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Following the success of the rework releases of Trip To Your Mind by Delfonic, LTJ Xperience, and DJ Friction, the time has finally come to reissue the original mixes of this essential and still highly sought-after Disco Funk classic.

Both the original Hithouse Mix and the re-mix by Chris Hill & Robbie Vincent were released in 1979. However, newly uncovered evidence has revealed that the track was actually recorded much earlier. After extensive research, including the rediscovery of Reginald Hudson's original flight ticket dated September 7, 1976, from Los Angeles to London, proof has emerged that the recording sessions took place in late 1976.

Due to unfortunate circumstances, the track remained shelved for several years and did not see release until 1979. By that time, the original backing band, Body Heat-a group of U.S. Army musicians stationed in Germany-had already disbanded. As a result, the record was released under the project name Hudson People.

Reg Hudson has since shared additional photographs and previously unknown information, which will be revealed in the coming months. To further celebrate the record's legacy, an official music video is currently in production and is scheduled for release this summer, marking the track's 50th anniversary.

As the original master tapes have unfortunately been lost, the audio has been transferred and restored using highest end equipment from the best available sources. In particular, the original Hithouse Mix now sounds better than ever before.

The 12-inch release will be presented in a faithful reproduction of its rare original "Disco 45" sleeve, believed to have been included only with the earliest pressings.

The Story Behind the Record

For decades, Trip To Your Mind was celebrated as a Brit Funk classic, although its true origins remained largely unknown. While the track was recorded at London's Advision Studios, Hudson People were neither a British group nor a London-based project-a fact first brought to light through the official 2022 reissue on Backatcha Records.

In interviews with label owner DJ Scientist, songwriter and producer Reg Hudson revealed that the musicians behind the recording were actually members of Body Heat, a GI band based in Germany. Like Hudson himself, most of the musicians originally came from the Chicago area.

"The band included Tony Palmer on guitar, Herva Middleton on drums and lead vocals, Charles Walker on saxophone, Harvey Perry on trumpet and trombone, and Rickey on bass-a five-man lineup," Hudson recalls.

Recorded in late 1976, the track remained unreleased for several years. By the time it finally appeared in 1979, Body Heat was already on the verge of breaking up, prompting the decision to release it under the Hudson People name.

Since the late 1990s, Trip To Your Mind has been heavily bootlegged, widely compiled, and continuously championed by DJs and collectors worldwide, cementing its reputation as one of the most enduring and in-demand Disco Funk records of its era.

50 year anniversary edition! Recorded in 1976, first released in 1979.

It’s that time of year again! Are your copies of “Now! That’s What I Ca l Christmas” and “A Motown Christmas” finaly feeling worn out? Strut has the ideal antidote this year, as we dive into the world of festive records made by African artists spanning the late 1960s to the 1980s with our new Krismasi: Christmas Sounds From Africa compilation.

Taking in music from across the continent from Nigeria and Ghana to South Africa and Zimbabwe, Krismasi draws from a wide range of sounds from fun novelty records and spur-of-the-moment jams to spiritual and gospel favourites. Featured artists include Ghanian great Kwadwo Donkoh with a meditative highlife praise song from his much-loved Christmas Africana album. Elsewhere, pop star turned pastor, Jerry Boifraind, has some fun with a song celebrating seeing friends at Christmas and Nigerian pop favourite Martha Ulaeto features with the lilting lead track from her own Christmas Africana release. We pick out some choice Central and East African sounds with Kakai Kilonzo’s bri liant Kilimambogo Brothers Band and Congolese legend Baba Gaston’s Orchestra Baba National capturing the joy of the festive season. We stop off in Zim for a rare Dorothy Masuka acoustic piece and one of the country’s great musicians post-independence, Paul “Dr. Love” Matavire with ‘Christmas Yaswedera’ (‘Christmas Is Near’). Township jazz star Reggie Msomi appears with a joyous township instrumental and, fina ly, we couldn’t release a Christmas co lection without some carols. Here we include here a great version of ‘Mary’s Boy Child’ by UK-based Nigerian highlife musician Flash Dominci and a hi-octane funky medley of favourite festive hymns by Ghana’s Oscar Suley.

The compilation is the first in-depth co lection of rare African Christmas recordings, uncovering a rich and often overlooked chapter of the continent's musical history. Krismasi is available on Red & White Inkplosion Vinyl LP and CD. Vinyl restoration is by Colin Young at See Why Audio, mastering is by Frank Merritt at The Carvery, and the album features striking new artwork by Liam Large.

It's Christmas is the special Christmas track of the German synthpop duo Modern Talking. The single appeared on the sixth album In the Garden of Venus and has only once been released as a very limited promo single before the duo split up in 1987. With its unmistakable 1980s synthpop sound, the track offers a festive variation on the classic Modern Talking style.

It's Christmas is available as a limited edition on white vinyl. This 7" is housed in a sturdy PVC sleeve, contains a special Christmas greeting etch on its B-side and includes an exclusive Modern Talking Christmas Card.

Celebrate the season with Christmas Hits, a festive collection of modern holiday favourites and timeless classics pressed on beautiful opaque green vinyl. Featuring tracks from Wham!, Mariah Carey, Kelly Clarkson, Whitney Houston, Bruce Springsteen, and more, this essential Christmas soundtrack brings warmth, joy, and holiday spirit to every gathering.

Mit dieser festlichen Compilation stehen die unvergesslichen Weihnachtsaufnahmen von Elvis Presley im Mittelpunkt. Der "King of Rock "n" Roll" zählt bis heute zu den erfolgreichsten und einflussreichsten Künstlern der Musikgeschichte, und seine Interpretationen klassischer Weihnachtslieder gehören seit Jahrzehnten zum festen Bestandteil der Advents- und Weihnachtszeit. Die Sammlung vereint zwölf seiner beliebtesten saisonalen Aufnahmen und verbindet traditionelle Weihnachtsklassiker mit Gospel-inspirierten Songs und gefühlvollen Balladen. Darunter finden sich zeitlose Titel wie "White Christmas", "Silent Night", "Blue Christmas" und "Santa Claus Is Back In Town". Mit seiner unverwechselbaren Stimme und seinem warmen Vortrag verleiht Elvis diesen Aufnahmen eine besondere Atmosphäre, die Generationen von Musikfans begeistert.

