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Powerfull nice grooves from a series that might be beer named: "Acid folk renaissance " – as most of the work here come from the 70s, and a lot from those great years of the UK and US scene where it also seemed like there was plenty of folk in the music as well! A few of these cuts are downright acid , and all are filled with great instrumenta&on – in an approach that's a nice change from some of the more familiar Brit and US manners of the same genera&on. The &tles include, among the others: Nirvana’s Nova Sketch , Fi.y Foot Hose’s Rose, Pyranha ‘s Clepsydre , Kaleidoscope’s Keep your mind open, and more .

This record is like the lost crown jewels of House Music with a story that spans decades. Originally programmed in 1998 on an Akai S3000XL, this was meant to be released on Bjørn Torske's Footnotes in 2001. Unfortunately the original matrix and the master DAT tapes got lost under crazy circumstances. Yet several years later the tapes were found by Sex Tags Mania in the studio of mastering engineer Helmut Erler and the record eventually got issued in 2009 when a totally different House sound was "en vogue." Then due to some unfortunate coincidences most of the records ended up in far flung Japan, and so this record stayed totally underground. Yet it became a cult hit when House Music and later Disco got a proper revival around 2010/11. So over the years prices for this rarity were rising and rising... Then fast forward to 2025: after a sunny day off Berlin's modular synthesizer show "Superbooth" ATJ boss Mr. Fonk and Doc L. Junior teamed up to finally reissue this gem with new masters by Andreas Kauffelt of "Schnittstelle" / Berlin. On this 12“ Norwegian Disco and Balearic sounds meet: funky but deep to the core, playful but hypnotic, stripped down but with baroque details. Truly one of House Music's greatest productions.

Once again Trunk Records comes through with an album of sublime 1980s new age synthwave
music from an artist and library company you have never heard of.

With most Trunk LPs we write the story about how Jonny came across the music. And yes, this LP is no different...over to Jonny…

“My first encounter with Peter Patzer was when I was writing and researching the updated and fully expanded version of The Music Library Book, published by Fuel. The initial book - called The Music Library, was the first ever overview of library music and the wild, unpredictable graphic art of their sleeves. It was first published in 2005 and featured about 400 sleeves and about 120 library companies over 200+ pages. The book was based on over a decade of intense library LP collecting by myself and a handful of other geeky weirdos and made for fascinating and revealing reading and looking. It was a great education for many entering this odd, hidden musical world for the first time. The book quickly sold out.

A few years later the price of the original book had gone bananas. But the geeky weirdos like me had all carried on voraciously consuming and collecting library music so I strongly felt the first book could easily be doubled in size with new info, new sleeves and many newly discovered lost library companies. Which is exactly what I set about doing. The Music Library expanded edition came out in 2015. You have to realise here that The Music Library book was very much a first - until its unexpected arrival (and even the arrival of the much larger expanded edition) there was no published survey, accessible catalogue or anything about international library music. It was still an odd old world shrouded in some historical mystery - even the internet had not really caught up. And I was still finding unusual British one-off library LPs, more unusual Italian library diversions, hidden French funky things and then I finally found Peter Patzer. From Germany.

Hidden away in a very obscure music library corner. All on his own.Peter was unusual in that he was an artist and musician who made his own music and issued it all on his own library, called Crea Music, based out of Bremen in North Germany. Over a series of eight whitevinyl LPs produced in the 1980s Peter Patzer created synth heavy experiments for possible use in film, TV, video and anything else coming along. All his LPs had the same simple red, white and blue sleeve and a typed name and number. Across the eight LPs Peter goes to musical space, creates post-disco funk,travels to Vegas, goes all geological and more.

The eight Peter Patzer / Crea Music LPs are as follows:

01 - Puddy’s Bus 02 - Straight Line 03 - Pos-Attractions 04 - Patterns 05 - Canyons 06 - MIls Maniac 07 - Classic Themes 08 - Formation 17

This is a compilation of some of the music featured across those eight LPs, and yes, it was initially
licensed a few years ago but I held it back as I wasn’t sure people were quite ready for the plugged-inway out drifting 1980s electro sound of Peter Patzer with his synth washes, rhythms and chords. Or maybe I wasn’t ready. Anyway it’s here now... and if this sells out there could be another Peter Patzer LPbut with all his longer 7 minute compositions which there wasn’t room for here.

Focusing on bringing people some fresh air from the island that we produced with its own unique character. Our artists provide an escape to somewhere full of energy to drag you back from the so-called chaotic world. There are plenty of spaces, it’s a sharing for everyone!

As you may know, Koh is a word in Thai that means ‘island’. We want to represent the sound of our characterized island and tell the story through it. For this collection, we want to present the island under the ground which represents the different perspective of life reflecting our music scene in reality.

We gave the word “Clockmaker” as a hint to the artists.
It’s a simple, even mundane concept—something easily overlooked and not immediately eye-catching. It also suggests waiting, as it often takes time for people to return to the shop. But time itself holds meaning, and the clockmaker always has something hidden beneath the surface.

With that in mind, “The Photo Sticker Machine” and “Chucheewa” present their first original track: “Galactic Love.”

Alongside it are five vibrant remixes by artists we deeply admire—from Mogwaa (Korea) and Retromigration (Germany) to three incredible talents from Thailand’s local scene: Kova O’ Sarin, Chalo, and Saranmy.

Following FATPOD-58 (2020) and his contribution to the latest Freude am Tanzen compilation, Module One now presents his first solo EP on Jena's Finest: Freude am Tanzen. The record combines minimalist, functional dub techno with gently playful ambient textures and is complemented by a rework from Japanese producer Yone-Ko (Closer Kiew). On the A-side, ‘Against The Tide’ and ‘Utopia’ are clearly aimed at the dance floor: both tracks fuse influences from deep house, minimal and techno into versatile club tracks that feel at home in a wide variety of DJ sets. The B-side, featuring ‘It's November Again’ and Yone-Ko's reinterpretation, opens up the sound spectrum – from introspective listening to subtle grooves. A release that mediates between functionality and atmosphere – ideal for listening, drifting away and dancing.

A1
Künstler: Module One
Titel: Against The Tide

Spielzeit: 06:10
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A2:
Künstler: Module One
Titel: Utopia

Spielzeit: 06:46
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B1:
Künstler: Module One
Titel: It’s November Again

Spielzeit: 02:06
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B2: Künstler: Module One
Titel: It’s November Again
Version: Yone-Ko Rework

Spielzeit: 08:08

In 2017, at Documenta Kassel (but in Athens), I invited José Jiménez Bobote, a remarkable gitano artist from the Tres Mil Viviendas neighbourhood in Seville, to record a series of actions in specific locations in the Greek capital. Ancient Greece and modern Greece. I wanted him to draw sound from the city, to strike it as only a flamenco artist can, with his feet. To hit the ground and make it moan, ring out with noises evoking significant moments in history: from Diogenes the Cynic and the Apostle Paul’s sermon at the Areopagus to Rosa Eskenazi’s resistance to the Nazi-German occupation, and the ups and downs of police Inspector Costas Haritos’s survival at the European Bank during the PIGS crisis. Bobote struck the ground and Athens responded, sending back echoes of the past, in an exceptional anachronistic exercise. In flamenco it is possible for several times to sound simultaneously.

We took seventeen hours of footage, and water from many wells.

I then shut away producer, musician, and friend Raül Refree with this material so that he could take the long titles and use them as scores, turning them into mere songs. It was very important to think in terms of songs. The tracks had to have the capacity to be songs, the kind of thing one whistles while absent-mindedly walking down the street. Generally speaking, the scores—that is, the texts—defended the use and abuse of the loose coins that people carry around in their pockets. Loose change as a kind of everyday fetishism against big financial capital. Pistis! Refree managed to coax that distinctive unity of songs, their bright catchiness, from the amalgamation of sounds that would, in other hands, end up being labelled concrete music. Peter Szendy would be pleased and grateful. Being able to sing under one’s breath something that others consider simply noise.

Seven songs, yes. And if you get the chance, take a stroll through Athens with them: the locations are clearly defined. If not, then let Athens fill your home with all its ancient wisdom, boring into your ears like worms, making holes in history.

Listen, and, as people used to say, turn up the volume!

Pedro G. Romero, Santa Marta, Colombia, November 2025

Comes with booklet with song lyrics written by Pedro G. Romero. Limited edition of 250 vinyl records.

Julius Rennert returns with a warm, soulful House release that channels the timeless spirit of Jack while bringing his own modern sensitivity to the floor. Blending smooth and deep-driven grooves with a partly unmistakable French House touch, the EP radiates a comforting glow - lush chords, shimmering samples, and subtly swinging drums that wrap the listener in a sense of effortless uplift.

Despite arriving in the colder months, this record feels like a beam of mid-summer light: nostalgic yet forward-thinking, deep yet wonderfully accessible. Its refined production and heartfelt energy make it equally suited for intimate late-night sets, cozy living-room listening sessions, and dancefloors craving a touch of emotion.

