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Da ich schon seit Jahren von Andrew Chalks Arbeit mit MIRROR (und auch von seinen Solo-Projekten als FERIAL CONFINE sowie seinen vielen Kollaborationen mit David Jackman, The New Blockaders, Daisuke Suzuki usw.) und Timo van Luijk (als Af Ursin, In Camera, La Poupée Vivante und Kollaborationen mit Kris Vanderstraeten und anderen) fasziniert, war ich natürlich neugierig, von ihrem Duo-Projekt ELODIE zu hören. Das Projekt wurde 2010 gegründet und hat bis heute schon elf wunderschöne Alben rausgebracht. ,Vieux Silence" für Ideologic Organ ist ihre erste Veröffentlichung außerhalb ihres eigenen Plattenlabels Faraway Press & La Scie Dorée. Das ist aber nicht das erste Mal, dass Ideologic Organ und ELODIE zusammenarbeiten. Sie traten im Februar 2012 bei einem von mir kuratierten Abend in London zusammen mit Jessika Kenney und Eyvind Kang auf. Elodies Auftritt war einer der feinfühligsten und gekonntesten, die ich je gesehen habe ... so still, während draußen vor den Fenstern des Cafe Oto in London der Schnee fiel, versank das Publikum spürbar in hochkonzentriertem Zuhören. Die Erinnerung daran ist echt beeindruckend, wenn man bedenkt, wie sparsam die einzelnen Elemente an diesem Abend eingesetzt wurden. ,Vieux Silence" und ELODIE im Allgemeinen regen sofort die visuelle Vorstellungskraft an, vielleicht gefiltert durch alte Aquarelle, Bandkorn, antike Linsen, vergessene Ebenen des Zuhörens und beobachtende Geduld. Auf diesem wunderschönen Album arbeiten Chalk & van Luijk auch mit Klavier, Pedal Steel und Klarinette zusammen (gespielt von Tom James Scott, Daniel Morris und Jean-Noel Rebilly). Jedes Detail wurde sorgfältig durchdacht und Schritt für Schritt koloriert, wie ein impressionistisches Aquarell. - Stephen O'Malley, Les Lilas 2017

Chris Menist pares his sound right back for A book of imaginary beings, his fourth Awkward Corners outing with a project of electronic and abstracted global grooves. Experimenting with simple melodies and uncluttered arrangements, as well as taking inspiration from the Borges' short stories alluded to in the title, the project took shape in the early part of 2025, in the shorter days and dark evenings of January.

The initial challenge was to knock a basic track into shape each evening after work, then refine it later. There's a melancholy in the air in late winter, compounded by the creeping threat of national and geopolitical instability. Ulla, Natural Information Society, Jabu, Torso and Dawuna formed some of the background soundtrack as each tune took shape.

The track titles came after sitting with the sounds for a while, giving shape to images of people, creatures and their stories for a book that is yet to be written.

Two former friends sets the tone for the album perfectly as a minimal electronic piece with a slowly simmering synth bassline underpinning the groove whilst the trademark Awkward sound of the Shahi Baaja enters drenched in effects. It's the first demonstration of Chris' unique ability to create a world from apparently very little.

Dance of the silver beetles is completely unique in that we can hear chopped up Illimba samples seemingly playing backwards and forewords sometimes alone, sometimes together in duet with Chris' conga rhythms. Add to that a more conventional Illimba melody and added shaker percussion and you have one of A book of imaginary beings most curious chapters.

Anxious shadow puppets is closer to the Awkward Corners sound from previous albums as electronic pulses move around the arrangement with the urgency that the track title suggests. Chris' percussive roots move to the fore with the congas that tie down the Paradise Bangkok Molam International Band's sound. Here, the bassline is more playful and works together with one of Chris' many African Illimbas.

Fans of Chris' adventures on his Roland 808 will dig A leopard with no spots, although the minimal mood continues to flow through on this track. The lolloping, but hard-hitting rhythm track provides the grounding for strange and twisting feedback-sounding tones to work the soundscape.

Abandoned boy (left in charge of the family business) is Awkward Corners at his atmospheric best. Drift off to the sublime sounds of Chris exploring the Shahi Baaja, whilst a soft, repetitive synth line and abstracted pads give the listener that feeling of meditation and peace.

Flamingo with bandaged neck is A book of imaginary beings' perfect coda and is exclusively Shahi Baaja draped in reverbs and delays. It feels like the resolution and the closing of a book that – as of yet – remains unwritten.

Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year. Chris released – Dislocation Songs – his second LP proper with Shapes of Rhythm in May 2020, collaborating on many of the tracks with award-winning performer Sarathy Korwar. The LP was picked up by many radio stations including NTS, Resonance FM, BBC 6 Music, Balamii and many more. It made Tom Ravenscroft's LPs of 2020. Amateur Dramatics, Chris' second LP arrived just a year later in 2021 and was a more ambitious project featuring more jazz-focussed compositions and featuring Tamar Osborn and Kitty Whitelaw. Shortly after that came another pivot with the heavier, dancefloor-friendly EP Somebody Somewhere. Somebody Somewhere is Dancing in a Field brought the House (yes House!) vibes, whilst Hector Plimmer turned in a remix of No Words in the same club mood.