Chicken Shack are a British blues rock band founded in 1965 by Stan Webb, Andy Silvester, and Alan Morley, who were later joined by Fleetwood Mac’s Christine McVie, then still known as Christine Perfect. They signed to the legendary British blues label Blue Horizon in 1967.

In The Can, originally released in 1980, compiles tunes from their early years and all but five songs indeed feature Christine McVie on vocals and piano. She would join Fleetwood Mac in July 1970, right after recording O.K. Ken? with Chicken Shack.

In The Can is available as a limited edition of 500 copies on blue vinyl.

,CHRISTFUCKER" ist das zweite Album der texanischen Extremband Portrayal of Guilt und verbindet Hardcore, Black Metal, Industrial und düstere Noise-Elemente zu einem beklemmenden, atmosphärischen Gesamtwerk. Inspiriert von Horrorfilmen und existenziellen Themen erschafft die Band eine Klangwelt voller Angst, Verzweiflung und emotionaler Intensität. Die Songs reichen von rasendem, chaotischem Extrem-Metal bis hin zu experimentellen Passagen mit Industrial-, Ambient- und Drone-Einflüssen. Gastbeiträge von Jenna Rose (Anatomy) und Jeremy Bolm (Touché Amoré) erweitern den düsteren Klangkosmos zusätzlich. Das Ergebnis ist ein kompromissloses Album, das die kreative Weiterentwicklung von Portrayal of Guilt eindrucksvoll dokumentiert.

Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.

LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.

LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.

The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.

NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.

Songs of Joy and Peace is a Christmas music album by cellist Yo-Yo Ma, originally released in 2008. The album features collaborations with many other artists, including vocalists Diana Krall & Alison Krauss, James Taylor, Dave Brubeck and Chris Botti.

This holiday disc doesn't exclusively stick to traditional Christmas songs, but covers a wide scope of material in a very ambitious manner. Ma opens with a lovely take of the traditional favorite “Dona Nobis Pacem (Give Us Peace)”, playing both the melody and counterpoint via overdubbing.

Jazz pianist/vocalist Diana Krall is superb in a swinging rendition of Jerome Kern's unjustly obscure "You Couldn't Be Cuter", adding bassist John Clayton. An arrangement of “Joy To The World” features pianist Dave Brubeck and cellist Matt Brubeck (his son). Chris Botti has never sounded better in the warm arrangement of “My Favorite Things”, playing both open and muted trumpet. James Taylor is featured on vocals on the Beatles cover “Here Comes The Sun”.

Four tracks moving between techno, house and tech house, built for club play. Turning Pages opens on a rolling groove, drums locked tight, a track that works as a peak or a warm up. The Avem Remix pulls it toward a leaner, more direct techno reading, stripping the arrangement back for a harder pass through the mix. On the flip, Get With It feat. Sammy Legs leans into house swing, vocal woven through a bouncing bassline. Christopher Schwarzwälder's remix reworks it with a tech house angle, tighter percussion and a more functional low end. Four versions of two ideas, each built to sit differently in a set.

Tronic return with part 5 of the More Than Machine series going back to our roots, Electro has always been our passion, and we’re here to give it the massive spotlight it deserves. Our new VA brings together iconic producers Christian Smith / Wehbba / Ian O'Donovan and next-gen visionaries Alexander Kowalski / PJay for a master class in modern electro. Every track is a certified weapon, hand-picked to send shockwaves through clubs from Berlin to Tokyo.

Hanne Lippard and Renato Grieco's Today's Special is a suite of language works synthesising melody and diction that integrates the literary and the audible in a repertoire of songs that bask in the melody of voice and the punctuations of structured composition. Working with methods of reduction rather than opulence in both tonal composition and rhetoric, each piece pegs the poetic to the musical with compositional schematics and methods. It is important to state that there is little to none improvisation here, instead, the duo set up matrices, rules and structural links that facilitated meaningful locus of exchange between their two practices. Lippard's texts are a collection of new and previously completed works. In these, as is typical for her work, she enjoys the easy pleasure of wordplay, iterative language, and decontextualised anecdote, as in opener Portrait of a Betrayal, a piece about the loss of a phone and the way it haunted the owner who dropped it, based on a lived experience. Grieco's instrumentation works with Lippard's language art as a form of acoustic typography. "I studied graphic design and I think about how you can express typography through voice," she says. "Renato's use of the viola da gamba becomes like an underline, or a font's brushstrokes, in ways that feel typographical." In this, the classically-trained composer Grieco often finds and echoes the pitch movements of Lippard's voice, intonation mirrored and revealed, linguistic meaning doubled and shadowed by plucked, strummed or bowed strings. His main instrument is the viola da gamba, the instrument considered closest to the human voice for its tonal range and ability to mimic inflections and timbre, and here he brings it even closer to the voice, building systems by which it moves with and around Lippard. He also plays piano and Wurlitzer, and joins her in speaking on Receiver and in conversation for final track The Black Rose. "Hanne's voice is an artist's voice, embodied as the artwork itself," he says. "But where my approach is from the perspective of a composer, hers is around rhetoric and language. We worked towards each other in this sense, Hanne finding a space to welcome my voice, and me designing an acoustic space to enhance her vocal persona." In some tracks the structural connections are obvious - the matched tumbling delivery and stepped pitches of voice and piano in Aficionado sounding like two tipsy friends descending a staircase. In others, like the triptych of tracks Three Rungs Ladder, structured with rules derived from nursery rhymes, or cumulative song (akin to the 12 Days of Christmas). For the Colour 1 and Colour 2 pieces, the duo worked from palettes of colours connected to clusters of harmonies, which underlined the power of the word and its articulation. The absurd Labradorable personifies a people pleaser, A Story About Being Blue is an imagined playful monologue from the Deep Blue supercomputer - requesting in sing-song stop motion to be called Debbie, and Larry - as Grieco echoes in factual reportage. Hurtbeat unpacks and recomposes a tweeted non-apology by a Russian art collector about owning a piece of racist art, Grieco shadowing Lippard's generating a third `drop-shadow' performer from the resonances between the duo, typographic re-articulation of the source material. The Receiver includes lines from Robert Ashley's Improvement (Don Leaves Linda), Ashley existing as a spiritual parent of sorts to the practices contained on Today's Special, and here interpolated as if he is being quoted and written through within the audible world of the piece in a palimpsest of borrowed sentences. Closing track The Black Rose contains its own self-aware comedy, a lightly distorted conversation sourced from a Reddit thread about whether black roses exist, recorded as if it were an internet radio or a low budget podcast, the casual exchange stilted in the delivery of platitudes as scripted speech. Today's Special was developed in person over the course of a series of small residencies - at Deutsche Akademie Rom Villa Massimo, Rome; Fondazione Morra, Napoli; Callie's, Berlin. In these limited periods that rarely stretched beyond a week, Lippard and Grieco developed strategies for the works, keeping tightly locked to musical concepts. This, for Grieco, is about maintaining a solid, meaningful connection within the compositions, and committing to everything having a purpose for existing within the work. Each element pulls its weight; has something to say, literally and metaphorically speaking. In the same way that Lippard's work leaves nowhere for her to hide, he wants the music to exist with its own naked purpose: "It's is about exposing nudity via reduced materials," says Grieco. "This is a form of courage we want to embrace. Once we take off everything, it needs to be extremely precise to maintain a connection with the audience. We have a lot of tools to hide behind now, to protect ourselves and our identities as artists, performers, and in life more generally. It's something I don't want to do. I want extreme reduction: no hiding."

