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The last original stock of legrndary Source Records, founded by Move D and Jonas Grossmann!
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The last original stock of legrndary Source Records, founded by Move D and Jonas Grossmann!

With Love and Squalor ist das Major-Label-Debüt der Rockband We Are Scientists. Das Album erschien im Oktober 2005 bei Virgin Records in Großbritannien und erreichte Platz 43 der Charts. Dank einer treuen Fanbasis wurde es 2006 – rund sechs Monate nach Veröffentlichung – mit Gold ausgezeichnet. Durchschnittlich verkaufte sich das Album 4.166 Mal pro Woche, bevor es zertifiziert wurde.

Der Titel ist inspiriert von der Kurzgeschichte For Esmé – with Love and Squalor von J.D. Salinger, ursprünglich erschienen im New Yorker und später in der Sammlung Nine Stories.

Zum 20-jährigen Jubiläum erscheint nun eine limitierte 2LP-Edition mit unveröffentlichtem Archivmaterial, B-Seiten, Akustik- und Live-Versionen. LP1 kommt in Pink, LP2 in Rot

Out Friday 14th June, the renowned jazz and funk trumpeter Sefi Zisling presents his third album ‘The Librarian’, blending classic elements with psychedelic funk, soul, and spiritual jazz. ‘The Librarian’ is dedicated to all things close to Sefi’s heart. The album pays homage to his musical inspirations, his wife, friends, and Eyad, a Palestinian whose story moved Sefi.

"This album was made as an ode to the people I love, and I would like to dedicate this album to them." - Sefi Zisling

Sefi Zisling first started playing the trumpet at the mere age of ten, soon after enrolling in the prestigious art school Thelma Yellin. Performing in an array of bands since his early teens, Sefi has performed and recorded sessions with almost every key player of the jazz world in Israel. His debut album ‘Beyond The Thing I Know’, released on Tel Aviv’s leading collective Raw Tapes, propelled the trumpeter onto the world stage. Sefi then found his home on Tru Thoughts for his sophomore record ‘Expanse’, an album that captured the essence of the classic jazz session and transformed his role from instrumentalist to composer.

The cover art is a painting by the late Walid Abu Shakra, a member of the Abu Shakra family who have collectively played a pivotal role in the Palestinian-Israeli art scene and are respected worldwide. Walid aimed to highlight the expropriation of Palestinian land by the Israeli state and centred his artistic career on safeguarding a disappearing landscape through his monochromatic etchings.

Selling Points
Sefi Zisling's sophomore album "Expanse" sold out on vinyl in the first few months
The cover art is a painting by the late Walid Abu Shakra, a member of the Abu Shakra family who have collectively played a pivotal role in the Palestinian-Israeli art scene
Praise from Jazz FM (Playlisting), FIP, Jamie Cullum (BBC Radio 2), Jazz Times, Jazziz, Tom Ravenscroft, Huey Morgan, Cerys Matthews (BBC 6Music), Musica Macondo, Music Is My Sanctuary, Bandcamp Weekly, Wax Poetics and much more.
Recorded intimately and live with a five-piece ensemble
The LP features a spellbinding version of Mall Waldron's jazz standard 'All Alone'
Mixed by renowned engineer George Atkins (80 Hertz Studios)

DJ Vibe, widely regarded as one of Portugal’s most influential and sought-after DJs, has played a pivotal role in shaping the country’s electronic music scene. Not only has he been instrumental in launching some of Portugal's most iconic clubs, but he is also behind some of the biggest anthems in the scene, such as “So Get Up” and “Dance With Me,” both released in 1994 on Kaos Records and Tribal America. Since the early 90s, he has released music on seminal labels such as Nervous, Twisted, and Innervisions, among many others.

From the underground rave scene to iconic club parties, from radio airwaves to packed dance floors, from DJing to production - DJ Vibe has traversed many paths in his decades-long career, contributing to the foundation of the modern "dance culture" that emerged in the mid/late 80s.

After over four decades of dominating clubs and festivals worldwide, what’s left to accomplish? For DJ Vibe, the answer is simple: a new adventure fueled by the same passion and excitement that defined his career. In 2024, he took a bold step forward with his debut album, Frequências—his first full-length work under his own name.

Frequências is an album defined by freedom and passion—two words that might sound cliché but perfectly capture its essence. A balanced body of work that seamlessly moves between high-energy moments for the dance floor and introspective chapters ideal for late-night reflection and relaxation.

Musician and visual artist by day, bat researcher by night: Mathilde Nobel brings both worlds together on her new album Guadirikiri on Nous'klaer Audio. Unlike the first album, Guadirikiri features (almost) no vocals. Instead, its compositions took shape through Mathilde's deep fascination for bats. Creatures that, much like her, navigate and make sense of the world through sound. By night, Mathilde travels across the Netherlands to study their calls, movements, and patterns. Using ultrasonic detectors and thermal cameras, she's been gathering and archiving recordings and visuals, gradually building what she calls an orchestra of bats - shaping and inspiring what became Guadirikiri.

Master edit man Delfonic is back with more reworked gold from his favourites folder. He kicks off with the funky horns and disco lushness of 'Up & Down', then 'JaJaJa' slows things down and layers in some chunky drums to a cosmically-minded workout. 'Unity Together' is a percussive jumble with funky hooks and grooves that are always on the move and bubbling beneath the smooth vocals. Last but not least is 'Feeling It', which we really love. This one has a buttery male vocal adding weight to buoyant and instrumental disco grooves that dazzle with bright melodies and life-giving strings. A wonderfully uplifting EP.