Warm, groovy, and irresistibly soulful - Julius Rennert's new release is set to brighten the season and warm hearts long after the last note fades.

Federsen’s Alt/Dub imprint returns with its second instalment of its Artist Series featuring Forward Memory, Thomas + James, Gradient and Beppu.

Federsen, known for his deep Dub Techno sound, launched his label Alt Dub in 2024. The imprint focuses on warm and spacious dub aesthetics, carrying the torch for Dub Techno’s origins. Since its debut release in early 2024, Alt Dub has expanded with collaborations and artist series featuring names like cv313 and Fletcher, establishing itself as a forward- thinking force in modern Dub Techno.

Forward Memory’s ‘Scholz’s Star’ leads the release, laying down organic percussion and twitchy, oscillating synth grooves alongside, subtly evolving textural components and evolving bottom end swells.

Glaswegian duo Thomas + James follow next with ‘Chosen Colour’, a deep immersive journey fuelled by billowing ethereal pads, bumpy bass stabs and a raw, reduced rhythm section.

Respected Dub Techno artist Gradient follows next on the flip side with ‘Vibes Realm’, delivering his signature floaty style via shimmering dub stabs, crisp drums and a swaying bottom end drive.

Beppu’s ‘Conversions’ then concludes the EP, shifting gears once again as spiralling dub echoes, hissy atmospherics and wide bass intertwines with delayed, broken rhythms.

Techno pioneer Robert Hood debuts on Rekids with a blistering release entitled ‘Nothing Stops Detroit’ ahead of an album this winter.

Over the last three decades the Underground Resistance alum has continually been at the forefront of the techno genre whilst releasing on many of electronic music’s finest labels to boot. In recent years his solo outings have appeared on a select few labels such as Dekmantel, Music Man Records, not to mention his very own M-Plant. Having made appearances on Rekids in the past remixing label boss Radio Slave - both as Robert Hood (‘Don’t Stop No Sleep’) and Floorplan (‘Feel The Same’) - the Detroit originator now drops a four track release in his official debut on the label.

With its machine aesthetic, ‘Nothing Stops Detroit’ is unmistakably Hood from start to finish. Precision kick drums propel the title track forward as stuttering effects and deep stabs work alongside a march band rhythm. ‘7 Mile Dog’ is next with its grainy synths and scintillating pads, making way for the meandering bassline, rattling atmospherics and trippy, oscillating top line of ‘Ignite A War’. Finally, ‘The Cure’ is a cacophony of twisted percussion and rumbling low-end that energetically concludes matters.

Following the success of his recent releases, Mendekua and Electro Bloody Music, Barro’s honcho Nöle demonstrates that he is at one of his creative peaks with this new four-track EP.

The fortunate owners of reference number thirteen will not only take home a substantial slice of vinyl but also a powerful teleportation device that will instantly send them to the dance floor. Demencial chico acelerado features four tracks of techno infused with elements of industrial and EBM, as dark as it gets.

The EP kicks off with the enigmatic “IDDDQD,” a complex industrial techno track packed with sharp synths, devastating basslines, and an incredible punch.

“Lemmy Dust” comes next showing no mercy from the moment that the powerful kick hits, captivating you with its hypnotic sound and not letting go until you’re exhausted.

Cinematic as its name suggests, “Xenomorph” is a claustrophobic industrial techno powerhouse, brimming with intense EBM nuances that are both unsettling and frenetic—perfect for dancing with your hair standing on end.

Last but not least, “Ghost Dancer,” is one of the most purely techno tracks, showcasing haunting synths mid-way through. It’s heavy material fit for the dance floor.

Without a doubt, this demencial accelerated kid knows exactly what he’s doing.

The above references have already been supported by artists such as Dave Clarke, Phase Fatale, The Hacker, Lokier, NX1, Unhuman, Alienata, Reka, and many more.

Text by : El Garaje de Frank

Blu:sh back in Kalahari orbit for a third bite of the cherry.

This one’s dark and dank, with sultriness off the scales. The antithesis of the Frenchman’s output as Terra Utopia, it’s everything we’ve come to love from the project in 6 deadly traxxx.

Moody but never unruly. Taught, tough and rendered in the same seductive, turbulent vortex that’s defined all the Blush material to date.

Strapping earworm grooves set pace, as is tradition with these records. Not sparing on the menace either. Some of it sounds like Blu:sh on a villain arc. Whether you’re a cut-throat stalking the backstreets or looking for a mean streak of pure sci-fi dystopia, we got you covered.

Proper late nite hedonism. Oscillating between sensuous clubland fantasy and a volatile astral kinda flex, the sense of impending danger is unabating.

Ayū returns to his home imprint with another EP, marking his second solo outing on the label. Whether operating alone or alongside Alfred Czital, Ayū has shaped a signature sound that fuels long nights and tightly packed dancefloors. Spiral Motion sees him dive further into his deeper, late-hour aesthetic. Smooth, yet hypnotic, and built for those moments when the room locks into a shared groove.

Side-A is a systematic prog compulsion. Starting with Ayū’s ‘Come on,’ the track deploys a strictly sequential energy curve, using its paced and nearly robotic vocal anchors as a command-line for dance-floor madness. A2, ‘Pure NRG’, as the name indicates, it’s an energy-based weapon built on a heavy bassline. Instrumental elements that add up sequentially through fades, boops, and rougher vocals.

Adding fuel to the EP, side B is dedicated to remixes of A-side creations. B1 by IN2STELLAR delivers the tech-house version of ‘Come on’. Drummy and spatial, the track builds up towards an explosion of rhythm. B2 crafted by D.Tiffany inverts ‘Pure NRG’ and presents it through a darker lens. Slowly, but surely, the track emphasizes shadow and minimal texture, flavored by D.Tiff’s tone & style.

It's pretty wild to think this is in fact Carli’s debut solo album, considering the Swedish producer’s long and illustrious career, defined by eclectic hits ranging from underground grime scorchers to straight-up Eurovision goodness, not to mention him being a cornerstone of acclaimed outfits like Off The Meds, Savage Skulls, and Marcus Price & Carli.
On Sea Of Love, the Stockholm-born former breakdancer takes listeners on a journey through a vast ocean of musical influences, effortlessly blending rave nostalgia, bass-heavy experimentation, and contemporary club sounds. Carli skilfully navigates from raw UK hardcore bonkerisms to the crisp rhythmic pulses of modern-day dancehall, always upholding a vibe that's at once futuristic and reverent of club music’s storied past.
Filled with intricate production techniques and an irresistible sense of joy, Sea Of Love showcases Carli’s unique ability to merge styles without losing coherence or authenticity. This is club music crafted by someone who’s not only seen it all from the booth, but also been on the dancefloor himself, resulting in tracks that feel deeply personal yet universally appealing.
With Sea Of Love, Carli firmly establishes himself as a visionary solo artist, proving that after decades of shaping the sound of Stockholm’s underground, his best is still ahead.

Secretsundaze’s 9FINITY imprint continues its future-focused club explorations with its sixth release, a wide-ranging Various Artists EP uniting rising and established talents. The A-side features 2991.Mi’s technicolour, synth-driven ‘Psychedelia’ and Nizar Sarakbi’s deep, machine-led ‘In Ma House’. On the flip, Brenda delivers the percussive peak-time weapon ‘Suénalo’, while Alvar closes with the moody, late-night roller ‘Nocturnal Spirit’. A digital bonus, Sarakbi’s buoyant ‘Secure Desire’, rounds out the package ahead of the EP’s January 2026 landing.

Killer Groove Records proudly presents the debut 45 by Italian cinematic funk trio Atabasca. A syncopated journey where funk, psychedelia, and cinematic groove merge into a timeless narrative suspended between rhythm and vision.


"Cacopoulos" and "Kundela Mawedi" mark the birth of Atabasca's sonic universe: the first two singles from the upcoming self-titled debut album,which will be released on March 27 in limited-edition LP, CD digipack, and digital formats.

On the A-side, "Cacopoulos" is an impetuous, visionary ride that fuses the power of instrumental groove with the evocative imagery of library music and Italian golden-age soundtracks. From the first beat, listeners are drawn into a dry, dusty landscape driven by a primal drum groove and the acid twang of a guitar that evokes the spirit of classic Westerns. Indeed, "Cacopoulos" pays homage to I Quattro dell'Ave Maria (Ace High) and to the legendary Eli Wallach, the sly outlaw who turns deception into revenge, a subtle yet powerful nod that ties the trio's sound to imagery steeped in dust, dreams, and redemption.


On the flip side, the sound of an old lap steel guitar evokes the gentle waves of the sea, opening the doors to "Kundela Mawedi", a dreamy track with exotic tones and heavenly atmospheres. The sonic journey unfolds through hypnotic rhythms and echoes of ancient cultures, where ethereal voices and warm, entrancing bass lines intertwine with psychedelic riffs and evocative guitar melodies, merging into a soundscape rich in warmth and mystery. The chorus, with its unexpected choral chant, adds a spark of magic. An elegant twist that gently stirs the dreamlike mood and transports the listener into a new sonic dimension, steeped in mysticism and tribal vibrations. "Kundela Mawedi" is more than just a song: it's a sensory experience, a musical ritual where tradition meets psychedelia, sand meets sea, and the soul dances upon the waves of time.