It's fitting that Mike Jefford is both a photographer and a musician, his music career having slowly evolved like a developing photo coaxes Technicolor images out of the shadows. His sonic palette began taking shape in Medway, Kent with darker, grittier strains: teenage grunge and metal turned into drum & bass and IDM, following the Brighton club scene to Berlin as Positive Centre, until he made a nest in rural Portugal where Laguna Seca’s bright, expressive range would blossom.
A longstanding friendship with Chris Clark supported Jefford’s most pivotal artistic evolution yet, jumping from a decade of techno dusk to music practically overflowing with life as Laguna Seca debuted on Throttle Records.
“O tempo” can mean “the time” or “the weather” in Portuguese, two intensely changing powers whose many different connotations Jefford reflects in a highly varied tracklist. The breadth of climatic catharsis permeates through textural production and songwriting experiments, down into the very bedrock of the album’s engineering process where Jefford traces the long signal chain of time: the amps, desks, and tapes of Motown, the vinyl mastering studio’s intricacies, the Akai samplers that gave modern hip hop its “ghostly and impressionistic” sound, the software that drives electronic music today.
Much as 2026’s O Tempo was inspired by vintage tonality, retro aesthetic, and the likes of CAN, Kraftwerk, and Jimi Hendrix, it’s not an exercise in nostalgia; this is music that could have only been made with today’s technological advancements, revelling in anachronisms and collisions between hindsight and present tense.
It’s tempting to view Jefford’s projects as opposites, but they come from the same sonic values. Positive Centre’s “bleak” and “sinister” world is also incredibly detailed, constantly updating pile-driving grooves with microscopic flourishes and vast ambient swells. The flaring psychedelia of Laguna Seca is a continuation of those textural, material, and kinetic explorations, where plate reverb splashes, blistering and crunchy beats, vocal glimmers, and guitar swagger are all glued together by recurrent themes of memory and time. As each of his projects travel to the same destination, all of Jefford’s roads have eventually led to vibrant colour.


CPEN is the alias of Chris Penny and his 'Pirates Life' EP on Seasons Recordings back in the 2000s is one of our all-time favourites. It was used on Craig Richards's fabric mix and still sounds original more than a quarter of a century on as the man behind it has gone on to work with Luke Solomon and Honey Dijon on a Grammy-winning album. It's the title cut that does it for us with the way the groove is so languid and loose as it hangs just above the floor and deep space sounds colour the airwaves. 'Song Of The Muse' is a beautiful synth scape stripped of rhythm and 'Liquid Steps' has a little more bite but still roll on nice soft kicks with life-affirming keys up top. 'Third Quarter' is a majestic post-club comedown with all of CPEN's signature synth sounds and even some brassy smears, making it an utter downtempo delight.

Radiant, spring-loaded and alive with movement, Lab Boogie sees Jupiter’s Depth go full dancefloor as Vienna-based Nizar Sarakbi makes his first appearance on the label.

The A-side cuts a brighter path through house, with rolling low-end, dubby flashes and percussion flickering from every angle. Across the B-side, the groove turns techier and the mood slightly darker, before Bella Sarris closes the record with a warped, off-centre take on “Angel Dust”.

Ukrainian-born and now based in Vienna, Nizar follows releases on Outdom and Naked Groove Records, including the recent *Truth Seekers* EP alongside COZi. The record is already picking up support from label favourites Julian Anthony, Christopher Ledger, Roza Terenzi, Eoin DJ and Jennifer Cardini.

Jakob Bro, Brian Blade, Craig Taborn, Chris Cheek, Jesper Zeuthen, Anders Christensen, Larry Grenadier & Marcus Gilmore, playing compositions by Paul Motian and Jakob Bro.
The album was recorded in a single session at New York’s Power Station with engineer James Farber, following a week-long residency at the Village Vanguard.

‘Danish guitarist and composer Jakob Bro is celebrated for his pure reflective expression and penchant for celestial textures, effortlessly distilling and refining quiet sonics. At the Village Vanguard, he leads an impressive group – featuring two bassists and two drummers – for a nearly week-long residency.
‘The perfectly poised, ambient-leaning soundworld that characterizes Bro’s compositions was discomposed and distended by this octet, probing thrilling sounds and providing ample opportunity to create spontaneously. It was an exhilarating jazz night with some of the most esteemed players out there.’ ()

Red w/ black splatter vinyl. Savage Grace return with Underworld, their fourth studio album and first new full-length since 2023's acclaimed Sign of the Cross. Led by founding guitarist Christian Logue and featuring a powerful new lineup of Sebastian Hauser (vocals), Cristian Blade (bass), and Marcus Dotta (drums), Underworld delivers classic high-speed power/speed metal intensity with modern fire.

