in the heat of New York summer, Sendero is luscious and visceral party music, crackling with the spontaneous possibility that runs through city streets as temperatures peak, asses throw and emotions run high.

Hailing from Colombia and deeply immersed in the New York underground, Matük’s influences collide into an ecstatic tapestry on Sendero, blending the rich traditions of Afro-Caribbean musics with experimental and club sonics, long the sounds of joy as defiance from deep within the imperial core.

Many paths cross on Sendero. “Ricotta” features vocals from BRAVA, the Basque DJ and MC whose raw, infectious spirit has injected new energy into the international bass and footwork scene. She is joined by Argentinian-Colombian artist FEDRA on synth and vocals, transforming voice notes the trio sung into their phones over a long weekend of dancing into a party anthem of their own. “Lio”, the EP opener, pairs Mexico’s Renn Loop with Matük himself, trading sultry, heated frustrations over latinx futurist production. Things slow down on “De; Dioses y Pantallas”, a yearning, introspective plea to the night sky, before returning to the party with the bouncing, acid-fueled remix of “Ricotta” from Mexico City’s Soos.

Sendero is a snapshot of a scene in motion, a document of serendipity and collaboration, music made in the long tradition of enjoyment as a revolutionary act.

Filmmaking and music-making share a common element of worldbuilding. Whole cloth, environments are raised in which a perspective can be placed; the viewer, the listener, is taken on a ride into the unknown for a time. Movie, the newest album by DMV-based duo Lifted, is like a film shot with microphones rather than cameras, using the pacing, spatialization, and semiotics of cinematic sound design to lead us through a surreal soundworld that draws as much from Foley artistry as dub, jazz, and electronic music. Musical elements and field recordings shift in and out of focus, collaged in spontaneous improvisation sessions on CDJs by the core duo of Andrew Field-Pickering (Max D, Dolo Percussion, Beautiful Swimmers) and Matt Papich (Co La, Ecstatic Sunshine). We may not see where we are, but our ears give us all the information we need.

We open on a pedal steel, played by More Eaze, but it’s been warped and slowed, gradually pitching upward until it's met by drums and electronics. Imagine the THX logo emerging onscreen. Movie is bookended by two related themes, “The Ice Chewers (Opening Credits), ” and “Midnight Snack (End Credits), ” giving the spatial experiments at the heart of the record form and focus. If there’s a broader narrative to latch onto, it’s in the transition moments, the juxtaposition of various field recordings that indicate movement of characters through space and life happening at its own pace. Tracks are defined by other thematic elements: a wandering piano in "Repossessed, " the drone of Duncan Moore’s bagpipe on “Melts Very Nasty, ” the delicate dance of Dustin Wong’s guitar over Jeremy Hyman’s drums on “Midnight Snack. ” Even with such an expansive ensemble cast, the focus remains squarely on the flow from one scene to the next.

Robert Altman’s use of sonic perspective shifting, as well as Apichatpong Weerasethakul’s intricate construction of environmental ambience and aural representations of the unknown, were both inspirational for Lifted’s focus on sound as a way to establish set and setting in film. We hear Altman especially in the way dialogue emerges and recedes: as Papich puts in a sandwich order, as Field-Pickering browses the grocery store. These techniques have been a part of the duo’s arsenal in Lifted and their own projects for years, but here, without the mandate to make something overtly musical, they are foregrounded and placed in crisp focus. Here is another way to listen to the world, to understand how time, place, and personality are communicated through sound as Lifted closes the gap between artforms. What you can’t see only drives the imagination to more brilliantly invent.

Diese Doppel-Vinyl-Compilation lädt ein in die warme, entspannte Welt des Lo-Fi-Sounds - eine Musik, die entschleunigt, Atmosphäre schafft und Nähe erzeugt. Versammelt sind prägende Künstler des Genres, die Lo-Fi, Downtempo, Jazz-Einflüsse und elektronische Gelassenheit miteinander verbinden. Mit Beiträgen von FKJ, Darius, Kid Loco, St Germain, The Mighty Bop, DJ Cam, DJ Spinna und weiteren wichtigen Namen entsteht ein vielschichtiges Panorama zwischen organischen Grooves, sanften Beats und subtilen Melodien. Die Auswahl richtet sich gleichermaßen an langjährige Liebhaber wie an neue Hörer, die Lo-Fi als eigenständige, zeitlose Form elektronischer Musik entdecken möchten. Ein stimmiger, sorgfältig kuratierter Sampler für entspannte Hörsituationen, stilbewusste Sets und alle, die elektronische Musik lieber fühlen als konsumieren. ENGThis double-vinyl compilation invites listeners into the warm, comforting world of lo-fi music - a sound defined by relaxed rhythms, organic textures and understated emotion. Featuring leading artists of the genre, the collection blends downtempo beats, jazz influences and laid-back electronic production. With tracks by FKJ, Darius, Kid Loco, St Germain, The Mighty Bop, DJ Cam, DJ Spinna and others, the album offers a broad yet coherent overview of lo-fi aesthetics. It appeals both to seasoned listeners and newcomers seeking a timeless, atmosphere-driven listening experience. A carefully curated selection designed for calm moments, focused listening and stylish musical environments

If – in some parallel universe (or perhaps a not-so-distant-future version of the one we’re already sentenced to living in) – the evil overloads of artificial intelligence were actually successful in their attempts to create convincingly enjoyable “original music,” more specifically tasked with wholly encapsulating my own personal tastes by data-chugging some cocktail of – oh, I don’t know – the posters on my wall, the records in my “most listened to” pile, the mixtapes I made for others, intensive physical scans of my auditory cortex, amygdala, hippocampus, heart strings, whatever else they have splayed out on their autopsy table with the intention of generating one all-encompassing “perfect band” based on the fruitful sum of their findings – that band, for me, would be (or would at least sound exactly like) the Tara Clerkin Trio. It is, quite simply, without exception, the music I wish to hear.

Formed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favorite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it.

With two extraordinary mini-albums – In Spring (2021) and On The Turning Ground (2023) – making a splash on London’s formidable World of Echo label in wake of their self-titled 2020 debut, this upcoming Somewhere Good LP is, in many ways, the band’s most realised work. In running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) approaches, Clerkin & co. colour in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener’s imagination – all while somehow sounding more like themselves than ever before.

Of course, there are traceable influences herein, if one felt that such comparisons were necessary to properly examine and enjoy this music (they aren’t)… Being the big dumb American from the small boring town that I am, cornfed on ‘90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can’t help but to make a blatantly obvious reference to a “Bristol sound”, ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You’re Feeling Sinister, or – in expanding on our alternate reality – a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty).

The hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song. – Ryan Davis (Chicago, February 2026)

This is the third of the Mad Dog releases – and is often cited as the best release they did back in the day. Pure hardcore jungle flavours written in 1994 in sunny Bournemouth by Dave ‘Aquasky’ Wallace and Shaun ‘Aurora’ O’Hara.

Originally released by Olly on Underdog Recordings, who shared a house with Dave and also Brent from Aquasky. A hub of hardcore – the studio was on the ground floor, the bedrooms on the second floor and the top floor was the record label and pirate radio that ran for a while!

Around the same time this record was made, Dave was also producing as Fugitive and engineering for Kieron Aquasky’s various drum and bass tracks. On top of that he was making happy hardcore as Rebel Alliance and engineering hip hop for Brent Aquasky. A very busy guy who is still producing in 2024!

Pressed by the mighty Phil ‘The Vinylman’ East on 180g heavyweight vinyl. This release is a bespoke product as no one record is the same. Designed to look like the planet Neptune and part of a 4 vinyl Cosmik series.

OMG!

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

A fragile sense of time and memory runs through 'Thrill', the third collaborative album from Yana Pavlova and Pavel Milyakov. Recorded across four years and completed shortly before Pavlova's passing in February 2025, the collection expands the delicate language they introduced on Blue. The 14 scratchy, diaristic pieces move between ambient drift, field recordings and loose jazz inflections where haunted vocals, blurred guitars and faded textures surface then dissolve again. Rather than settling into fixed forms, the music unfolds patiently, revealing quiet emotional weight and space. It makes for a fitting closing chapter and a great document of Pavlova's singular, ethereal voice.

Xerrox Vol. 2 is the sixth studio album, released in 2009 by German electronic artist Alva Noto. It is the second installment of the Xerrox penthalogy, based on the concept of digital replication of source material.

As with the first Xerrox album, the starting point is a set of samples culled from external sources. This time, snippets and recordings from Sunn O))) collaborator Stephen O'Malley and composer Michael Nyman are featured, as is an excerpt from the 2004 Insen tour with Ryuichi Sakamoto.

While Alva Noto's oeuvre is predominantly affiliated with pristine sound design, the Xerrox series holds more intimate gestures and emotional sensibility. This volume moves further from the conceptualism and orderliness of prior musical outputs, ranging from heart-warming elegies to mind-bending sci-fi projections in extrasolar territories.

