Buscar:the la s

DJ Support: Ben UFO, Palms Trax and more…

Alex Kassian reunites with Hiroaki Oba as Opal Sunn. Following on from their massive 2024 hit Elastic this latest offering ‘Liquid’ is the second in a trilogy of releases on the ‘buy on sight’ Test Pressing Records. Having taken their live set to the world finest clubs & with Elastic being an end of night anthem for DJ’s such as Palms Trax and Ben UFO. This highly anticipated new release builds on their sound and is sure to be another hit with DJ’s and record buyers alike

Detroit's Rocksteady Disco its dropping a couple of golden nuggets this season and Brooklyn-based producer, DJ, songwriter, multi-instrumentalist and label-owner JKriv is next up with his 'Adaptation' EP. Opener 'Greene Street Lament' is a swooning, laid back way to open and immediately slows your pulse. 'Adaptation' raises it again with a funky drum and clap combo underpinned by a busy little bassline. 'Total Pleasure' tugs at the heart with an aching vocal riding the mid-tempo, deep cut drums and lavish synth sounds. The mid tempo magic continues on 'Vibetown' which smears synths between gentle broken beats with string flourishes and jazzy keys all rising up. 'Adaptation' gets a dub rework to close out a tasteful EP of heart warming sounds.

Erleben Sie mit "Opus" die faszinierende Welt des Komponisten und Pianisten Ryuichi Sakamoto. Das Album wurde noch von ihm selbst - er starb im März 2023 - zusammengestellt. Diese Anthologie umfasst Jahrzehnte seiner wegweisenden Arbeit und vereint ikonische Filmscores, Klassiker des Yellow Magic Orchestra sowie zutiefst persönliche Kompositionen, die Sakamotos unverwechselbare musikalische Stimme widerspiegeln. Zum Programm gehören u. a. Musik zu Merry Christmas Mr. Lawrence, Andata und Aqua, ergänzt durch bislang unveröffentlichte Werke wie for J\u00F3hann (eine Hommage an den isländischen Komponisten J\u00F3hann J\u00F3hannsson), BB (dem Filmregisseur Bernardo Bertolucci gewidmet) und 20180219 (mit präpariertem Klavier). "Opus" ist mehr als eine Retrospektive - es ist eine bleibende Hommage an einen der einflussreichsten Komponisten unserer Zeit.
Das Album erscheint in einer 2CD-Version und einem 4LP Boxset:
Präsentiert in einem luxuriösen Digipak, gefertigt aus hochwertigem schwarzem Karton mit schwarzer Folienprägung und silberfarbenem Text, enthält die CD-Edition ausdrucksstarke Schwarz-Weiß-Fotografien, die Sakamoto während der Aufführung von "Opus" zeigen. Ein aufwendiges Booklet gewährt, neben Liner Notes und Credits, tiefere Einblicke in die Musik sowie in die letzten Reflexionen des Künstlers.
Gepresst für 45 RPM auf vier 180g Vinylplatten für außergewöhnliche Klangtreue, ist jede LP in einer eigenen Hülle mit passenden schwarzen Papierinnenhüllen untergebracht. Das Set wird in einem handgefertigten, strukturierten Schuber mit eleganten schwarzen Foliendetails präsentiert und enthält zudem ein Sammler Booklet mit Werknotizen und Credits.

Every journey has it's final beat.
This vinyl marks the last NTFO release - a record made to move bodies
and stay in collections long after the needle lifts.
No reissues! No repress!

After a two-year hiatus, Parisian imprint Visage returns stronger than ever. For this new chapter, the label proudly reunites with two of Romania's most refined producers. Sublee delivers two original cuts, warm, impactful, and imbued with that unmistakable touch of melancholy he masters so well. On the remix side, Cristi Cons brings his signature precision and energy, crafting a powerful rework set to turn dancefloors upside down.

Pryma's sixth release is also the debut album from Audio Labour, the new alias of Dani Labb and Montei.

V.I.C.A.R.I. (the acclaimed alias of UK producer Tommy Vicari Jnr) emerges with "Float In," a high-impact release tailored for dance floors and vinyl enthusiasts alike. The title track pulses with disco-inspired stabs layered over crisp, modern production, capturing both nostalgic club energy and contemporary momentum. Tracks like "September Again" delve into deeper territory, offering immersive atmospheres and understated grooves that highlight V.I.C.A.R.I.'s sophisticated touch and adaptability for various times. As usual this will be a Vinyl Only, No Repress affair.

Dutch titan Orlando Voorn plunges into deeper waters for his Lost Control 2097 debut. The opener ''Vibrations'' hits like a hazy '90s hip-hop daydream, wrapped in the glow of soulful deep house. ''Summer Breeze'' is strictly for the heads--pour up the gin and juice, kick back, and let the world melt for a minute. If you're hunting for that golden first strike, ''Purpose Pursuit'' cruises in with a boogie-soaked groove that feels like flipping through dusty dance-floor memories. And to top it off, label chief Black Eyes, the Prince of Hydro himself, delivers a remix that sinks you into a warm, tape-scarred drift.

Originally released in 2004, this record now fetches up to 50 euros for a used copy on Discogs. It has recently regained attention and support from current DJs and featured on Paramida’s mix for The Mudshow.
Da Sunlounge handles the A side with a funky, jacked-up track, while the B side features a collaboration with Office Gossip (Winding Road / Urban Tourq) for some deep, twisted tech house music. This release was initially supported in 2004 by Inland Knights, The Lawnchair Generals, Hipp-e, The Littlemen, and David Duriez.

Nae:Tek + Deemkeyne is a combination that always brings surprise and pressure on the dance floor: Destiny Path on the Side A showcases ethereal dub techno with an edgy groove with subtle elements that build tension while Wicked Structure on the side B is more dynamic and takes the audience on a deeper journey later in the night. Both tracks suit clubs for a discerning audience

Two seriously high-grade legends come together to mark the 30th anniversary of the cultured Seasons Limited imprint here: Don Carlos is behind one of Balearic house music's most enduring anthems in 'Alone' and Robert Owens has been voicing the genre since the 80s with his signature smoky tones. Here they cook up 'Inspired' in three different forms - there's a deep and soulful House Mix with an electric delivery from Owens, then a chord-laced and warm Classic Mix with a throwback Chicago bassline and finally a Dub Mix that strips everything back to a more breezy late-night sound that sinks you into the groove perfectly.

Music For Parents is a low-frequency, vibroacoustically informed album developed through research into sound, rest, and nervous system regulation. Composed between 2019 and 2020, the record explores slow-moving bass structures and reduced harmonic density, inviting a form of listening that is felt as much as heard.

The work emerged from a personal process, shaped by a desire to support rest and release through sound. Music For Parents takes its title reflecting on the dynamics of parent–child relationships - formative environments that shape emotional, sensory, and relational orientation, often without clear language or shared understanding.

While effective on standard playback systems, the album can also be paired with vibroacoustic devices such as bass transducers or wearable low-frequency systems for enhanced somatic engagement.

Legendary is a bold title for an EP, but is fully justified in the case of this new 12" from Silver Walker, which gathers some of house music's best and most proven talents. Jon Dixon opens with the light, fluttering house stylings of 'Five 15', which have sax motifs adding a touch of classy hi-tech jazz. Dallas man JT Donaldson follows by folding jazz phrasing into a swinging, deep house framework with understated finesse. On the flip, Abacus delivers 'A Gathering Of Griots' a warm, melodic cut bathed in sunlight and label head DFRA closes with a tribute to the great Mike Huckaby that is driving but soft, reverential and with a bittersweet energy.

Secrets Of Sound slip into electronic erotica with this new and steamy compilation of after-hours disco and sexually charged sounds. Both originals and tasteful reinterpretations of classic tunes from Kylie Minogue, Amanda Lear, La Tour and Enigma feature on this most intimate collection. There is blissed out depth from Ed Temple, Italo melodic flair from Lipelis and sultry vocal allure on System Olympia's 'Signal Your Love.' Elsewhere, Jorja Chalmers casts you adrift on a new age Balearic life raft and Gareth Anton Averill & Sobrenadar closes with the shimmering 80s nostalgia of 'Paris.' Steamy indeed.