As one of NTS Radio's longest-standing presenters, Chris continues to hold down the Paradise Bangkok show. Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band as well as co-founding the record label of the same name. Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and has put together an edition of Volumes which featured unreleased Awkward Corners compositions.






[d] 04: All the Goodbyes (You Tried to Defer) [Original]





[j] 10: Abandoned Boy (Left in Charge of the Family Business) [Original]

On the record New Chapter, sound from all directions of the sky is transformed as it flows through the bodies of the musicians. The source material is Viola Klein’s solo record Confidant and the collaboration with the Sabar Ensemble Diop from Saint Louis, titled We. Whodat in Detroit, Kassem Mosse in Leipzig, Nídia in Lisbon, and Viola Klein in Cologne and Dakar reshape the places where Deep House, Leftfield, Kuduro, and Mbalax originated and/or continue to thrive: the USA, Germany, Portugal, and Senegal.

With X-ÆON, Giöbia push their signature blend of mesmerizing neo-psychedelia and space rock into uncharted territory. Echoes of the '70s meet a bold, forward-looking vision, shaping an album that feels timeless. Each track offers a glimpse into a parallel reality, a plunge into a new era brimming with tension and mystery. As the band puts it: "This album is everything we've lived and learned, captured in the moment we're in now."

Aque Blue vinyl, limited to 350 copies. With X-ÆON, Giöbia push their signature blend of mesmerizing neo-psychedelia and space rock into uncharted territory. Echoes of the '70s meet a bold, forward-looking vision, shaping an album that feels timeless. Each track offers a glimpse into a parallel reality, a plunge into a new era brimming with tension and mystery. As the band puts it: "This album is everything we've lived and learned, captured in the moment we're in now."

Having worked together on his 2024 album Colours & Light, Project Gemini aka Paul Osborne joins forces once again with Wendy Martinez, French singer and composer, and also part of renowned psych-girl group Gloria on a new collaborative EP. Landing on Mr Bongo, ‘Time Stands Still / Le temps s'arrête’ is a sonic exploration that shows a shared love of the progressive music emanating out of France in the ‘60s and ‘70s and the celebrated film soundtrack composers of the time. A more melodic and romantic excursion than Paul’s previous recordings, this EP marries his richly textured, cinematic psych rock with Martinez’s captivating vocal presence.

A body of work born during the period Paul was finishing up his last LP Colours & Light, he penned an album’s worth of instrumental library-style music and had the idea of having Wendy add vocals and lyrics to a selection of them. The instrumental record got scrapped, but thankfully ‘Time Stands Still’ grew out of it.

Paul was a fan of Wendy’s work as both a solo artist and in the band Gloria, and her inclusion on the Project Gemini tracks ‘Entre chien et loup’ & ‘Extra Nuit’ showed a clear synergy to their musical approaches and sounds. For ‘Time Stands Still’ he sent over instrumental tracks one by one, with Wendy taking time to find melodies and French poetry she was happy with and returning her ideas from her home just outside of Lyon.

Drawing inspiration from French soundtrack composers such as François de Roubaix, Frances Lai and Michel Colombier, as well as French female artists including Léonie and Laurence Vanay, these productions are a contemporary love letter to this sound, not a homage. Mixing psych, folk, chanson, and French new wave, it’s music that pulls you in deeper, with groove, grit and passion at its core.

'Je n'ai plus peur' kicks things off with a sultry energy. It’s a psych-funk production drenched in attitude, swagger, and edge, which nods to the left-field side of Serge Gainsbourg’s music. Elsewhere, 'Âme contre âme' feels like the opener from a forgotten new-wave film, managing to be at both beautiful yet sinister and longing. 'The Crawler' could be incidental music from the same film, with Wendy using her voice as an instrument layering the backing track as Paul's bass takes centre stage. The ghostly spoken word of 'Ce qui est intact' echoes a funky version of what the Théâtre du Chêne Noir d'Avignon may have recorded.

A transportive journey ‘Time Stands Still’ is nostalgic yet new in the same smoke-filled breath. Fuzzed-up guitars and driving basslines meld with folk-leaning organs and mellotron vibrations to give that eerie, otherworldly edge. All of which are seasoned by the sensuous, layered vocal tones of Wendy Martinez, alongside crisp drums from Tony Coote and considered percussive touches by Paul Elliot.

Repress of the early works from the french producer Franck Kartell. Originally released on the french label Elektrofon (elk09) in 2006. Limited edition

Das von Kritiker:innen gefeierte niederländische Elektronik-Duo, Weval (bestehend aus Harm Coolen und Merijn Scholte Albers) ist mit seinem lang erwarteten neuen Album, „CHOROPHOBIA“, auf dem Ninja Tune-Sublabel Technicolour zurück!