Recorded in a single take, the session captures the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer, and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the tracks at Velvet Room Mastering Studio in Brighton.


A killer double-sider, blending psychedelic and funk moods with percussive, jazzy textures. A must-have gem for every groove-loving DJ.


Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment: this is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals), and Valerio Pompei (drums, percussion, vocals). Individually active for over twenty years on both national and international scenes, the three musicians came together in 2023 to create a project that merges experience, experimentation, and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.


Atabasca's sound moves through jazz-funk, world, and cinematic territories, weaving together afrobeat, desert, and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture, and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


Fans of Khruangbin, Surprise Chef, and instrumental psych-funk, take note!

Junun is the debut collaborative album by composer Shye Ben Tzur, Radiohead guitarist Jonny Greenwood, and the Indian ensemble the Rajasthan Express. Originally released in November 2015, the album was recorded in a makeshift studio within the 15th-century Mehrangarh Fort in Jodhpur, India. Radiohead's longtime producer Nigel Godrich worked on the album, creating a 2LP/CD release. World Circuit is set to reissue Junun on 16th January 2026, marking the album's 10th anniversary. This special edition will be available as a 2LP Gatefold Yellow & Orange Marble vinyl and a CD digisleeve. The album features Ben Tzur's compositions, which incorporate devotional Sufi qawwal musicians singing in Urdu and Hebrew. Greenwood contributed guitar, bass, keyboards, ondes Martenot, and programming, aiming to use chords sparingly and instead focusing on North Indian ragas. The recording process sought to capture the ""roughness"" of Indian music, avoiding the high fidelity often found in world music recordings. The making of Junun was also documented by acclaimed filmmaker Paul Thomas Anderson, offering an intimate look at the creative process and vibrant daily life during the album’s production. His film, also titled Junun, debuted at the New York Film Festival in October 2015. Junun (an alternate spelling of ""junoon,"" meaning ""mania"" or ""the madness of love"") received widespread critical acclaim—including Album of the Year honors from The Sunday Times, who called it “one of the most inspired releases of the year” and “intriguing, sinuous, and essential listening”. The group also supported Radiohead's 2018 Moon Shaped Pool tour, performing under the name Junun.

Repress!

The legendary partnership of NYC's Disco godfather Tom Moulton and Philadelphia International Records has long been documented. A truly explosive collaboration that yielded endless classic tracks for dancers and deep listeners alike, Moulton seemed to be totally in tune with the labels output and the direction it should go in. Luckily we've been enjoying the fruits of this labour for the last 30+ years with a lot of these PIR classics becoming ingrained in the psyche of the modern day music fan as the building blocks of House music.

The names alone fill one with awe, The O'Jays, Harold Melvin & The Bluenotes, Archie Bell & The Drells and Lou Rawls. All of these artists were, and still are, huge stars. Turning in classic after classic, and with Moulton's supreme ear assisting, this special PIR reissue 12" see's some all-time classics from the aforementioned artists in their full, unabridged, unedited Disco glory. The selections on this EP are absolutely top-shelf, flawless in fact. One could argue that these are the 'definitive' versions of these anthems. Pure Disco gold essentials. Anyone with even a passing interest in Disco will most certainly need this record in their possession, the 2012 pressing of this EP changes hands for £100+ second hand, so a repress was desperately needed.

These tracks are fully licensed and reissued in conjunction with Tom Moulton and PIR and all relevant rights holders. Remastered from original source materials to the highest spec and pressed onto top quality vinyl, courtesy of Above Board distribution for 2019.

Since the turn of this century, perhaps no other modern composition has had a more resonant healing effect than The Disintegration Loops. Composer William Basinski’s deteriorating analog tape loops evolved from melodic symphonies to melancholic silence over a span of time that uncannily turned passing minutes into pensive lifetimes. In her foreword for the new box set reissue of The Disintegration Loops, the pioneering multimedia storyteller Laurie Anderson describes the impact of this transformation in poetic detail: “These dissolving sounds, this emptying space, has gained my complete confidence. They are taking me somewhere. I am willingly following these sounds, becoming more and more transparent.”

The Disintegration Loops – Arcadia Archive Edition is an expansive new box set that includes the entire 5-hour suite of iconic work. Newly remastered from the original recordings by Josh Bonati, the hefty package includes eight vinyl records (or four CDs for the less analog-inclined) in sturdy full-color jackets featuring the restored original artwork, and a new 1000-word foreword by Laurie Anderson – all housed in a striking heavyweight, case-wrapped box. It is the ideal encapsulation of one of the 21st century’s most truly transcendent works. As Anderson concludes in her foreword, “this music has created another world, a world to be carried away in.”

2026 Repress

When Guy J launched his new label, Early Morning, it was clear each release would carry his signature intensity. Now, with this third release, Guy J continues to prove that Early Morning is an intimately personal venture.

Comprising nearly 15 minutes of music, the material presents a hypnotic experience through two meticulously crafted tracks. The opener, Silver Lake, showcases the hallmarks of his style, building layer upon layer until the arrangement transforms into a dynamic fusion of deep emotion and unbridled energy. With a controlled balance of musical motifs, frequency shifts, and refined arrangements, the track oscillates between moods, culminating in an exhilarating high made to ignite the dance floor.

The second track, Evo, opens with a melody-infused bassline that nods to the 1980s, interwoven with synths reminiscent of early Frankfurt's electronic scene. Overlaid with vocal elements evoking meditative depth, Guy J uses every technique in his repertoire, shifting unexpectedly between structured sequencing and bursts of psychedelia. The track takes listeners on an immersive, unexpected journey.

This third release from Early Morning solidifies the label's vision, promising a bright future for dance floors worldwide.

Big Science Records is proud to unveil a brand-new split 12” EP — crafted equally for peak-time energy and post-rave reflection — from the label’s co-foun-ders, NVST and Warzou.It’s been a minute since our last vinyl release — the Leo James edition — and we’re excited to be back with an ultra-limited, hand-stamped pressing. Four tracks total: two from each of these kindred artists, the duo behind Big Science.We’re constantly making, exchanging, and living through music — daily, weekly, endlessly. “Nothing is real, nothing exists,” says NVST. And yet, this release feels like a moment where the invisible becomes tangible — the private tracks we’ve shared and cherished with each other now find their place in the world. They’re here. They’re real.

Maurice “Mobetta” Brown has always thrived at the crossroads—between jazz and hip-hop, improvisation and songcraft, trumpet and microphone. With Betta Days, the Grammy-winning trumpeter, composer, and MC sharpens his genre-bending vision into one of his most dynamic statements yet.

The album plays like a conversation between worlds: lush horn arrangements sit beside hard-hitting beats, verses weave seamlessly through melodies, and Brown’s trumpet leads with equal parts fire and finesse. A student of jazz tradition who came up in Chicago’s storied scene, he’s since expanded his reach into hip-hop and soul, collaborating with icons like Aretha Franklin, Santigold, Talib Kweli, and Anderson .Paak. Betta Days captures the spirit of all those influences while standing firmly in Mobetta’s lane.

At its core, Betta Days is about resilience and growth—finding light even in heavy times. The songs carry a message of pushing forward, fuelled by the energy of community and the joy of creation. Whether he’s delivering sharp verses or soaring trumpet lines, Maurice Mobetta Brown reminds listeners that the future is wide open, and that better (or Betta) days are always ahead.

A1 | Carlos Native – Be Yourself
Andalusian producer Carlos Native unfolds an almost cinematic sensibility: a slow, introspective piece where a hypnotic bassline and wide, horizontal backgrounds build an inner journey rather than a track aimed at immediate impact.

A2 | Slit Observers – Synthmek
The Galician duo present a hard, high-energy work. Industrial-driven drums demand movement, while an aggressive, sharp arpeggiated bass defines a sonic identity with no concessions.

A3 | Negocius Man – 8N8
The Madrid-based veteran constructs 8N8 with modular precision: each sound falls into place with an almost architectural logic. The result is a synthetic, measured and structured piece shaped by years of experience.

B1 | Allumynd – Chestcollider
Making their debut on the electro scene, Allumynd delivers an original and daring track. An otherworldly snare and a woven vocal structure turn this piece into a clear example of new-generation electro: atmospheric and bold.

B2 | Komatssu – Non Servian
The Asturian producer, under his Komatssu alias, opts for continuous evolution without a kick drum as support. The track works like an organism that grows and transforms as it progresses, generating a hypnotic and mature effect.

B3 | Irrational Language feat. Lucky – We Are Comming Back
Irrational Language dives into braindance with meticulous technical production: drums filled with micro-artifacts, luminous synthesizers, and Lucky’s vocals processed and spatialized to reinforce a narrative of rebirth and emerging from darkness.