Ground-breaking percussive ambient recordings from Gabrielle Roth & The Mirrors, inducing altered states of consciousness through ecstatic dance. "Selected Works from 1985 to 2005" finally available on Time Capsule

Despite featuring an extraordinary cast of musicians (with credits including Pharoah Sanders, Miles Davis, Sun Ra, Santana and Milton
Nascimento) and selling hundreds of thousands of albums, the music of Gabrielle Roth & The Mirrors remains largely unheard beyond their sphere. Conceived as live, improvised soundtracks to Roth’s transcendental dance workshops, musical acclaim was never on the agenda.Instead, for a passionate dancer and spiritual polyglot like Gabrielle Roth, movement was a means through which to channel a wide spectrum of teaching, from experimental psychology to psychedelic counter-culture. It was from this heady mix that she devised a movement meditation known as 5Rhtyhms, which came to define her life’s work.

As “guide and catalyst”, Roth would dance to inspire the percussion-led instrumentals that would in turn fuel her 5Rhythms workshops, stimulating a secular form of ecstatic dance with roots in Native American shamanic traditions, Afro-Brazilian Candomblé and Yoruba drumming. Using anything from a Sioux pony drum to East African kihembe and Japanese Kabuki drums, Gabrielle’s lawyer-turned-drummer husband Robert Ansell set the foundational rhythms for The Mirrors’ recordings, each of which would then feature a rotating cast of friends and professional musicians.

“The secret of everything we’ve done is that we never told anybody what to play,” Robert shares. “Instead of our albums being a musical vision of one person like me or Gabrielle, they were the musical vision of a whole bunch of people.”At times the recordings have a Middle Eastern flair, at others, West African and spiritual jazz modes come to the fore. Hints of kosmische musik, proto-house and electronic ambience are laced like LSD through the organic rhythmic structures. This was kaleidoscopic ambient music to stir the body and free the mind.

In practice, the task of synthesising these different elements fell to Scott Ansell, Robert’s son and a recording engineer whose credits now include Nile Rogers, Duran Duran, Grace Jones. With meticulous attention to detail he captured and translated the dynamic energy of each drum onto record. Their sessions became legendary, and with access to the best studios in the NYC, The Mirrors sparkled.

Despite being initially overlooked by the burgeoning ‘80s New Age market, which preferred pipes and gongs to The Mirrors’ heavy-grooving drums, Robert Ansell set up Raven Recording to self-release the music, creating a vast sonic archive of sixteen albums over almost forty years. The breadth of Raven’s catalogue is such that curator Pol Valls had to cut an initial selection of sixty-six tracks down to the eleven featured here. What crystallises is a stunning, mind-altering collection which spans, in Pol’s words, “a variety of genres, styles, and vibes within their catalogue, whether it is emotional, esoteric, spiritual, melancholic, hypnotic, dark, or at times a combination of these elements together.”Music for immersive and intimate environments, Gabrielle Roth & The Mirrors were born from the dance. In the hands of the right DJ, at the right time, in the right place, they might just return there.

Mit den Soundtracks zu La Boum (1980) und La Boum 2 (1982) schuf Vladimir Cosma zwei der ikonischsten Filmmusiken des französischen Kinos. Die Coming-of-Age-Filme mit Sophie Marceau prägten eine ganze Generation und wurden europaweit zu Kultklassikern. Ihre Mischung aus jugendlicher Leichtigkeit, emotionaler Tiefe und popkulturellem Zeitgeist spiegelt sich auch in der Musik wider. Cosmas Kompositionen - darunter unvergessliche Titel wie "Reality" oder "Your Eyes" - verbinden orchestrale Eleganz mit eingängigen Popmelodien. Die Soundtracks wurden millionenfach verkauft und mehrfach ausgezeichnet. Dieses exklusive Boxset vereint beide Alben auf zwei Picture Vinyls und bietet ein visuelles wie klangliches Sammlerstück für Fans von Filmmusik, 80s-Pop und französischem Kino.

Sugaring a Strawberry, the sophomore record from Julia, Julia, is a study in coming undone—on purpose. Recorded at COMA, Julia Kugel's home studio, and mixed through a custom Flickenger clone, the album drifts in and out of clarity like memory itself. It's emotionally retrospective, creatively unvarnished, and deeply human. You can hear it in the hiss, the warmth, in the vocals so raw they're like an open window. These songs weren't engineered for perfection. They were built to breathe. Her long-time collaborator and husband, Scott Montoya, mixes it all so loosely that you can hear the air between tracks— a space that makes the music feel inhabited rather than recorded.


"Bound" opens the album like a secret passed between sisters, solemn and unspeakably close. It begins with the softest of touches: hushed guitar, a near- whispered delivery that carries the intimacy of someone singing only for one other person. It's a love song, but not romantic, more ancestral in the way long bonds can be. All glow and undercurrent, "I Know," is like hearing someone hum through a wound. The track arrives as if it had been waiting, coiled and complete, to be sung. Its pulse is slow but insistent, anchored on a hypnotic loop and a vocal that's half-incantation, half-confession. One of the most outward-facing songs on the record, "Feeling Lucky," opens like a cigarette flicked in the dark– smoky and a little bit slick. Built on a skeletal beat and a nearly detached vocal, it leans into a sarcastic swagger that barely masks the ache beneath. The delivery is droll and glazed, the instrumentation is sparse and a little woozy, leaving space for her voice to sway—a shrug of a song, stylish in its sadness. "A Love That Hurts" drifts in on soft, fingerpicked guitar and a dry, close-mic vocal that feels both haunted and immediate. The mix is stripped down and analog-warm, letting tape hum and silence frame the emotion. Julia sings like she's remembering something she doesn't want to, each line a slight unraveling. Like the rest of the album, "A Love That Hurts" doesn't push toward resolution. It sits in the ache, sifts through it, makes it beautiful.

Sugaring a Strawberry doesn't seek catharsis so much as stumbles into it. There's a quiet volatility to these songs like they might fall apart if you press too hard. It moves in shadow and softness, asking questions it doesn't answer. It doesn’t end with closure. It ends with truth.

With the grace of an ancient oracle speaking through a veil of mist, the album unfurls in movements both haunting and divine, carrying the listener into a realm where sorrow and splendor waltz as one. Orchestrated with exquisite precision and opulent depth, the ensemble breathes life into every measure. Strings sweep like celestial tides, choirs rise like prayers from cloistered ruins, and woodwinds whisper secrets from lost mythologies. The multimember orchestra does not merely accompany the compositions, it becomes the very vessel through which Autumn Tears channels their clairvoyant vision.