,Tidals" ist das Debütalbum der US-Band Spotlights und wird zum 10-jährigen Jubiläum am 30. Oktober 2026 erstmals breit als remasterte Vinyl- und Digitalversion neu veröffentlicht. Das Album legte den Grundstein für die Karriere der Band und erregte sogar die Aufmerksamkeit der Deftones, die Spotlights früh auf Tour mitnahmen. Das Trio um Mario Quintero, Sarah Quintero und Chris Enriquez verbindet auf ,Tidals" atmosphärischen Shoegaze, Doom, Sludge und melodischen Alternative Rock zu einem Sound, der ebenso heavy wie wie eindringlich ist. Die Jubiläumsausgabe erscheint als limitierte ,Deep Space Splatter"-Vinylauflage und erinnert an den Beginn einer Band, die heute zu den wichtigsten Vertretern moderner, melodischer Heavy-Musik zählt.

Cooper Saver joins the Dream Space family for his first solo EP in 6 years, which was well worth the wait.

Born in LA and now residing in Squamish BC, Cooper ran the infamous Far Away parties in his home city through the mid-to-late 2010’s. Over the past decade, he has released exceptional music and remixes on labels such as Hivern Discs, Permanent Vacation, Internasjonal, DFA and more.

Working often as a collaborator, his recent projects alongside Chris Macintyre as Inner Flight and Night Cycle, and as part of hardcore punk band Self Arrest, all hold up to the same high quality output.

After being in contact with each other for years, it feels like a full circle moment to be working with Cooper and sharing more of his music with the world.

Across all four tracks he dives deeper into the new progression of his sound. From the peak time energy of Depths Of Reality and cosmic radiance of Be Alive, to the understated and shimmering B side of Glider / Running In Circles, this one’s an essential.

Ever since the release of his first solo album more than 20 years ago, German musician and producer Christian Kleine has experimented with blending and contrasting the varying textures and approaches of post-rave IDM, breakbeats, shoegaze and punk. His latest album offering, Touch & Fuse, shows he's continued to refine and perfect that combination, which is less a conscious concoction and more of a natural outcome of the music he likes. From the edgy Aphex-isms of 'Val 2' and the heavily filtered breaks of 'Reverse Angle' to the slowed down grunge meets pure electronics of 'Return of the Underground', this is unique, accomplished stuff.

»Memorial« grew out of Nate Wooley’s work alongside Annea Lockwood recording the Columbia River, and in particular from a visit to Kettle Falls in northern Washington, once one of the river’s great salmon fishing and meeting grounds and a place of enormous importance to the Sinixt and other Indigenous peoples of the Upper Columbia. The falls disappeared from view following the construction of the Grand Coulee Dam in 1940, submerged beneath what is now Lake Roosevelt, yet beneath the still surface of the reservoir, a fast current continues to move across the buried cliffs. That tension between what remains and what can only be recovered through memory runs throughout »Memorial«.

In the essay accompanying the record, Wooley returns repeatedly to the idea of translation: the attempt to carry an experience from one form into another, from river to recording, memory to sound, landscape to music. He moves between Lockwood’s sound maps, John Ashbery’s rain falling on canal machinery, Ravel’s attempts to make water move through a piano, Christian Wolff’s »Stones«, and the Sinixt First Salmon Ceremony, where rocks struck together recall the sound of salmon once moving through the river in their thousands. These translations cannot restore what has been lost; however, they allow us to revisit what remains beneath in another form.

»Memorial« exists as an uncertainty, concerned with the distance between a place and its recording, between an event and what survives of it, and with the way listening itself becomes entangled with memory. Kettle Falls remains submerged, the river constrained and radically altered, but the water continues to move over the old rock beneath the reservoir. »Memorial« tries to listen for that persisting memory.

On November 6th, Asthmatic Kitty Records will release Worst Christmas Ever!, a single-LP collection that distills Sufjan Stevens’ expansive holiday catalog—drawn from the box sets Songs for Christmas and Silver & Gold—into one definitive collection. The album pairs fifteen favorites, selected from more than one hundred Christmas recordings, with the newly released original song "On This Christmas (It Only Gets Better)," Sufjan's first new Christmas song in nearly fifteen years.


Available on LP, CD, and cassette, Worst Christmas Ever! is the perfect introduction for new listeners and an essential addition for longtime Sufjan Christmas devotees.
"Part of what makes Sufjan Stevens' contributions to the Christmas canon so enduring and remarkable is that they're almost overpoweringly effort-intensive. He views the holidays as a labor of love—worthy of creativity and care, hard work and an ocean of ideas."
— NPR


"9 EPs and 100 recordings later, Stevens has undoubtedly accepted his reputation as a Bing Crosby for the thirtysomething NPR listener."
— Consequence of Sound

On November 6th, Asthmatic Kitty Records will release Worst Christmas Ever!, a single-LP collection that distills Sufjan Stevens’ expansive holiday catalog—drawn from the box sets Songs for Christmas and Silver & Gold—into one definitive collection. The album pairs fifteen favorites, selected from more than one hundred Christmas recordings, with the newly released original song "On This Christmas (It Only Gets Better)," Sufjan's first new Christmas song in nearly fifteen years.


Available on LP, CD, and cassette, Worst Christmas Ever! is the perfect introduction for new listeners and an essential addition for longtime Sufjan Christmas devotees.
"Part of what makes Sufjan Stevens' contributions to the Christmas canon so enduring and remarkable is that they're almost overpoweringly effort-intensive. He views the holidays as a labor of love—worthy of creativity and care, hard work and an ocean of ideas."
— NPR


"9 EPs and 100 recordings later, Stevens has undoubtedly accepted his reputation as a Bing Crosby for the thirtysomething NPR listener."
— Consequence of Sound

Blood Sanctum Vinyl w/ Poster

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

Chicago-based duo DRASII (Lisa Armstrong & Chris Kalis) return with The Seeker, the follow-up EP to 2024's Spirito Celeste. Co-released on ETC and Shmee Records, it continues their trek through a paranormal sonic landscape. Using vintage analogue and FM hardware synths, the five-track release runs through Deep House, Acid, Electro, Balearic and Post-Industrial.