This remastered version will be reissued on NOTON in 2026


Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: Xerrox Phaser Acat 1
Playtime: 00:12:11
Explicit Lyrics: No
ISRC: DE1N62500015
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2

Artist: Alva Noto
Title: Xerrox Rin
Playtime: 00:00:51
Explicit Lyrics: No
ISRC: DE1N62500016
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3

Artist: Alva Noto
Title: Xerrox Soma
Playtime: 00:07:11
Explicit Lyrics: No
ISRC: DE1N62500017
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 4

Artist: Alva Noto
Title: Xerrox Meta Phaser
Playtime: 00:06:23
Explicit Lyrics: No
ISRC: DE1N62500018
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 5

Artist: Alva Noto
Title: Xerrox Sora 1
Playtime: 00:06:54
Explicit Lyrics: No
ISRC: DE1N62500019
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 6

Artist: Alva Noto
Title: Xerrox Monophaser 1
Playtime: 00:08:04
Explicit Lyrics: No
ISRC: DE1N62500020
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 7

Artist: Alva Noto
Title: Xerrox Monophaser 2
Playtime: 00:05:31
Explicit Lyrics: No
ISRC: DE1N62500021
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 8

Artist: Alva Noto
Title: Xerrox Teion
Playtime: 00:02:03
Explicit Lyrics: No
ISRC: DE1N62500022
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 9

Artist: Alva Noto
Title: Xerrox Teion Acat
Playtime: 00:05:26
Explicit Lyrics: No
ISRC: DE1N62500023
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 10

Artist: Alva Noto
Title: Xerrox Tek Part 1
Playtime: 00:05:27
Explicit Lyrics: No
ISRC: DE1N62500024
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 11

Artist: Alva Noto
Title: Xerrox Monophaser 3
Playtime: 00:06:14
Explicit Lyrics: No
ISRC: DE1N62500025
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai

SLF IMG is a dark synth pop project channeling the shadowy elegance of the 80s while injecting raw EBM drive and the hypnotic, sun-bleached nostalgia of classic italo disco. Their forthcoming EP “Carne” – Italian for meat – sinks its teeth into the genre with sleek, modern production, razor-sharp hooks, and basslines so catchy they feel almost carnal. Seductive yet menacing, “Carne” strips the sound back to its pulsing, flesh-and-wire core: dancefloor-ready grooves wrapped in velvet darkness.

Limited to 200 copies on splattered vinyl.

Tadan’s area127 returns with Sun & Moon, a two-sided exploration of modern psychedelia and exquisite sound design — balancing sprawling daylight hypnosis with nocturnal pull.

The LP’s “Sun” side reflects an uplifting current. Kaspiann’s “Lilja” deploys deep techno finesse, flowing through contours of luminous synth progressions and forest-dwelling resonance. A resurfaced 1996 cut, Deviant Electronics’ “Radio Silence” emerges from the Goa continuum — progressive chord sequences, sci-fi atmospherics, and euphoric momentum recalibrated for contemporary dancefloors.

The “Moon” side turns inward and nocturnal. Whrikk’s “Specter” drifts amid ghostly psychedelia, pairing dreamlike synth work with evolving arrangement pressure and submerged low-end movement. On “Seijaku”, Solarythm distills ritualistic hypnosis and rolling bassline into a fluid story — a forward-facing statement from the blooming wave of trance.

After releasing his first beat & instrumental album "Alltimers" in 2020, Berlin based multi-talent V.Raeter is back and kicking off the champagne for his upcoming sophomore LP "Sunday on a Monday" - this time released via Kabul Fire Records, also known as the nourishing home of high class instrumental releases in proud HipHop fashion. Sunday on a Monday is a sample based instrumental gem that pays tribute to the laid-back atmosphere of late summer days.

After releasing his first beat & instrumental album "Alltimers" in 2020, Berlin based multi-talent V.Raeter is back and kicking off the champagne for his upcoming sophomore LP "Sunday on a Monday" - this time released via Kabul Fire Records, also known as the nourishing home of high class instrumental releases in proud HipHop fashion. Sunday on a Monday is a sample based instrumental gem that pays tribute to the laid-back atmosphere of late summer days.

For his sixth solo album, Ezéchiel Pailhès returns with a new collection of songs infused by a sunny wandering spirit.
Within each of the twelve songs on SOL is a thread of melancholic happiness that has permeated much of Pailhès’ music and songwriting. He addresses love, the passing of time, hope, lost illusions, fleeting moments of grace, the temptation of forgetting, a need to escape, and desire. All this is
insulated by understated orchestrations that blend acoustic and electronic instrumentation with deft confidence.
The Portuguese and Brazilian concept of saudade—a form of melancholic longing and nostalgia— pervades, thanks in part to Pailhès decision to record the album in Rio de Janiero and to reinterpret some of the finest works of Música Popular Brasileira (MPB). In particular, he revisits a handful of
lesser known classics from the mid-century samba and bossa nova era—originally written or performed by talents including Vinícius de Moraes, João Gilberto, Tom Zé, Dorival Caymmi, João Donato, Os Tincoãs, and Ataulfo Alves.
The shift from Brazilian Portuguese to French and the decision to adapt rather than perform a straightforward cover versions, allows Pailhès to invent a form of prosody and euphony (the musicality and harmonious combination of words) that feels vibrant and unlike anything else in today’s French
chanson landscape.
“Some lyrics are simple translations from Portuguese, in what I’d call an expanded version. For others, I started from a single word or a single phrase and embroidered an entirely new text that carried me elsewhere,” explains Pailhès. “I allowed myself great interpretive freedom, while preserving the humanist dimension of the original songs. I’ve always been deeply moved by the way Brazilians transfigure reality through heightened emotion. I love this visceral and spontaneous country, which always seems to live through emotion. And above all, I love its music both popular and unifying,
bringing together all social classes. In that sense, it’s very political music, but even more so utopian, made by the people and for the people.”
On this new album, however, the French artist was keen to avoid cliché. Each song is therefore built around a carefully balanced interplay between Pailhès’ piano and synthesizers, alongside restrained arrangements of percussion, brass, bass, and cavaquinho (a small four-string plucked guitar). These parts were recorded in Rio de Janeiro with two musicians who regularly perform alongside the legendary Caetano Veloso—Kainã Do Jêje and Alberto Continentino—joined by Thomas Harres, Antônio Neves, Eduardo Neves, and Gabriel Loddo.
Since the 1960s, France and Brazil have shared a long-standing cultural and musical relationship. Some Brazilian artists, most famously Gilberto Gil, took refuge in France during the dictatorship years (1964–1985). But above all, French chanson quickly fell in love with the richness and ingenuity of
bossa nova and samba, translating and reinventing them in the language of Molière. Throughout the 1960s and 1970s, albums and hits by Henri Salvador, Georges Moustaki, Pierre Barouh, Pierre Vassiliu, and Claude Nougaro all drew from the MPB repertoire.
Fifty years later, with SOL, Ezéchiel Pailhès reinvents this rich Franco-Brazilian musical legacy, bringing to it a personality and modernity that stand confidently alongside those of his forbears.

Der Mittlere Westen, insbesondere der Teil, aus dem Eric D. Johnson stammt, ist eine weitgehend flache Weite. Wenn man auf der Autobahn hindurchbraust, sieht man Städte und Ortschaften in der Ferne aufragen, doch wenn man blinzelt, verpasst man andere von Menschenhand geschaffene Gegenstücke zum Leben in der Ebene, die die Landschaft prägen: Hügel um Hügel, erbaut aus den Abfällen der Vergangenheit: Mülldeponien. Einige dieser Hügel eignen sich hervorragend als Schlittenhügel, Parks und Wanderwege. Andere verwandeln organische Abfälle in Kompost. ,The Landfill" ist etwas ganz anderes: ein Berg, der die Landschaft in Johnsons Herzen dominiert. Im Laufe seiner mittlerweile 25-jährigen Karriere unter dem Namen Fruit Bats war der Großteil von Eric D. Johnsons Schaffen das Ergebnis von Geduld und Feinschliff. Seine Songs sind, um einen Ausdruck zu verwenden, Langzeitprojekte, die auf Alben zum Leben erweckt werden, welche lange Zeiträume und Erinnerungen umfassen. "Baby Man" änderte das - er verbot sich, auf Material zurückzugreifen, an dem er vor der Aufnahme des Albums gearbeitet hatte. Es war sowohl ein atemberaubendes Dokument von Johnsons Können als Singer-Songwriter als auch ein ungeschönter Bericht über die zwei Wochen, in denen er das Album aufnahm. "Diese Session war vorbei", erklärt er, "aber es gab noch viel mehr zu erkunden. Mir gefiel die Unmittelbarkeit davon, und ich wollte sehen, wie sich das auf ein Fruit-Bats-Album mit voller Bandbesetzung übertragen lassen würde." Innerhalb weniger Wochen war er wieder im Studio, diesmal mit seiner Band: David Dawda (Bass), Josh Mease (Gitarren, Synthesizer), Frank LoCrasto (Klavier, Synthesizer) und Kosta Galanopoulos (Schlagzeug). Wenn man sich "The Landfill" anhört, stellt man fest: Diese Band rockt. Johnson produzierte die ersten Aufnahmesessions in den Bear Creek Studios in Washington und machte sich daran , "den Sound dieser Band einzufangen, die mich immer wieder in Staunen versetzt - das Gefühl, in einem Raum mit Musikern zu sein, die man liebt und denen man genug vertraut, um sie einfach machen zu lassen." Sie nahmen das meiste davon in einem Durchgang auf - ohne Click-Tracks, ohne zusammengestellte Gesangsparts und mit minimalen Overdubs, wobei der häufige Mitwirkende Thom Monahan zurückkehrte, um zusätzliche Produktionsarbeit zu leisten und den finalen Mix von ,The Landfill" zu erstellen. "So machen wir es auch mit meiner anderen Band, Bonny Light Horseman, und ich war neugierig, wie es bei den Fruit Bats funktionieren würde", bemerkt Johnson. "Es ist sowohl ein sehr persönliches Album als auch mein bisher kollaborativstes." Es ist zudem das live-orientierteste Album der Fruit Bats seit "The Ruminant Band" aus dem Jahr 2009, und durch die Reduzierung der Spuren, die einen Song einer kompletten Band normalerweise ausmachen, ist die psychedelische, technicolorartige Verträumtheit ihres Sounds lebendiger denn je. Die Songs auf "The Landfill" zeichnen sich sofort als einige der besten in Eric D. Johnsons Werk aus, Suchende und Hymnen gleichermaßen. Es ist der bisher gewaltigste Gipfel, den er erklommen hat.