Rooted in the neoclassical tradition yet unbound by its walls, the album weaves baroque intricacies with cinematic grandeur, crafting soundscapes that feel both sacred and boundless. Every track is a portal: to forgotten dreams, to veiled futures, to the silent poetry that lingers in the spaces between. Crown of the Clairvoyant will be available as a digital download,a limited Leather CD Box, a limited CD jewel case package with a CD exclusive bonus track as well as a limited vinyl package with a 12 page illustrated lyric book and vinyl exclusive bonus track.

Frontman Chris Reifert was already a well-known force on the underground through his time as drummer with Florida's highly respected death metal combo Death. After playing drums on the band's debut album, the much acclaimed 'Scream Bloody Gore', Chris moved back west to the more open climate of San Francisco & formed Autopsy. The band released the demo 'Critical Madness' in 1988 & it wasn't long before Peaceville Records snapped them up in a deal initially spanning 4 albums.

The partnership kicked off in April 1989 with their debut album 'Severed Survival'; a brutal explosion of heavy riffs, tight drumming & a screaming vocal, rounded off with concepts of death, disease & diabolica. This was swiftly followed up with the equally genre-defining 'Mental Funeral' opus in 1991. Released in the autumn of 1995, Autopsy's then fourth & final album before splitting, 'Shitfun', was a glorious scatological gross out & exercise in the limits of extremity & a fitting end to one of the finest bands of a Doomed generation before their return from the grave in 2009 which has continued to go from strength to strength to the current day. This thirtieth anniversary vinyl pressing of 'Shitfun' is presented on bowel- busting limited brown marble- effect vinyl, including the original cover art & printed inner sleeve.

It has been said of Hiroshi Suzuki, one of Japan's leading trombonists, "If you want to sound good, you need to have him as a member of your group”. Suzuki moved to the U.S. in 1971 when he was invited to play with the Buddy Rich Orchestra, and had been living in Las Vegas ever since. The album Cat was recorded when he returned to Japan for the first time in about four years, and released on Nippon Columbia in 1976. The musicians are the same as in Freedom Unity, the group Suzuki had been a member of until his 1971 departure – consisting of pianist Hiromasa Suzuki, drummer Akira Ishikawa, bassist Kunimitsu Inaba, and saxophonist Takeru Muraoka.

Cat is a kind of second chance for that group, which once had a promising future but came to a premature demise. Based on the synergy that they had cultivated together in the past, the players brought their individual technical and musical growth to the album and collectively refined their efforts even further. Each of them had been active on the front lines of the jazz scene, and the quality of their compositions, arrangements, and performances here are extremely high. Cat is one of the most revered albums in the extraordinary Japanese Jazz discography and an essential piece of any music collection.

(Text by Yusuke Ogawa - Universounds)

This debut album captures Massive Dread at an early stage of his career when he was starting to make a name for himself as a unique voice in reggae. The production has that classic late-70s roots vibe—deep basslines, steady drum rhythms, and dub influences mixed with Massive Dread’s distinctive vocal style.
The album contains a mix of vocal tracks and deejay toasting, showcasing Massive Dread’s versatility. His style helped bridge the gap between the roots reggae era and the rising dancehall movement.

180-gram Vinyl incl. insert with sleeve notes.
Musicians
Drums: Lowell ‘Sly’ Dunbar
Bass Guitar: Robert ‘Robbie’ Shakespeare
Lead Guitar: Winston ‘Bo Peep’ Bowen
Organ: Ansel ‘Pinkie’ Collins

Die rohe, donnernde Kraft von Charley Patton kommt in diesem unverzichtbaren zweiten Teil von ,Father of the Delta Blues: Selections from Paramount Recordings" wieder voll zur Geltung. Diese Tracks zeigen Patton von seiner eindringlichsten und ungefiltertesten Seite, mit wilder Slide-Gitarre, schreiendem Gesang und Texten voller Geheimnisse, Trotz und tiefer Mississippi-Seele. "Vol. 2" setzt die Erforschung von Pattons einzigartigem Vermächtnis fort: teils Prediger, teils Trickster, teils Geschichtenerzähler. Der zweite Band wurde von Dave Gardner liebevoll restauriert und remastert und ist nicht nur ein Dokument des frühen Blues, sondern auch ein Einblick in die Wurzeln der amerikanischen Musik selbst, wo Rhythmus auf Rebellion traf und Geschichte in Schellack eingraviert wurde. Exklusiv für den Record Store Day Black Friday 2025 auf transparentem orangefarbenem Vinyl gepresst.

Modularz presents its 94th release, a new full-length EP by label head and renowned producer Developer, marking another milestone in a prolific year of studio work from his base in Berlin. Following the recent release of UHFVHF—a striking collaboration with Ukrainian sound architect Stanislav Tolkachev—Developer returns with Mesmeric Movements, a project that dives deeper into his signature terrain of hypnotic techno and rhythmic storytelling.

Comprising four vinyl tracks accompanied by four exclusive digital cuts, Mesmeric Movements offers an immersive journey through layered percussive architecture, pulsating low-end frequencies, and evolving textures that reflect Developer’s enduring command of tension and groove. Each piece unfolds with precision, revealing a meticulous approach to sound design that has cemented his position as one of techno’s most consistent and visionary figures.

With Mesmeric Movements, Developer reaffirms his artistic direction—refined, powerful, and unmistakably his own—while hinting at the evolution still to come from both artist and label in the year ahead.

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

–

"They had never played together before. They had never even met each other before this springtime 2024 concert at London’s Café Oto.

Evan Parker, circular breathing maestro of the saxophone, a legend in the universe that is Free Improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental “noise” guitarists of the 1990s/2000s underground scene.

For those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance.