Als es darum ging, ihr viertes Album, „CHOROPHOBIA“, zu produzieren, stellten sich Weval ihren Ängsten. Obwohl Harm Coolen und Merijn Scholte Albers seit ihrer 2013 veröffentlichten Debüt-EP, „Half Age“, in der Dance-Szene verankert sind und mit ihrer fünfköpfigen Band Festivalbühnen wie Nuits Sonores, Lowlands, Primavera, Best Kept Secret, Pukkelpop und DGTL Amsterdam bespielten, haben sie sich aktiv davon entfernt, als Floorfiller-Act bekannt zu sein. Doch als die beiden vor kurzem über den Begriff Chorophobie stolperten - was so viel bedeutet wie Angst vor dem Tanzen -, beschlossen sie, sich der Ironie hinzugeben und aus ihrer Komfortzone herauszukommen. „Bis zu diesem Zeitpunkt hatten wir immer mit einer ‚Zuhör‘-Mentalität an unseren Platten gearbeitet.“, sagt Harm über die Herangehensweise beim zweiten und dritten Weval-Album („The Weight“ von 2019 und „Remember“ von 2023), „und uns wurde klar, dass wir während unserer gesamten Reise als Produzenten Angst davor hatten, Tanzmusik zu machen.“.
Der Sprung ins kalte Wasser hat zu Wevals bisher extrovertiertesten Tracks geführt. Während sie diese neue Richtung bereits mit der groovigeren „Night Versions“-EP von 2024 für Technicolour angedeutet hatten, erforderte das Loslassen ihrer Hemmungen eine geduldige künstlerische Entwicklung. „Wir wollten uns auf eine Art und Weise engagieren, die sich noch immer befreiend und wahrhaftig anfühlt.“, erklärt Harm und fügt hinzu, dass die Bezeichnung als Dance-Album sich nicht nur wie eine Kehrtwende anfühlt, sondern sie auch von den Grenzen und Klischees bestimmter Kategorien befreit.

This is where it all starts. Without any reminiscing about their former band Operation Ivy, Matt Freeman (bass) and Tim Armstrong (guitar/vocals) blast through their debut without any hints of ska or blatant Clash plagiarizing. On the contrary, this album rips through 15 tracks of high-energy punk that"s accompanied by heavy bass leads and Armstrong"s permanently slurred vocals. And to top it all off, the lyrical content deals with urban blight and the lifestyle of being a public nuisance. With this trademark sound, Rancid provides the perfect soundtrack for any car chase that includes massive property damage; is it a wonder MTV wouldn"t touch this? -Mike DaRonco

Domenique Dumont’s fourth album, Deux Paradis, arrives like the three that came before it – with an air of mystery and wonder. This is dance music for inner worlds – rituals, revelations and reveries.
Deux Paradis is a ten-track song cycle that leads the listener through the rhythm of a day, the bloom and fade of a relationship, or even the stages of a life.

It begins with a song about waking up – the candy-striped dub of “Enchantia” – and traces the sun’s arc with the pixelated reggae of “La Vie Va” and the sensuous rush of “Amants Ennemis”. As night falls, the songs take on a twilight quality in the
shimmering pop of “The Order of Invisible Things” and the seductive pulse of “Visages Visages” (a subtle nod to the Desireless classic). There’s also the baroque swoon of “Deux Paradis” and the soft exotica of “Visiteur de la Nuit”. Bolder and richer than before, it’s vintage Domenique Dumont – timeless and romantic, yet laced with an unplaceable sense of longing, like in an Éric Rohmer film. After the instrumental film score People On Sunday (Leaf, 2020) – composed solo by Arturs Liepins – singer Anete Stuce returns to Domenique Dumont, bringing her inimitable joie de vivre. Deux Paradis completes a trilogy of releases alongside Comme Ça (2015) and Miniatures De Auto Rhythm (2018) on the Antinote label.

Deux Paradis was composed, arranged and between 2022 and the end of 2024 in studios in Riga and Paris, and on the Estonian island of Hiiumaa.

Straight out of the South London cesspit comes Slick N Bobby. Chest-cesspit comes Slick N Bobby. Chest-rattling live dub nuisance meets rattling live dub nuisance meets soundsystem-adjacent sonics forsoundsystem-adjacent sonics for your brain and bosom.your brain and bosom.

Debut, double-sided single “BellyDebut, double-sided single “Belly Dub/OSOTB” features two jabs ofDub/OSOTB” features two jabs of low-end badness available onlow-end badness available on limited, heavyweight 7” vinyl andlimited, heavyweight 7” vinyl and best experienced on speakers thatbest experienced on speakers that can carry the rumble. A Boy In Dacan carry the rumble. A Boy In Da Corner-esque sino-grime creeper onCorner-esque sino-grime creeper on the A and dubby, flowing deepnessthe A and dubby, flowing deepness on the flip.

Unreleased electronic / jazz / madness from two titans of jazz and experimentation: JOHN SURMAN and KARIN KROG.

I could now write a load of blown up puffery about how amazing this is, but everyone does that, and a lot of the time it’s all a load of bollocks. But basically this was sent to me by Karin / John when I asked if they had anything hanging about that had not been released. This came through and blew my tiny mind. Like something from prime Annette Peacock “Pony” period. Here is what John Surman said…

John Surman writes:

Back in 2012/13 there had been some talk about a big futuristic open air urban dance/theatre production for about 80/100 actors/dancers with lasers and all kinds of lighting effects on different stages. I was invited to get involved and, together with Ben and Karin, we eventually decided to get to work on some ideas. I think that the original plan was that in performance there would be a mixture of live music and electronica.

Not altogether surprisingly, bearing in mind the complexity of the project, it never moved forward and developed into anything more than an interesting idea. It was probably over ambitious & I guess the funding never came through.

The only information I that I can find relating to the production refers to two silent movies made in 1927/1928 by the filmmaker Eugene Deslaw, entitled `La Marche Des Machines´ and `Les Nuits Électriques.These were clearly intended to act as inspiration for the project.