A Vega Records special edition 7” by Elements Of Life with sneak peaks of two new Elements Of Life tracks from the forthcoming 2026 album “Dreamer”.

Side A is a brilliant cover of the famed Brazilian band Black Banda Rio’s “Maria Fumaca”.

Side B an energetic Latin jazz infused cover of John Coltrane’s ultra class “Giant Steps” done up Rumba style tributing the great Tito Puente with special guest, the maestro Christian McBride on upright bass. Elements Of Life are on Fiyaaah and it’s just the beginning!

Two more surefire part starters hitting them out of the park on one tasty 7" - instant dancefloor fillers as always!

Sounds Benefit marks its eleventh release with a versatile 4-tracker spanning house and electro. Scott Orlans’ rare 2006 gem “Freaks Like Us”, taken from his Wrecking Ball EP, resurfaces with undiminished energy, joined by two fresh grooves from label head Tom Joyce. Closing the EP, Leipzig duo Eoism presents “Bubble Chamber”, a textured, forward-thinking electro journey that showcases their trademark sound.

Raxon makes slammers. Always has and always will. Simple as that.
He’s your favorite producers favorite producer.
We're thrilled to have him landing on Turbo, with a loooong-overdue debut EP.

Belia Winnewisser and Fatuma Osman have known each other since childhood, a friendship rooted in shared afternoons of music and late 90s/early 00s girl core. Their first joint debut EP Vertex, released through the Swiss label Light of Other Days, emerges as both a continuation of that bond and an exploration of process, weaving together collective memories with their present-day musical language.

Resisting polished closure, the record circles around the idea of limerence in sound: suggesting rather than declaring, outlining atmospheres that leave room for the listener’s imagination to fill out the blanks. Across its five tracks Belia and Fatuma oscillate between the personal and the universal, immediacy and nostalgia. The opening track Emerald rises like morning light; fragile, blissful, and quietly radiant. Covering Madonna’s 80s single Angel feels natural and slots seamlessly into the EP’s arc: as a defining pop presence of the last four decades, she embodies less an idol than a subtle compass. Surrender, the first track on the B-side, draws you into the club, vibrating between vulnerability and release. Each step extends their vision further, revealing a cohesive body of work.

Vertex holds opposite poles in tension, creating a space where vulnerability and intensity create dialog. What lingers is a realm of possibilities: a conversation between two friends and collaborators who understand that sound can be as much about what is left out as about what is expressed. Vertex documents their progression, marking a milestone without concluding it.

Viktoria Tolstoy, celebrated for her expressive voice, emotional storytelling and cross-genre artistry, seamlessly blends jazz, pop and original songs.
Her standout tracks ‘Autumn Breeze’ (4.6M streams) and ‘Calling You’ (6.5M streams) have reached millions of listeners worldwide.
Collaborations with top Scandinavian and European jazz artists, including Nils Landgren and Esbjörn Svensson, have positioned Viktoria as one of the leading female voices in European jazz.
Jacob Karlzon, renowned Swedish pianist and composer, is recognized for his virtuosic technique, cinematic soundscapes and inventive harmonic language.
Their collaboration began in the mid-1990s, forming one of the most enduring and successful partnerships in Scandinavian jazz.
Their music bridges Nordic lyricism and modern jazz sophistication, appealing to both jazz and a wider crossover audience. A trusted name on the European scene, they continue to tour internationally and attract strong streaming and media presence.
Their new duo album reflects and renews that bond - an intimate conversation shaped by time, friendship, and change. The world has shifted since their last recording and so have they. Yet their shared musical language endures - evolving, deepening, and gathering new shades of emotion. There is a rare ease between them: two Artists who no longer need to explain, only to listen and respond.
The result is music that feels unforced, sincere and alive - born of trust and the courage to explore the unknown. In the end, it’s the simple beauty of reunion: two musicians meeting again, with everything they’ve lived and everything still to discover

Repressed!!

Peggy Gou is proud to announce the launch of her own independent record label, Gudu Records. The label's first release will be the Moment EP - a two-track 12' featuring the tracks 'Starry Night' and 'Han Pan'.
'Moment' sees Gou continue to explore the charismatic facets of her musical and personal identity, drawing on her Korean heritage and language and her love for house & disco's Eighties heritage, with particular nods to the output of labels such as Prelude and West End Records in the decade's nascent years.
Gou's own singing voice, known to so many from last year's 'Once' EP, returns here to confidently guide the rhythm on 'Starry Night'. Mixing both Korean and English vocals over a tumbling cascade of percussion and piano house keys, the track builds to incorporate layers of instrumental samples and subtle acid lines. Romantic, anthemic and timeless in its feel, it reaffirms Gou's skill as a songwriter with appeal that resonates beyond crowded dancefloors, not to mention language barriers.
'Han Pan' follows as an instantly rhythmic affair that draws energy from a memorable and delicately tuned pan-drum. Alongside some expert and understated arrangement, as well as another, contrasting vocal performance, 'Han Pan' transmits a different but equally powerful energy.

2026 Repress

Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith’s control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn’t until he put everything he’d been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it’s ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".

Noctourniquet And then everything went black, at least for a while, at least for The Mars Volta. In the months and years following their fifth full-length, Octahedron, Omar kept on at his usual fearsome creative pace. In fact, he ramped up his output considerably, starting up his own Rodriguez Lopez Productions label and releasing a slew of solo albums. It was a practice he’d begun shortly after De-Loused’s release, with his solo debut A Manual Dexterity: Soundtrack Volume One, but as the decade reached its close, Omar grew to rely upon his solo recordings as an outlet for his prolific creativity, these albums often exploring musical pastures far beyond even The Mars Volta’s wide-ranging parameters. Before choosing to release music under his own name, Omar would always play it to Cedric first, to see if the frontman thought it had potential to become Mars Volta music. Shortly after Octahedron’s completion, Cedric flagged one batch of tracks Omar had cut with Deantoni Parks, a brilliant drummer and composer who’d briefly occupied the Mars Volta drumstool in-between Jon Theodore and Thomas Pridgen’s tenures, and whose volcanic creativity and unique, unpredictable approach to rhythm and composition had quickly made him one of Omar’s favourite artistic foils.

As with the music that made up Octahedron, the new tracks Cedric had optioned for The Mars Volta often veered far from the riotous, Grand Guignol visions of their earlier releases. It possessed the punchy, song-based focus of Octahedron, though this was a considerably darker, more menacing strain of pop, with synthesisers figuring heavily in the productions. Cedric took the tracks in 2009 and set about writing songs to the music. But no more new Mars Volta music would be heard until 2012. The years that passed in-between were nonetheless momentous, and busy, witnessing an unexpected reunion of the members of At The Drive-In, and Cedric joining his own side-project, Anywhere. But there wasn’t any sign of life within the Mars Volta until Omar, Cedric and their bandmates took to the road for a series of live shows in the spring of 2011, billed as The Omar Rodriguez-Lopez Group, debuting the songs that would become Noctourniquet. The album followed the next year, and it remains one of The Mars Volta’s finest, its electronic textures staking out unfamiliar but fertile new ground.

An unsettling, subtly turbulent listen, Noctourniquet found Cedric sketching out a story about “some sort of device that stops the darkness from bleeding”, drawing influence variously from the nursery rhyme Solomon Grundy, the Greek myth of Hyacinthus and the song Birth, School, Work, Death by British underground rockers The Godfathers. It was an album of dystopian futurism, signalled by the paranoid cyber-rock of opener The Whip Hand and its unnerving chorus, “That’s when I disconnect from you”. But it was also an album of inspired, unexpected moves and uncanny invention, like how Dyslexicon seemed to eerily evoke Blondie’s Rapture, before rushing headlong into its bruising chorus, tempos shifting restlessly throughout like quaking earth beneath the listener’s feet, or how Aegis put a brave new spin on The Mars Volta’s trademark rewiring of salsa’s overdriven passions, or how Cedric had never sounded as scary as he did on The Malkin Jewel’s mutant burlesque shuffle. Tracks like Molochwalker were sleek and concise in a way The Mars Volta had never really attempted before – which was all part of Omar’s plan.

“It had all been guitar, guitar, guitar, overdubs, everything fighting for space in the same frequency,” he explains. “So for Noctourniquet, it was all about subtracting elements, of sticking to how I made demos.” Deantoni’s presence helped revivify the group, playing against cliché and expectation, and taking each song in unexpected directions. “I’d beatbox a rhythm for him to play, to go with my guitar part, and he’d come back with three or four alternate options. It was so great.” Similarly, Cedric had never sung better than on Noctourniquet, staking out a fearsome spectrum from the chilling Tom Waitsian growl of The Malkin Jewel to the keening, beautiful vocalisation on Vedamalady, rising to match some of Omar’s most deft, most immediately effective and melodic songs yet. Indeed, Noctourniquet is the sound of a band discovering new ways to do familiar things, renewing their commitment to their mission, finding fresh inspiration a decade in, and shaking off any complacency that might have come with ten years of acclaim and success.