The aesthetics of socialist consideration in Evan Parker’s playing, in his community of expanded and personal technique, for a younger player such as Bill Nace, strikes an exemplary model. This notion of respect would be entirely the reason Nace, when offered a residency at the most critical “new music” room in England, would request to play in duo with Parker.

Bill Nace came to prominence mostly during the apex of experimental music activity in and around Western Massachusetts in the early days of the aughts, with a focus on visual art and free improvisation guitar action. He could be found in the daytime hours, his head hanging down over a notepad, penning fine-tuned illustrations and abstract line drawings, while in the evenings he’d be attending any number of basement noise gigs, many of which he’d be participating in. His guitar style came across as being informed as much as by the physicality of his writing utensils in friction to the page as it was to his hearing and redefining of radical recordings ranging anywhere from the Black Unity Group to Black Flag.

Utilizing various metal files and other small cylindrical objects Bill would allow his guitar and amplifier to be in tandem with the improvisatory movements of his body as the instrument balanced, intentionally and, at times, precariously, upon his lap. The performances came across thrilling and daring and they would be mostly in the context of venues nothing more than a low-ceilinged damp and dank New England basement, a clutch of people hanging onto rusty pipes or sitting up on dilapidated washer/dryer machines, the shards of Bill’s “file guitar” sounds ringing out like the most alive music on Earth.

By the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill’s approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill’s full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism.

This sound world of Bill’s two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker’s improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find it’s eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music."

Thurston Moore, London, 2025

AOKI takamasa and Tujiko Noriko’s 2005 album »28« has become a cornerstone in the artists’ respective discographies. 20 years after its initial release, Keplar issues it on vinyl for the very first time. Three years in the making, »28« saw the sound artist and the avant-pop singer-songwriter combine their distinct aesthetics for an album that defied categorisation. Their combination of advanced electronic experimentation and pop appeal paved the way for a new generation of artists and turned »28« into an enduring fan favourite. Remastered by Stephan Mathieu, the reissue comes with a brand-new artwork by Joji Koyama and a changed track listing—authorised by Takamasa and Tujiko—for the vinyl version to fit it on a single LP, while the digital version remains identical to the original release.

Tujiko and Takamasa first shared the stage together after the turn of the millennium. Both were emerging solo artists, with Takamasa a mainstay on the Progressive Form label and Tujiko forging a connection with Mego in Vienna, Austria. »I simply liked Noriko’s voice and music, and since we often performed at the same events, it felt like a natural progression for us to start working together,« remembers Takamasa. They first collaborated in 2002 for two shows at the Fondation Cartier in Paris and at SonarLab in Barcelona, respectively. The first joint piece was a rework of Tujiko’s »Fly« from »Hard Ni Sasete (Make Me Hard)« by Takamasa, appearing as the album opener »Fly2« on »28.«

After that, the Paris-based Tujiko and Takamasa, still based in Osaka, worked sporadically and remotely on new material. For the first two years of their collaboration, the two met in the context of live events or Takamasa’s visits to the French capital to discuss their process and exchange hard drives while also occasionally sending each other CDrs in the mail. »Aoki made beats and sounds that complemented my music perfectly, building the foundation on which my voice could float,« Tujiko says today. Takamasa used hardware such as the Nord Modular, the Korg Z1, and the Korg ER-1, while also working with different kinds of software and plug-ins as well as Logic. Tujiko was using Cubase, her preferred piece of gear at the time being an AKAI MPC.

After Takamasa moved to Paris in 2004, this enabled the duo to finish the album together in person. Starting with its subtle use of glitches to the almost-anarchic way in which it deals with the structures of a song, »28« came to be an incomparably intricate album. 20 years on, it remains timeless because of its flawless synthesis of the cutting-edge avant-garde ideas of early 2000s electronica with an idiosyncratic but accessible pop sentiment. Both artists look back fondly—though not uncritically, with Takamasa noting a certain »youthfulness« in his contributions—to the album that was titled after their respective age at that time. »Maybe we should make ›51‹ now?,« quips Tujiko. See you in three years, perhaps.