After a busy year, Samy aka Kmyle returned to his own label imprint with a special collaboration series .

Launched in 2000, Post Office quickly became a landmark compilation series, featuring artists such as Ricardo Villalobos, Daniel Bell, Robert Hood, Dimbiman, Matthew Dear, Seth Troxler, Craig Richards, Losoul, Ark, Mr Oizo and many more. Each new edition stands as both a milestone in Logistic Records’ story and a forward-looking vision of the global electronic scene.

After a long hiatus broken by their inclusion in Om Unit's final epic Acid Dub Versions set, Alter Echo & E3 step out once more with the four-track “No Peace EP.”

With past releases on storied labels including ZamZam Sounds, Moonshine, Scrub A Dub, Lion Charge, LavaLava, and Khaliphonic, the duo opted to forego labels for this one, instead dropping the first release on their own AEE3 imprint.

The main mix of the title tune is a pounding dystopian slow-stepper collab with old friend & sparring partner Ishan Sound, dusted off and rebuilt after years on dubplate. Shot-through with stinging percussion, swirling with leaden atmospherics and dread truths, this one’s an absolutely uncompromising piece of supremely heavy steppers.

RSD’s remix opts for crystal clarity, extra layers of percussion, an emotional mid-range melody, and of course the huge bassweight Rob Smith is known & loved the world over for.

Om Unit’s “Kaliuyga Verse” recenters the tune on deeply spiritual indigenous wisdom spoken by Floyd “Red Crow” Westerman. This long-form rework fleshes out the instrumentation with classic UK dub percussion and FX, plus flute and much more, transmuting the original’s darkness into something magisterial and hopeful while maintaining absolute heaviness.

AEE3’s "Southeast Rock" closes the EP with a slower tempo meditation powered by a melodic bassline, chopped drums, dub tech stabs and righteous horns, an introspective ganja tune that will stay with you long after the runout groove.

Beat Machine Records is proud to drop the sixteenth chapter of its iconic Swinging Flavors series, starring Newcastle’s own Nectax — a breakbeat alchemist pushing jungle and D&B into jagged, unpredictable territory — backed with a remix from forward-thinking bass manipulator Fracture.

Cool Runnings is exactly that: a hypnotic, mid-nineties-tinged jungle cut stripped back and dubbed out, but sharpened with modern production techniques that give every snare and sub-bass a punchy, alive quality. Razor-sharp breaks collide with rolling basslines, weaving a track that’s at once nostalgic and fully of-the-moment.

The B-side flips the energy with Fracture’s remix, injecting fractured percussion, jagged fills, and high-octane bass tweaks. It’s a modern take that preserves the original’s laidback groove while kicking it into full-blown club chaos. Together, the two tracks form a high-voltage 7” that bridges classic jungle aesthetics with contemporary sonic experimentation. “Cool Runnings is my take on a laidback mid-nineties tipped Jungle track. Stripped back, dubbed out, but with a subtle focus on modern production techniques to tie it all together,” says the artist.

Following recent Swinging Flavors contributors like Ac1d Vicious, DJ Sofa, and Ornette Hawkins, Nectax marks the next evolution for the series: tense, textured, and unafraid to push the floor into new territory.
The release continues Beat Machine Records’ mission to highlight forward-thinking club music rooted in underground culture, with a sharp focus on physical formats and hybrid rhythms.

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

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

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

This all French affairs finds the eponymous Politics Of Dancing label head hook up with deep house head Djebali for a quartet of kicking minimal tech sounds. The swirling, circular bass of 'The Moment' soon gets your fists pumping, then 'Question' is a little more loose and wobbly - the fleshy bass and snappy snares contrasting one another nicely. On the flip, 'Ball Lightning' starts off with ascending synth lines and urgency in the grooves that will ensure plenty of locked-in dancers with withering sci-fi motifs adding a little cosmic escapism. The closer 'Whip' is the most fun sound - characterful synths and drums that duck and dive make for fresh house with a relentless groove.

The amount of quality music Burnski has produced, A&Red and released in recent years is off the charts. His labels are some of the most played in the underground right now, but that hasn't stopped him from starting another one here with Silhouette. Mundy is a new name to us, but has some serious chops on display here with six stylish cuts that explore the intersection of garage, tech and minimal. The synths are silky and the vocal samples are expertly placed to give each groove real character. 'Real Love' is deep and r&b tinged, 'Find You' has a dark low end and 'The Middle' is all about the filthy bass. Pure heaters.

Ed Nine hails from the birthplace of house and brings plenty of Windy City magic to this EP on Spanish label MATE. It's deliciously emotive tackle drenched in meaningful pads and, in the case of opener 'Feel It In Your Soul', an aching vocal sample that really sets it alight as the organic drums jack down low. 'Free Acid' is a stomping workout with prickly 303 lines defining the peak time vibe, then 'Out Of Line' cuts back into a more sunny sound with synths rising up through the mix and bringing joy. Closer 'The Drum Tool 3' is just that - a raw jam to help you get the floor locked in while moving through the gears.

Silhouette is a brand new label from Burnski, who is surely the hardest working man in the underground right now. His thirst for sounds that traverse the garage, tech, dub and minimal spectrum seems to be utterly insatiable. For the second release on his latest outlet, he enlists Budapest-based house-head Vitus. In return, he drops five tunes that will work the floor with muscular grooves but bring the fun with great samples. There's raw filth on 'Got Your Head Nod', choppy, jazzy loops on 'Mind State,' a more heads down minimal sound on 'Take Me (To The Floor)' and bubbly energy on the well swung closer 'House Is (Never) Boring'. A charming EP full of club utility.

Not long after the well-received 'Bottlemess Brunch' and 'Billa' dropped, the FLDIN2 label is back with another killer drop. This one, we're told, draws on Fold producer Rob's early immersion in pirate radio and record-collecting years in suburban London during the early 2000s. Lovers of Ben UFO, Joy Orbison and Floating Points will all be into the lo-fi designs, not to mention the irresistible garage, tech and dub swagger he packs into these jams. 'Lotion' is a crispy, tightly coiled and skeletal UKG sound underpinned with wobbly low ends and sprinkled with chopped vocal fragments that make for a ghostly groove. 'Soft Launch' is fuller, with a more boring emotional impact from the yearning vocal stabs that are teased and buried throughout the mix.

2026 Repress

Ivy Lab and Alix Perez have been astounding electronic music audiences for years throughout drum & bass and further afield with their own 20/20 and Shades projects respectively.

Now in 2016 the two forces combine for a collaborative release like no other, drawing their own distinct styles to create the beautifully diverse, 'Arkestra' EP.

Gennaro, formerly known as Blackchild, returns to Cécille Records with his second release on the label, delivering a confident and deeply musical four-track EP that captures the full scope of his sound.

Each track reveals a different facet of Gennaro's musical identity.from stripped-back, groove-driven club tools to more nuanced and emotive moments - all tied together by his unmistakable sense of rhythm and atmosphere. It's a release that feels focused yet expansive, showing an artist who knows exactly where he stands and where he's heading.

Nick Curly and Marc Scholl are proud to continue working with Gennaro and to welcome him back on the label with a release that underlines both artistic growth and creative consistency. This EP isn't about following trends; it's about personality, craftsmanship and club-ready music built with intention.