The opening track, "Daydream," features celestial, wispy vocals, deep bass and sparkling synth melodies. It leads into "Vertigo," which follows with a shifting drone over repetitive Juno 60 notes channelling Chris & Cosey or Adrian Sherwood. This is what Sarah and John Connor would have in the tape deck while barrelling down the freeway in a stolen police cruiser.

On the reverse side, "Tiger's Eye" leads with SH-101 bass that moves around a swinging 909 beat, creating a downtempo feel that mixes inspiration from Larry Heard and Ibiza in the 90s. From there, "Hycean" propels forward with 707 drums and acid bass before breaking into a syncopated polyrhythm accented by witchy vocal samples. "Sorcerer" closes on an upbeat, electro feel, centered around a dark metallic bass blended with 6/8 time arpeggio melodies.

The Seeker is a lucid dream, a spell, and a stirring of the subconscious: five transmissions from somewhere just beyond the void.

California-based couple Allie Schulz and Alex Pasternak are Florecer, a producer and vocalist combo who draw on the energy that having their daughters gave them. 'Babies' and 'energy giving' are not often heard in the same sentence together, given the demands newly born small people often have on parents' time and sleep, but judging by these sounds, this pair have been fully inspired. The title cut is tropical and dub and kosmiche all collide into an undulating rhythm that's bright and demanding of your attention. Coyote dubs it into a more smooth affair and then 'What I Knew' rides world dub with steel drums. 'Running Behind' slows to a deep, soft plod with whimsical vocals this time, and Chris Coco turns up the reverb for a lovely, sleepy dub of his own.

A soaring new chapter unfolds from the forthcoming Elements Of Life album with the release of “Soar,” an uplifting and deeply moving collaboration featuring the incomparable Lisa Fischer. Written by Josh Milan and Louie Vega and produced by 2SoulFusion—Louie Vega and Josh Milan—the song is a powerful testament to resilience, transformation, and the limitless possibilities that emerge when spirit, soul, and music unite.

Built upon a rich tapestry of live musicianship, “Soar” embodies the signature sound that has made Elements Of Life a beloved musical movement around the world. At its core is Lisa Fischer’s breathtaking vocal performance, delivering a message of hope, elevation, and self-discovery with the emotional depth and conviction that have made her one of the most revered voices of her generation.

At the heart of “Soar” is a message of encouragement, resilience, and unconditional support. Through its uplifting lyrics and soaring melody, the song speaks to anyone navigating life's uncertainties while striving to become their fullest self. Lines such as “Clouds hang low, but the sky's still wide” acknowledge the challenges we all face, while the recurring refrain, “I just want you to soar,” serves as a powerful affirmation of faith in another person's journey. Equally moving is the song's central sentiment, “The more you do for you, the better I feel,” expressing a selfless form of love that celebrates growth, healing, and personal fulfillment. Universal in its message yet deeply personal in its spirit, “Soar” reminds us that one of the greatest gifts we can offer is the encouragement to rise, evolve, and embrace our own potential.

The production blends organic instrumentation with sophisticated arrangements, creating a timeless soundscape that feels both expansive and intimate. Multi Grammy Award-winning bassist Christian McBride anchors the composition with his masterful upright bass work, while Josh Milan's lush keyboards, piano, organ, clavinet, and atmospheric textures provide the song's harmonic foundation. Live drums from Tony Cintron and vibrant percussion from Luisito Quintero infuse the track with an irresistible pulse, while Ivan Renta's expressive soprano saxophone solo adds another layer of emotional richness, and a tasteful guitar groove by Sherrod Barnes.

The song's message is elevated further through a powerful vocal ensemble featuring background vocals from Lisa Fischer, Dawn Tallman, Ramona Dunlap, and Lea Lorien, creating moments of communion and uplift that echo the song's central theme of hope, growth, and believing in the possibilities that lie ahead. For Louie Vega and Josh Milan, “Soar” represents another defining moment in their longstanding creative partnership. Through Elements Of Life, they have continually blurred the boundaries between house music, soul, jazz, Latin rhythms, gospel, and global influences, creating music that resonates as deeply on the dance floor as it does in the heart. “Soar” continues that tradition, offering listeners a song that inspires movement, reflection, and renewal.

Recorded at Honeycomb Studios in Pennsylvania and Manhattan Center Studios in New York City, and mixed at Daddy's Workshop in New Jersey, the production benefits from the expertise of recording engineers Yas Inoue & Josh Milan, with final mastering by the Maestro of mastering Herb “Pump” Powers for PM Mastering.

As anticipation builds for the forthcoming Elements Of Life album slated for February 2027, “Soar” offers a powerful glimpse into the project's next evolution— a celebration of musical excellence, spiritual connection, and the enduring power of song to lift us higher.

DJ Support: Kenny Larkin, Francois Kevorkian, Laurent Garnier, Ben UFO, Joseph Capriati, Fra Soler, Carista, Slam, Uncertain, DJ Bone, Christian Smith, Anthony Pappa, Radio Slave, Alienata, Marco Faraone, Christian Varela, James Zabiela, Anika Kunst, Carlos Valdes, Ame, Pushmann and Chris Fortier

Vince Watson Announces ‘The Force’, to launch his forthcoming 30 year compilation VW30 Introspection II.

As the build up to Vince Watson's huge forthcoming VW30 Introspection II compilation begins, the Scottish born Amsterdam based Artist releases a new track, a huge track 'The Force' as the exclusive.

Building on his Detroit inspired heritage and mixed with his energy infused Dancefloor material, 'The Force' is a monster.

With hints and shades of E-dancer with its big baselines, this track is sure to rip up some dancefloors.

Backing this up on the vinyl only, is Bon Voyage and Towards The Light, 2 tracks originally from the Via LP and featuring on vinyl for the first time.

Over the last 30 years, Vince Watson has produced some of the standout tracks of underground house and techno culture, from ‘Eminesence’ to ‘Aurelon’ to 'Mystical Rhythm’ and the new summer hit ‘The Awakening’ and has worked with some of the most renowned artists and labels to ever grace the scene.