The journey through French-speaking pop archives continues with this fifth volume, packed with fuzz, gimmicks, and dissent. Far from the charts, the selected tracks display a great creative freedom, often backed by corrosive humor. Welcome to the surprising, kaleidoscopic, and colorful world of the late sixties and early seventies, Wizzz!
Born in Montauban, Robert Pico stumbled into music by chance when he met René Vaneste, then artistic director at Pathé-Marconi. René brought him to Paris to record his first 45 RPM EP in 1964. A year later, Pierre Perret introduced him to Vogue, where he recorded his second album with Claude Nougaro’s orchestra. Sylvie Vartan then introduced him to RCA, where he recorded four singles, including the astonishing "Chien Fidèle," a track backed by a hair-rising fuzz guitar. Alongside his solo career, he also composed for other artists like Alain Delon (the song was recorded but remains unreleased), Magali Noël, Bourvil, and Georges Guétary. In the Paris of the sixties, he mingled with Mireille Darc, Elsa Martinelli, Marie Laforêt, France Gall, Françoise Hardy, Petula Clark, Régine, Dani, Serge Gainsbourg, Joe Dassin, Franck Fernandel, Charles Level, and Roland Vincent. Despite his efforts and winning a Grand Prix Sacem for his final record, Robert Pico didn’t achieve the expected success in show business and decided to leave Paris and return to the Southwest, where he devoted himself to writing. He is the author of 23 books (including Delon et Compagnie, Jean-Marc Savary Editions 2025, a memoir about his youth and his many encounters). Today, he is relieved to never have become a celebrity and devotes himself to his work with passion.
In 1969, the Franco-Italian movie Erotissimo was released, directed by Gérard Pirès (who later directed Taxi in 1998, written and produced by Luc Besson). This pop comedy features Annie Girardot, Jean Yanne, Francis Blanche, Serge Gainsbourg, Nicole Croisille, Jacques Martin, and Patrick Topaloff. The soundtrack was written by Michel Polnareff and William Sheller, with lyrics by Jean-Lou Dabadie. "La Femme Faux-cils," performed by Annie Girardot. It recounts the feelings of a rich CEO's wife who seeks to develop her sex appeal under the influence of advertisement and magazines. Groovy, sparkling and light, this track, with ITS lush arrangements humorously critiques consumer society and feminine beauty standards.
“Je suis l’Etat” (1967) is the flagship track of the first EP by singer-songwriter Spauv Georges, aka Georges Larriaga, better known as Jim Larriaga (1941-2022). Born into a family of bakers, the young man was initially planning to become a hairdresser when he discovered English-speaking music through Elvis Presley and the Beatles. After this revelation, he decided he would become a songwriter and gave himself five years to succeed. He recorded his first two EP’s independently for RCA under the pseudonym Spauv Georges; meaning “that poor George”, a nickname given to him by the mother of her friend Jean-Pierre Prévotat (future drummer of the Players, Triangle, or Johnny Hallyday). Portraying a depressed and eccentric young man, Spauv Georges created corrosive and amusing songs that didn’t reach a wide audience, despite a TV appearance with Jean-Christophe Averty.
Supported by his loyal friend and fellow songwriter Jean-Max Rivière, Georges Larriaga met the future singer Carlos in the early '70s, then Sylvie Vartan’s assistant. He wrote songs for Carlos, including the popular "La vie est belle," "Y’a des indiens partout," and "La cantine", which went onto become a huge hit in 1972. He also composed for Claude François (“Anne-Marie”, 1971), Charlotte Julian (“Fleur de province”, 1972), helped launch child singer Roméo (who sold 4 million records), and later wrote the hit "Pas besoin d’éducation sexuelle" (1975) for the young Julie Bataille. In 1971, Jim recorded an album for Disc'Az: “L’univers étrange et fou de Jim Larriaga”, which featured pop gems like “La maison de mon père”.
The story of the song "Zoé" began when Pierre Dorsay, artistic director at Vogue Records, asked Swiss singer and musician Pierre Alain to write a song for a new female singer. The inspiration came when he realized that Zoé (the artist's name) was also the name of France's first atomic battery, created in 1948, which consisted of uranium oxide immersed in heavy water! The lyrics reflect a bubbling energy that must be handled with caution, while the instrumentation echoes this atomic theme, notably with the use of a theremin.
Zoé’s career lasted only as long as a single 45 RPM, but it seems Christine Fontane was the vocalist behind this pseudonym, who is known for several EPs, a good "popcorn" album in 1964, and a handful of children’s singles in the '70s. Regardless, the photograph on the cover is of a different girl entirely.
Later, Pierre Alain continued his career, writing songs for himself, Marie Laforêt, Danièle Licari, Alice Dona, Arlette Zola (3rd place in Eurovision 1982), and achieving multiple gold and platinum records in Canada. Also an inventor with several patents, president of the Romande Academy, and head of the French Alliance in Geneva, he now composes atonal music, books, and poetry. Moreover, he is also the host of "Les Mardis de Pierre Alain" at "Le P'tit Music'Hohl" in Geneva.
Filled with oriental choruses and fuzz guitar, "Fou" is from Jacques Da Sylva's only EP released by Vogue in 1967. Despite the quality of this recording, all traces of this singer disappear after this first effort.
Valentin is a baroque pop singer born in Belgium. He is the songwriter and composer of most of the tracks on his three singles released in the late 60s in Canada. A legend says that he reincarnated himself as Jacky Valentin during the 1970s for a rock'n'roll revival career in Belgium, but his older brother sadly debunked this story. Valentin's first two singles were arranged by Claude Rogen, a Parisian session pianist who had come to Canada to promote the song “Mister A Gogo”, a cover of David Bowie’s “Laughing Gnome”, adapted by singer Delphine, his wife at the time. Far from his usual network, Claude Rogen arranged music for Polydor, including the arrangements for “Je suis un vagabond” in 1969, a jerk tune with string arrangements and a furious optimism.
Jacques Malia wrote, composed, and recorded his only 45 EP for Festival in 1966. “Histoire de gitan” is an incredible beat track with bohemian scat that tells the story of a gypsy musician who came to Paris to make it in the Music-Hall, to no avail. The hero of the song and its author probably shared a similar fate, as Jacques Malia faded into anonymity after this remarkable attempt.
Bernard Jamet recorded two EPs for Barclay in the late sixties and co-wrote several songs with Christine Pilzer, Pascal Danel, and prolific songwriters Michel Delancray and Mya Simile. The track “Raison Légale” (1968), his masterpiece, immerses the listener in a courtroom right when a murderer is being judged, with jerk rhythm and free arrangements. A unique, paranoid, judicial, and psychedelic oddity.
Jean-Pierre Lebrot-Millers started his career in show business in 1967 as a singer and songwriter for the Philips label. After three singles, he wrote several songs of a new kind with his friend Pierre Halioche, in the midst of the sexual liberation movement and the democratization of drugs. With provocative lyrics, “Les filles du hasard” and “Barbara au Chapeau Rose” were released on a Philips singles in 1968. The character of Barbara was inspired by a queen of Parisian nightlife during the psychedelic years: model Charlotte Martin, who dated Eric Clapton from 1965 to 1968, then Jimmy Page from 1970 to 1983. Jean-Claude Petit’s arrangements, with a table-filled intro, soul brass, and Hendrixian guitar, emphasize the flamboyance of a hedonistic and sexy character, whose dog is named Junkie because “Junkie est un nom exquis”! The track was recorded live in three takes with a full orchestra.
Upon its release, the record was censored by Europe 1 and RTL due to its references to drug use. Jean-Pierre Lebrot was then banned from the airwaves and later dismissed by his record label. He changed his artist name to Jean-Pierre Millers, while his companion Pierre Halioche became D. Dolby for a new dreamy composition, “Chilla”, which Jean-Pierre produced himself with arrangements by Jean Musy. Once again, the song was immediately censored everywhere. After this setback, he decided to stop singing and started taking on odd jobs to support his Swedish wife and their son until the day he met Jean-Pierre Martin, then production manager at Decca, who had worked with Manu Dibango. Martin offered Jean-Pierre Lebrot-Millers, then employed at Rank Xerox, the position of artistic director at Decca. He accepted and became, a year later, promotion director (radio, press, TV). He worked on Julio Iglesias’s first album for Decca, which became a massive hit and allowed him to meet Claude Carrère. The latter asked him to write new songs and find their performers, much like a “talent scout.” It’s through him that Jean-Pierre discovered Julie Pietri and Corinne Hermès. He composed “Ma Pompadour” for Ringo, Sheila’s husband, and took the microphone again for the syncope hit “Rendez-Vous” in 1982.
That same year, Jean-Pierre Lebrot-Millers tried to release a track for which he had heavily gone into debt: “Si la vie est un cadeau”. Having recorded it in London, he presented it to numerous professionals, all of whom refused to get involved. The same thing happened with Antenne 2 and the Sacem when he proposed the song as France’s entry for Eurovision. He then met Haïm Saban, who was producing cartoon soundtracks and had just launched the Goldorak theme song. Saban, having listened to the song, declared it had the potential to become a hit. He sent Jean-Pierre and Corinne Hermès to meet the CEO of the Luxembourg radio and television network. The latter received them, asked to hear a verse and chorus a cappella in his office, and immediately hired them to represent Luxembourg at Eurovision 1983. They reworked the arrangements and recorded a new version with Haïm Saban as co-producer. The song ended up winning Eurovision 1983, a great comeback for our hero. He continued producing and hung out with the band Nacash in Belgium when a couple came to introduce their daughter for an impromptu audition in a hotel room. The girl sang “Les démons de minuit” while dancing to a radio cassette. Impressed, he had her take singing lessons for a year and composed a song for her (for which he had the melody and title, but no lyrics). This required him to go on the hunt for a lyricist, who ended up being Guy Carlier. They recorded the song, which was initially a ballad, at Bernard Estardy’s CBE studio, and gave the singer a new name: Melody. They showed the song around their industry network without success. Later, Estardy called Jean-Pierre to suggest changing the rhythm and making it pop-rock. Orlando, Dalida’s brother, liked the result and decided to co-produce the track. “Y’a pas que les grands qui rêvent » became a classic hit. The song has since been covered by Juliette Armanet (as a ballad, like the original) and Valentina.