A strong statement, a natural progression and a clear reflection of Gennaro's range - this is his next step on Cécille Records

2026 Repress

French talent Hyden makes label debut on Mutual Rytm with conceptual new techno EP, 'To Whom It May Concern'. Hyden is a potent force in the French underground, creating powerful techno with dense percussion, immersive grooves and subtle nods to classic influences - all through his own unique lens. Having delivered standout releases in recent years, here he offers up sounds "anchored in psychoanalysis, time, and emotional residue" as he makes his mark on SHDW's Mutual Rytm imprint, delivering influences of dream logic and surrealism as the palette moves between brutality and introspection. "It's hypnotic music for moments of rupture where something breaks or breaks through". Opener 'Manifest Content' is inspired by Freudian theory and explores the surface illusions of thought and dream. It's about the dissonance between what we perceive and the deeper meaning that slips away beneath and is a deep and dubby techno track with flashes of unsettling melody. 'Bruises' is emotional trauma made sonic. This piece delves into invisible scars and traumas, residues of past conflict or intimacy - it's slow-burning, heavy and raw. 'Jikan' is a meditation built on time and its erosion. Inspired by the Japanese concept of impermanence, it reflects fleeting moments, decay and the tension between stillness and motion with jacked up but warm drums and turbulent bass. Next, 'Free Will' is born from inner conflict and plays with deterministic rhythms and evolving layers, questioning whether we are truly in control or just passengers in a prewritten sequence. The vocal mentions, "creatures, you're out of time" to bring darkness to the intense but sleek rhythms. The streamlined physicality of 'Swarm' channels the primal force of collective movement and is a nod to the loss of individuality in group behaviour. In addition, the package is loaded with digital bonus cuts. 'Yumehara' is a dive into surreal dream-states and evokes subconscious landscapes where logic dissolves and emotion reigns, while 'Lu Bu' is brutal and warlike and named after the legendary Chinese general that captures impulsive violence, betrayal and reckless glory with relentless energy and rhythm. Lastly, 'Neon Pale' is a synthetic dreamscape about fading beauty under artificial light - a melancholy ode to cities at night and the loss of warmth in modern life.

Hidden Spheres is a Rhythm Section mainstay for a reason: having released 3 EPs on the label, he has
developed his sound and fully emerged into a flow state. His residency at Public Records has enabled him to mould an EP perfect for any dancefloor, perfecting a Detroit indebted House style with influences from early Kerri Chandler and Ron Trent perfect for those heads down, hands-up moments.

Delivering 5 tracks that master dancefloor tension, it's difficult to pick a stand out. “Come On, Yeh” harks
back to the New Jersey House sound with dubby organ chord stabs and punchy 909 drums and a sublime bongo loop. “Don’t You Wanna” welcomes the house dancers, with a low-slung, heavily swung groove, resampled pads, and a deep spoken refrain that gives the track its title. Kicking off the B-side “Get Down” hits the subs, with unmistakably phat bass, moody strings and broad use of the iconic M1 organ bass patch “Organ2”. Followed by “I Feel Good” brings police sirens, 808s and swirling pads, to a glorious Deep House tune with a top chime motif that keeps the party moving. The final track of the B side, “You Don’t Know”, takes things down a notch, but maintaining the sublime tension with classic house piano chords and another wicked percussive loop.

Hidden Spheres has returned to his unadulterated House roots, with an EP that stays true to the classic sound. He has shaped an awesome body of work with character from deep spoken word samples, perfect use of dub sirens and grooves that can give any club a reason to invest in bigger

2026 Repress

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

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

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

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

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

TCHDWN, the former DMC Vice World Champion and Barcelona based artist, returns with the highly anticipated second chapter of his vinyl-only series: "BCN City Of Mind Summer Collection." Following the success of the Spring Collection, which garnered support from artists like Gabbs and Velasco, this new volume elevates the journey. Still calling Barcelona his creative home since 2018, TCHDWN continues his sonic exploration of the city, capturing the heat, the late night energy, and the relentless pulse of a Mediterranean summer!

Kenshi Yonezu’s cinematic new chapter comes to life on vinyl.

This special single features Kenshi Yonezu’s latest hit IRIS OUT, the evocative theme from CHAINSAW MAN – THE MOVIE: REZE ARC, Top 5 of the Billboard Global 200 charted song,

becoming the highest-ever charting position for a Japanese language song, alongside JANE DOE, a powerful collaboration with J-pop icon Hikaru Utada. Blending Yonezu’s inventive

production with Utada’s signature vocals, the track marks a landmark meeting of two of Japan’s most visionary artists.

The release also includes Yonezu’s global platinum hit KICK BACK, together with fresh remixes by Frost Children and 2 more, each reimagining the song through a distinctive creative lens.

Pressed on single black 45 RPM vinyl, IRIS OUT/JANE DOE is housed in a sleek single-pocket jacket with a fold-out 12”x24” insert including an Illustration by Kenshi Yonezu, making it a

must-have for collectors and fans of Kenshi Yonezu’s bold, genre-defying sound.

No stranger to the game, Jay Tripwire returns bringing his usual caliber of stylish, late night tales.

2 extended no-nonsense cuts combine to form his ‘Jazz is Pain’ EP. Ethereal themes bleed through a body of meticulously programmed rhythms and beats that bubble and bleep in “Jazz is Pain”. With sprinklings of deep tones and jazz notes creeping in throughout, Jay delivers some otherworldly weaponry fit for the darkest hour.

“Jazz is Life” embodies the spirit of world music as he tells the story through twisted and tweaking lenses, as a plethora of drums, calls and crashes lead the way, punctuated by a tight rhythmic section that ticks away.

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

With this new LP, i had Discover a new mindset into the composition and try to explore some new ways i never explore..
Thanks to my family and friends for the unconditional support, after my 10 Years break in the Music industry.

// PRODUCED BY MORGAN TOMAS
// MIXED BY MORGAN TOMAS
// MASTERED BY TIM VITEK
// ARTWORK BY VORACE

Now, the third one. Number three practiced the Scorpion style.
The style resembles the Scorpion pincer.
He came a little later. So he never met number one or number two.

For our second release of the year we have Sonidy & Benny S joining the label for a brand new House EP. Featuring four carefully crafted tracks, the release showcases their shared vision and refined sound, delivering groove, energy, and a strong dancefloor identity.

A joke that doesn’t make you laugh is just a sentence. Music that doesn’t make you dance and feel is just noise aimed in your direction. To make a circuit where energy flows freely, you must have feedback. Without feedback, connection is absent. As Limousine Dream enters the Age of Aquarius, we open up. Instead of trying to grow, we let it grow. Instead of building a pyramid, we see a constellation where we are all stars, and every star can equally stand out and fit in. We invite you to join us, just like we want to join you. This is where we begin our Life Spiral.

Following his debut on ICONYC in late 2024, Italian producer Daniel Tagliaferri returns to the label as Ivory with "Want", a four-part suite that deepens his sonic language and sharpens his emotional vocabulary.

With a precise command of space, rhythm, and tension, "Want" feels less like a follow-up and more like a statement of intent, one that situates Ivory among the most sensitive sculptors of the modern dancefloor.

2026 Repress

Lars Huismann returns to Mutual Rytm as he delivers the second instalment of his "Sounds From The Past" trilogy on the label.

As SHDW & Obscure Shape's Mutual Rytm imprint continues to grow, it's clear that the DJ and producer pairing have a strong vision for the label and are building an equally impressive roster of artists to form the imprint's core family members. One of the early standouts is Lars Huismann, who arrived to deliver a selection of impactful offerings influenced by the "golden years" of techno in his own unique style crafted by various production techniques. Having featured on the label's opening VA and delivered the first EP for MR002, racking up a wealth of global support in the process, mid-November welcomes a return for the Berlin-based talent as he serves up six fresh cuts in his signature sound for "Sounds From The Past II".

Opener "Sounds From The Past II" is an action-packed title cut fusing typically slick rolling grooves with hazy melodies and atmospheric releases of tension, while "Propulsion" takes cues from its title and sees precise drum shots, echoed background vocals and a tunnelling groove taking the track right into the thick of the action.

On the flip, B1 "Loucura" brings a percussive workout as frantic organic drums and resonant brass melodies bring a party
to proceedings, with "Stroke" and "Nudge" both armed with tough kicks, zipping synths and more subtle vocal work.

Digital buyers get an extra exclusive in the form of "Dub Division", welcoming a slightly more subdued but equally as impactful track guided by dubby chords and peppy hi-hats to close the show.