GATEFOLD DOUBLE VINYL WITH SPOT UV FRONT COVER

Following the skewed-unself-help-brilliance of ‘Sus Dog’ (which marked his first full foray into songs, abetted by Thom Yorke), and its companion piece ‘Cave Dog’, Chris Clark returns to the dancefloor’s simple, but no less affecting pleasures, with ‘Steep Stims’.
“I found it hard to pull away from listening to this record, hard to stop making it, I had to remove myself from the Stims and stop enjoying it at some point. The album feels like nature to me. I love it when electronic music feels more naturalistic than acoustic music, more potent, that’s the devil’s trick, the promise of electronic music.” comments Chris.
“I used an old synth - the Virus on all of the tracks. I used it at Mess in Melbourne - run by my friend Robin Fox - I loved it so much I had to buy one when I got back to the UK, it took a while to find. They’re a bit clunky to program but make some of my most favourite sounds.”
‘Steep Stims’ marks a back-to-basics approach, invoking the early years of gung-ho creativity enforced by limitations in technology at the time. “Most of the tracks on this album capture the spirit of making music on old samplers, which don’t have much memory time”, explains Clark. “It reminds me of making ‘Clarence Park’, my first album, where I would have to finish tunes in the session, as they would be saved on floppy disks and I couldn’t easily go between tracks. This new record is just a few synths and a few choice sounds; the writing is the important thing.”
Made quickly, ‘Steep Stims’ reflects the immediate rave energy of his live show, but that’s not to say it’s basic floor fodder, as it’s rife with personality, synth magic, and knack for melody. Although swift and impressionistically captured rather than laboured over, it’s still formidably deft, with plenty of oddball weirdness lurking beneath the dancefloor.
Soft, orange, scorched, brutal, the opening track ‘Gift and Wound’ captures the classic dance music dread / awe / euphoria combo perfectly, before ‘Infinite Roller’ merges sparkly-minimalism with snarling bass and soft sines, which turn more dense and metallic as it progresses.
The melancholic smoke belch of ‘No Pills U’ gives strong classic vibrations, which is belied by its creation, made in just 20 minutes. “I love working quickly sometimes”, comments Clark. “Inspiration hits, rough and ready. It’s off the cuff but also screams ‘don’t gild the lily with nonsense, keep it simple keep it clean’”. Segueing into its elder brother, the piece becomes bigger and beatier on ‘Janus Modal’, where it permutates for over 7 minutes of fluttering, beatific club majesty.
At ‘18EDO Bailiff’ you inexplicably find yourself at a clearing, things have suddenly got much quieter. You enter a decrepit and eerie old house, and as you move through its unsettling interior, you arrive at ‘Globecore Flats’. A real piano tuned to 18 notes per octave gives the pair of tracks a haunted, olde worlde feel, which promptly gets eaten by a huge tech step tearout monster, birthing a strange but exotic beast.
The white hot ‘Blowtorch Thimble’ is all hooktasm-rave-hyper-amen-energy, whilst acidic flute leaps around like Ian Anderson on pingers throughout the catchily simple jump-up lurch of ‘Civilians’.
“‘In Patient’s Day Out’ is like some sort of Morricone-does-kraut-rock-with-drum-machines, but that’s probably just in my head” says Clark. “I made several versions of this then went with the early mix but cranked through some choice outboard because it just had something.”
Drumless, yet still full of exhilarating-big-trance-drama, ‘Who Booed The Goose’ flashes by in stroboscopic fast forward, then ‘5 Millionth Cave Painting’ gives a palate cleanser, letting “the virus with its delicious broken, luxurious reverb have a moment”, before ‘Negation Loop’ swoops down in all its glory, with Clark’s tweaked vocals leading deconstructed trance breakdowns, tape edits and brutal noisebursts.
An antidote to the bombast of its predecessor is ‘Micro Lyf’, which closes the set on a poignant note, of sorts. Muted staccato gives way to field recordings “that gradually put it in this outside space; alien in a meadow somewhere nameless. It feels like a sinkhole. The record kinda swallows itself up and then is gone”, ends Chris.

»Lilac« is the first Donna Regina album since 2019’s »Transient.« The world has changed considerably since then, which has also left its mark on the Berlin indie pop duo. The songs released as part of the 2021 single »Welt in einer Stadt« (»World in a City«) for Karaoke Kalk had already dealt with the pandemic-induced standstill and its effects on urban space, and also the rest of the album shows that Günther and Regina Janssen have been influenced by recent social and political developments. »In ›Lilac,‹ I imagine good ol’ Earth as a big ol’ bear shaking us off because it can’t stand us anymore,« says Regina Janssen. It has become a serious album, Günther affirms, but he is also adamant that it is not a sad one. Musically, Donna Regina have remained true to the spirit of their early work, recently re-released by Karaoke Kalk: their arrangements are as minimalist as they are emotionally rich.

»The music is always there,« says Regina Janssen about the creation of the tracks on »Lilac.« As always, the two record their music »track by track and without computers,« as Günther notes. Samples play a smaller role this time than on earlier albums, with analogue instruments such as a monophonic synthesiser and, above all, guitars coming to the fore again. This frames lyrics that are being delivered by Regina in German, English, or in both languages. They delve even further into the intricacies of urban life. »Cities are underrated! What a civilisational achievement it is to have so many people living under one sky,« says Regina. »They constantly put you in touch with the unfamiliar. Sometimes they’ll be overwhelming, and they are always alive.« This ambivalence shapes the tone of the album that ponders on the state of the world today.

Starting with the ominous sounds of »Whole World In My Town,« through the dreamscapes of »Autumn In Paris,« to the elegiac conclusion of »No More Roses,« Regina and Günther Janssen move through different timbres and styles with a few select means. Their preference for minimalist electronics becomes evident at times, while elsewhere the pieces open up to balladic arrangements in which the guitar plays a leading role. This turns »Lilac« into a city by itself, the songs forming its soundscape: every neighbourhood looks different, every street has its own character.

Slip is Paul Abbott’s response to his 3 day residency at OTO in 2023. It’s a continued exploration of the acoustic-digital hybrid drum setup Abbott has been developing for some time, which involves drum kit and synthetic sounds combined closely—through an entanglement of limbs and cables—in an intimate but strange relationship with each other.

Paul Abbott hasn’t had any formal musical training, but has a long history of making music, having collaborated for years with Seymour Wright, Pat Thomas, Michael Speers, Cara Tolmie, Anne Gillis and many others. Eventually, led by a profound suspicion of what is fixed or limited, Abbott began finding other ways to organise sound - or what he calls ‘material’:

“I wanted a way to 'persuade' or guide the possibility of something happening - my activity or the events of an algorithmic composition - for example, but without certainty or formalism. It felt to me, during playing, that certain ideas had a particular sort of shape, but more than the form of a line. I began to write alongside (before/after) playing the drums, and ‘characters’ began to enter the scene as a more wobbly, and therefore appropriate option to notation. Working with these characters allowed me to simultaneously approach body, imagination, language and music: without dividing things up or separating these aspects from each other. It allowed me to leave things messy and entangled, whilst trying to deal with form and specificity: wanting to have some things feel or respond differently to other things at other times.”

In approaching his residency, Abbott developed a fixed cast of characters - crystal, lleaf, reiy.F, reiy.C, strike, nee, qosel, sphu and aahn. They each communicate using different kinds of movement and drum kit/s, and Abbott choreographed them as ‘dances’ based on different feelings, or outlines of behaviours suggestive of ways of moving (body, drums, sounds). He then arranged these characters into ‘compositions’: one for each performance day, with each composition featuring multi-layered activity - options for behaviours, ways to move around the rooms, play drums, develop synthetic sounds, change the lights or re-distribute the sound in the space.

After the performances, Abbott took home 9 hours of recordings split into up to 28 multitrack channels for each day, and re-organised his cast once more into a performance for 2LP, CD and digital. It’s an enormous amount of work - but Abbott is activated by the process. For him, the pleasure of unstable edges, possibilities, slippages, is the vital attraction. Like all living organisms, Abbott’s characters have malleability and responsivity. They stimulate a bundle of possible behaviours, a tendency to act a certain way, a temperament, a boundary of respective limits or affordances.