After months turned into years it became obvious that the project was going nowhere, and so the recorded music laid around gathering dust until Johnny Trunk asked Karin if she had any interesting music that he might be interested in releasing. One thing led to another and so, finally, Electric Element found a home!

For anyone interested in the equipment used this will have to be an approximation since the memory might be playing tricks. Karin was probably using a Yamaha Rex50 f/x unit, a Roland VT-3 Voice Transformer and an Oberheim Ring Modulator. I was playing Bass Clarinet and Contrabass Clarinet through various f/x units together with a Yamaha WX5 wind synth. All the instruments and voice were also processed through Ben´s equipment. After writing this I asked Ben for his recollections and he came up with the following:

John, Karin and I created this music in 2 or 3 days in the winter of 2013 at their studio in Oslo, Norway. I followed up with another 2 or 3 days of mixing, editing and post-processing . We kept a collaborative, improvisational and free-form approach to the sessions. I grew up immersed in music such as Cloudline Blue, the 1979 duo album of Krog/Surman, and this felt like a similar approach. I have mixed sound for many of their live duo concerts and I would use effects and electronics as an

accompaniment and counterpoint to the performed music. The relation of organic and artificial sound sources in music has always fascinated. In this case, I used some contemporary digital signal processing to introduce my own aesthetic into the conversation, in particular using granular synthesis to recombine small 'clouds' of sound into alternate forms. Some of the software tools I used included Ableton Live, Max/MSP and Reaktor.

Few lovers stay together for life-and beyond. Just as rare are the artists who manage to keep alive the burning flame of their creative desire. Areski Belkacem is one of those who nurtures in his heart a fire that never dies out, a passion that burns just as intensely for music as it does for his beloved. As long as the message eventually reaches its intended recipient, he cares little for how long the journey takes. His new album, Long courrier, is proof of this: twelve unreleased songs that flow like a love letter set to music. In nearly 60 years of career, Areski Belkacem has released only three solo albums-intimate and deeply personal works that feel like whispered confidences to a loved one. In an era where commercial demands shape much of music production, these records exist solely to fulfill his need for expression. The late music lover and producer Jean-Philippe Allard once said, "Areski goes against the tide-he always seems to enjoy taking forbidden paths!" In Long courrier, Areski tenderly expresses love for his homeland and his beloved. He believes in the power of sensuality, the sacredness of pleasure, and the hidden beauty in every person despite life's hardships. He shows a fraternal gaze toward outsiders and sings of inner journeys, doubt, vows, eternal bonds-with a voice as warm and bright as a loving smile. He honors the mystery of the union between music and the French language. Blending his familiar chaabi rhythms and guitar with piano, accordion, bass, and electric guitar, he plays alongside the same musicians who have accompanied him for over two decades on stage-supporting the woman he shares both stage and life with: the incomparable Brigitte Fontaine.

Initially influenced by the skinhead scenes of France and Italy, their new LP “Renaissance” borrows from sounds outside the subculture, orchestrating harmonies to unite the punks, skins and moshers. The comparison to L’INFANTERIE SAUVAGE is undeniable with odd song structures switching from slow melodies to fast punchy pogo beats. However on this LP, there is a subtle influence of early American hardcore bands, adding more stomping rhythms and upping the pace of the songs. Renaissance is an excellent example of how a band can evolve their sound without losing the aspects that define them: razor sharps riffs, unexpected disco drum syncopations and, of course, orchestral “Ohhs”. Every song verges on an anthem that will get stuck in your head for days.

ALDORANDE is a band of five groove adventurers, led by their founder and captain Virgile Raffaëlli, who are pushing the boundaries of music with boundless passion and unparalleled instrumental mastery. After two critically acclaimed albums, the group returns with Trois, the final chapter of their cosmic trilogy, recorded on tape at a prestigious Parisian studio.

Trois is an epic album, driven by bold instrumental explorations and waves of celestial choirs. Drawing inspiration from the 70s fusion movement, it honors the genre’s masters while adding a unique, contemporary twist. The galactic textures and sophisticated arrangements transport the listener on an unforgettable astral journey.

Once again, Favorite Recordings has poured its heart and soul into this album. Every note, every arrangement has been meticulously crafted to capture the essence of that era, with a relentless drive to ensure that every step of production and recording stays as true as possible to the genre’s iconic references.

On drums, Mathieu Edouard lays down a killer groove that leaves no one indifferent. Florian Pellissier, on keyboards, unfolds an interstellar sound palette with a spectacular collection of instruments: Fender Rhodes, Yamaha CP-70B, Moog Minimoog Model D, Sequential Prophet 5, ARP Solina String Ensemble, Roland Juno 106, Roland Jupiter 8, and Oberheim OB-8. On percussion, Erwan Loeffel scatters a jungle of intoxicating rhythms. Laurent Guillet, on guitar, fires off hypnotic, irresistible riffs, while Virgile Raffaëlli, on bass, anchors the entire experience with deep, melodic bass lines that give the band a captivating and unique dimension.

Get ready to take off with ALDORANDE and their album Trois, which promises to take you beyond the stars.