Born into an aristocratic Breton family, Hervé Mettais-Cartier worked as a DJ at Queen Kiss, a nightclub in Poitiers, where he formed the band Les Concentrés with Michel (an actor) and Christian (a radio technician). Together, they created a repertoire of whimsical songs (“Ma bique est morte”, “J’suis un salaud”, “Fils de dégénéré”...) that they performed on stage dressed in white (in homage to “concentrated milk”). They performed at Bliboquet and Olympia in 1968 for the 10th edition of the “Relais de la chanson Française” organized by L’Humanité-Dimanche and Nous les Garçons et les Filles, sponsored by Pepsi Cola. Winners in the author-composer category, alongside Danish singer Dorte, their visibility allowed them to record a 45, and appear on television in Jean-Christophe Averty’s show. The A-side of the disc features Bruno le ravageur, a casatchok dedicated to Bruno Caquatrix, the director of Olympia, nicknamed in the song “Coq Atroce” or “croque-actrices”. The B-side is dedicated to “Fils de dégénéré”, a quirky tribute to Hervé's aristocratic roots, mixing absurdity with sophisticated vocal harmonies.
After Les Concentrés, Hervé Mettais-Cartier formed the duo La Paire et sa Bêtise with his friend Olivier Robert. They performed in Parisian cabarets and toured with Pierre Vassiliu. In the late 1970s, Hervé began a solo career. He recorded two albums for the Motors label in 1978 and 1979, which did not achieve their anticipated success due to lack of promotion. In 1980, he met Bernadette, with whom he started a family and created a “Chansons à voir” (songs to see) show that he performed until his death at the end of 2024.

Publicité comes from the final EP by the Missiles (Ducretet Thomson, 1966), a disc that also includes “La (nouvelle) guerre de cent ans”, featured on Volume 4 of our Wizzz! series. Please refer to the booklet for the story of the band.

“He’s 1.82 meters tall, 28 years old, weighs 135 kg, is black and Belgian”: this is the description of singer Hegesippe on the back of his sole single (Decca, 1967). He appears on the album cover wearing a Greek toga, like a hippie gag – we are at the end of the year 1967. In “Le crédo d’Hegesippe”, this former bodyguard of Antoine and the Charlots plays the delightful card of the thick brute converted to Flower-Power and non-violence, with arrangements by Jean-Daniel Mercier, aka Paul Mille.
“Ethéro-disco” was released on a promotional record for clients of the Maréchal company (Liège, Belgium) for the New Year 1979. Over a funky rhythm, celebrity impersonations (Brigitte Bardot, Jacques Dutronc, Fernandel…) deliver an enigmatic text about pharmaceutical products like ether, bismuth, and aspartate. The track was composed by Dan Sarravah (responsible for Joanna's “Hold-up inusité” featured on Wizzz! Volume 3) and Tony Talado, who was also a singer (one 45 in 1967), songwriter (with over a dozen credits between 1964 and 1985 in various styles from surf music to disco), author (Devenez Végétarien, Dricot Editions, 1985), ad designer, and psychologist.

Décollez-les is on the A-side of Mamlouk's only single, a pseudonym for Marsel Hurten, who is known for his work on several EPs in the late sixties, as well as composing music for Hervé Vilard’s “Capri, c’est fini”, Claude Channes' “La Haine”, Annie Philippe’s “On m’a toujours dit”, and Nancy Holloway’s “Panne de Cœur”.
This strange song, with Afrobeat horns and absurd dialogues between a chef and his kitchen staff, is the result of a collaboration between Marsel Hurten and one of his neighbors, a photographer from Pavillon-sous-Bois (93), where the musician settled after returning from the Algerian War. A music video was shot to promote the record.
Marsel Hurten was born in Tourcoing (59) into a musical family. At a young age, he joined the brass band founded by his grandfather, playing the piston before studying trumpet at the conservatory, as well as teaching himself how to play the guitar. As an orchestra musician, he toured in France, Belgium, Germany, and England. He released a series of solo 45’s between 1965 and 1968 for the DMF and Az labels before stopping recording to focus on working for other artists (Gilles Olivier, Noëlle Cordier…).
“L’amour nu” (Vogue, 1971) is the work of the short-lived Belgian band Mozaïque. The track, written by singer Jacques Albin, closely resembles another of his compositions, “Carré Blanc”, which he recorded in 1969 for Disc’AZ.
Represented by the Lumi Son micro-label based in Marignane (Côte d'Azur), Jean-Marc Garrigues released two 45 RPMs in the late sixties, defending the French jerk sound. The song “Je dis Non” is a short, joyful ode to youth, pop music, and rebellion.
Songwriter and performer Jacques Penuel released three singles. The first one, “Astronef 328” (Fontana, 1969), features a dizzying series of chords punctuated by sound effects, a sci-fi story, and arrangements by Jean-Claude Vannier.

We would like to sincerely thank Pierre Alain, Moon Blaha, Marsel Hurten, Bastien Larriaga, Jean-Pierre Lebrot-Millers, Bernadette Mettais-Cartier, Robert Pico, Olivier Robert, Claude Rogen, Micky Segura.

Una interpretación de Soinuarenbidea II debería partir de esta premisa: todo es posible, nada es aleatorio, y en sí mismo es un imposible de aleatoriedades. El escenario planteado explora la idea de realidad aumentada desde una percepción sonora, ambiental y colectiva. La obra transita hacia adelante y hacia atrás recreando experiencias extintas de porvenir incierto, tratando de facilitar un fin pacificador. Cada pieza sonora se crea, se despliega, se repliega y se destruye, en una torsión permanente de toda la realidad que hace posible cada fragmento musical, cada identidad acústica, cada espacio sonoro. Lo onírico, la ficción, y el viaje están continuamente presentes, y es en el transitar de cada fragmento donde se produce el diálogo de la exposición musical. Los elementos de esta ficción se recrean continuamente, en un continuum donde se entrelazan y se van contorsionando a medida que crecen o decrecen con cada fragmento de síntesis concreta. Los temas explícitamente musicales son el magma que conduce a dar voluptuosidad al disco, siendo la piel un contexto o límite que en sí mismo fluctúa indefinidamente en texturas y configuraciones posibles. Y la urdimbre del silencio es la síntesis que está continuamente presente y que trata de cohesionar los fragmentos en continua colisión expresiva. Las grabaciones de campo proporcionan el material sonoro concreto, y como un fractal sonoro cada una de ellas ofrece diferentes grados de interpretación que a su vez conduce a nuevos fragmentos y nuevas creaciones. Así que se puede pensar que esta es una síntesis de una posible realidad, pero interpretable en infinidad de maneras. Un movimiento y una estaticidad implícitas que generan estructuras y dinámicas acústicas. Lo que se escucha no es real, pero en sí mismo forma parte de la realidad, creando un escenario expectante. Lo cinematográfico, plástico y teatral, danzante y dinámico cobra importancia en este juego, porque se trata de contar una historia, una experiencia recreada desde los puntos de vista del arte visual. Es a su vez hilo conductor y entretenimiento, discurso político y puro divertimento. Es desde este espacio de convivencia artística que tiene sentido la totalidad y justifica el formato sonoro planteado. La contradicción de la obra es patente en el formato, y es a su vez el planteamiento de una accidentalidad en el devenir vital. Contenedor de Ruido recoge todas estas contradicciones y las manifiesta en la obra Soinuarenbidea II. Es una historia sonora, es un cuento acústico. Es un fragmento de vitalidad en imágenes audibles. Es una invitación a la reflexión, a la crítica, al disfrute, a la meditación, a la celebración. Y sobre todo es esperanzadora apreciación de la realidad como algo maleable que confeccionamos colectivamente, que requiere de una paciente observación y la participación colectiva global, en un mundo finito pleno de diversidades y del que ignoramos prácticamente todo, al que deberíamos volver con respeto y devoción.