Der Mittlere Westen, insbesondere der Teil, aus dem Eric D. Johnson stammt, ist eine weitgehend flache Weite. Wenn man auf der Autobahn hindurchbraust, sieht man Städte und Ortschaften in der Ferne aufragen, doch wenn man blinzelt, verpasst man andere von Menschenhand geschaffene Gegenstücke zum Leben in der Ebene, die die Landschaft prägen: Hügel um Hügel, erbaut aus den Abfällen der Vergangenheit: Mülldeponien. Einige dieser Hügel eignen sich hervorragend als Schlittenhügel, Parks und Wanderwege. Andere verwandeln organische Abfälle in Kompost. ,The Landfill" ist etwas ganz anderes: ein Berg, der die Landschaft in Johnsons Herzen dominiert. Im Laufe seiner mittlerweile 25-jährigen Karriere unter dem Namen Fruit Bats war der Großteil von Eric D. Johnsons Schaffen das Ergebnis von Geduld und Feinschliff. Seine Songs sind, um einen Ausdruck zu verwenden, Langzeitprojekte, die auf Alben zum Leben erweckt werden, welche lange Zeiträume und Erinnerungen umfassen. "Baby Man" änderte das - er verbot sich, auf Material zurückzugreifen, an dem er vor der Aufnahme des Albums gearbeitet hatte. Es war sowohl ein atemberaubendes Dokument von Johnsons Können als Singer-Songwriter als auch ein ungeschönter Bericht über die zwei Wochen, in denen er das Album aufnahm. "Diese Session war vorbei", erklärt er, "aber es gab noch viel mehr zu erkunden. Mir gefiel die Unmittelbarkeit davon, und ich wollte sehen, wie sich das auf ein Fruit-Bats-Album mit voller Bandbesetzung übertragen lassen würde." Innerhalb weniger Wochen war er wieder im Studio, diesmal mit seiner Band: David Dawda (Bass), Josh Mease (Gitarren, Synthesizer), Frank LoCrasto (Klavier, Synthesizer) und Kosta Galanopoulos (Schlagzeug). Wenn man sich "The Landfill" anhört, stellt man fest: Diese Band rockt. Johnson produzierte die ersten Aufnahmesessions in den Bear Creek Studios in Washington und machte sich daran , "den Sound dieser Band einzufangen, die mich immer wieder in Staunen versetzt - das Gefühl, in einem Raum mit Musikern zu sein, die man liebt und denen man genug vertraut, um sie einfach machen zu lassen." Sie nahmen das meiste davon in einem Durchgang auf - ohne Click-Tracks, ohne zusammengestellte Gesangsparts und mit minimalen Overdubs, wobei der häufige Mitwirkende Thom Monahan zurückkehrte, um zusätzliche Produktionsarbeit zu leisten und den finalen Mix von ,The Landfill" zu erstellen. "So machen wir es auch mit meiner anderen Band, Bonny Light Horseman, und ich war neugierig, wie es bei den Fruit Bats funktionieren würde", bemerkt Johnson. "Es ist sowohl ein sehr persönliches Album als auch mein bisher kollaborativstes." Es ist zudem das live-orientierteste Album der Fruit Bats seit "The Ruminant Band" aus dem Jahr 2009, und durch die Reduzierung der Spuren, die einen Song einer kompletten Band normalerweise ausmachen, ist die psychedelische, technicolorartige Verträumtheit ihres Sounds lebendiger denn je. Die Songs auf "The Landfill" zeichnen sich sofort als einige der besten in Eric D. Johnsons Werk aus, Suchende und Hymnen gleichermaßen. Es ist der bisher gewaltigste Gipfel, den er erklommen hat.

,Pneuma" ist ein Zyklus von acht Kompositionen des Kontrabassisten und Komponisten Henry Fraser, erschienen bei Kou Records, der sich mit Atem, Resonanz und der sich wandelnden Beziehung zwischen Form und Improvisation auseinandersetzt. Fraser betrachtet seine Solopraktik als eine Zusammenarbeit mit dem Instrument selbst und arbeitet direkt mit der Materialität und den akustischen Eigenschaften des Kontrabasses, sodass Klang, Raum und Struktur durch tiefes Zuhören gemeinsam entstehen können. Aufgenommen, abgemischt und koproduziert von Randall Dunn (Sunn O))), Thurston Moore) und Ben Greenberg (Uniform, Marc Ribot), erweitert das Album Frasers bisherige Solosprache durch ein erweitertes melodisches Register, vielschichtige Texturen und sorgfältig gestaltete Studioeingriffe. Ausgehend von sowohl vorgefertigten Motiven als auch neu improvisiertem Material entfaltet sich ,Pneuma" in einer Reihe prägnanter Sätze, von denen jeder einer eigenständigen rhythmischen oder harmonischen Idee Gestalt verleiht und gleichzeitig zu einer größeren, zusammenhängenden Form beiträgt. Die Aufnahme, bei der der Schwerpunkt auf natürlicher Dynamik und räumlichen Details liegt, bewahrt die volle physische Präsenz des Instruments und rückt die Resonanz, die Obertöne und die leisen Mikrogesten des Basses in den Vordergrund. Bestimmte Stücke bestehen aus mehreren übereinandergelegten Darbietungen, was den Umfang und den Ausdrucksbereich der Musik dramatisch erweitert. Das Ergebnis ist ein intimes und zugleich immersives Hörerlebnis - akustische Musik, die sich gleichzeitig greifbar und weitreichend anfühlt. ,Pneuma" dokumentiert Fraser in einem Moment künstlerischer Klarheit und bekräftigt sein Bekenntnis zu prozessorientierter Komposition und aufmerksamer Klangpraxis.

This album brings together key tracks from Doug Carn recorded for Black Jazz Records in the 1970s.

Doug Carn is one of the most-important (and least-recognised) forces in the creation of the canon of 'deep and spiritual jazz music' - full of powerfully emotive intensity, consciously-uplifting lyricism and addictively beautiful melodies.

All of his LPs during this period have since achieved cult classic status including 'Infant Eyes', 'Adam's Apple', 'Spirit of the New Land' and 'Revelation'.

Aside from his songwriting and keyboard skills, many of the tracks here feature the stunning and powerful 5-octave range vocals of Jean Carn (later Carne), his wife at the time.

Musicians featured on this album include Alphonse Mouzon, Charles Tolliver, Henry Franklin, Michael Carvin, Walter Booker, Ronnie Laws and others. Aside from Carn’s compositions there are also striking interpretations of music by Lee Morgan, Miles Davis, John Coltrane, McCoy Tyner, Bobby Hutcherson and Wayne Shorter.

Black Jazz became one of the defining labels of independent and conscious jazz music in the 1970s alongside other important labels such as Strata-East and Tribe Records. As well as this Best of Doug Carn release, Soul Jazz Records are also releasing a Best of Black Jazz Records collection at the same time.

"AVEX REGGAE SYSTEM" is a series of gems of reggae covers of classic AOR and pop songs that were in heavy rotation on dance floors and FM radio from the late 70s to the early 90s. This is the sixth 7-inch single cut from the series!

"Break Out" is a cover of Swing Out Sister's early hit number released in 1986, with its lively melody and positive vocals, and the steel drum sounds are arranged like a cool summer breeze running through the track. "Missing You" was written by Lionel Richie and sung by Diana Ross and released in 1984. The song is covered with a shuffle beat.