DJ Amir takes another deep dive into the back catalogue of Detroit's legendary Strata Records to curate a 2nd volume in his Strata Records – The Sound of Detroit compilations. Whereas volume one took in the soulful edge of the Strata canon this volume, as Amir says, 'leans into the label's groovier, funkier edges whilst still celebrating its bold, avant-garde spirit.' DJ Amir's relationship to the Strata label has resulted in the release of the long lost Charles Mingus live 'Jazz in Detroit' box set released on BBE Music along with re-issues from The Lyman Woodard Organisation and re-imaginings of Strata's genre defying music by Berlin based DJ and producer collective, Jazzanova as well as remixes from Kai Alce, Wajeed, Henrik Schwarz, re.decay and DJ Amir himself and, of course, volume one of The Sound of Detroit. Featuring music from The Soulmates, Fito Foster, Keith Boone & Janice Coombs and The Contemporary Jazz Quintet amongst others, The Sound of Detroit volume 2 absolutely exemplifies the importance of Strata Records in the history of innovative Black music as well as its place in the cultural landscape of Detroit as a powerhouse city for art and music. Released by BBE Music in collaboration with 180 Proof Records as a triple vinyl LP and high res. digital download DJ Amir presents Strata – The Sound of Detroit volume 2 really is a gem of a compilation to grace any serious music head's record collection.

ElCalefón

Salir Del Agujero

El Calefón's 1985 LP Salir Del Agujero is a rare bird.

Self-produced and privately released in Zurich, the albumdocuments one of the very few South American groups that were resident in Europe at the time, and certainly the only such band working in Switzerland. Co-founded by two Argentinians in Europe – the multi-instrumentalist, vocalist and composer Coqui Recaand the guitarist Pablo Miguez–the group consisted of Argentinian and Brazilian musicians, most of whom were present initially Europe as tourists, but had stayed on, without official sanction, as immigrants.Their music gathered its primary influences from the varied sounds of their home countries, fusing these elements drawn from the manifold indigenous styles of Argentina and Brazil with the international sounds of rock,jazz, pop and pan-Latin music.

Honed and polished by the steady gigging through which the group earned their living in Zurich, the music that appeared onSalir Del Agujero was sophisticated, original and filled with light. Resonating with a freshness undiminished in forty years, the album brims with possibility and hums with tropical warmth, bearing testament to the open-hearted musical freedoms of a mercurial musical era.

Detroit sisters The Jones Girls were a hugely popular part of Philadelphia's PIR stable throughout the 1970's and 80's.
They cut numerous sides for the label aided by the incredible production and arrangements of the infamous Gamble and Huff hit machine.
'Night over Egypt' is surely one of their most enduring, evergreen tracks. As popular today with people as it was on it's 1981 release.
A record that truly transcended genre boundaries and touched people from all walks of life and of all taste persuasions, it is a true soul classic. Often imitated yet never bettered! It's no wonder the 12" has always been sought after, sometimes commanding collectors prices on the used vinyl marketplace. The flipside 'Love don't ever say goodbye' is a sultry, Dexter Wansell produced slow-jam that ticks all the right boxes! One for the lovers out there, pure quiet storm business.
This is a fully legit reissue, made in conjunction with Above Board distribution and Sony music, sourced from their vaults using original source material and remastered and repressed to the highest standard for 2018 and featuring all original 1981 PIR label artwork.
Here's your chance to own yet another essential stone cold classic from the archives!

Dublin meets Rotterdam.
Following the highly acclaimed Combination 2 EP featuring Pineal Navigation & Stanislav Tolkachev, Dublin-based label Awareness System returns with its boldest statement yet. Combination 3 EP unites the rising label head Pineal Navigation with Rotterdam’s prolific techno force Charlton for a powerful six-track split release. This third instalment in the Combination series delivers a deep dive into raw, machine-driven Techno and Electro, embodying the spirit and authenticity of the true underground. Each artist contributes three tracks, creating a dynamic and immersive listening experience designed for peak dance-floor impact.

Charlton opens the record with relentless grooves in “Whats The Answer” and “Relentless Pressure”, setting the tone with punchy Detroit tinged poly rhythmic driving energy. Pineal Navigation answers on Side B with “Forward Ever” and “Datafried”— two tracks of mechanical funk layered with cerebral textures that push the listener into a state of sonic bliss.

The journey continues as Charlton closes Side 1 with “Feeling Cloudy” an emotive track that blends his signature gritty, rhythmic percussion sound with dub-inflected techno elements. On Side 2, Pineal Navigation finishes the EP with “Purpose” exploring his electro influences through hypnotic synth lines and wandering vocal fragments that propels and image of a futuristic terrain.

Combination 3 EP stands as a testament to both artists’ commitment to crafting forward-thinking electronic music while honouring the underground ethos that defines Awareness System

A label long synonymous with raw, off-centre electronics and uncompromising club tools, Bjarki’s bbbbbb recors welcomes a producer whose approach feels cut from the same cloth, London’s Henry Greenleaf. In an era where functionality often outweighs feeling, ‘Brawn’ is a record that doesn’t court approval; it insists on impact. Built for high-pressure systems and low ceilings, it channels force not as spectacle, but as design.

Greenleaf’s catalogue to date, spanning labels such as Par Avion, YUKU, and ARTS, sketches a restless trajectory between precision and collapse. His productions operate where rhythm becomes architecture: kicks land like poured concrete, subs buckle and flex beneath shifting percussive grids, and textures are stretched until they fray at the edges. Sound is treated as a physical material, layered and stress-tested, reshaped until the familiar mutates into something tactile and strange.

Across the EP, that philosophy takes full form. A1 ‘Brawn’ sets the tone with dense, piston-like drums and tightly coiled low-end pressure, balancing brute force with meticulous spatial control. ‘Jump Up To Be’ follows with a more fractured swing, percussive shards ricocheting across a framework that feels perpetually on the verge of rupture. On the flip, ‘Gawk’ strips things back to skeletal components, carving negative space between distorted pulses and menacing, warped rhythmic figures, before ‘UNTUNTUNT’ closes the record in driving fashion, delivering a raw, functional workout that reduces the groove to its bluntest, most hypnotic form.

True to the label’s ethos, ‘Brawn’ doesn’t chase trends or smooth its edges. It folds air and pressure into motion, pares club music down to its working parts, and leaves room for spontaneous chaos to erupt within the grid; moments where structure splinters, energy misbehaves, and control gives way just enough to keep things volatile. Engineered yet unpredictable, utilitarian yet unruly, the EP embodies the tension, unpredictability, and uniqueness that have long defined bbbbbb recors.

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

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

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

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

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

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

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

A Profound Non-Event, the debut album by Sydney-based three piece Daily Toll, comprises 11 songs traversing three years of forged friendships, collaborative experimentation and a shared love of growing through words and song.

Those attuned to the ever-vibrant Australian underground may already be well familiar with Daily Toll, their consistent live presence since their inception in 2021 embroidered by a handful of (mostly) home-recorded, (mostly) digital self-releases that have steadily accumulated an appreciative following. Initially the project of self taught musician, poet & artist Kata Szász-Komlós(they/them) and Jasper Craig-Adams(he/him), and expended to a three piece with the more recent addition of friend Tom Stephens(he/him), Daily Toll represents the union of three unique creative dispositions, of relationships blooming through the push and pull of creative practice. Mapping the band’s existence through their recorded output is to bear witness to the flux of three people learning to respond to one another and gently ossify into a collective vision that at once calls to mind folk song intimacy, post-punk dynamics and the artful poeticism of an adjacent Flying Nun legacy.

If those earlier recordings reflect a band imagining themselves into being in real time, A Profound Non-Event observes a clear shift in both conviction and approach. Recorded in just three days with Alex Bennett at the purely analogue Sound Recordings studio in Castlemaine and holing up at night in the century old cottage situated beside the studio, sheltering from the late-June wind and rain within walls littered with instruments and microphones, lighting fires to stay warm. Kata describes the experience as defined by “candle light and creative camaraderie”, an idyllic account of a collection of songs that glide with an undeniably warm, easy charm, evidenced in particular in the record’s second half as the tone turns increasingly introspective, the very sound of a cold evening’s drift into night. When contrasted with the moody swirl and sing-song bounce of the opening trio of tracks, there’s clear evidence of a band not simply in the process of becoming, but committed to finding their truth in that process.
Still, if Daily Toll display a reluctance to be wholly defined, then album centerpiece ‘Killincs‘ (positioned in the middle for a reason) might just be their Rosetta Stone. A verbose rumination on unsettled feelings of isolation and longing, exploring the challenges in making peace with one's decisions amidst the uncertainty of an often harsh world and the realisation that some things remain best unresolved - “I have the keys still, but I’ve buried the path”.