Soinuarenbidea II-ren interpretazio batek premisa honetatik abiatu beharko luke: dena da posible, ezer ez da ausazkoa, eta, berez, ausazkotasun ezinezko bat da. Planteatutako agertokiak errealitate areagotuaren ideia aztertzen du, soinu-, ingurumen- eta talde-pertzepzio batetik abiatuta. Lanak aurrera eta atzera egiten du, etorkizun zalantzagarriko esperientzia desagertuak birsortuz eta helburu baketsua lortzen saiatuz. Soinu-pieza bakoitza sortu, hedatu, tolestu eta suntsitu egiten da, musika-zati bakoitza, identitate akustiko bakoitza eta soinu-espazio bakoitza ahalbidetzen dituen errealitate osoaren etengabeko bihurdura batean. Onirikoa, fikzioa eta bidaia etengabe daude presente, eta pasarte bakoitzaren joan-etorrian gertatzen da musika-erakusketaren elkarrizketa. Fikzio honen elementuak etengabe birsortzen dira, continuum batean, non sintesi zati zehatz bakoitzarekin hazi edo txikitu ahala elkar lotzen eta bihurritzen diren. Esplizituki musikalak diren gaiak diskoari atsegintasuna ematera eramaten duen magma dira, azala testuingurua edo muga izanik, testura eta konfigurazio posibleetan mugarik gabe aldatzen dena. Eta isiltasunaren irazkia etengabe presente dagoen sintesia da, zatiak etengabeko adierazpen-talkan kohesionatzen saiatzen dena. Landa-grabazioek soinu-material zehatza ematen dute, eta soinu-fraktal batek bezala, horietako bakoitzak interpretazio-maila desberdinak eskaintzen ditu, eta horrek, aldi berean, zati eta sorkuntza berrietara eramaten du. Beraz, pentsa daiteke errealitate posible baten sintesia dela, baina hamaika modutan interpreta daitekeena. Egitura eta dinamika akustikoak sortzen dituzten mugimendu eta estatikotasun inplizitu bat. Entzuten dena ez da erreala, baina, berez, errealitatearen parte da, eta agertoki espektakularra sortzen du. Zinematografikoak, plastikoak eta antzerkikoak, dantzariak eta dinamikoak garrantzia hartzen dute joko honetan, ikusizko artearen ikuspegitik birsortutako istorio bat, esperientzia bat, kontatzea baita helburua. Aldi berean, hari gidaria eta entretenimendua da, diskurtso politikoa eta dibertimendu hutsa. Elkarbizitzarako espazio artistiko honetatik osotasunak zentzua du eta planteatutako soinu-formatua justifikatzen du. Obraren kontraesana nabarmena da formatuan, eta, aldi berean, bizi-bilakaeran istripu-tasa bat planteatzea da. Zarata-edukiontziak kontraesan horiek guztiak jasotzen ditu eta Soinuarenbidea II obran adierazten ditu. Soinu istorio bat da, ipuin akustiko bat. Bizitasun zati bat da, irudi entzungarrietan. Hausnarketarako, kritikarako, gozamenerako, meditaziorako eta ospakizunerako gonbidapena da. Eta, batez ere, itxaropentsua da errealitatea modu kolektiboan egiten dugun gauza xaflakor gisa hautematea, behaketa pazientea eta partaidetza kolektibo globala eskatzen dituena, dibertsitatez betetako mundu mugatu batean, ia guztia kontuan hartzen ez duguna, eta errespetuz eta debozioz itzuli beharko genukeena.

An interpretation of Soinuarenbidea II should start from this premise: everything is possible, nothing is random, and in itself is an impossible randomness. The proposed scenario explores the idea of ​​augmented reality from a sonic, environmental, and collective perception. The work moves back and forth, recreating extinct experiences of an uncertain future, seeking to facilitate a peaceful end. Each sound piece is created, unfolds, retreats, and is destroyed, in a permanent twisting of all reality that makes each musical fragment, each acoustic identity, each sonic space possible. The dreamlike, the fictional, and the journey are continually present, and it is in the transit of each fragment that the dialogue of the musical exposition takes place. The elements of this fiction are continually recreated, in a continuum where they intertwine and contort as they grow or diminish with each fragment of concrete synthesis. The explicitly musical themes are the magma that leads to the work's voluptuousness, the skin being a context or boundary that in itself fluctuates indefinitely in possible textures and configurations. And the warp of silence is the synthesis that is continually present and seeks to unite the fragments in a continuous expressive collision. The field recordings provide the concrete sound material, and like a sonic fractal, each one offers different degrees of interpretation that in turn lead to new fragments and new creations. So one can think of this as a synthesis of a possible reality, but interpretable in an infinite number of ways. An implicit movement and staticity that generate acoustic structures and dynamics. What is heard is not real, but in itself is part of reality, creating an expectant scenario. The cinematic, plastic and theatrical, dance and dynamic aspects take on importance in this game, because it is about telling a story, an experience recreated from the perspective of visual art. It is at once a common thread and entertainment, political discourse and pure entertainment. It is from this space of artistic coexistence that the whole makes sense and justifies the proposed sound format. The contradiction of the work is evident in its format, and it is, in turn, the presentation of an accidentality in the course of life. Noise Container gathers all these contradictions and manifests them in the work Soinuarenbidea II. It is a sound story, an acoustic tale. It is a fragment of vitality in audible images. It is an invitation to reflection, to critique, to enjoyment, to meditation, to celebration. And above all, it is a hopeful appreciation of reality as something malleable that we collectively craft, requiring patient observation and global collective participation, in a finite world full of diversity and of which we know practically nothing, to which we should return with respect and devotion.

Paisajes sonoros, diseño sonoro, drones y música grabada, realizada y arreglada para Contenedor de Ruido por David Aranaz. Coro: Basandere Ahotsak. Producido y mezclado por David Aranaz. Mástering: Estanis Elorza. Fotografía: David Aranaz. Texto: David Aranaz. Traducción: Saioa Aranaz Oreja. Trabajo y Diseño artístico: Cristina Martinez. Edición: Contenedor de Ruido Producciones y Sarbide Music. Distribución: Contenedor de Ruido.

Contenedor de Ruido agradece el apoyo en la realización de Soinuarenbidea II al coro Basandere Ahotsak y en especial a Eva Orbara Goicoa.

Soinuarenbidea II está dedicado al pueblo palestino.

Paisajes y objetos Sonoros, samplers y otras músicas transformadas para Soinuarenbidea II
Burlada: Paseos sonoros matinales por Merindad de Sangüesa, Calle Mayor, Capuchinas, Parque Uranga y varias iglesias y plazas. Pasajes del cotidiano: basura de papel, cristal y plástico.
Pamplona: Cementerio de San José. CEIP Sanduzelai /// Quinto Real: Fábrica de Armas, Puerto de Urkiaga y alrededores. Suite del silencio, bosques en movimiento /// Fábrica de armas de Orbaiceta: regatas, biosques, paseo sonoro hasta regata /// Belate: Puerto de Belate y alrededores. Vacas en pradera junto a las turberas /// Bardenas Reales: Suite de guitarra y Suite del silencio, estepa desértica /// Austria: Tranvías de Graz y Viena. Muchedumbre del metro de Viena.
Voces cinematográficas de: Matanza en Texas, Robocop, Espíritu Sagrado, Solo los Amantes Sobreviven, Voces de Gaza, Yojimbo, Terciopelo Azul, Los 7 Magníficos.
La pista A2 está dedicada a la memoria de David Lynch.
La pista B4 está dedicada a Eva Orbara Goicoa.
Pista A4: Contiene interpretaciones de piano de Three Piano Pieces Op.11 de Arnold Schoenberg.
Pista A5: Es una interpretación expandida con síntesis FM del Concerto Op. 24 - Etwas lebhaft - de Anton Webern.
Pista A7: Contiene la canción Besarkatu ninduzun (Letra de Josune López y música de Josu Elberdin) en interpretación de Basandere Ahotsak en la iglesia de Burutain bajo la tormenta.
Pista B2: Contiene la canción Recuerdos de la Alhambra (Fernando Tárrega) en interpretación torsionada de David Aranaz Sarasa.
Pista B14: Contiene la canción Agur María (Letra y Música de Estíbaliz Robles “Estitxu” y arreglo exclusivo de Alfonso Ortiz para Basandere Ahotsak) en interpretación de Basandere Ahotsak.