Growing together both personally and musically… That is indeed the good fortune of the musicians in the Marseille-based trio ubaq. We’re talking about bassist Antoine Carletto, guitarist Lucas Schemidt, and drummer Antoine Saussol, winners of the Rezzo springboard competition at Jazz à Vienne 2025. In their early twenties, they met in their late teens while still honing their musical skills. Nearly ten years later, they burst onto the scene, in perfect harmony, with their very first album, “Night WIP,” a follow-up to their EP, “20bis,” released in 2024. They owe their stylized stage name—written in lowercase with a “q”—to the ubac, that side of a mountain with very little sun exposure, where twilight reigns. “We liked that idea because we’re night owls,” says bassist Antoine Carletto. Hence the “night” for “nuit” and the “WIP” for “Work In Progress,” explains guitarist Lucas Shemidt. ubaq’s music is characterized by a nocturnal, melancholic heaviness, pierced by beams of light. “We love creating music that soothes us and highlights the precious nature of composing and playing in complete harmony,” says Antoine Carletto. “We cultivate complex tones, sometimes difficult to bear, whether they’re nostalgic or even verging on depression. But we manage to convey emotions without falling into clichés,” adds Antoine Saussol. Night and twilight serve as the perfect catalysts for this trio, which moves forward with perfect chemistry and harmony.

On this album, they feature the German-Armenian rapper and singer Talin, who is also based in Marseille. She appears on the track “Regarding Others,” where she chants that even though the year 2026 may see mothers weeping in every corner of the world, she still manages to smile. Thus, this track explores the three musicians’ relationship with the world and the necessity of looking at others. The unsettling “Sciatiq,” the haunting “Sakakinik,” and the ambivalence of “Flayosc”—the final track, on which the trio features trombonist Jules Regard—owe their titles to the musicians’ own observations and experiences. The multi-faceted track “Proud,” in two parts, is a tribute to Lucas Schemidt’s mother, who has since passed away. The presence of wind instruments—whether Jules Regard’s trombone or Mathieu Fabre’s saxophone on the intense track “From The Ending”—adds textures missing from the natural landscape depicted in “Night WIP.” This debut album captures the obsessions and introspective wanderings—sometimes anxious, sometimes enchanted—of a trio that cultivates melody as a pledge of warm fulfillment.

Ursprünglich 1968 in New York auf Barakas eigenem Label Jihad veröffentlicht, ist "Black And Beautiful Soul And Madness" ein leidenschaftliches Zeitdokument der 1960er Jahre. Man könnte es leicht für eine verschollene Veröffentlichung von ESP-DISK halten, fügt es sich doch nahtlos zwischen Sun Ra, The Fugs und Albert Ayler ein. Die Band nutzte ihre Stimmen auf vielfältige Weise: mal singend im Stil von Doo-Wop und Soul, mal rappend im Stil der Last Poets, und oft auch beides gleichzeitig. Emotional fesselnd und von enormer Kraft, wird dieses Werk nun erstmals wieder auf Vinyl zugänglich.

Quartier Celeste is a unique project in today’s landscape: here’s Premier Voyage, an album that goes beyond music to offer a complete universe, almost an autonomous mythology, which unfolds through music, lyrics, videos, and a collection of visual artifacts.

It all began with a revelation: the discovery of NASA’s sound archives, recordings collected during space missions to the outer
reaches of the solar system. What can be heard as we approach the Sun? What sound does a black hole produce when its electromagnetic activity is translated into audible frequencies? What does Jupiter's fifth moon whisper through the instruments of
a probe?

From track to track, we drift through an immense space — sometimes calm, almost meditative, sometimes shaken by cosmic storms. We encounter supernovas, cosmic rays, magnetic fields, stellar winds, and clouds of antimatter. The infinitely large rubs shoulders with the infinitely intimate: the fragile, close voice offers a human counterpoint to these titanic forces. The whole is mystical, contemplative, punctuated by bursts of noise, areas of shadow, and flashes of light amid vast areas of darkness.

The latest in Field Records' run of essential vinyl pressings revisits Stephen Hitchell's 2009 masterpiece under his Variant alias, The Setting Sun. As part of Echospace and also celebrated for his productions as Intrusion and Soultek, Hitchell is considered a leading light in dub techno, with the versatility in his sound to range from rhythmic, physical pulses to purely tonal, abyssal drone. His work as Variant, which debuted with The Setting Sun, capitalises on this scope to deliver a compelling ambient-with-teeth set richly deserving of a proper vinyl pressing.

The Setting Sun first emerged on Echospace as a download-only release. Hitchell was at pains to map out the tools that went into the sound on the album — field recordings of storms in Berlin, Germany and train rides in Narita, Japan, outboard synths and samplers. Crucially, he declared no computers were used, and it shows. When The Setting Sun was recorded, in-the-box production was largely dominating electronic music and the technology had yet to replicate the warmth and character of analogue equipment. Hitchell's looming chords come baked with harmonic overtones, surface noise becomes another essential layer and fragments of distortion add to the narrative of these glacial, monumental pieces.

Hitchell threads his dub techno tendencies in subtle ways, from the kick pattering underneath 'As Time Stood Still' to the quintessential metallic delay ripples that define 'A Silent Storm'. 'Someplace Else' has a defined, albeit delicate, rhythm section guiding its lighter shades of pads and chords. However, drums are never a dominant aspect of the music, simply another layer in an intentionally coagulated whole. At times, flickering tones hint at space where percussion once stood, since muted to leave the wet signal setting a new course for the sound, somewhere far beyond drum duties. The hushed ceremony of tracks like 'Adrift' are the perfect scenario in which to absorb these microfibres of detail, where the genius of Hitchell can truly be savoured.

In line with the limitations of record pressing and Hitchell's proclivity for long-form tracks, 'The Setting Sun' is reserved for the digital edition of this reissue. It's a logical move, as the sound palette widens to encompass tangible, organic instrumentation evolving over the best part of half an hour. The presence of piano keys feels stark in the Variant sound world, but Hitchell ably folds these coded elements into his process bathed in the same curious luminosity that lingers around all his work. Evolving at a painstaking pace, the plaintive humanity in the cascading keys and plucked guitar strings renders one of the most personal expressions in Hitchell's considerable canon — a unique piece that holds its own space comfortably, while also adding to the overall weight of The Setting Sun as a profound benchmark in a stellar discography.

Timm Sure & Richard Hampson should need no introduction.

Their output is prolific - with their own releases under the COYOTE moniker, as well as their work with other artists on their record label IS IT BALEARIC?

As huge fans of their work and label, we were flattered when they rang and expressed an interest in working with us. The product of this glorious new friendship is a truly exciting and unique sonic experience — one that is comprised of 7 proper tracks laced seamlessly together with African spoken word.

The word Nyabinghi (or Nyabingi) refers to a legendary woman of the Bahororo tribe of Uganda, whose name means "mother of abundance" or "the one who possesses many things" in the Mpororo language.

The 12 tracks of NYABINGHI ebb and flow between prose and melody, putting you into an almost trance like state - the sum of the parts at once meditative yet funky, evocative and spiritual, yet perfect to get people's feet moving at sunset.

A concentrated four track showcase extending the warm glow of last summer’s album “Cruise Control” into the spring of 2026. Satin Jackets lines up a heavyweight cast and delivers an EP that moves effortlessly between sunlit elegance and late night force.
A1) Satin Jackets & Kimchii – “Bring On Up Our Love” (Flashbaxx Remix)
Flashbaxx transforms the Satin Jackets and Kimchii track into a driving disco house floor weapon with bright chords and classic dancefloor swagger. Guaranteed to get everyone grooving.
A2) Satin Jackets & Erobique & Thunder – “You Get Me So High”
A radiant meeting of Satin Jackets, Erobique and Thunder that sails between disco, Westcoast soul and soft focus glamour. Built around the 2025 vocal, the trio turn it into a warm and irresistibly smooth homage to timeless Yacht Rock.
B1) Satin Jackets & Nazzereene – “Know Me” (Johannes Albert Remix)
The Berlin producer dives deep into Chicago house aesthetics and delivers a crisp, rolling late night tool that lights up any club at peak time.
B2) Satin Jackets feat. Seint Monet – “Control” (Ceci Remix)
Ceci closes the EP with a dreamy, slow burning rework that wraps Seint Monet’s vocal in hazy pads and gentle after hours warmth.
Extra Mile EP is the kind of twelve inch you do not pass on. A tight, potent combination of artists who elevate each other with ease.

Macclesfield 3-piece Cassia make their extremely welcome return with the announcement of their most ambitious release yet in new studio album everyone, outside - out April 11th.

The album marks a bold new chapter, and recently served up a tropical-tinged first offering in ‘heat’ - with today serving a superb Round Two with the stomping, insatiable, hook-laden new single ‘friends’.

everyone, outside takes Cassia’s sound to new heights. Written fresh off the back of two years of relentless touring, the band channelled every ounce of their renowned live energy into the album, returning to a studio they built themselves in Macclesfield, after creating their previous album in Berlin. The journey provided an added twist, recording the majority of tracks live on TikTok, giving fans a unique, inclusive experience to be part of the process.

The album’s title is a metaphor for embracing your truest self and reflection of a band who are at their happiest outside. It’s a message that speaks to the idea of reconnecting with nature and Britain’s finest summers. As frontman Rob explains, “That title, ‘everyone, outside’ started as a song about how weird it is that we stay inside all the time when being out in nature always makes us feel better. Over time, it came to mean more than that - like a metaphor for being your truest, most natural self, unburdened, like when no one’s watching.”