To celebrate this incredible milestone and respect this legacy, Vince Watson is announcing a new compilation album showcasing new versions of some of the classics from his catalogue over the last 3 decades.

NOW Music proudly presents the next release in the ‘ERA’ series with NOW That's What I Call An Era - Ballroom Blitz: 1967-1976 celebrating the colourful world of glam rock, pop and unforgettable chart hits that defined the early-to-mid 1970s, with a selection of pop gems from the late 1960s. Pressed across three stunning coloured vinyl LPs – red, white and gold – showcasing the era’s biggest stars, instantly recognisable anthems, novelty favourites and enduring singalongs from one of the most distinctive periods in UK pop history.

Physically tethered to this reality, yet creatively unmoored from any earthly restraints, Holy Fawn freely slip in and out of metal, shoegaze, electronic, alternative, and rock as if inhabiting multiple states of sonic existence all at once. Blazing new trails both seen and unseen as well as heard and unheard (but always felt), the Arizona quartet—Ryan Osterman, Evan Phelps, Alexander Rieth, and Austin Reinholz—continue to cover uncharted territory on their second full-length offering, Dimensional Bleed.

The group emerged in 2018 as a critical and fan favorite with their debut LP, Death Spells. Stereogum said the music is “all so beautiful,” while Heavy Blog Is Heavy went as far as to christen it “a landmark.” Thrice and Deafheaven each invited the band on tour, and Lamb of God’s Randy Blythe was effusive in his praise.
In 2020, Holy Fawn shared The Black Moon EP, which the Phoenix New Times hailed as “a ferocious slab of twilight guitar crunch.” In the midst of the Global Pandemic, Holy Fawn carefully assembled what would become Dimensional Bleed. Due to the closure of their practice space and de facto headquarters, the bulk of creation and recording happened remotely. Ryan performed vocals and electronics at home, while Austin and Evan tracked and mixed out of Evan’s studio. This time around, they enlisted Mike Watts The Dillinger Escape Plan, Glassjaw, The Dear Hunter for mixing and additional production and Mike Kalajian for mastering.

Three years after the release of their debut album, Do Nothing return with their much anticipated sophomore, 'Friend World'. The Nottingham four piece consisting of Chris Bailey, Kasper Sandstrøm, Charlie Howarth, Andrew Harrison, emerge bolder, self-assured and more energetic than ever.

Lead single 'Stars' gives an insight into the upcoming LP, synth-laden with hypnotic riffs, meandering vocals and bouncing basslines. The single, already a fan favourite, paves the way for listeners to enter the 'Friend World' that Do Nothing have created. At first glance, the album is overflowing with hard hitting guitars, infectious rhythms and frontman Bailey's signature razor-sharp witted lyricism, but dive deeper into tracks such as These People Want Blood and standout track Loner, to find an alternative take on the album, representing a softer and more pensive side of the band's writing.

We don’t know much about Ariane Bonzini. Her age, perhaps. Her first name, certainly – but it’s confusing, as you’d expect. The rest, he keeps to himself, tucked away somewhere between Villeneuve-Saint-Georges and the Landes in the off-season.


What we do know is that at 16 he left everything behind to try his hand at rap. That six years later he left everything behind, again, without really saying why. That he taught himself sound engineering as one might learn a dead language.
And then came Magenta. In 2025, for three months, Bonzini set himself a challenge bordering on the absurd: to produce one track a day, write it, record it, mix it, master it, film himself doing it, and post it on social media. Without planning, without taking a step back, working until 3 am behind the screen. His monthly listeners went from 35 to 100,000.


For ‘Mec Normal’, something changed. Bonzini headed to the Rue Boyer studio – a space steeped in analogue charm, where some of the synths had once belonged to Christophe – and surrounded himself with a team for the first time: Crayon on production, Renaud Letang on mixing.


Chilly Gonzales spotted him, and from their meeting came ‘Gonzini’.


Thirteen tracks suspended between gentle melancholy and a willing detachment. Soaring synths. Recurring, obsessive ‘you’s’. A voice that whispers where others would shout.


Ariane Bonzini is unlike anything we’ve heard before. That is undoubtedly what makes her so unforgettable.

Timeless is a brand-new 10-track compilation featuring rare and unreleased studio recordings from Prince’s legendary vault. This unprecedented album encompasses tracks spanning every phase of Prince’s illustrious career, from 1977 to 2016. The project has been meticulously mastered by Grammy-nominated engineer and producer Chris James, a former Prince engineer whose notable credits include HITnRUN Phase Two, Art Official Age, and Plectrumelectrum. Timeless will be available on CD & black vinyl, providing profound insights into Prince’s creative process and musical evolution.