For this edition, the label meets this duo of producers, that has been created by the musical synergy between Zonker and Daniel Gorziza, who go by the name – “SameSame”. This disc has been titled “Unconditional Society” and has been crafted with a mission to be brought to the worldwide dancefloors and to be foreseen by the adepts of the sound it conveys. The A side is opening with a deep trancey burner “Suspect Zero”, with time passing this side of the record is morphing into the prime-time speaker ripping sound of “Rip the Jacker. The B side will see more mellow feel to it and sometimes even could be said that the vibe turns relatively melancholic by the time the record reaches its natural conclusion. The words that have been shared do not translate the profoundness of the subject that the artists have carried through, but then again, sometimes them letters have to be present even if they are kept to the slightest. The frequencies communicate much superior to the words and by now you can stop reading this and immerse yourself into the sound.

&Co. debut on A Quiet Village. The US-based trio drop the third release on Quiet Village’s eponymous imprint March 20th. &Co. Is a project from multi-hyphenate and Bianca Chandon founder, Alex Olson, pianist, composer and producer Alberto Bof (known for his work on ®Oscar ®Bafta ®Golden Globe and ®Grammy award winning ’A Star is Born’) and DJ/fashion luminary, Paul Takahashi. The trio’s second release, ‘Staycation’ follows 2015’s ‘Best of Friends’, and sees these rare talents create a two-tracker that explores a uniquely evocative, cinematic and dubby Balearic aesthetic. ‘Staycation began as a follow-up to the first EP, Best Friends.

As a result, ‘Staycation’ came together in fragments. The first track was built over a handful of short studio sessions, each only about an hour long, driven by brainstorming and reworking ideas. With Alex away, Alberto and I continued refining the piece in Los Angeles, sharing updates for Alex’s approval until it was completed. The track remained unmastered and was quietly circulated to a small circle as a promotional piece. The second track, “Lean Like a Cello,” was initially conceptualized together. However, with Alex now based in New York and less available, we completed the arrangement in Los Angeles, sending versions back and forth for Alex’s input and feedback. Nearly a decade later, the idea resurfaced, and the recordings were finally mastered and released. A friend, Justin Van Der Volgen, handled the mastering. What began as a plan to give the tracks away as a promo evolved when Justin encouraged the group to shop the release. With help from Eric Duncan of Rub N Tug, the music reached Matt (Edwards, aka Radio Slave/ 1/2 of Quiet Village).

Ten years after the first sessions, Staycation arrives as a document of distance, collaboration, and time. A project shaped as much by separation as by shared intention.’ (Paul Takahashi, Feb 2026)
A piece of art from a powerhouse creative team operating at the intersection of skate culture, music, design and fashion, ‘Staycation’ by &Co. Arrives on The Quiet Village 12” and digital/streaming on March 20th.

“My auntie asked me what’s my path?” spits Lord Jah-Monte Ogbon on his de but from the celebrated Lex Records. The lyric relatably references the cross roads he’s at in his current life, especially as someone right on the cusp of rap stardom. “Recently I’ve been thinking more and more about what comes next in my life,” the artist reveals.


It’s fair to say Ogbon’s Lex LP features less of the sh*t-talking court jester of old. Instead, there’s more of an imperfect man re-examining past mistakes so he can avoid any future forks in the road. There’s a particular focus on over coming heartbreak, inspiring Ogbon to admit he’s haunted by an ex so badly he now needs to call up the Ghostbusters for assistance.


Since emerging in the late 2010s, Lord Jah-Monte Ogbon has consistently lit up America’s underground rap scene and this is thanks to a refreshingly honest writing style. Amid the exquisitely wavy strings of 2021’s The Missing Link / The Sneaky Link, for example, he rapped: “Everyone thinks they’re play er, until their bitch doesn’t come home.” Biting and snappy, the nasally vocals carry the playful verve of comedian Richard Pryor bravely excavating personal Demons to solicit giggles.


All this brash, wry Redman-inspired storytelling continues on the new pro ject. Its first single is titled I’m Signed to Lex, Now I’m Up – a name that mirrors what a big moment releasing a project on the label that once housed MF DOOM represents for Lord Jah-Monte Ogbon’s legacy. “I’m really driven by being able to level up and give my family more financial freedom,” he hopes.
And, if auntie asked what his path was right now, what exactly would the rap per say? Lord Jah-Monte Ogbon concludes: “Auntie: this rapping thing feels like it’s finally about to pay off!”

2026 Repress

Weiss has made a bit of a welcomed habit in recent years of dropping a Sun-drenched bomb on Toolroom around this time of year and following on from 'You're Sunshine' last year, 'Feel My Needs' is his submission for 2018!

Recent Weiss highlights have included him playing the main stage at Dirtybird's own Campout festival, regular dates at the world-renowned Fabric as well as a US tour and an album in the making.

In true Weiss style, this record will have the hairs on the back of your neck standing to attention in a matter of seconds. Lush, old skool piano riffs and sublime vocal licks, all laid over the top of a crisp and infectious house backing.

This is a sure-fire future anthem with two killer remixes to add to the vinyl from Purple Disco Machine and Gorgon City, both of which have been premiered on the mighty Radio 1 Dance shows.

DJ Support:

Pete Tong, Annie Mac, Danny Howard, MistaJam, Huxley, Gorgon City, Claptone, S-Man, Dario D'Attis, Robosonic, Dosem, Tube & Berger, Steve Lawler, Groove Armada, Sonny Fodera, Man Without A Clue, The Magician, Eli Brown, TCTS, Martin Ikin, Mat.Joe, Richy Ahmed, Low Steppa, Kry Wolf, Kraak & Smaak, The Golden Boy

After finding homes in all the right record boxes last summer with their debut 'Anthem' - 'You & Me & The Music'

The CJP Band return to Supa Jams with two more perfectly crafted sides of Disco Jazz Funk and Soul.

Side A delivers a monster rework of the Aquarian Dream classic 'You're A Star".

A tour de force from start to finish. Taking the timeless original to stratospheric new heights.

Side B brings things back down to earth, literally. Joe Bell joins the band on vocal duties for 'World Gone Crazy'.

A string drenched lament on the madness the earth, despite enduring multiple ills for far to long already, Seems to herald yet new levels of crazy on an almost daily basis. Is there nothing we can do?

Limited Black Vinyl Pressing

Hand Stamped Sleeve

Don't Sleep

Artist, painter, curator Leo Vincent, is fired up off the back of supporting Soulwax, on their recent Paris and Netherlands shows. Proudly presenting two debut songs “Hello it’s me again” and “Loving isn’t easy”, co-produced with the brothers, David & Stephen Dewaele, of Soulwax/2manydjs.

Seven years ago, Leo Vincent bluffed his way into a video editing job at DEEWEE. Despite being told to not touch or ruin their gear, he later resurfaced with demos that sounded like he had anyway.

"Don’t know much about history”
"Don’t know much about biographies"

But we do know that by the time Leo Vincent arrives in your town, he will probably have destroyed two more Tascam 8-tracks.

Brussels-based, failed goalkeeper-turned-painter-turned-cameraman-turned-musician Leo, doesn’t seem to be afraid to leave his faders in the red zone for an unorthodox period of time while repairing the pitch knob. Some say it’s disco for night janitors. Some say it’s glam-rock for ravers. Others haven’t found the time to listen yet because they have real jobs.

But to fully grasp Leo Vincent's essence, imagine yourself sitting in the home cinema of the late Marc Bolan while watching a documentary on Scatman John, directed by Jacques Tati and scored by Ween, using only the instruments of Cabaret Voltaire.

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.

Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.

“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.

Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.

Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.

Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.

Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.

With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Tracklist:

A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals

A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals

B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals

B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals

B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals

B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer

B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass

B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums

Credits:

Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle

Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)

Photography: Claudio Virgínio
Design: Minchai

Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany

Small Great Things / Small Great Beats returns with a shiny yellow vinyl by Quadrakey - the Summer Vibes EP.

With SGB003, Small Great Things delivers a warm and groove-driven vinyl release from Quadrakey, featuring four carefully crafted cuts designed for both late-night dancefloors and sun-soaked daytime sessions.