It’s an affective way of working, inclusive of Roscoe Mitchell, Sun Ra, Nathaniel Mackey and Milford Graves. In ‘Pulseology’(2022), Milford Graves reminds us, ‘Breath varies, so cardiac rhythm never has that (metronomic) tempo. It’s always changing. All the alignments of the heart are determined based on the needs of the cells, specifically tissues and organs. The heart knows if it needs to speed up.’ In Slip, to slip, in a heartbeat, is to descend not into the grid of the even metre accorded to the heartbeat, but into a play of mutability and modality. To change is the condition of the heart.

'Mauricio and Horns' by Bossa Nova legend and harmonica master Mauricio
Einhorn is produced by Jacques Muyal, with the Idriss Boudrioua Orechestra
arranged by Rafael Rocha and with guest artists Paquito D'Rivera and Lula
Galvao
In jazz, we all know the harmonica master, Mr. "Baron" Toots Thielemans, but we are
equaly fortunate to have our "Prince", Mauricio Einhorn. His early contributions in the
1950s to the birth of the Samba Jazz movement in Brazil played a pivotal role in the
creation of Bossa Nova, a genre that quickly became an integral part of the jazz world.
The influence of jazz on Brazilian music - exemplified by the great Carlos Lyra in
"Influencia Do Jazz" - was so profound that local musicians embraced it to forge a
new musical identity. Many of Einhorn's compositions have become timeless
standards performed worldwide since the early 1950s and '60s.
Together with another giant of the scene, alto saxophonist Idriss Boudrioua,
Mauricio's music gets an even grander presentation than ever before. This time, he
teamed up with an exceptionally talented young musician: a big band arranger and
trombonist named Rafael Rocha, who wrote all the arrangements and conducted the
recordings. Rafael's arrangements are nothing short of magical. They are never
overdone, always respecting the beauty of the original harmonies while infusing them
with his deep passion for jazz. His trombone solos recall the phrasing of Frank
Rosolino, and he modulates the pieces with swirling harmonies that evoke the very
roots of Brazilian jazz. In every track, Rafael enhances Mauricio's elegant and
expressive phrases without ever overpowering the artist, creating a "wall of sound"
that gracefully floats alongside Mauricio.

The neon "pdqb Arcade" sign in Port Astra flickered with the same chaotic energy it had decades ago. Six men, now with more gray hair and worries than they once had, stood at the entrance. They were the "Lucky Six," reunited after years of scattered lives and separate paths.

"I can't believe this place is still here" said Noise, who had flown in from Tokyo. "It hasn't changed 8 bits, haha". CEM, now a father of 3340 synthesizers from Bari, replied with a grin. "We have. Look at Galaxian, he's unrecognizable!"

Each of them held a single, precious coin. Their plan, born of a wave of nostalgia and the understanding that they couldn't stay forever, was simple: one coin, one game, one last chance to be a legend. Each man would choose the game that meant the most to him and play the round of his life…

At the end, pdqb, the arcade owner, came up to the guys. "Don't be sad", he said. "Even if it was your last credit, there's always one more somewhere in some game". He then walked through the arcade and played four different machines that just happened to have an extra credit on them. "See?", he said.

Synaptic Cliffs proudly presents pdqb together with six black belt gamers (PRZ, Noise&Noise, Galaxian, CEM3340, Dark Vektor, Mesak), each a legend in their own right. They don't just replay pdqb's 8 1/2 Bit album; they become it. Together, they embark on a journey through legendary worlds, creating a place filled with soundscapes and challenges that blur the line between music and game. They move with the rhythm of the music and face the challenges within, weaving their own stories into the fabric of the iconic work.

The story begins with Kevin Morby absentmindedly flipping through a box of old family photos in the basement of his childhood home in Kansas City. Just hours before, at a family dinner, his father had collapsed in front of him and had to be rushed to the hospital. That night Morby still felt the shock and fear lodged in his bones. So he gazed at the images until one of the pictures jumped out at him: his father as a young man, proud and strong and filled with confidence, posing on a lawn with his shirt off. This was in January of 2020. As the months went on and the world dramatically changed around him, Morby felt an eerie similarity between his feelings of that night and the atmosphere of those spring days. Fear, anxiety, hope and resilience all churning together. The themes began twisting in his mind. History, trauma and the grand fight against time. Having the courage to dream, even while knowing the tragedy that often awaits those who dare to dream. While his father regained his strength, Morby meditated on these ideas. And then, he headed to Memphis. He moved into the Peabody Hotel and spent his days paying tribute and genuflecting to the dreamers he admired. In the evening, he would return to his room and document his ideas on a makeshift recording set-up, with just his guitar and a microphone. The songs, elegiac in nature, befitting all he had seen, poured out of him.Produced by Sam Cohen (who also worked on Morby’s Singing Saw and Oh My God), This Is A Photograph features musical contributions from longtime staples of Morby’s live band, as well as old friends and new collaborators alike. If Oh My God saw Morby getting celestial and in constant motion and Sundowner was a study in localized intent, This Is A Photograph finds Morby making an Americana paean, a visceral life and death, blood on the canvas outpouring. As Morby reminds us early on, time is undefeated. So what do we do while we’re still here? This is a photograph of that sense of yearning

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

One Instrument welcomes Morning Seance, composer and sound artist, originally from Italy and based in Vienna. On this debut LP, Morning Seance traces a drifting narrative composed of unstable harmonies, fluid structures, and ghostlike forms. The album unfolds like a dream told in fragments, oscillating between fluctuating pulses and decaying transmissions, from nocturnal stillness to acoustic mirages. The first half of the record moves through zones of suspended tension and evanescent contours, where tracks like “Be faster than your own depression” and “The tenderness of our own autobiography” sketch fragile architectures of affect. The second half enters a more spectral terrain — “Breakfast in a night club,” “A visit to the Brion-Vega tomb” — not places, but agglomerates of sonic sensation, detached from any personal frame.