Pierre Bastien and Michel Banabila return with Nuits Sans Nuit, their second collaboration following their Baba Soirée debut from 2023. Recorded as an intuitive exchange between Rotterdam and Valencia, the album emerged from a simple ping-pong process: Banabila sculpted sounds and atmospheres, to which Bastien responded with his distinctive instrumental palette: flute-augmented cornet, mechanised log drum, and more. Mixed by Banabila, the result is a raw yet immersive work that resonates with a somnambulant, wide-awake presence. Nuits Sans Nuit unfolds through shifting shades of melancholy. "I don"t know how to describe the feeling of these crazy times we live in," says Banabila. "Les plus désespérés sont les chants les plus beaux," Bastien quotes De Musset. Wordless yet deeply expressive, the album invites listeners into a space of contemplation, where meaning emerges through immersion - like ritual music carrying an unspoken message. Echoes of saudade, blues, fado, and soleá surface in the duo"s playful noise, reimagined through their singular vocabulary.

A deeply intimate and cinematic body of work, My Goddess unfolds as a self-contained emotional universe; an album about grief, depression, healing, and the enduring human urge to find beauty in a world that often feels unrelenting.
Composed against the backdrop of Lebanon’s ongoing political and economic collapse, My Goddess captures what it means to process personal heartbreak and collective trauma simultaneously. Across nine emotionally charged tracks, Etyen draws from profound loss, existential reflection, and the tragic death of his beloved cat Lucy to craft a record that is as fragile as it is resilient; both a personal reckoning and a universal portrait of survival through art. “This album is a conversation with myself. It’s about loss and grief, about finding beauty and trying to hold on to it,” says Etyen. “It’s about confronting the painful parts of life while still believing there’s something gentle and divine to hold onto.”
Blending cinematic textures, Etyen's unique and inspired electronics, and minimally sculpted yet immersive melodies, My Goddess pushes further into the raw introspection first glimpsed on Etyen’s 2022 debut album Untitled. But this time, the sonic architecture is more distilled, the emotional stakes more immediate. The result is a record that gently lingers in the spaces between memory, absence, and hope.
The album’s first single, the title track “My Goddess,” drops May 5 with a self-directed music video, one of three cinematic visuals accompanying the album. The trilogy further expands the emotional world of the record and affirms Etyen’s role not only as a musical artist, but as a multidimensional storyteller.
With over a decade of work that spans Netflix scores (Jinn), international festivals (Sonar Barcelona, Mutek), and critical acclaim and editorial support from Bandcamp Daily, BBC Radio and much more, Etyen has carved out a singular voice in electronic music—bridging personal, cultural and political resonance through sound. As the founder of Thawra Records, he also continues to champion independent artists from the region, building a vital platform for forward-thinking music in and beyond the Arab world.

6LP Box Set, 24-page booklet & Original programme housed in a hardboard box. Across two nights in August 1970, these were the first concerts Ra and the Arkestra had performed outside North America and formed part of a stellar festival line-up alongside Albert Ayler, Cecil Taylor, LaMonte Young and Marian Zazeela.

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

A true showman, nightlife troublemaker, and lover of retro sounds, Master Phil, the Donny Benet of France, unveils his debut EP "Vagabond du Cœur" on Cracki Records. Blending nostalgia with dancefloor euphoria, he takes us on a vibrant journey through French Boogie, Euro Pop, and 90s Trance.

The standout track "Vagabond du Cœur" makes hearts and bodies groove with soaring synths and a deep, infectious bassline. Alongside it, "Ibiza" ignites the summer spirit with pure energy, channeling the sounds of Haddaway and Corona—where the nights never end and the beats never stop.

A debut EP that perfectly balances melancholy and carefree hedonism, ready to be played on the road to summer or as a festival-closing anthem.

FIRE UP: Fifteen successful releases later, Anetha continues to fan the flames with MTY-FEU, an incandescent new compilation. Titled «Ils s’embrasèrent, réduits ensemble», the release stands for fusion and oneness.



Bursting from the depths of the earth, magma is devouring: melting hot techno, deep techno, fast techno, firestorms of trance, eruptions of hard groove, break, mental, smoldering experimental… MTY-FEU is a lava flow of boiling, vital energy, unstoppable and full of blistering textures.



During the Nuit Blanche (A1), we surrender. We, the offer. Our fire is combusting. Our feet, stomping.
Berserk, in a fury, there’s No End (C1) to this party. In a trance, Eternal Echoes (E2) beguiles us all, until we become one into the Molten Core (H2) of Inferno. Ils s’embrasèrent, réduits ensemble.

The incredibly talented visual artist FEMUR crafted the artwork by creating an AI-generated meta-crackle of fire. Diplomatie Studio handled the design while mastering was entrusted to Sixbitdeep, except for Anetha’s edit, where mix and mastering credits go to Le Dom. We’ve opted for bio-vinyls for this release, knowing that one day these records will return to ashes, only to rise again, like the phoenix.

Back in 2017, Field Of Dreams remixed the deep house masterpiece, 'La Nuit Des Tropiques' by Les Crocodiles. It became a firm favourite with the late, great Andrew Weatherall and his partner Sean Johnston at the ALFOS parties.

With only a few DJ's given a copy of the demo, it gathered momentum and was set to be huge. Unfortunately, due to a couple of abortive attempts to get it pressed, it was never released.
The FoD boys have now licensed their own remix and can now put it out there for all to enjoy on their own label.
Add to that an amazing Pete Herbert chuggy remix of their 'Pourquoi?' single which, again, never saw the light of day until recently, on digital, and we have a pretty special 12 already.