The EP opens with A1 Good For You, bringing uplifting, feel-good house energy driven by a steady groove, playful details, and a warm bassline that instantly sets a positive tone on the floor. A2 Feel Alone follows on a deeper and more emotional tip, exploring hypnotic rhythms and moody atmospheres, perfectly suited for intimate club moments and late-night transitions.

Flipping to the B-side, B1 Dancing With You delivers a smooth and infectious flow built around rolling rhythms and subtle melodic touches, balancing elegance with dancefloor functionality. Closing the record, B2 Summer Vibes lives up to its name with sunny chords, relaxed grooves, and an effortless open-air feel, ideal for daytime sessions and sunset sets.

From hypnotic grooves to feel-good summer moods, SGB003 showcases a refined and confident production style, staying true to the Small Great Things philosophy: quality music, pressed on vinyl, made for DJs who value depth, groove, and longevity over short-lived trends.

A solid addition to any record bag, SGB003 captures the essence of modern house music with a classic touch, simple, honest, and effective.

The upcoming release scheduled for 2026 is made by the Irish London-based artist Cherrie Bea. Emerging electronic artist carving out a distinct space in the UK scene with thoughtful, deep and atmospheric productions that blend house, ambient textures and soulful guitar work. Their debut EP Jafar’s 21st introduced a warm, late-night sound that’s already earned support from underground tastemakers and NTS. Their latest release, Pearlescent, highlights Cherrie Bea’s playful, experimental edge, a collection of carefully crafted tracks that invite listeners to feel, interpret and experience the music in their own way Cherrie Bea stands as a reserved and introspective figure within the electronic scene, serves as a true statement piece, live instrumentation, ethereal synths, processed vocals, and dense harmonies wrapped in a late-night / early-morning atmosphere. The forthcoming “Pearlescent” EP, released on Series of Taboo, fully embraces that mindset: 4 tracks blending house, funk, and a touch of electro.

*Originally pressed in 2021 - this is a brand new master and cut.**

In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.

Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:

"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."

Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:

"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."

An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.

On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.

'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

"Ed DMX has been part of Shipwrec since the label's inception. Under his DMX Krew moniker, this analogue wizard has released four Eps and one LP on the Nijmegen imprint. DMX Krew returns to Shipwrec for a brand new album, a collection that displays yet another side of this sculptor's sound. Brutal and cold, shadows are long and shades dark from the outset. Drum patterns twist in tempo and intent, from hard and punishing to gentle and fragile. Elements of breaks and industrial are also present in the percussion, this fragmenting allowing deep and soulful melodies to counter the battery. In fact, echoes of electronica permeate the harmonies across the LP such as deep and divergent "Interrupt." No single style is adhered to. Instead, the full palette of machine music is employed. From the squelchy Tudor electrofunk of "I Wonder Why" to the melancholic braindance of "Rephlections in Time", genre boundaries are given little credence. Instead, Ed DMX draws on his decades of experience to create sounds that are both familiar and completely one of a kind. The deep-sea dive of "Final Comedown" is juxtaposed with the ambling calypso of "Dinosaur Reaction", styles reimagined and reshaped to the creator's evolving purpose. Echoes of the halcyon days of Rephlex permeate the 2LP. The harshness and softness of the Cornwall imprint being present throughout, those more subtle tones coming to the fore in the delicate beauty of the "Phaser Level 2." A transcendent album and a certified future classic. To accompany this very special release, there will be a limited edition run with full cover art by Ruwedata. An artist very close to Shipwrec's heart, Ruwedata was responsible for the sleeve work on DMX Krew's Cosmic Awakening."

MTY-3.14 “π”, released on March 14, 2026, is the fifth and final chapter of a journey begun fifteen years ago.



This standard edition presents the final form of Polar Inertia across three 12" vinyl records, featuring 11 tracks. Nothing added, nothing removed—only the music, unfolding in full.



Images dissolve, words fall away. What remains are faint echoes, like footprints slowly erased in fresh snow.



This final opus does not close the path. It fades into it. π is not an ending, but a state: the moment where movement continues, even as the world turns silent.



A last step.
A final trace.
Still moving, beneath the cold.



POLAR INERTIA



We are no one because we want to be no one,
And to be no one we have to be everywhere and nowhere- Polar Inertia examines the enigmatic and blurry realms, embracing the art of obscured vision.


Encountering the collective Polar Inertia is much like being absorbed by fog and captivated by its ever-shifting forms and densities, with things being as indistinguishable as in a whiteout.



Formed in 2010 by a group of artists, Polar Inertia transcends visibility, delving into structures that lie beyond the public gaze. Layers upon layers intertwine within the fabric of Polar Inertia, extending beyond their profound electronic compositions and live performances. It manifests as a conceptual universe, where sound, monochrome aesthetics, and elusive narratives converge, much like trying to grasp the intangible fog. The entity that is Polar Inertia is involved in installations, print- and video work and texts created for different contexts and live in different spheres such as Palais de Tokyo in Paris or the Lyon Biennale of Contemporary Art. Still, clubs and festivals are perfect spaces to experience these nebulous soundworlds and immerse in them. Fittingly, some of Polar Inertia’s appearances include the colossal halls of Berghain and Bassiani and at experimental festivals like Mutek Montreal and Atonal Berlin, that like to break with the classic club conventions.



Polar Inertia's sonic landscape unfolds with wafting textures accompanied by resonating beats and drones, reverberating through empty spaces, merging with the vast expanse of nothingness. Their sound exists at the crossroads of ambient, experimental, and deep techno, interwoven with vocal narratives. Since their inaugural release “Indirect Light“ on Dement3d Records in 2011, they remain a stronghold of relevance and captivation in the electronic domain.



Mastered by sixbitdeep, with artistic direction by Diplomatie Studio.

INDUSTRIAS MEKANIKAS is back with the third instalment of the ANTIKHRIST VISIONS saga. This release is particularly symbolic: it’s the ninth in the catalogue, marked by the infernal numerology that runs right through the whole series. It’s a descent into a sonic underworld, where noise becomes ritual and pleasure is just pure agony.

The artist tasked with opening this new chapter of the saga is the mighty Óscar Mulero, an essential figure on the national electronic scene and one of our biggest international ambassadors, whose career has left a deep mark on contemporary music. Here, with Faceless, he delves into dark, precise, and devastating electro territory; a spiritual machine that dictates the pulse of chaos.

Next up, we’ve got Pressurized Modulator with Reddrum: hard, crunchy, industrial electro, absolutely buzzing with electrical tension and twisted sonic matter.
Closing out the A-side is Jacko Volvone (aka Hoax Believers) with Quieren Cerrar Las Fábricas: a track that expertly blends electro, techno, and post-punk echoes, resulting in a tense, distorted, and combative sound, like a working-class echo shouting from the abyss.

Flipping over, the B-side opens with Hanging Nuts (made up of Waje Martín, Fake Robotik, and Ruben Montesco). They unleash a murky descent of filthy, distorted, primal electro, slashed through with guitars and raw, guttural vocals: a genuine chant from beyond the grave. The second cut marks the debut of Techselektah & Phil Fork with Champagne No Potable: a raging street anthem packed with fury, energy, and social criticism, where Spanish vocals emerge amidst EBM structures that have that ‘80s spirit, reinterpreted with today’s raw edge. And the big finish is down to HBK1 alongside Rigor Mortis, with Instinto Caníbal: a full-on explosion of electro-industrial and EBM that awakens the body’s most primitive urges.

Antikhrist Visions Vol. III is a sonic summoning from the lands of Hades: ritualistic matter, organic sound, and primal force. A testament to pleasure and torment—Tormento do Gostar—etched into the vinyl as if it were molten iron.

Memento Mori.

The latest from master editor Mr. K, a jazz-funk classic backed by a Philly sure shot!

Debuting in 1975, the jazzy RnB instrumental ‘Always There’ from original Earth Wind and Fire saxophonist Ronnie Laws was a hidden gem until Side Effect’s vocal version took off the following year, one of many cover versions to come (Incognito’s hit the pop top ten in the ’90s). Mr. K's edit streamlines the original, mimicking Side Effect’s distinctive horn stab intro and adding a DJ-friendly drums-only outro. With original 7-inch releases being either fragile styrene or unreasonably short, this extended vinyl pressing is very welcome.