With each piece, the music dissolves and reconstitutes itself, resisting finality or form, and doing so with an indestructible joy that hums beneath the wreckage. This is degenerate ambient music: anti-geometric and subject to emotional weather — not a refuge, but a slow collapse of structure and purity, where atmosphere gives way to excess and disobedience.

The album is crafted entirely from a single source: the Roland Alpha Juno-1. Despite this constraint, it achieves a vast sound spectrum, transforming one synthesizer’s voice into a layered landscape of textures and moods.

The electronic music of Morning Seance is built on constant variation and intricate, looping patterns with no clear beginning or end. This variation is not simply applied to an audio element, but enacted as a compositional logic — avoiding mechanical combinations and obvious rhythms. The result is a mutable mass of audio matter and tonal debris, guiding the listener through richly divergent environments.

Or Kantor returns with his sophomore album Snake Island, a vivid and cinematic journey through imagined landscapes and lost love, for fans of Eden Ahbez and other seekers of sound and spirit.

Following the critical success of his 2024 debut Sarda Sarda, praised by BBC Radio 6 Music, FIP Radio, RRR Australia, WYEP, KCRW, and Songlines Magazine, Kantor continues to refine his distinctive sonic identity, grounded in instrumental storytelling.

With Snake Island, Kantor ventures deeper into what he calls Subterranean Music, an atmospheric fusion of Mediterranean ballads, desert blues, spiritual jazz, and psychedelic textures. Drawing inspiration from artists such as Gábor Szabó, Omar Khorshid, The Budos Band, Dorothy Ashby, and Tommy Guerrero, he crafts instrumentals that feel both timeless and cinematic.

"Snake Island was written as a soundtrack to a fictional film that disappeared from the world, one that most likely no one has ever seen," says Kantor. "It began as a tragic love story, imagined during my time on a remote island in the Cyclades. Every landscape felt like a scene waiting for music. Eventually, the story gave way to sound."

A respected tattoo artist and founder of the Love Light Studio, Kantor's musical path began after a chance encounter with Johnny Sharoni (Garden City Movement, A&R at Anova Records). During a tattoo session, Sharoni heard Kantor's demos and was immediately struck by their raw beauty.

Kantor now steps confidently into the next chapter of his creative journey. Snake Island is more than an album. It is a mythic, imagined soundtrack to a film that only exists in memory, rendered in tones that shimmer like heat on stone.

Scuba channels timeless, euphoric energy on his Crosstown Rebels debut, ‘GetUppp’. The Hotflush boss delivers two tracks crafted for the later hours, set for release on 21st November 2025.

Damian Lazarus’ Crosstown Rebels welcomes electronic pioneer Scuba for his first appearance on the label with ‘GetUppp’, a two-track release that fuses the UK artist’s trademark low-end pressure with the euphoric pulse of house. The title track glides on slinking percussion, interwoven with subtle soulful vocal nuances, building an irresistible groove that climbs steadily toward full dance-floor release. On the flip, ‘406 Dub’ dives deeper, a stripped, head-down workout that channels the tension and space of dub techno into something hypnotic, trippy, and captivating.
A producer who has continually defied convention, Paul Rose, aka Scuba, has shaped the direction of underground music for over two decades. From his formative role in the UK’s dubstep movement to his era-defining SUB:STANCE residency at Berghain, he’s evolved through techno, house, and beyond while steering his influential Hotflush Recordings imprint - the launchpad for artists like Mount Kimbie and Joy Orbison. He has also delivered critically acclaimed mixes for DJ Kicks, Fabric, and Ostgut Ton, cementing his reputation as one of electronic music’s most astute tastemakers.
Following his acclaimed Digital Underground live tour across 2024, and his latest headline run across Asia with shows in Kyoto, Nagoya, Tokyo, Koh Phangan, Singapore, Danang, Shenzhen, Shanghai, and Beijing, Scuba returns with fresh energy on ‘GetUppp’ - a record that captures the forward-thinking sound that has made him one of underground electronic music’s most influential figures.

Cromby extends the Potency family for it's 7th release, welcoming in Trax Unit by way of the Gloria EP. The release is a break neck ride of techno and house alchemy, capturing the spirit of Berlin via LA. Perfectly encapsulating the sound of the imprint, the release marks an exciting new chapter in the Potency story, with a slew of releases planned that will move label head Cromby from producer to curator, growing the roster and developing the sonic identity of Potency into the future.

Vinyl only release of dynamic chicago improvising quartet consisting of Marilyn Crispell - piano * Jason Stein - bass clarinet * Damon Smith - double bass * Adam Shead - drums. Recorded live on the 18th of June 2023 at The Hungry Brain, Chicago by Bill Harris. A cross-generational summit between the legendary pianist Marilyn Crispell (member of the Anthony Braxton Quartet and Reggie Workman Ensemble) and Midwest improvising trio of bass clarinetist Jason Stein, bassist Damon Smith, and drummer Adam Shead delivers all the range and expressivity one would expect from such seasoned players. The concert captured on Live at the Hungry Brain moves organically from searing free jazz to contemplative, lyrical balladry, all of conceived in the urgency of the moment and revealing a long-ranging, intricate approach to free improvisation.

"Marionette presents Mélodies pour Clairons, the debut album by multidisciplinary artist Ioa
Beduneau. Based in the South of France, Ioa’s world is rooted in creation - building intricate
self-playing installations and handmade DIY electronics. His practice is driven by a desire to
connect, challenge, and open up dialogues around disability and other social constructs.
Proudly identifying as a disabled artist who is attuned to how our bodies interact with the world,
Ioa brings a fresh and inimitable perspective to electronic and electroacoustic music.
On Mélodies pour Clairons, Ioa contemplates lifeforms using modular synths, channeling
principles of physical modeling and bioacoustics. Ideas begin on paper and evolve into sound,
forming an abstract yet intentional sonic ecosystem. Clairons refers both to a musical instrument
and to a loved one with whom this music was shared, serving as a kind of sound diary during
the stillness of the pandemic. The movement of air, pressure, resonance, and the physical
properties of the clairon (a medieval trumpet) are reimagined and manipulated on this album,
resulting in impressionistic and deeply moving compositions with poetic sensibility. Organic
ASMR tones, synthesized bird calls, and pirouetting melodies of pipes and bells score an
imaginary biodome where chaos and harmony coexist. Striking and singular, these works
embody the kind of boundary-pushing music that defines Marionette."