Noch bevor Brian Eno dies tat, schuf Mort Garson zurückhaltende Musik. Garson, der an der Juilliard School ausgebildet wurde und in der Nachkriegszeit als Session-Musiker tätig war, komponierte Lounge-Hits, schrieb die Musik zur Mondlandung von 1969 und schuf opulente Arrangements für Doris Day sowie die sehnsuchtsvollen ,Countrypolitan"-Streicherbegleitungen für Glen Campbells ,By the Time I Get to Phoenix". Mitte der 1970er Jahre fegte eine Naturgewalt über die kontinentalen Vereinigten Staaten hinweg, die alle Schichten unabhängig von Rasse und Klasse durchdrang und sich in unseren Köpfen, unseren Häusern und unserer Kultur festsetzte. Es war weder ,Der Exorzist", noch ,Goodbye Yellow Brick Road" oder gar Schlaghosen, sondern ein Buch mit dem Titel ,Das geheime Leben der Pflanzen". Das Werk des Okkultisten/ ehemaligen OSS-Agenten Peter Tompkins und des ehemaligen CIA-Agenten und begeisterten Wünschelrutengängers Christopher Bird schoss an die Spitze der Bestsellerlisten und breitete sich wie Kudzu über das Land aus, bis es zu einem Phänomen wurde. Scheinbar über Nacht blühte das Geschäft mit Zimmerpflanzen in voller Pracht auf, und photosynthetische Eukaryoten aller Gattungen hingen an den Wänden, thronten über Bücherregalen und sonnten sich auf sonnigen Fensterbänken. Die wissenschaftlichen Ansätze hinter ,Secret Life" waren fadenscheinig: Pflanzen können unsere Gebete hören, sie sind Lügendetektoren, sie sind telepathisch, in der Lage, Naturkatastrophen vorherzusagen und Signale aus entfernten Galaxien zu empfangen. Doch das hielt Millionen Menschen nicht davon ab, ihre neuen Pflanzen zu kaufen und zu pflegen. Die vielleicht verrückteste Behauptung des Buches war, dass Pflanzen auch Musik mögen. Und ganz gleich, ob Sie eine Schlangenpflanze, einen Spargelfarn, eine Friedenslilie oder was auch immer bei ,Mother Earth" auf der Melrose Avenue in Los Angeles erwarben (oder eine Simmons- Matratze bei Sears kauften) - Sie nahmen auch ,Plantasia" mit nach Hause, ein Album, das speziell für sie aufgenommen wurde. Mit dem Untertitel ,Warm Earth Music für Pflanzen _ und die Menschen , die sie lieben" war es voller idyllischer, charmanter, kiff-freundlicher und entschieden unwissenschaftlicher Melodien, die auf einem neumodischen Gerät namens Moog eingespielt wurden. Das Album erlangte Jahrzehnte nach seiner Veröffentlichung eine enorme Kult-Anhängerschaft. Die Neuauflage von Sacred Bones aus dem Jahr 2019 trug dazu bei, ,Plantasia" einem breiteren weltweiten Publikum bekannt zu machen, und bescherte Garsons ungewöhnlichem Meisterwerk ein bemerkenswertes zweites Leben. Was einst ein seltsames Relikt der Pflanzenbegeisterung der 1970er Jahre war, ist zu einem geliebten Evergreen geworden, der von einer neuen Generation von Hörern wiederentdeckt und neu geschätzt wird und weit über seinen ursprünglichen Moment hinaus gedeiht, wobei er sich von einer obskuren Kuriosität zu einem geliebten Kultklassiker und einem Meilenstein des Streaming-Zeitalters entwickelt hat. Nun, 50 Jahre nach seiner ursprünglichen Veröffentlichung, markiert ,Plantasia" von Mother Earth einen bedeutenden Jubiläumszeitpunkt. Ein halbes Jahrhundert später hallt es weiterhin nach - eine bleibende Erinnerung an Mort Garsons Fähigkeit, das Synthetische seltsam lebendig und das Skurrile auf merkwürdige Weise tiefgründig wirken zu lassen.

Cold, Bold & Together (CBT) CBT was founded in Bellingham, Washington in 1971 by percussionist Tony Gable and musicians Solomon Harris, Keith Hooks and twin brothers TC & Jamar Jenkins. It soon became evident that Bellingham was not a particularly welcoming environment for R&B music, so they moved to Seattle to try their luck and plumb the rich supply of venues, which they successfully did until disbanding in 1978. They spent their early Seattle years playing a combination of covers and originals in clubs, later becoming the "go to" opening act for various nationally known artists, such as Ohio Players, Kool and the Gang and Earth, Wind & Fire. While they were paying their club circuit and opening act dues, they squeezed in recording sessions whenever they could and released their own material, which was well-received and got strong regional airplay. However, because of the feudal nature of the music business at the time, they just couldn't break out, and like a lot of Northwest bands with great potential, they inevitably broke up and went their separate ways. Upon disbanding, they left behind a collection of original recordings at Seattle's legendary Kaye-Smith studios.

Unfortunately for CBT, the studio passed through several owners and at some unknown point in time, one of them did the unforgivable and destroyed the storied studio inventory of two-inch tapes and quarter-inch masters. Unknown to the band, a copy of their masters was smuggled out by their producer who added them to his legacy collection of cloned quarter-inch masters. After several years and many moves, he became concerned about the tendency for magnetic tape to deteriorate over time.

He sent the tapes to a Seattle lab to be restored and digitized, with the hope that perhaps, some day, they might be made available for the listening pleasure of R&B fans. The hoped-for day has finally arrived. Russell Paine and Super Disco Edits has pressed two of the Kaye-Smith CBT tracks: "Go For It", a jazz-influenced instrumental, featuring Kenny G, and "Unity", sung by the group en masse with Tony Gable singing lead. The musicians on these tracks are: Tony Gable, leader, vocals and percussion Harry Alexander, drums Kenny Gorelick (now world-renowned "Kenny G"), sax, flute and horn arrangements Chris Ishi, trumpet Michael Young, Trombone Jamar Jenkins guitar, vocals TC Jenkins bass, vocals 1 Philip Woo, keyboards Footnotes: CBT gave legendary saxophonist Kenny G his start in the music business. Kenny was still in high school when he was recruited to play sax and write horn arrangements. Kenny co-wrote, arranged and played sax and flute on the instrumental "Go For It." He rips a smoking tenor sax solo in the middle, which showcases his already masterful technique and solidifies his R&B bona fides. He went on to have a spectacular career recording for Clive Davis and Arista Records. Before his untimely passing in 2016, Tony Gable went on to found contemporary Jazz group, "Tony Gable and 206" (206 being Seattle's then only area code). With songwriting, performance and production help from Kenny G.

Cécille Summer 2026 Compilation
Summer and Cécille have always gone hand in hand.

For 2026, we’re back with another carefully selected collection of records that perfectly capture where house music feels today. Eleven tracks from artists we’ve admired for years, longtime friends of the label, exciting
newcomers, and fresh faces joining the Cécille family for the very first time.

Piem opens the journey with his long-awaited Cécille debut. A respected name in the scene for many years, his unmistakable groove has been on our radar for a long time, and we’re proud to finally welcome him to the label with Give Me The Rhythm.

Leon returns to where it all began. Since his very first Cécille release back in 2009, he’s been an important part of the label’s story. Let Bass Kick is classic Leon—timeless, understated and effortlessly effective.

UK duo Late Replies continue their incredible rise with Moment 4 U. Their fresh take on house music has been impossible to ignore, and we’re thrilled to have them on this year’s compilation.