A song that needs no introduction—coming from the very best there is—the O’Jays backed by MFSB! ‘For the Love of Money’ rides one of the most immense bass lines ever committed to wax and, while that would be enough to carry a track on its own (see the Armada Orchestra’s cover), here we have the talents of the timeless O’Jays vocals to top things off. Mr. K has found the perfect balance between the Lp and single versions, giving us the very best DJ-friendly 7" mix that should never leave your bag.

Walter Thomas’s “Chicago Knights” LP features a retrospective of songs written and released between 1987 and 2009, primarily with the Roland 1824 and the Fostex 8 track reel to reel. Channeling the spirit of underground soul and dance music specifically rooted within the greater area of Chicago, Illinois–a city known for its deep and healthy soul and r&b roots–this compilation features 8 of its 9 tracks on vinyl for the very first time.

The intro track “I Wanna Get Witcha” dates back to 1987, holds a proven track record of kicking off many a dance floor, rocking clubs worldwide in a blur of boogie-funk, disco, and soul. “Immaturity” and both versions of “Fed Up” echo the emotional differences and tensions between lovers in a spat. “Magic City” served as the anthem and homage to its namesake roller skating rink in 90s-era Waukegan, IL. While “Chicago Knights” is a relentless mid-tempo groove inspired by the aggressive motorists that dominate Chicago roadways, “2nd Chance” drops the tempo to a slow r&b roll, preaching the ethos of love, peace, and forgiveness.

Last but certainly not least, “E&J’s” was a real commercial jingle used for a once legendary BBQ joint “E&J’s” in Illinois: a short bonus track to close out the LP. These 9 tracks are just a touch of Walter’s expansive body of work, and we’re stoked to bring them to you on wax.


Walter Thomas is a singer, songwriter, producer, arranger, and composer from North Chicago, IL known for his soulfully smooth arrangements and vocals. Walter has toured internationally with quintessential soul groups like the Temptations and Friends of Distinction, as well as opening for performers including the Floaters, Bette Wright, The Emotions, and The Drifters. His decades of touring with nightclub and concert performances have honed this gifted artist into a seasoned and refined live act.

Tim Maia’s self-titled 1973 album is one of those records that hits you from the very first groove and doesn’t let go. Originally released on Polydor Brazil, this was the fourth in a series of Tim’s self-titled albums and many fans and critics still consider it the crown jewel. Packed with irresistible hooks, lush arrangements, and that unmistakable Tim Maia swagger, the album captures the singer at the peak of his creative powers.If you’re new to Tim Maia, here’s the quick story: born in Rio de Janeiro, Tim was a larger-than-life icon whose music married American soul and funk with Brazilian samba and pop long before “fusion” was a buzzword. A true musical polymath, he absorbed everything from Curtis Mayfield to Motown and translated it into a sound entirely his own, gritty, passionate, and full of groove.



He didn’t just introduce soul to Brazil; he made it Brazilian.On this 1973 release, Tim pushes everything up a notch. The arrangements are bigger, slicker, and surprisingly majestic, without losing the raw spirit that earned him a devoted following. From the moment ‘Réu Confesso’ opens the album, you know you’re in for something special—smooth, funky, and heartfelt in all the right ways. The bittersweet ‘Gostava Tanto de Você’ remains one of his most beloved classics, while ‘O Balanço’ bursts with Brazilian flavor that practically dares you not to move. And with tracks like ‘Do Your Thing, Behave Yourself’ and ‘Over Again,’ Tim shows just how naturally the soul idiom fit him, even when he switched to English.This record has everything: deep grooves, soaring strings, magnetic vocals, and that unmistakable sense of joy that Tim Maia carried into every session. It’s a front-to-back winner—one of those albums that deserves a spot not just in Brazilian music history, but in any collection that celebrates great soul, funk, and timeless grooves.If you’re a longtime fan, it’s a reminder of why Tim Maia is legendary. If you’re discovering him for the first time, this is the perfect place to start. Either way: press play, turn it up, and let Tim do his thing.

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

That’s a project led by a flamenco guitarist who turns out to be a talented lyricist and singer.
Billy Sharp received early support from Billie Eilish on SoundCloud and later from Nils Hoffman, who fell in love with his toplines. This first glimpse into his musical landscape reveals an intriguing personality, touching contradictions, but beyond that and more simply: a voice, a guitar, and mesmerizing melodies.

We're talking about music that moves, transcends, and resonates with the listener's emotions. All the tracks are elegantly carrying the project's message: introspective and passionately intense.

Billy Sharp unveils "Rose Tint," an EP with a strong identity, destined to be one of those timeless pieces. Billy worked meticulously on each of the 4 tracks composing this debut EP, resulting in an impressive outcome. The first notes of the opening track are sure to captivate anyone with their touching vocals and top lines. The EP builds in intensity with each performance, culminating in "2013," a danceable and nostalgic track.

Rob Clouth returns to Mesh with Cicada, a follow-up to his EP earlier this year and a continuation of his ever-curious approach to the outer limits of electronic music.

An artist who has spent much of his career committed to a dialogue between scientific phenomena and music built for big soundsystems, Bichillo signalled a segue into a more free-running idea of creativity - one that didn’t pander to unrealistic expectations and, essentially, brought the fun back to Rob’s production process. A theme also explored in a link-up with long-time collaborator and label boss Max Cooper on their recent joint EP 8 Billion Realities, out now on Mesh.

Cicada, he continues to expand on this universe, prioritising experimentation over concept, and arriving at some of the funnest music he’s ever made.

Like a field of insects, ‘Cicada’ opens with cross-rhythmic layers of animated glitches, soon joined by huge bass swells that gradually build into a maximal tranced out build-up and a swarm of vocal chops. ‘Core’ builds a quietly dramatic symphony of machinist built sound - a soothing polyphony of computers singing. Leaning into an off-kilter 2-step, ‘Gummy Clusters’ swirls into a hazy blur of distorted voices and acoustic rhythms. Closing things off, ‘Grefuser’ puts pedal to the metal with a high BPM storm of pointillist drums and melancholic leads.

Cicada is music that twitches and mutates, but most importantly, breathes fun into the circuitry.

‘Cicada’ lands Friday 20th March via Mesh.

Feel the sun, samba, and soul that define summer in Rio.



Summer in Rio blends smooth bossa grooves with mellow lofi beats, capturing the laid-back energy of Brazil’s most iconic city. Born on Rio’s beaches in the late 1950s, bossa nova fused samba rhythms with jazz harmony and soft vocals, a sound both timeless and deeply expressive. This 28-track compilation brings that spirit to life: the first 14 tracks dive into bossa lofi with guitars and syncopated rhythms, while the last 14 ease into warm, expansive summer lofi.



From beachside mornings to golden hour evenings, this is summer on loop.

On 'Vesturgata Gaze', Hitam traverses a new biome. Geographically and metaphorically. Through this introductory release on Omen Wapta, a remarkable voice in techno lunges into artistic deliverance. Here we, the listeners, find ourselves with an EP that harbours the emotive voltage of a perspective-pivoting trip. Tectonic shifts reshuffle subterranean frequencies, rhythmic phrases carry the timbre of ancient rainfall and we humbly stand witness as ceremonial incantations demarcate indigenous land. In elusive ways, this record assigns a bardic function to mostly nonverbal music. All five tracks consistently resemble traces of life-affirming encounters by sculpting Iceland's geological features into sound. 'Vesturgata Gaze' shows that commitment and intimate collaboration, taking on bold artistic ventures, touching moss and glaciers - that's what can break the mould.

Amsterdam-based producer Retromigration makes his debut on the launch of a new Oathcreations imprint "KARAMÜRSELL?" with 'Can't Go', a hyper-kinetic and rapturous piece of dance music sure to ensnare any dancefloor.
Inspired by soul, funk, jazz, and hip-hop, his auditory identity is one of profound melodic effusion and expert percussive sequences, absorbed within life-affirming atmospheres.
'Can't Go' feels like yet another landmark, tuning itself into the pulsating energies of the club, drawing lines between bass music, footwork, garage and jungle.
The EP is completed with 'Distant', featuring fuller harmonies, a tear-jerking chordal line and a spiritual sax solo.