Drawing influences from a host of genres and cultures, everyone, outside reveals Cassia’s venn diagram of global sounds and intimate storytelling. A trip to Mexico during the writing process injected the record with a new energy, while their time spent in their new space back home gave the band a freedom to try new instruments, new sounds, acquire new tools to hone their production skills - and to simply have fun and explore. “The time we spent in Berlin taught us so much, but coming back home to Macclesfield allowed us to really focus on making something that felt like it came from us. No distractions, just pure creativity,” says drummer Jacob Leff.

Cassia’s rise has been impressive. From their early days busking the streets of Cornwall to playing major festivals, touring the world and receiving critical acclaim from BBC Radio 1, Radio X, The Independent, Rolling Stone UK, Clash & many more, the band has carved out a unique niche. Their sound, influenced by the African music Rob’s father introduced him to, combined with the indie heritage of nearby Manchester, combines the positivity of bands like Foals and Vampire Weekend, with the jazz-tinged afrobeats of Fela Kuti and Ebo Taylor.

After signing to Distiller Records in 2018, the band gave up their full-time jobs and ventured to Bath to record their debut album, Replica. Tracks such as ‘Right There’, ‘Drifting’ & ‘100 Times Over’ have amassed millions of streams, seeing the band sell out multiple headline Tours both in the UK and Europe. Playing to a homecoming capacity crowd at Manchester’s O2 Ritz, as well as sold out headline shows at London’s KOKO & The Garage, the band have accrued a huge, loyal following and their live shows earned them a nomination for Best Live Act at the AIM Awards alongside Idles and DMA’s, as well as making them the winners of Reeperbahn’s Anchor Award in 2022.

Cassia will tour the UK in May 2025, playing songs from the new album and some of their biggest tracks - headlining Leeds, Bristol, a newly added night in Southampton, a special Manchester homecoming, Glasgow, Birmingham, & a huge show at London’s HERE @ Outernet - dates below & Tickets Here. The band will also take things Stateside this year for their first ever run of headline shows in the US & Mexico.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

"Funk Face is a 9-track journey drawing from the raw energy of 80s funk. The concept? A duel between my two personas: the pure madness of P-Funk versus a smoother, late-night vibe.

It’s a balance between two worlds, designed to follow you anywhere. Whether you’re cruising under the sun or settling into a late-night groove, the album adapts to your mood without ever losing the thread. Blending the influence of Rick James with nods to 90s sitcoms, it’s a cocktail of high-octane BPMs and sensual breathers.

There’s no room for melancholy here. Just press play, smile, and feel the vibration. Funk Face is, by definition, the ultimate happy face.”

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.

Originally Self-produced in 150 copies (1977), MAR-VISTA’s only album is one of France’s most strange and radical records. Psychedelic electronic music, experimental, and acid folk A collector’s holy grail for fans of Klaus Schulze, Terry Riley, Neu, and Silver Apples. Includes a previously unreleased second record (1973)

Schreit es laut heraus: Wir sind der Underground! Die Arbeiterklasse hat genug, sie geht auf die Straße, startet die Revolution, tanzt und kämpft manchmal zum Beat der Songs von RIOT CITY RADIO. Sind das Klischees? Natürlich. Aber Punkrock & Oi! jeder Art basieren seit jeher auf Klischees. Genau wie jede andere Subkultur auch. Das ist also nichts Schlechtes. Im Gegenteil, es macht Spaß. Vor allem mit RIOT CITY RADIO, denn ihre Songs sind sofort eingängige Hymnen mit perfekt ausgewogenem Songwriting zwischen kraftvollen Refrains, großartigen Mitsing-Passagen und einer rohen, gewaltigen Note, die süchtig macht! Eine Ode an Subkultur, Underdogs und die Solidarität, in Distanzierung zu einem Großteil der kranken Gesellschaft und all ihren unnötigen Exzessen. Und RCR meinen jede einzelne Zeile ihrer Songs ernst und haben viel zu sagen! Mit ihrem zweiten Album ,Spitting Teeth" startet die Band aus Plymouth, UK, mit einer charismatischen Street-Punk- und Oi!-Explosion durch! Musik mit Können, harter Schlagkraft und einer knallharten Street-Attitüde. 11 neue Songs, darunter die Singles ,We re still singing" und ,Underground". Auf limitiertem schwarzem und limitiertem mehrfarbigem Vinyl!

Glasgow reggae collective Mungo’s HiFi celebrate 25 years of pulsating music with a follow-up to game-changing second studio album Soundsystem Champions. Released in 2008, the original Sound System Champions became an instant 21st century classic - thanks to its industrial strength basslines, blazing horns and lineup of scorching microphone talent. To commemorate a quarter century of rocking dances and building rhythms, Mungo’s have created Soundsystem Champions 2. They’ve lovingly assembled some of their biggest dubplates, previously only heard in a soundsystem situation, now available to the world. Fans of the first Sound System Champions will hear musical echoes in the new version. Irrepressible Junglist General Levy rides the Belly Ska riddim that kicked off the 2008 edition, with the militant Gideon Boot. Italy’s Marina P returns to the new record on the expansive Searching, as does Kenny Knots, closing the track list with heartfelt roots anthem Rise and Gravitate. For Soundsystem Champions 2, Mungo’s have invited many more voices from their epic journey. Bristol’s Eva Lazarus revisits Althea and Donna’s immortal Uptown Top Ranking. Reading’s Solo Banton turns his lyrical versatility to hip hop banger Bubble N Wine. The beautiful grainy tones of Ireland’s Cian Finn reimagine the Wailers’ Rainbow Country. With this historic sequel album, Mungo’s look back while going forward, the exclusive becomes the inclusive, and the Sound System comes to you!

There is a strong sense of place running through 'North West Tonight', as God Colony aka Crack Copies label heads and Liverpool-raised duo James Rand and Thomas Gorton sketch out a hazy, after-hours portrait of their hometown. Drawing on 80s new wave melodies and rough-edged club rhythms, the EP balances sounds of yore with present-day energy. There is crunchy, disrupted bass on 'The Column', backlit broken beat on 'Middle Eye' and more sun-kissed depths on 'Rhyll Sun Centre'. 'The Paradox' stands out as a darker, more edgy and club-ready sound while the rework by Sasha stretches the track into something built for wide-eyed dancefloors.

2026 Repress

Alarico returns to Mutual Rytm with his 'Drops Of You' EP, packed with his mind-bending signature rhythms while focussing on a more minimal and atemporal approach than before.

Milan-based artist Alarico has firmly arrived on the world stage in recent years. Taking cues from the harder realms of techno of the 90s, he adds his own quirky rhythms and quickened sense of groove to showcase his modern take on the genre. Building on material dropping via his own Katana Records, with high-profile support from bigname DJs across the scene, he breaks new ground again here on this compelling new EP as he returns to SHDW's label Mutual Rytm with 'Drops Of You'.

Excellent opener '0 Kelvin' races out of the blocks with wiry synths and percussion that sounds like knives being sharpened, all over tight, punchy techno drums. 'One More' then gets more twisted with freaky synth line scurrying about the mix while hammering hits and bouncy drum programming races onwards into an unknown future.

'Asma' slips into a deeper but no less impactful groove - the tightly coiled drum funk is overlaid with soulful vocal whispers and militant snares that cannot fail to sweep dancers away. Next, the slick 'Sunburn' keeps the pace high and is another warp-speed techno excursion with bold drum patterns and dry hi-hats cutting up the beats. It's a fulsome sound fleshed out with great synth detail and euphoric vocal cries, before closer 'Drops Of You' layers broken beats, vocal snippets and psychedelic synth colours into an intense and emotional workout.

Alongside the vinyl cuts, three digital-only offerings are also loaded into this one as a trio of treats in the form of 'Sino', 'What For' and 'Erased', with each track harnessing pacy, energetic rhythms, a mix of bright and murky sonics, and tunnelling grooves crafted for maximum impact.

Alarico 'Drops Of You' drops via Mutual Rytm on 8th September 2023

Funkyjaws Music is back with more sounds to get those mouths and asses moving. It comes from Elado, originally from Poland, and an artist with a 30-year obsession with his craft. 'Love' is a big-hearted disco pumper with jangling riffs and bluesy vocals. 'Happy Days' has a similar vocal but more raw and guttural and offset by female harmonies. 'Benko' cuts back with a more supple, sun-kissed and Balearic sound with some nimble piano work bringing plenty of spice. 'Higher' is a smoochy 80s-influenced disco sound with vibes to spare.

Polished and forward-looking even 40-odd years on from its initial release, Bourbon Suite captures Japanese female keyboard trio Cosmos at a time when fusion leaned into pop accessibility without losing technical finesse. Built around layered keys and crisp studio musicianship, the album moves with a sleek, late-night feel. 'Midnight Shuffle' stands out for reworking earlier material into a smoother, instrumental-led groove, while 'Cosmic Cosmos' drifts into more spacey territory and is driven by elastic bass and shimmering synth lines. There's a clarity to the arrangements that keeps things light on their feet and means this remains a refined example of early 80s crossover fusion.