Al & Chris decided that wasn't enough. They thought their much loved deep house track, 'In Our House', needed a bit more love so gave it a slight re-edit/re-eq and brought a banging new track, 'Protect Yourself' into the fold. The result is a rather special 12 inch record with four completely different but equally strong tracks.

No fillers here.

Nocturnes 2 was created at the initiative of the label Midnight Special Records. We invited artists to write music for a new planet, a new world, and then to come and record it in our studio.



With this album, we aim to offer you a journey across different celestial bodies, each designed by the selected artists who participated in this project.



The album is also a tribute to Joe Meek's work I Hear a New Word, recognized for its innovative approach to production and its sound explorations.



We recommend listening to this album when you are calm, or wish to be.

Macht euch bereit für eine unvergessliche musikalische Reise, denn Polo & Pan melden sich 2025 mit der Veröffentlichung ihres mit Spannung erwarteten Albums '22:22' am 28. März zurück. '22:22', die magische Spiegelstunde, ist ein Symbol für Träume und erfüllte Wünsche und spiegelt das Universum des Duos wider, in dem alles möglich zu sein scheint.

Produced by Scott McCannell and mixed by Kelly Finnigan of Monophonics, Record Kicks presents two brand new single from Canadian rising soul star Tanika Charles on limited edition clear 45 vinyl. “Don’t Like You Anymore and “Here When You’re Ready” are taken from the highly anticipated new album “Reasons To Stay” from the Twice JUNO nominated and two time Polaris Prize listed, Tanika Charles that is coming out in May 2025 via Record Kicks. On the A side “Don't Like You Anymore” is a mid tempo gospel funk stormer able to set the dancefloor on fire. With its boom bap smacked drums and chunky basslines, it will not be a surprise if rap/hip hop artists will get on it to sample the song. The B side “Here When You’re Ready” is an equally strong mid tempo soul number that makes this limited edition 45 vinyl a real double sider. Canadian Soul/R&B powerhouse Tanika Charles in a few years has transformed from an emerging solo artist to a commanding performer and bandleader, a staple in the Canadian soul scene. The success of her three studio album "Soul Run" (2017), "The Gumption" (2019) and “Papillon De Nuit” (2022) propelled Tanika in front of new audiences far and wide, with extensive touring in North America and Europe where she performed at Trans Musicales Festival in France, the Lärz, Germany Fusion Festival, Mostly Funk & Soul Festival and Jazz Festival in UK, the Holy Groove Festival in Switzerland, and the Canarias Jazz Festival in Spain just to name a few. Her touring career has also seen her supporting the likes of Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bendouin Soundclash and Macy Gray

After a year-long creative process fueled by collective composition and live jam sessions, Gin Tonic Orchestra returns with "Let The Children House" on Floors Records. The EP is a testament to their ever-evolving sound, deeply rooted in live improvisation and the spirit of club music.

Recorded in the heart of the Alps at "Maison des Artistes" in Chamonix, the band surrounded themselves with legendary analog synthesizers—ARP 2600, ARP Odyssey, Clavinet D6, Fender Rhodes MKII, Jupiter 4, Jupiter 8, JX-8P, Korg M1, Moog Subsequent 37, OB-X, Oberheim SEM, Roland MV8000, Wurlitzer—to sculpt a sound pulsating with the hypnotic grooves, euphoric synths, and raw underground spirit of '90s house music. Each track was shaped with care, influenced by the group's diverse influences and their shared vision of an immersive dancefloor experience, embracing the hypnotic trance of repetitive music that blurs the line between consciousness and surrender.

Much like children lost in play, Gin Tonic Orchestra embraced chaos, letting their creativity flow freely, drawing inspiration from their mentors, and the stories passed down through club culture. The result is an EP that not only embodies their musical identity but also carries a bold statement: "Let The Children House" is a call to let artists create without constraints, a message of artistic freedom in an industry often driven by formulas.

With a background that includes a debut EP on Mother Tongue, a standout performance at Nuits Sonores ranked in Resident Advisor's Top 5, and collaborations with UK jazz-funk legend Kaidi Tatham, deep house master Ron Trent, and the H2H project led by Chez Damier & Ben Vedren, Gin Tonic Orchestra continues to push boundaries between live music and electronic culture. Their new release is both a tribute to the past and a step into the future—a journey where house music is not just played, but lived

Calming down the tempo... but still a bit Tekno :)

Acid, trancey at some point and defenitly talented !!

Enjoy !

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

ICYKOF ANNOUNCES LIMITED-EDITION VINYL RELEASE OF DEBUT EP ‘ZERO SUGAR’

“For ICYKOF, fashion is out, music is in.” - Hypebeast UK

“Euphoric, free, and firmly planted on the gritty warehouse dancefloor, the project is a far cry from Kofi’s high-flying fashion world – ego-death never sounded so funky.” - Dazed
Electronic music fans and vinyl collectors, take note: ICYKOF’s debut EP, ‘ZERO SUGAR,’ is coming as a limited-edition vinyl on April 3 via RAVE NUIT. The pressing captures ICYKOF’s gritty blend of Detroit techno and Chicago house, with influences from pioneers like Underground Resistance and Robert Hood.