I Never Knew Love sees Detroit house mainstay Chez Damier return to the iconic KMS catalogue with a timeless house classic, now available again on fresh 12” vinyl.

A staple of the deeper side of Detroit house, the release combines soulful vocals, warm grooves and refined production, reflecting the signature sound that has defined Chez Damier’s work across decades.

This edition features standout versions including the MK Extended Club Mix from Marc Kinchen, alongside additional extended mixes and a reconstructed version of Help Myself by Carl Craig, offering strong depth and versatility for DJs.

As a key release from the KMS catalogue, this record continues to hold lasting appeal across both classic house collectors and DJs seeking authentic Detroit-rooted material.

Back on fresh 12" vinyl, this repress brings an essential Chez Damier release back into circulation for a new generation of listeners.

An essential catalogue piece for stores supporting classic house and Detroit heritage releases.

Sonic Groove Old Gold, the new sub-label of Sonic Groove releasing rare techno obscurities from decades past, debuts with two rare 1996/97 deep acid gems by CAT 1, originally released on Germany's Overdrive. With scarce original copies fetching very high prices online at over €100, "Revolution" and "Axion" have been updated for modern sound systems. Adam X has layered new, prominent kicks onto both tracks, bolstering the drive for today's dancefloors while keeping the original arrangements 100% intact.

Die Adult-Punks von DEBT RAG beweisen einmal mehr das explosive Potenzial gemeinschaftlicher Zusammenarbeit. ,It Is Clear What's Going On" gewährt uns einen Einblick in ihr gemeinsames Gedankengut, das auf Band als ein pulsierendes, funkelndes Ganzes festgehalten ist. Diese Platte anzuhören ist, als würde man durch das Schlüsselloch in den Proberaum spähen und auf ein Feuerwerk aus Farben und Experimenten stoßen, gespickt mit schallendem Gelächter. DEBT RAG lachen - nein, nicht über dich, aber auch nicht mit dir. DEBT RAG kümmern sich nur um DEBT RAG und den freudigen Lärm, der entsteht, wenn man mit seinen kreativsten Mitstreitern Musik macht. Diese Songs bergen Möglichkeiten, und zwar nicht im Abstrakten. Was ist der Tonumfang eines einzelnen Beckens? Wie viele verschiedene Lautäußerungen können drei Menschen hervorbringen? Was ist das emotionale Potenzial einer Trompete? DEBT RAG stellt diese Fragen und gibt gleichzeitig die Antworten. Ihre Musik ist weitreichend, völlig frei, aber niemals selbstverliebt. Ob sie nun die langjährige Tradition des Trios mit Anti-Gesellschafts-Hymnen (,Gary's World", ,Syzygy") fortsetzen oder die Überreste einer Bandprobe collagieren (,Drumbo 2", ,Smartest Musicians") - es sind sorgfältige Kompositionen mit einer spannenden Logik, die sie selbst erfunden haben. Jeder Song ist eine kleine Welt, resonant, messerscharf, mit absoluter Klarheit der Vision. DEBT RAG ist, wie DEBT RAG eben ist. Wir könnten alle das eine oder andere davon lernen. - Grace Ambrose

Foreign Tongues, das neue Studioalbum der Rolling Stones, umfasst 14 Songs und folgt weniger als drei Jahre nach dem vielfach ausgezeichneten Vorgänger Hackney Diamonds, der weltweit Spitzenpositionen in den Charts erreichte und mehrfach mit Platin ausgezeichnet wurde. Eingeleitet wird das Album von der beschwingten und eingängigen Lead-Single „In The Stars“. Foreign Tongues entstand innerhalb eines Monats in den Metropolis Studios in West-London, wo Mick Jagger, Keith Richards und Ronnie Wood erneut mit dem Grammy-prämierten Produzenten Andrew Watt zusammenarbeiteten. Das Ergebnis ist ein dynamisches, zeitgemäßes Album, das den charakteristischen Sound der Band aufgreift und zugleich neue klangliche und inhaltliche Akzente setzt.

Neben den zentralen Beiträgen von Jagger, Richards und Wood sind auch langjährige musikalische Wegbegleiter wie Darryl Jones, Matt Clifford und Steve Jordan auf dem Album vertreten. Darüber hinaus enthält das Album einen besonderen Beitrag von Charlie Watts, der während einer seiner letzten Aufnahmesessions vor seinem Tod im Jahr 2021 entstand. Ergänzt wird das Projekt durch Gastauftritte unter anderem von Steve Winwood, Paul McCartney, Robert Smith und Chad Smith.

Foreign Tongues, das neue Studioalbum der Rolling Stones, umfasst 14 Songs und folgt weniger als drei Jahre nach dem vielfach ausgezeichneten Vorgänger Hackney Diamonds, der weltweit Spitzenpositionen in den Charts erreichte und mehrfach mit Platin ausgezeichnet wurde. Eingeleitet wird das Album von der beschwingten und eingängigen Lead-Single „In The Stars“. Foreign Tongues entstand innerhalb eines Monats in den Metropolis Studios in West-London, wo Mick Jagger, Keith Richards und Ronnie Wood erneut mit dem Grammy-prämierten Produzenten Andrew Watt zusammenarbeiteten. Das Ergebnis ist ein dynamisches, zeitgemäßes Album, das den charakteristischen Sound der Band aufgreift und zugleich neue klangliche und inhaltliche Akzente setzt.

Neben den zentralen Beiträgen von Jagger, Richards und Wood sind auch langjährige musikalische Wegbegleiter wie Darryl Jones, Matt Clifford und Steve Jordan auf dem Album vertreten. Darüber hinaus enthält das Album einen besonderen Beitrag von Charlie Watts, der während einer seiner letzten Aufnahmesessions vor seinem Tod im Jahr 2021 entstand. Ergänzt wird das Projekt durch Gastauftritte unter anderem von Steve Winwood, Paul McCartney, Robert Smith und Chad Smith.

Foreign Tongues, das neue Studioalbum der Rolling Stones, umfasst 14 Songs und folgt weniger als drei Jahre nach dem vielfach ausgezeichneten Vorgänger Hackney Diamonds, der weltweit Spitzenpositionen in den Charts erreichte und mehrfach mit Platin ausgezeichnet wurde. Eingeleitet wird das Album von der beschwingten und eingängigen Lead-Single „In The Stars“. Foreign Tongues entstand innerhalb eines Monats in den Metropolis Studios in West-London, wo Mick Jagger, Keith Richards und Ronnie Wood erneut mit dem Grammy-prämierten Produzenten Andrew Watt zusammenarbeiteten. Das Ergebnis ist ein dynamisches, zeitgemäßes Album, das den charakteristischen Sound der Band aufgreift und zugleich neue klangliche und inhaltliche Akzente setzt.

Neben den zentralen Beiträgen von Jagger, Richards und Wood sind auch langjährige musikalische Wegbegleiter wie Darryl Jones, Matt Clifford und Steve Jordan auf dem Album vertreten. Darüber hinaus enthält das Album einen besonderen Beitrag von Charlie Watts, der während einer seiner letzten Aufnahmesessions vor seinem Tod im Jahr 2021 entstand. Ergänzt wird das Projekt durch Gastauftritte unter anderem von Steve Winwood, Paul McCartney, Robert Smith und Chad Smith.

,Just Shoot Me Now" und ,Dollys Coat" - aufgenommen und produziert von MJ Lenderman. Ursprünglich als CD-R in Eigenregie veröffentlicht. Mit MJ Lenderman, Karly Hartzman, Colin Miller, Ethan Baechtold, Xandy Chelmis, Landon George und Jack Kraus. Produziert von MJ Lenderman. Aufgenommen von Colin Miller und MJ Lenderman. Abgemischt von Colin Miller und Jack Kraus. Gemastert von Amy Dragon.

Pearl Flip Horizon Vinyl. Europa-Version, limitiert auf 500 Exemplare. Seit 2013 vergriffen, ist ,Never Ender" endlich wieder erhältlich! Mit neuem Artwork von SINC und remastert von Andy Clarke versammelt ,Never Ender" die Split- und EP-Veröffentlichungen von HWM aus den Jahren 1996 bis 1999.