One of Vince Watson’s biggest selling tracks (but rarest vinyl records) finally gets a repress on wax. This time fully remastered and mixed and on his own Everysoul Audio imprint. The original vinyl release on Osunlade’s Yoruba Records in 2015, and was a very limited vinyl run. Now it sounds better than ever and on fresh wax. The track is backed up by a new dancefloor version of ‘Reach For The Sun’, a track that featured on the ‘Every Soul Needs A Guide’ album. This time its flexing jazz vibes, a driving addictive rhythm and ‘Jaguar-esque’ uplifting chords and strings.

a A1: Eminesence [2026 Rework]
[b] B1: Reach For The Sun [Floor Mix]

DJ Support: Kerri Chandler, Louie Vega, Dam Swindle, Jovonn, Brian Tappert, Grant Nelson, Mark Farina, DJ Mes, Cinthie, Floorplan, Kevin Yost, Fouk, Julius Papp, T. Markakis and more..

Raffaele Ciavolino is an Italian DJ, producer, and professional engineer who has carved out a significant niche in the global house music scene. His work is characterized by a sophisticated blend of Jazzy, Funky, and Deep House, often incorporating the high-energy "Jackin" house style that has earned him consistent recognition on major genre labels. “Come In To The Jazz”, the title of his new Album, gives you an idea of what to expect - jazzy melodies and sophisticated house beats. He does so with a modern viewpoint but also plenty of reverence for the glory days of jazzy house. Trumpets and guitars feature here and embellish the drums with quality, meaningful layers of melody and mood. As he merges the past and present, this richly textured work shines with improvisation and timeless deep house warmth.

DJ Support: Garnier, Opolopo, Worldwide FM, Marcia Carr, Bill Brewster, Timeout Moscow, Craig Smith, Delfonic, Tony Nwachukwu, Marcel Dettmann, DJ Rocca, Shuya Okino, Borrowed Identity, Titonton Duvante, Alex Attias, Rainer Truby, Sol Power All-Stars, Kyri R2, Robert Luis, Severino Panzetta, Lars Behrenroth, Kassian, Alkalino, Getdown Edits, Moodymanc, Gerd, Lea Lisa, Young Pulse, Mark de Clive-Lowe, Mark Grusane, Alex Barck….

International dance music heavyweight, producer and DJ Alexander Lay-Far returns with a powerful new chapter - Lay-Far Dance Orchestra (LFDO) - a fully-fledged live band project that reconnects him with his jazz-funk and fusion DNA while pushing dance music forward with unmistakable groove, musicianship and emotional weight. Formed in early 2024, LFDO is no nostalgia exercise. With Lay-Far at the helm as bassist, bandleader, composer, arranger and sound engineer, the orchestra has already been turning heads with explosive live performances, reinventing classic Lay-Far cuts, and now unveil their first album “Skybreak” with all new and original material written and produced by Lay-Far together with his bandmates and star guests, including Lipelis, Antoha MC and Seven Davis Jr. This work shows the departure from the predominantly electronic sound of Lay-Far's previous solo albums in favour of live instrumentation recorded to analogue tape and effortlessly bridging the gap between Jazz, Library Music, Disco-Funk, House, Broken Beat and Drum’n’Bass. “Skybreak” is dynamic, passionate, spiritual, cinematic, playful, heartfelt, life-affirming, dreamy and deeply romantic. Ultimately, there’s something profoundly romantic in recording and releasing such music in this day and age!


“Take Flight (Part 1)” is opening the album with style. It takes us on a beautifully orchestrated journey, blending the sensuality of Library Music with high-octane Jazz-Funk and raw b-boy breaks, propelled by breathtaking flute and Rhodes solos of Timur Nekrasov and Maxim Glonti. This aural symbiosis of “beauty and the beats” will become more and more prominent as the album unfolds.



It’s time for “Aquarius Love” created with the inimitable artist and vocalist Seven Davis Jr. (Secret Angels, Ninja Tune). In this composition cinematic soul and heavy jazz meet the restless energy of live drum & bass with deep and heartfelt vocals - timeless sound combined with a timeless message about love and life!



Next is “Head In The Clouds” - a theme for an imaginary rom-com, an ode to all the dreamers - sweet, light, naive and heartwarming. Space-Disco-Funk at its best!

“Where You From” is a fiery Soulful House number with heavy Afro-Latin influences recorded in collaboration with Lipelis. It’s full of Sun, joy and passion. Its irresistible rhythm is emphasised by funky octave bass, wah-wah guitar, catchy piano riffs, guitar solo by Lipelis and seemingly light conscious message delivered by Lay-Far and Maryag. Summer is here!

Now the album takes an unexpected twist in the form of “The Harp of Boom” which at first glance appears to be a classic-sounding Boom-Bap banger. Yes, It’s loud, raw, and gritty, yet it gradually evolves into something delicately-touching and deeply-soulful thanks to a memorable flute melody and lush string arrangement. Definitely recorded with tongue in cheek.


Next is “Feel The Moment” a remarkable collaboration with one of the most recognisable and distinctive Russian artists, singer, trumpeter and cultural icon Antoha MC. It’s a feel-good song, hopeful, life-affirming and bittersweet. A stylish excursion into Brit-Funk and Soviet Jazz-Fusion sound, drawing inspiration from the likes of Atmosfear, Light Of The World or Soviet Jazz bands like Allegro and Arsenal, but reimagining the influences through the modern West London broken beat lens.


The spectacular music journey continuous with “Take Flight (Part 2)” - it’s all about the deep infectious jazz-funk groove, heavy beats, rolling percussion and the glory of the soloing instruments - saxophone and flute by Timur Nekrasov, demonstrating the wide range of emotions from thoughtful and lyrical to restless and borderline vicious. One for freestyle dancing!

As the album draws to an end a vibrant musical triptych “Soul Constant” awaits, mixing together the deep and sensual mood of spiritual jazz with heavy syncopated drum’n’bass rhythms by Michail Fotchenkov, lush orchestration, expressive saxophone solos and the ending which can simply be described as “aural bliss”. It’s breath-taking!

A pleasant bonus is the exclusive version of “Where You From” by Lipelis himself, who is taking it into dub territories, further enhancing the rhythm section and enriching the song with his trademark playful synth flourishes and dreamy guitar solos for maximum effect (and appeal).

The album “Skybreak” by Lay-Far Dance Orchestra is the work of real artistry and craftsmanship with timeless sound that’s not only deeply-rooted but also forward-thinking.

Two original house cuts. One statement. Soulbound / Abracadabra lands as a double-header single as part of our new XPRESS Singles Series, bridging gritty South London soul with slick Franco-American house energy - a release designed for the salubrious moments on the dance floor.

“Soulbound” sees Bustin’ Loose deliver cutting-edge disco-soul infused house music straight from the concrete textures of South London. Sung and produced by Bustin’ Loose himself, the track rides a pumping, elastic bassline with warm strings and raw vocal emotion - modern house with classic soul DNA. Capturing the energy of London's expansive music culture, Soulbound is both uplifting, euphoric and street-wise. Inspired by the music of Fatboy Slim, rappers like JME and Ghetts and the club culture of London.

On the flip side, “Abracadabra” from Magnolia & Sam Karlson featuring LA wordsmith Relaye drips with French house sensibilities, blending glossy filters, catchy wah guitar and punchy grooves with razor-sharp rap vocals. Imagine Music Sounds Better With You colliding with the cool charisma of Q-Tip - hypnotic, stylish, and irresistibly repeatable.

The remix package pushes the release deeper into club territory:

• Dam Swindle transform Soulbound into a deep, bumping underground roller, rich in groove and late-night atmosphere.
• Phil Weeks delivers a signature Ghetto Mix of Abracadabra, crafted with his beloved MPC sampler - raw drums, stripped-back funk, and a pure nod to house music’s roots.
• La Felix closes the circle with a nostalgic, early-2010s-tinged deep remix of Abracadabra, balancing modern polish with timeless dance-floor warmth.

Sleeparchive and Oliver Rosemann present a collaborative EP built as a shared system rather than a dialogue.
It is procedural: reduction, iteration, feedback.

Elements are introduced to be tested against the system. Changes occur slowly, often at the edge of perception, creating tension through persistence. This record documents convergence. A temporary alignment of processes, tools and timing.

The Sunken EP is cut for long-form playback, where variation becomes noticeable through duration to put you into a hypnotic state.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

Limited Silver Vinyl. The Rapture wurde im Frühjahr 1998 von Vito Roccoforte und Luke Jenner gegründet. Mit einem scharfen Ohr für Visionäre wie PIL, Television und Chrome erlangte die Band unter ,Kennern" im ganzen Land schnell einen Ruf für ihre energiegeladenen, oft chaotischen Live-Auftritte; wobei Jenner wie ein auf Steroiden stehender Trottel herumhüpfte, während die Rhythmusgruppe ihren patentierten ,sonic deathfuck groove" zum Besten gab. Im Herbst desselben Jahres wurden zwei Alben aufgenommen: eine LP mit acht Titeln, die auf dem wegweisenden Art-Punk-Label Gravity Records aus San Diego erschien, sowie eine Single, die bei Sonny Kayes Gold Standard Laboratories veröffentlicht wurde. Nach diesen beiden Veröffentlichungen nahm die Band ihre ,Make-it-fucked-up"-Philosophie mit auf Tour und tourte mit Sunny Day Real Estate, Gogogo Airheart und Nuzzle. Im Mai 1999 zog die Band nach New York City um. Matt Safer, der kurz zuvor aus Washington DC zugezogen war, übernahm den Bass. Mit einer solideren Besetzung als je zuvor stürzte sich die Band in die Erforschung von Dance- und Popmusik und erweiterte ihre bisherigen Einflüsse um Chic, The Byrds, The Happy Mondays und Timbaland. Auf der darauf folgenden EP - Out Of the Races and Onto the Tracks aus dem Jahr 2001 - festigte The Rapture ihren ikonoklastischen Stil wild-energetischen Rocks, der sich ebenso sehr an Dance-Musik wie am Post-Punk orientierte.