Los Angeles-based producer and composer Hayes Bradley returns with his most ambitious work yet, Audience, out now via StrataSonic Records. A departure from his years composing for film and fashion, the 14-track album marks a return to his dancefloor roots by melding breakbeats, trip-hop, and ambient textures into something both nostalgic and forward-thinking.

After two beatless, melodic LPs on Secular Sabbath, Bradley arrives at Los Angeles’ StrataSonic—an independent label celebrated for prioritizing artistic freedom—with Audience, a record defined by moody, churning breaks and rich soundscapes. Across the album, he merges the emotional depth of his scoring work with the kinetic energy of underground dance music, crafting a deeply-layed and adventurous project that exists beyond trends while highlighting his versatility as both producer and performer.

The album features collaborations with Luna on the ethereal “Dear Treasure” (accompanied by a music video with collaborator and partner Luna Blaise) Amtrac on “Be Right With You,” and Oxis on “Wishes,” alongside a range of instrumental cuts that highlight Bradley’s approach to rhythm and sound design.

At its core, Audience is an exploration of embracing personal and musical chaos. Bradley channels moments of anxiety, uncertainty, and raw emotion into tracks that are unpredictable and immersive. The album reflects his philosophy of leaning into disorder—turning moments of anxiety, unpredictability, and chaos into kinetic music that moves both body and mind.

Amand returns to All Day I Dream alongside Belgian newcomer Capoon for their collaborative two-track Ouverture EP. The release arrives with a bonus remix from producer/DJ Khen.

Guided by a shared sense of musical storytelling, Amand and Capoon find common ground in organic instrumentation and cinematic rhythm. Across its two movements, Ouverture unfolds like a passage through dusk and dawn part meditative, part ascendant. The title track’s first part opens in a space of gentle introspection, carried by fluid percussion and softly woven synths. Its counterpart rises with quiet momentum, layering melodic phrasing, captivating vocals, and subtle rhythmic tension into a transportive finale. It’s a delicate and dreamy 12-minute journey that encapsulates the wondrous imagination of All Day I Dream curation.

Khen’s remix expands the emotional arc further, blending the original’s warmth with his signature precision and dynamic melodic control. The result feels both grounded and dreamlike, aligning seamlessly with the label’s ethos of soulful progression and timeless sound design.

Amsterdam-based Isaiah makes a striking debut on Life In Patterns with his EP "Passive Aggression." Across five stripped-back, impactful cuts, the Dutch artist delivers music designed to move dancefloors and challenge adventurous DJs.

True to his signature style, Isaiah blends old-school grit with sharp, percussive textures, crafting an atmosphere that feels both raw and forward-thinking while staying focused on the essentials.

"Passive Aggression" will be released on vinyl and digital formats on 21 November 2025. The vinyl edition comes with ten locked grooves.

Spazio Nero -- Spazio Disponibile's side branch for forceful techno movers -- proudly welcomes fellow Roman artist Cosimo Damiano. Known for his bold takes on dark electronics, sparse acid and fluid new wave interpretations he here drops a versatile pack of fierce, yet playful high energy techno.

LTD EDITION

"Kaidi Tatham maintains one of the most prolific artists from the UK, he's been releasing music for 30+ years and has reached some form of cult status amongst many musicians. Seen as one of the key players in the broken beat movement, he collaborated with everybody from Bugz In The Attic, Dego, IG Culture, Andrew Ashong, to DJ Jazzy Jeff, Patrick Gibin, Volcov and the likes. For this special release he remixed the young Amsterdam-based group RADIOHOP, who are a quartet playing groove-based jazz, with influences from hip-hop, funk, fusion, broken beat & more. In the past 4 years they've made noise all across the country by playing in many venues, at festivals like Super-Sonic Jazz, and their stellar debut album 'All We Do' got really well received in 2024."

„Cloudy Eyes (Dance Tonight)“ marks Reznik’s and Jesse Boykins III’s second collaboration. Remember Rez’ remix for Tiga & Hudson Mohawke’s „Silence Of Love“ from last year? Working with Jesse’s vocals struck quite a few chords, so the next obvious move was to produce an original track together. And that one just hits all the sweet spots. Those piano chords. Those string pads and synth arpeggios. This driving rhythmic footing. Quite the ideal sonic environment for Jesse’s soulful croon to thrive on. „Cloudy Eyes (DanceTonight)“ has become a set-highlight of all the Keinemusik members throughout the summer season and the triggered feedback and ID requests have been no less than overwhelming. Safe to say, this is one of the most anticipated tunes of the year and its unmistakable imperative to dance tonight is about to wreak a lot more of the sweetest emotional havoc on dancefloors worldwide.

Devilish Affair returns with a heavyweight four-tracker from David Heine & Konstantin Kost, delivering two original cuts that move between dub-infused grooves and deep house warmth. Both tracks carry a timeless flow - subtle, detailed, and designed for heads who appreciate depth over flash.
On remix duties, the label calls in two heavyweights: Andre Kronert contributes a bright, deep housey tune that shines with warmth and clarity, while label head Eric Louis adds his own touch of refined deepness, balancing dancefloor drive with immersive textures.
A versatile EP that captures the essence of Devilish Affair - deep, timeless, and crafted with care.

Two absolute classics go back to back on this slice of 90s nostalgia - neck snapping beats and MCs at the peak of their game! First time on 7”. Limited to only 300 copies worldwide.