The vinyl features standout tracks such as the acid-infused ‘PAYDAY,’ the hypnotic ‘SHE KNOWS’ (remixed by MoMa Ready), and ‘BRING IT BACK’ (+ Bambounou remix), praised by heavyweights like Josh Wink, DJ Bone, and HAAi.

Having transitioned from creator of The Unknown Vlogs to one of London’s most exciting new DJs and producers, ICYKOF brings a fresh perspective to underground music. This exclusive vinyl is a must-have for fans of raw, warehouse-ready techno.

Sexe Fort is the seventh studio album by Patricia Kaas. With this album, the singer has maintained her status as one of the most important chansonniers of her generation. The album is notable for its many collaborations with important French singers and songwriters such as Jean-Jacques Goldman, Stephan Eicher, Pascal Obispo, Patrick Fiori, Louis Bertignac and Renaud. The album was a huge success in Belgium, France and Switzerland and had "Où Sont Les Hommes" as a popular single. This is the first time the album has been released as an LP. Sexe Fort is a limited edition of 1000 numbered copies on white coloured vinyl.

Synapson's latest album, Blue Jeans, is described as timeless and irreplaceable, much like a beloved pair of jeans that only gets better with age. The album is crafted with care, featuring diverse collaborations that resonate with a wide audience, reflecting the duo's commitment to inclusivity and unity. Celebrating their 15-year career, Blue Jeans represents a milestone in Synapson's journey, highlighting their evolution and enduring impact on the music world. This album stands as a tribute to their dedication to music and their fans, poised to become another classic in their storied career.

Tricatel is releasing on gatefold vinyl a selection of tracks composed by Bertrand Burgalat for Ça, c'est Paris! the series directed by Marc Fitoussi, starring Alex Lutz, Nicolas Maury and Monica Bellucci.

Marc Fitoussi - extract from the sleeve notes
After collaborating on my film "Les Apparences", I knew he'd be the ideal man for this series. Someone who could make real revue music, like you'd hear at the Paradis Latin or the Alcazar, and who could also be resolutely contemporary, like when the troupe relaxes and dances in a bar to a hit of the moment.

Stéphane Lerouge - extract from the sleeve notes
It's a genre that dates back to the thirties, that of the backstage musical, a genre with well-defined codes: the struggle of a collective, a troupe of singers and dancers, to put on a show that, despite a tsunami of obstacles, will end in triumph and reveal a new star. A broad spectrum of films can be linked to this, from "Quarante-deuxième rue" to "Tous en scène", from "Chorus line" to "Trois places pour le vingt-six". And today, the original link in this long chain is the series "Ça, c'est Paris!", in which Marc Fitoussi strips away this tradition, reenchanting it, making it crackle with new energy. In the end, his mission is almost the same as that of his main character, Gaspard Berthille (Alex Lutz), heir to a cabaret, the Tout-Paris, for whom he must invent a present, or rather, a future. To carry out this delicate task, Gaspard Berthille needed an accomplice, invisible on screen: Bertrand Burgalat. His freedom, the way he juggles harmony and tonality, shines through in every measure, as if Marc Fitoussi's subject had triggered something decisive and essential in him.

Fragility, modesty, delicacy... Frànçois’ voice evokes illustrious contemporaries, from Devendra Banhart to Vincent Gallo, whose vocal inflections sometimes echo behind the uniquely French timbre.

Artists like Malik Djoudi with his captivating pop, in-demand jazzman Thomas de Pourquery, and British folk artist Rozi Plain all lend their talents to Âge Fleuve. These three delightful collaborations blend seamlessly into the album’s 10 tracks. But the album’s fluidity is also felt in the flavor of certain compositions, like the upbeat “Où mène la nuit,” a kind of mystical inquiry into the whirlwinds of youth. Then there’s “Aïeul inconnu”, whose apparent melancholy pairs perfectly with its elegant groove. “Adorer”, the duet with Thomas de Pourquery, is an uplifting track that jumps wholeheartedly into the joy of living in the “present moment”.

Âge Fleuve—or rather, a “liquid inspiration”— is built on a heritage of memory. And when one delves into the mystery of this heritage, the answer becomes clear: “We’re here, under this part of the river, further downstream. Everything communicates, everything is in motion.” In other words, an album flowing through the river of our sensory, intimate, and universal heritage.

The first Jazzamor Vinyl Release!
12 selected and newly edited songs from 20 years of Jazzamor history.
"20 years of Jazzamor with over 100 songs and 13 albums released. Concerts all over the world. Encounters with many interesting people in many countries. Places we look back to with loving memories. And although we currently cannot travel them all music connects them. Music goes beyond borders. Thankfully!
20 years in which we were fortunate to collaborate with fantastic musicians and technicians who inspired us and enriched our music. We are grateful to have had you with us and we look forward to discover new things with you."

Following the international success of Her, Victor Solf presents « Tout Peut durer », a futuristic soul album in French for the 1st time.

In it he gives himself over to the intoxication of singing like a modern-day preacher.

Respecting the codes, he adds his own personality, working tirelessly to find the perfect balance between eternal soul and progressive RnB, between groove and minimalism, between intimate melancholy and collective jubilation.

Without nostalgia, without hindrance.