This is joy beyond expectation the arrival of a new Ryo Fukui recording. Captured on June 26, 2004, this live session documents the ninth anniversary concert of Slowboat, the jazz club Fukui founded and considered his musical home. The trio features Ryo Fukui on piano, Benisuke Sakai on bass, and Yoshihito Eto on drums. Fukui was 56 years old at the time, and his playing is powerful and expansive, yet still marked by delicacy and razor sharp precision. In terms of energy, stamina, and technique, he was entering a true period of artistic maturity. He delivers the music of his beloved Phineas Newborn Jr. and Tommy Flanagan with depth and elegance, and approaches the works of Wayne Shorter—an early-life influence—with thrilling intensity. The performance captures Fukui at a moment of profound fulfillment, offering a truly compelling glimpse into his late career brilliance.

Downtown Boys have pushed relentlessly forward as an artistic and political project since their founding. Singer Victoria Marie and guitarist/singer Joey La Neve DeFrancesco first met at union meetings while working together at a hotel in Providence, RI, writing many of the band's early songs about labor organizing and exploitative workplaces. The quintet is completed by Joe DeGeorge (sax/synth), Mary Jane Regalado (bass), and Joey Doubek (drums). Over years of touring, and three acclaimed albums, Downtown Boys have continued to grow as artists, musicians, and organizers. Now, the band has arrived with Public Luxury, an enthralling album that keeps politics front and center while summoning the band's most urgent and powerful sound to date. The definition of Public Luxury falls very much in line with that of the title of the second Downtown Boys LP, Full Communism. Straight up, Public Luxury means, "everything for everyone." It's the stubborn insistence that a better world is possible, while fully recognizing the horrors we witness daily, and the individual and collective responsibility to resist the nihilism and hopelessness we all feel. Sentiments like "everything for everyone," and "we will have it all" perfectly represent the cathartic, communal live experience this cadre of multi-instrumentalists create. These sentiments also encapsulate the inclusive, joyful sonic fusion that defines the album: anthemic punk and indie rock mix with Latin traditions, drum machines blend with acoustic drums, saxophones punctuate riffs, and layers of synths add flourishes from new-wave to industrial. The amount of ground covered on Public Luxury can't be overstated, and yet the album feels totally vital and cohesive. Public Luxury is a revisitation of the band's past for the sake of their future. It was co-produced by DeFrancesco with recording engineer and longtime Downtown Boys supporter Seth Manchester (Lambrini Girls, Lightning Bolt, Model/Actriz) at the Pawtucket, RI studio and arts space Machines With Magnets, not far from the band's first home of Providence, RI. Victoria Marie's grandmother-a monumental figure for the band throughout their existence-passed away in May of 2025, and her influence looms large over the album; the songs "No Me Jodas" and "Sirena" are crystallized representations of the love between a woman and her ancestor. Beyond the loss, rage and frustration of the present, Public Luxury points boldly towards a vibrant, open-hearted vision of both music and the world: "Our music is simply for anyone and everyone who believes in the new future we can make together," Victoria Marie declares. "A world that will be awkward, inconsistent, yet truly free when it comes to all that matters."

She studied classical music on viola from the age of 3 through into college where she was on a path to be a performer in a large ensemble, but eventually left after feeling frustrated and limited in a world that did not provide much of an outlet for individual creativity. But the doors of perception really opened when she moved to British Columbia and was exposed to the raw beauty of the wilderness there.

She began recording at home using a basic audio setup along with a cello, viola, violin and double bass, and spent time making field recordings of natural sounds in BC. Her next idea was to actually move into nature to record, curious as to “how it would sound if I recorded outside entirely, with the natural reverb and sounds of the environment in the recording from the very beginning. The rustling of the leaves or a raven’s beating wings were as integral to the music as whatever I played.”

Fables is a mix of pieces that were recorded in the fall of 2024, in a small, remote cabin and outside, primarily using stringed instruments. The result is a series of stunning vignettes, meditations patiently unfurling like gentle waves, slowly advancing and retreating.4, in a small, remote cabin and outside, primarily using stringed instruments. The result is a series of stunning vignettes, meditations patiently unfurling like gentle waves, slowly advancing and retreating.

"Beyond HEAVY METAL": the deluxe edition is a special 2LP zoetrope vinyl featuring live recordings from arena shows in the UK, US, and Japan, along with “from me to u (feat. Poppy)” Major Lazer Remix and “from me to u (feat. Poppy)” Jordan Fish Remix

Having celebrated its 15th anniversary last year, BABYMETAL presents a new style of heavy metal album created in collaboration with a new generation of friends encountered across the globe. A powerful statement of who the band is today, this album pushes toward what lies "beyond HEAVY METAL" and aims to change the course of history.

Available to own on special edition zoetrope vinyl. Limited quantities, available while stocks last!

Warm, fluid and deeply grooving, with that rare ability to sound both effortlessly fresh and instantly timeless. A super classy debut for the series and a massive showcase for Camiel Daamen’s artistic touch.

Capturing the full scope of the Straw Hat Crew’s journey into the Grand Line, this collection brings together the massive, high energy score by award winning composers Sonya Belousova and Giona Ostinelli. From the shores of Loguetown to the snowy peaks of Drum Island, every moment of the voyage is brought to life through soaring orchestral arrangements and unforgettable pirate anthems.

2LP Audiophile Black Vinyl: Two 12 inch records pressed on high quality black vinyl for a classic look and superior sound fidelity, delivering every orchestral swell with crystal clear precision.

Double CD Set: Two discs featuring the complete original score and songs, presented in a premium compact format.

Premium Packaging: A double gatefold jacket for the vinyl edition and a three fold digipack for the CD, both showcasing vibrant cinematic artwork of Luffy and the Straw Hat Crew.

Complete Soundtrack: Over 40 tracks spanning the entire second season, including character themes, emotional moments and epic battle motifs.

Whether at home or on your own journey, this release is the perfect way to keep the spirit of adventure alive, immersing you fully in the world of One Piece.

Netflix’s epic high seas pirate adventure, ONE PIECE, returns for Season 2, unleashing fiercer adversaries and the most perilous quests yet. Luffy and the Straw Hats set sail for the extraordinary Grand Line, a legendary stretch of sea where danger and wonder await at every turn. As they journey through this unpredictable realm in search of the world’s greatest treasure, they will encounter bizarre islands and a host of formidable new enemies

2026 Repress

Maltese talent Human Safari debuts on Mutual Rytm with jazz-influenced techno EP, 'Culture Shock'.

Human Safari is a key player in his native scene in Malta. He's a resident at Glitch Festival, has played cult spots, and has a dynamic sound that brings jazz improvisation to techno, often featuring live instrumental elements. His music has found its place on top labels like R&S Records, and most of this new EP for SHDW's Mutual Rytm imprint was produced during his Colombian summer tour last year - written and recorded amongst inspiring and unusual settings with just a laptop and headphones.

"This EP represents embracing new beginnings that, though might bring uncertainty and fear, the
light always guides you to where you were always meant to be." - Human Safari.

Opener 'Mouse on Keys' has been a key cut for the label boss across the past year, a unique track that peaks curiosity from dancers to DJs whenever it's played. Its cantering techno rhythm is overlaid with delicate, heartfelt piano keys straight from a smoky jazz bar, making for a great counter to the physical drums. 'Fragments' is a deeply personal track dedicated to the artist's late grandfather. It's a funky, soulful techno roller with blissed-out and sunny chords full of hope.

Next, 'Classique' gets more gritty with loopy drums and bass and glitchy percussion that fizzes with energy, while 'The Labyrinth' features piano motifs recorded in just one take. It brings a dark paranoia in the uneasy, off-grid keys which dart about with nervous energy over the booming low ends. There is just as much intensity and edge to the unresolved keys that loop over the raw drums on 'A Rainy Day in Bogota', before digital bonus cuts 'Dorian' and 'Phantom' bring more jazzed out techno madness with warped keys and expressive elements bringing great invention.

Jacaranda is an album published in 1973 that highlights Bonfá’s refined approach to bossa nova and Brazilian instrumental music, blending Brazilian melody and rhythms with jazz-influenced harmonies. The album is cantered on Bonfá’s classical-influenced guitar technique. Indeed, rather than focusing on vocals, Jacaranda lets the guitar lead the narrative, creating a relaxed yet sophisticated atmosphere which evokes Brazilian landscapes and moods. Compared to his previous album Introspection (HE72018), Jacaranda is less restrained and inward, it does not have a meditative mood but offers warmer harmonies and a stronger melodic richness. This is the first vinyl edition of this album since its first edition in 1973.