Equipamiento para Soinuarenbidea II.
Micros de condensador SE7, configuración XY y ORTF; Micros de cinta ORTIZ LUTHIER configuración XY y Blumlein; Grabadoras MARANTZ y ZOOM; Sintetizadores y samplers Elektron MONOMACHINE SPS-1, MACHINEDRUM SFX6 y MODEL:SAMPLES. Dave Smith MOPHO. Torso Electronics S-4. Sintetizador Modular 333 DIY; Guitarra clásica ALHAMBRA 6P; Esculturas Sonoras tipo Baschet, cristal y metales; Mesa Soundcraft FX16ii; Interface de Audio RME Babyface Pro FS; DAW Logic Pro; Procesamiento de modelado analógico con Acústica Audio, Waves, Softube, Brainworx, Sonible, Analog Obsesion, Tokio Dawn. Metering de Logic y RME DigiCheck . Amplificación Hafler PRO2400. Monitorización BW DM602 S3. Mezcla digital; Mastering híbrido.

“Yeah Yeah Yeah just arrived out of the blue. I just took a chance. I had some ideas for a new album I’d been working on, but we weren’t planning on recording until the year after. It all happened very fast. There was a window of opportunity- youth was free, the studio was free, and the band were free- and I thought, let providence prevail. No one had heard the songs apart from myself and Alan McGee, but we both thought that we had something. You could feel it, even though none of the songs were really finished, and so we decided to roll with it and go and record them. I think with Yeah Yeah Yeah it was more than just trying to capture a vibe- it was about trying to record something majestic, which is how youth describes the record. There are gospels and strings on tracks like Free Love and don’t look away, which have kind of turned into these massive anthems. It has P.P. Arnold as a featured vocalist on a couple of tracks- the first, the single poison vine, which has a groove and a blistering chorus. She’s also on another song that’s a psychedelic funk track: the way it’s gotta be (oh yeah). Songs like Teardrops or Birds Heading South- we’ve tried to capture that classic, slightly
Wistful theme- whereas the weight of the world just rocks out. There’s also a little acoustic track to break it all up called the devil and the deep, which is a favourite of mine. We recorded the album over in Spain at space mountain, Youth’s studio, way up in the mountains, just as the almond trees were in blossom- which I took as a good omen for the session”.

“Yeah Yeah Yeah just arrived out of the blue. I just took a chance. I had some ideas for a new album I’d been working on, but we weren’t planning on recording until the year after. It all happened very fast. There was a window of opportunity- youth was free, the studio was free, and the band were free- and I thought, let providence prevail. No one had heard the songs apart from myself and Alan McGee, but we both thought that we had something. You could feel it, even though none of the songs were really finished, and so we decided to roll with it and go and record them. I think with Yeah Yeah Yeah it was more than just trying to capture a vibe- it was about trying to record something majestic, which is how youth describes the record. There are gospels and strings on tracks like Free Love and don’t look away, which have kind of turned into these massive anthems. It has P.P. Arnold as a featured vocalist on a couple of tracks- the first, the single poison vine, which has a groove and a blistering chorus. She’s also on another song that’s a psychedelic funk track: the way it’s gotta be (oh yeah). Songs like Teardrops or Birds Heading South- we’ve tried to capture that classic, slightly
Wistful theme- whereas the weight of the world just rocks out. There’s also a little acoustic track to break it all up called the devil and the deep, which is a favourite of mine. We recorded the album over in Spain at space mountain, Youth’s studio, way up in the mountains, just as the almond trees were in blossom- which I took as a good omen for the session”.

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019's best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. "We're in a fully functional shit show," Mering says. "My heart is a glow stick that's been cracked, lighting up my chest in an explosion of earnestness." And in the Darkness, Hearts Aglow opens with the wistful, winsome "It's Not Just Me, It's Everybody," a song about the interconnectivity of all beings, despite the fraying of society around us. "I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up," Mering says. "Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal." Other tracks follow in kind. The lullaby-like "Grapevine" chronicles the splintering of a human connection. The otherworldly dirge "God Turn Me into a Flower" serves as allegory about our collective hubris. "The Worst Is Done" is an ominous warning, set against a deceivingly breezy pop melody. "Chaos is natural. But so is negentropy, or the tendency for things to fall into order," she says. "These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment."

On her debut LP 'Memoria', songwriter/producer Lilian Mikorey aka PILLBERT contemplates themes of identity and belonging, hardships and heartbreak in her signature blend of bendy folk guitars, field recordings and intimate vocals.
Moving to London from Munich, not yet 20 years old, Mikorey realized she was leaving her home behind for good. The subsequent state of being lost and alone in a place too temporary to start building the foundation for a new one led her to question the concept of home itself.
Is it friends? Family? A house?
"I started collecting objects, bones, sticks, stones and kept them close", she says, as to create a cosmos traveling with her.
"I was tracing the actual feeling of being home to the point where I built a dreamhouse in my head, as an idea, just to evoke that feeling." Soon enough she would learn that yielding to the yearning of actually going to that house, must be an inevitably sad experience.
A photo she took on a family visit to East-Munich became a reference and starting point for Memoria. It was a small house in her neighbourhood, the windows lit as dusk sets in. To Mikorey, it looked haunting, radiating warmth but somehow looking abandoned at the some time.
"I wanted to make music that sounds like this photo"
She started recording the sounds of the objects she had gathered and of her surroundings, building an archive and sonic material to work with.
From her mid-teens she had learned to produce with Ableton and now she picked up the guitar, too, learning it autodidactically by playing around, creating sounds.
At some point in the process, she realized it's okay to be lost for a while and by enduring the feeling, there's room for something new to grow, far off from any general idea of what home should mean.

The album, over the course of 10 tracks, traces these three phases of building a home in your head, realizing it's not a remedy, nor forever and coming to terms with it. You've grown in the process and the album is a guiding light for everyone who strives to do so, too.

*13 ripping songs totalling 33 minutes from the original 20-song 65 minute master reel tapes, recorded in early February 1978 for producers Flo & Eddie, the night before DMZ (the raw-assed pre-Lyres outfit that never made it!) spent 3 days trapped by a blizzard recording their Sire album. **4 page insert with info, pics and Rick Coraccio's ultra-detailed journal on how it all went down! ***LP includes DOWNLOAD CODE Kapital Ink zine: "In the annals of R&R history, as far as local American rock'n'roll scenes go, Boston is hardly ever looked upon in the same shining light as, say, NY, Detroit, San Francisco or even Austin or Seattle. Unlike those other towns, there's never even been a definitive book about the scene. Maybe it's because Boston is a perennial hard-luck place (just witness the Red Sox) with a serious New York inferiority complex hanging over its head. Boston is ignored by the industry at large, despite the fact that the city has spawned countless heavyweights in both a commercial (Aerosmith, Boston, the Cars) and aesthetic (Modern Lovers, Real Kids, Mission Of Burma) (Crypt editor note: and DMZ!! and LYRES!!) sense. Boston was the first US city to directly reflect the influence of the Velvet Underground, as epitomized by the Modern Lovers, who've proven to be almost as influential in their own right. Fast forward to the days of hardcore, and Boston was one of the pre-eminent strongholds of shave-head mania, shoring up its rep as an angry, intolerant New England outpost. Naturally the town has produced more than its share of local legends: Willie Alexander (who actually was in the Velvet Underground, albeit when the band was on its Lou Reed-less last legs); Jonathan Richman (geekus supremus no small thing considering the subsequent indie hordes, to whom he's a savior); and most of all, the great Real Kids, (Crypt editor note: and DMZ!! and LYRES!!) who could've been the equivalent of the MC5, Stooges or Flamin' Groovies in the annals of American rock if it hadn't been for a series of bad breaks but let's not get into that because it'll only reinforce Boston's eternal self-pitying plight. The fact is, the scene in Boston was more or less built by a string of bands who are so organically-interconnected that it seems like an act of God."

Berlin scene figurehead Gilles Aiken, AKA Edward, coming through with a massive Kalahari debut (and it’s safe to say he understood the assignment).

Booting off on a massive remix tip as the veteran producer reinterprets Mike Parker & Aric Rist’s Trybet project, but trust him to allow for a moment of dancefloor introspection. It’s prime early morning gear in a rousing juxtaposition of beatific string harmony and tough-as-nails deepness. Triumphant ‘window shutters open in the club at 5 AM’-type shit.

The other two are quintessential Edward: impressionistic, widescreen odysseys across lysergic terrain, but groove-forward where it counts. A pair of head-spinning explorations intended for the dancefloor, flush with shadowy flex, insectoid detail and tripped-out flourishes while keeping it funked-out in the tradition of Detroit.

The ‘Deep Sea Villain EP’ plumbs the depths of smudged abstraction, and as we’ve come to expect from Edward, it’s big on hallucinatory detail. It all oozes the multi-layered surrealism that typifies his best work. Proper transcendent biz.

Ailise Blake explains the deep, personal meaning behind the album's title, "Soave": "I titled this album "Soave" not only because of the sound of the word itself, which to my ears sounds like the wind, but because for me, soave is what we perceive silently beneath the action of everyday life, that veil of calm and stillness found when we stop to listen to ourselves; it represents the light and the tenderness, yet it is still and untouchable, it is alchemical, it is transcendental, it gives a sense of peace completely subjective to the mind that perceives it."