Maybe this warning is not really relevant. It doesn’t scare anyone anymore. We all know that what is actually hiding behind this green fence is a sweet doggy only waiting to happily greet you.

First there's Gabriel, who you probably already saw playing crazy drums (with Terrenoire, Cola Boyy…). And then there's Facundo, the magician on the synth and on his choice of shirts.

Together they are Chien Méchant: a duo made of two friends who met at the hairdresser (and in high school), and that makes you wonder if groove, rock, funk and synths could maybe coexist one more time.

The release of their first self titled EP Chien Méchant gave prominence to their first inspirations - as first releases usually do - and showed off their influences. They were at the same time trying to prove themselves but also preparing us for what is to come: the real journey.

A journey that will start next January with Métamorphose. A first album that will display a cast smelling like leather, like a John Carpenter movie with GrandMarnier (Yelle) directing, Ouai Stéphane on the mix and of course Gabriel & Facundo taking a twisted pleasure in deconstructing our common preconception on pop music.

Métamorphose has many shapes - don’t forget a dog can have 3 heads. The track “Nuit Blanche” reminds us of our dancefloor trances. “Sens Contraire” is a drum/synth ballad that takes us by the hand and slowly whispers in our ear that it is ok to be anxious. “Point Final” is pretty self explanatory and makes us feel like we are back on the dancefloor saying “ok this is the last one”. There are ten tracks on this album that will be released alongside their label - Nowadays Records.

You will quickly understand that Chien Méchant is a live band. You will dream about these drums, these blinking synths, these psychedelic carpets, and about dancing without thinking about what’s next. But beware, Métamorphose also reminds us that they are way more than that.

Originally release in March 2009, Midle Cyclone is repressed for 2025. 'Middle Cyclone' was produced by Case with Darryl Neudorf and recorded in Tucson, Brooklyn, Toronto, and Vermont. It features Case backed by her core band - guitarist Paul Rigby, bassist Tom V. Ray, backing vocalist Kelly Hogan, multi-instrumentalist Jon Rauhouse, and drummer Barry Mirochnick - along with numerous guests including M. Ward, Garth Hudson, Sarah Harmer, and members of The New Pornographers, Los Lobos, Calexico, The Sadies, Visqueen, The Lilys, and Giant Sand, among others. In addition to twelve new songs written by Case, 'Middle Cyclone' includes covers of "Never Turn Your Back on Mother Earth" by Sparks, and "Don't Forget Me" by Harry Nilsson.

In 2006, SPIN Magazine called Case "one of pop music's best" voices, and Interview Magazine hailed her album 'Fox Confessor Brings The Flood' as "one of the most original, beguiling, honest records of the year." The album also earned Case Female Artist of the Year honors from the PLUG Independent Music Awards, and a Top 10 placement in the Village Voice's annual Pazz and Jop Critics Poll of the year's best releases. 'Fox Confessor' was Case's first album to debut in the Billboard Top 100, and has sold nearly 200,000 copies in the U.S. alone.

Teatro Del Metapresente is the debut album by La Nuit Je Mens, a duo hailing from the Parisian suburbs and southern Italy. Now based in Rome, the two artists have crafted a striking sound that merges their DIY ethos with raw, unfiltered energy.

Driven by synthetic, minimalist rhythms created on a fleet of analog machines, the seven tracks pay homage to the sound of the '80s – yet entirely forward-looking and embracing the dancefloor modernity.

Blending genres such as EBM, synth-pop and minimal-cold-wave, paired with French vocals, the album delves into themes of underground activities, the slow decay of the club scene and the depths of emotional yearning.

Released on the Berlin-Basel-based label Reach Another System, Teatro Del Metapresente follows the previously released 7” and reinforces the duo's own sound and unique identity.

This compilation features tracks released between 1978 and 1988 in Western France.

Through this compilation, we strove to highlight a little-known regional scene, characteristic of the diverse and sometimes opposing music movements of the 80s. Through this musical journey across the Brittany, Normandy, and Pays-de-la-Loire regions, we sought to showcase a resolutely indie aesthetic, sometimes conceived in some of France’s most unusual studios, such as a bunker and a caravan.

We’ve found it difficult to make attribute an established, well-defined genre to some of the tracks featured on this compilation. They draw, each in their own way, from the rock scene that dominated the 80s in France, from countercultures, from American stars who shone on the country’s radio stations and in its record stores, and even from local folk music.

While one could hear an harmony across the tracks featured on Le Grand Ouest, channeling this manifold energy onto a record required extensive research through the Brittany, Normandy, and Pays de la Loire regions’ discographies. Over the three years since the release of Le Grand Sud-Est, we have meticulously researched the references of artists, musicians, studios, labels, and publishers from each region. We sought to trace each artist to identify and listen to all their works from that period, and, when possible, collect unreleased recordings, left as demo cassettes on the artists' dusty shelves.

The synthesis of this research, presented here under the title Le Grand Ouest, hopes to remind us of the timelessness of the indie scene in our country, through the lens of the 80s Western France’s scene. Whereas Le Grand Sud-Est exhibited the funkiest sides of the Provençale and Rhône-Alpes scene, Le Grand Ouest leans towards a more mellow, introverted music, an expression of groups of friends united by the joy of playing together.

The first 500 copies of the record come with an extensive booklet with unpublished photos, press clippings, and texts for each track.