Manfredi Romano, founder and A&R of Life and Death Records, has been a pivotal figure in electronic music for over two decades. This year marks an important milestone as he is invited to curate the upcoming fabric presents mix for fabric Records, a release that highlights his instinctive storytelling and the distinct musical identity he has cultivated throughout his career.

Manfredi’s journey began in Italy around the turn of the millennium, tour-managing punk bands and organizing left-field music events before completing his studies in computer science at the University of Pisa. He went on to form DAZE, Italy’s first booking agency dedicated exclusively to electronic music, laying the groundwork for what would become a globally influential presence in the scene.
In 2010, he shifted focus to his own artistic project, DJ Tennis, which quickly gained international recognition for its emotive blend of house, techno, and disco. Renowned for creating intimate atmospheres in even the largest spaces, DJ Tennis has performed at leading clubs such as Circoloco Ibiza, Fabric London, and Panorama Bar Berlin, and at major festivals including Sonar, Timewarp, Primavera Sound, and Coachella. His 2022 residency at Phonox in London further showcased his ability to shape dancefloors with nuance and depth. Since 2017, he has also co-founded and curated Rakastella, the celebrated Art Basel Miami festival created in partnership with Life and Death and Innervisions.

As a producer, DJ Tennis draws from early relationships with post-rock pioneers such as Godspeed You! Black Emperor, Tortoise, and Fugazi, channelling their influence into intricately layered electronic compositions. His work has appeared on respected labels including Kompakt, Rhythm Assault, Running Back, !K7, Cercle Records, Aus Music, and Circoloco Records, alongside frequent releases on Life and Death. His remix portfolio includes collaborations with Diplo, Boys Noize, Loco Dice, WhoMadeWho, and Acid Pauli, among many others. He has also previously contributed a DJ-Kicks mix, bringing his eclectic sensibilities to one of electronic music’s most beloved series.

After extended periods living in Miami, Berlin, and Barcelona, DJ Tennis now resides in Paris. Outside the studio and club environment, Manfredi is a passionate chef who has curated menus for charity events and collaborated with Beatport at ADE, Pioneer, and Resident Advisor. He is also an avid collector of bicycles, vintage action figures, and vinyl — his record collection now surpasses eleven thousand pieces.

With the forthcoming fabric presents DJ Tennis release, he offers a deeply personal, narrative-driven statement that reflects decades of crate-digging, boundary-pushing selections, and a lifelong devotion to sound. It marks a new chapter in his artistic evolution and stands as one of the year’s most anticipated entries in the iconic series.
The first single from DJ Tennis is a collaboration with long-time studio partner Ashee, and it immediately sets the tone for the mix: warm, seductive, rhythm-driven, and emotionally charged.

“I Wanna Know” is a sleek club track built around a pulsing groove and a steady, hypnotic rhythm. The low end is rounded and warm, giving the track a driving but understated momentum. Percussion is crisp and minimal, allowing the bassline and vocal elements to take center stage. The repeating, robotic earworm of a vocal hook, “I wanna know’ is the lynchpin to the track and will remain in your head long after the track has finished.

It’s the kind of record that warms up a room early in the night, sets the tone for a sunset beach set, or adds a lush, emotional peak during a more leftfield club moment.

Emerging from the sun-drenched haze of their previous releases, the Belgo-Italian duo descend into the shadows with Trabajando El Flex, their third record to date. This is their gloomiest strike yet, a mutant wave manifesto built on a raw DIY ethos. Imagine pulsing basslines and ghostly vocals soundtracking your deepest, most illicit desires. Channeling the spirit of a major influence which is Coil, this album could have been called "Music to Play in the Dark(rooms)." It's a lethal fusion where New Beat, EBM, Dub, Italo, and New Wave lock into a singular, hypnotic atmosphere. Their world is a wild ride from Bear-Santa Claus Fantasms to Burning Churches and Amphetamine rooms, reflected in both their playful - not-to-be-taken-seriously - lyrics and a genre-shattering sound. Their debut was a a lost reel; their second, a dream, Trabajando El Flex is the raw, slow-burning, and beautifully unclean night that consumes both. It's a flawless fit for the after-hours ruin of the Pinkman universe.

There are records that follow the rules, and others that rewrite them in real time. With O R G A S M A N I A, Byron The Aquarius returns to Skylax with a deeper, freer and more unpredictable statement — where jazz instinct meets raw machine funk, and structure dissolves into pure feeling. Rooted in the lineage of Detroit yet never confined by it, Byron operates in that rare zone where house music becomes expression rather than format. His sound doesn’t chase functionality — it breathes, it stretches, it resists. The EP opens with Back 2 Zion (Tomorrow), a spiritual and meditative journey built on loose drums and luminous chords, carrying a sense of elevation — early morning music where the dancefloor begins to think again. Enter the Co$mos (Fool) pushes further into abstraction, with drifting synths and broken rhythms unfolding in a non-linear structure, navigating between Sun Ra’s cosmic language and Detroit futurism. On the flip, Mr. Captain Crunchhh brings a raw, playful energy — crunchy textures, off-grid swing and an almost improvised groove, alive and unpredictable, a leftfield tool designed to disrupt expectations. Finally, O R G A S M A N I A stands as the centerpiece — hypnotic, sensual and immersive, locking into a deep repetitive groove while evolving in subtle layers, a late-night body experience guided by a sharp musical mind. Across four tracks, Byron The Aquarius confirms his unique position between jazz musician, house producer and sonic storyteller, with a trajectory spanning Sound Signature, Axis, Eglo, Apron and Shall Not Fade, continuing to resonate from Detroit to Berlin and beyond. Artwork by H5 — the iconic studio behind Daft Punk, Air and Vitalic — reinforces Skylax’s timeless and art-driven identity. This is not fast music, this is not algorithm music — this is music for those who still listen. Strictly for the heads. Vinyl only. No repress. Skylax Records.

Melody As Truth and Future Days Radio present ‘At the Emerald Pool’, an album by Tomo Katsurada and Jonny Nash.

Netherlands-based artists Tomo Katsurada (Ex-Kikagaku Moyo / Future Days Radio) and Jonny Nash (Melody As Truth) combine forces for an exploration into the sonic potential of the guitar duo, rooted in their experiences performing together over the last 12 months.

Friends and admirers of each other’s work for a decade, their musical collaboration began in 2024 with Katsurada asking Nash to contribute guitar to his debut EP ‘Dream Of The Egg’. Sensing the need to explore this further, they spent the following year performing together in different configurations, with Nash joining Katsurada’s trio and Katsurada in turn playing with Nash as a duo, across a wide spectrum of spaces, from churches and temples to concert halls, theatres and outdoor festivals. With new ideas developing organically out of these performances, recording new material became the next logical step. A short period of three days was set aside with a clear goal: to capture the essence of their fluid, intertwining melodies and guitar playing in a way that felt as direct and unfiltered as possible. Working from a handful of pre-existing sketches, they left ample room for experimentation to unfold within the process.


The results are presented on ‘At The Emerald Pool’, a collection of ten pieces that offer the listener a full immersion into the pair’s sound. With guitar as the primary instrument for both artists, it is no surprise that the core of the album lies here, specifically in the fluid interplay between the two players. Layers of gentle, delay-soaked fingerpicking often make it almost impossible to distinguish where one player ends and the other begins. As soloists, both Katsurada and Nash have a gift for crafting melodic lines that feel open and ascending, expressive and hopeful without becoming saccharine. Longer, more abstract pieces are counterbalanced by a series of shorter songs, with five vocal tracks appearing across the album. The decision to share vocal duties lends the record a unique quality and a strong sense of variation, bringing a wide expressive range out of a deliberately focused musical framework.


‘At The Emerald Pool’ represents the first chapter in an ongoing musical dialogue, an attempt to capture a moment of connection, openness and discovery, laying the foundation for what continues to unfold.

The Illegal Disco Limited series makes its return with a purple vinyl treat. On the A-side, Monsieur Van Pratt delivers two sure-fire weapons: 'What About Me', a familiar sample flipped for today's dancefloors, and 'Sunset Driver', a killer reconstruction of MJ's rare demo. Flip over for the B-side, opening with a collab between Van Pratt and BoogietraxxAon the viral Japanese gem 'Stay With Me'. BoogietraxxAthen takes control with the funky 'Moving Down the Line' before closing the record in style with 'Pretty Good Feeling'. A must-have for disco and edit heads alike.

Towa Mafune is a rare singer-songwriter known for her gentle voice and warmly embracing melodic sensibility. As suggested by the title, means "Sleeping with the sea in my arms",
this record is a conceptual work inspired by Mafune’s upbringing in a seaside town and her lifelong connection with nature.
The album imagines a dialogue between the artist herself and natural elements such as the sea, wind, and light.

Layered arrangements featuring the album’s striking introductory piano, along with strings, horns, acoustic and nylon-string guitars, and rich vocal ensembles, create a liberating and
expansive soundscape. The album also marks new artistic territory for Mafune, supported by trusted musicians including paya (Yūtai Communications), Kota Yamauchi, and
Keitaro Kanamine.