Dutch mainstay Jesse Maas delivers Voices In My Head, another classy slice of groove from one of the most consistent names in the Netherlands’ house scene.

Buenos Aires’ Manu Desrets impressed us so much that one track simply wasn’t enough. His two contributions, Get GG and Voy No Kako, showcase two different shades of his sound and perfectly reflect why he’s become
one of the most exciting producers coming out of Argentina.

Andrew Azara has become a true part of the Cécille family over the years. This time he teams up with Traumer, who makes his label debut with a beautifully understated deep house record. Need You is one of those tracks
that quietly sticks with you.

We’re also excited to welcome Jay de Lys to the family. Together with Simon Kidzoo and Monölitio, the trio delivers Into The Light—a warm, feel-good house record that instantly became one of our favourites. Three
artists from Argentina, the Netherlands and Barcelona coming together exactly the way house music should.

After turning heads on last year’s Costa compilation, Brazil’s Classmatic returns alongside fellow Florianópolis producer Marian. Brazilian Madness is exactly what you’d expect: infectious groove, irresistible swing and that
unmistakable Brazilian sense of rhythm.

One of the hottest young names coming out of the Netherlands right now, Stefan Meser delivers Don’t Hesitate—one of those records that gets stuck in your head after the very first listen.

Closing the compilation is someone who’s been part of the Cécille story since the very beginning. Christian Burkhardt has been a longtime friend of the label and one of Frankfurt’s finest. Specialo lived in our vault for almost two years while we waited for the right moment to release it. This felt like the perfect place for it, and the perfect way to close another Cécille summer.

Eleven tunes. Eleven different stories. One soundtrack for Summer 2026. Welcome to the next chapter of Cécille.

DJ Support: Glenn Underground, Crazy P, Terry Farley, Aroop Roy, Chris Coco, Frank Tope, Greg Wilson, Dom Servini, Francois K, Max Essa, Oliver Dollar, Pete Herbert and many more

Danny Ward’s Balaphonic project, one of many the long-serving performer, producer, percussionist, drummer and DJ has utilised over a career spanning over three decades, has evolved considerably since his first release under the alias 11 years ago. Conceived as a platform to explore his love of Afro-Cuban and Brazilian musical culture, it gathered new impetus during lockdown and the recording of superb first album Resolution Revolutions, which fused these influences with nods to Balearica, dub, dancehall and deep house.

On the Organic Matters EP, Ward’s follow-up to that critically acclaimed set, the Balaphonic musical universe has expanded once more, with the Manchester native showcasing a wealth of eye-catching collaborations and an even more intricately layered and sonically detailed sound rich in live percussion and instrumentation. It’s an ambitious and widescreen musical vision wrapped in sun-soaked melodies, morning-fresh motifs and simmering, sunset-friendly soundscapes.

The dizzying new heights scaled by Ward on Organic Matters is evident from the opening bars of ‘Dew Drops’, a piece created in unison with internationally renowned composer and arranger Robin Dewhirst. Between them, the pair have conjured up a yearning, life-affirming samba shuffler where picturesque piano, xylophone and balafon melodies rise above Ward’s dense, layered Latin percussion and warming bass.

Next, Ward delivers a thrillingly different take on his 2005 composition ‘Switch’, featuring legendary Brazilian jazz vocalist Flora Purim and her equally talented daughter Diana Moreira Booker. Whereas that was a jazzy deep house workout, Ward’s Balaphonic re-make is a shuffling, gentle exploration in 7/4 time – a heartfelt tribute to the Brazilian records with which Purim first made her name in the 1960s and ‘70s.

‘Balaventurers’ sees Ward join forces with an old friend from the North-West scene, R.S.L founder Joe Botham AKA Baleardelica – a multi-instrumentalist and producer whose Flamenco-inspired acoustic guitar motifs provided the starting point for another vividly colourful exploration rich in layered vocalisations, twinkling keys and impeccably arranged percussion.

It’s followed by ‘Life of Strings’, a more up-tempo and dancefloor-leaning excursion written and recorded alongside Amsterdam-based violinist, and composer Katya Gabeli. While Ward’s percussion-rich groove provides propulsion and a rock-solid foundation, it’s Gabeli’s evocative string arrangement that provides the focal point and emotional resonance. It’s a genuinely brilliant collaboration.

To round off a second stunning Balaphonic release on NuNorthern Soul, Ward delivers two simmering, slow-motion delights: the Afro-Cuban rhythms, cascading melodies and melodic percussion motifs of ‘Boxfresh’, and stunning EP closer ‘Home’ – an almost overwhelmingly poignant and beautiful number that gently ebbs and flows on waves of tracked piano, dreamy chords and a comforting sense of closure. It’s a genuinely sublime conclusion to another wonderful Balaphonic release.

On March 1 2025, Kim Deal hosted a once-in-a-lifetime sold-out performance at London’s historic Barbican, playing special orchestrated renditions of songs from her acclaimed debut solo album Nobody Loves You More, followed by tracks from The Breeders’ back catalog and earlier solo work. The evening, culminating with a heartfelt standing ovation, was documented in full, to be released as a live record entitled Live at the Barbican on November 13 — arriving almost two years after Nobody Loves You More’s initial release (on November 22, 2024) and rounding out its celebrations.

Live at the Barbican finds Deal backed by a 25-piece ensemble, marking the first time in a decades-long career, that she has played with an orchestra. The idea for the performance came to Deal while mixing her solo album in Hackney: “I invited myself! That’s how I came to play ‘Nobody Loves You More’ at the Barbican. Years ago, I had worked with Chris Sharp at the 4AD label and I knew he was currently at The Barbican. So, I reached out to Chris and said I have orchestration on this record. I would love to be able to perform these songs with an actual orchestra. And Chris said yes, we’d love to have you.”

Alongside the orchestra and Shards choir, Deal was also joined by a band composed of Mando Lopez (The Breeders), Susan Voelz (Poi Dog Pondering), Lindsay Glover, Nick White (Phoebe Bridgers), and Rob Bochnik (The Frames), as well as special guest Raymond McGinley (Teenage Fanclub). The live record was mixed at Studio Black Box and mastered by Heba Kadry.