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Black Truffle is pleased to announce a new edition of Kassel Jaeger’s Fernweh, returning François J. Bonnet’s electroacoustic project to the label five years after the acclaimed Meith (BT069). Originally released on Giuseppe Ielasi and Jennifer Veillerobe’s impeccably curated Senufo Editions in 2012, Fernweh stands near the beginning of the gradual expansion of Bonnet’s approach after the austere acoustic textures of Aerae and Algae (both released on Senufo), leading to the lush, layered environments of recent solo works on Shelter Press and the epic electronic expeditions undertaken in duo projects with Stephen O’Malley and Jim O’Rourke.

A major work in the Kassel Jaeger oeuvre, stretching over two LP sides, Fernweh draws together synthesized and musique concrète materials into a drifting assemblage. Its title’s meaning is close to the concept of ‘Wanderlust’, fitting for this music that moves freely and unexpectedly between what Bonnet calls ‘climates’. Beginning with fizzing electronics whose rhythm of gradual approach suggests breaking waves, the clinical atmosphere is soon haunted by intangible traces of lived reality. Textures call up wind, water, insects, the crunch of feet on sand or the clinking of glasses, yet they can never be identified with any certainty. At times these concrete elements possess a vivid ‘closeness’; at others, the sounds shade into a formless distance. Though the listener forms no clear picture from the concrete sounds, these elements aerate the music, lending it their space.

Drawing from the rigorous formal language and conceptual apparatus of the French musique concrète tradition—with which Bonnet, as director of the GRM and researcher into its deepest archival recesses, is intimately familiar—the music of Kassel Jaeger is equally informed by how underground experimental music has rethought electroacoustic techniques, with Fernweh at times calling up the grit and grime of para-industrial eccentrics like Maurizio Bianchi or the Toniutti brothers, and at other moments suggesting the slow-moving grandeur of early Olivia Block. Subtle features of dynamics and rhythm act as connective tissue between the numerous ‘scenes’, with wave-like envelopes, rapid pulsations, and short, tape-loop patterns all recurring throughout the piece, shared ambiguously between electronic and concrete sounds. Amid these shifting, often inharmonic textures, the electronic elements sometimes cohere into melodic shapes and chordal patterns, cutting through the fog in distorted arcs or underpinning the layered surface with slow-moving harmonies. Like his friend and collaborator Jim O’Rourke, Bonnet displays a radical openness at odds with academic tradition, allowing unabashed emotion to coexist with rigorous experimentation. As Fernweh dies away with mysterious shudders, listeners are left at once moved and unsure of exactly what they just heard.

The Reds, Pinks & Purples is a San Francisco indie band led by Glenn Donaldson (The Ivy Tree, Skygreen Leopards, Art Museums and Painted Shrine). For fans of_ Guided By Voices, The Chills, Teenage Fanclub, The Shins, The Replacements, Leonard Cohen, The Go-Betweens, Robert Wyatt. Having penned over 200 songs in the last six years, The Reds, Pinks and Purples release a collection of tracks previously unreleased on physical format that continues to romanticise the wonders and woes of the world. With song titles that read like chapter sub-heads for a post-Douglas Coupland novella, 'The Past Is A Garden I Never Fed' takes The Reds, Pinks and Purples central orator Glenn Donaldson through the turmoil of small talk and everyday water cooler moments with a fine sense of pathos and irony. Set to a soundtrack that swerves between the dark days of Television Personalities and Byrdsian twang to the Jarvis Cocker-styled rhetoric and vocal tenderness of 'Richard In the Age Of The Corporation' with hints of everything from Husker Du's fuzzed splendour to the chiming majesty of The Chameleons it's an empowering listen. The pathos and irony of the glorious track 'The World Doesn't Need Another Band' sets out the band's store, it's a measured and quietly outspoken rant at lacklustre opposition peppered with a gorgeous guitar break. Meanwhile, 'I Only Ever Wanted To See You Fail' rumbles with an Eddie And The Hot Rods pre-punk riff before dissolving into a tale of self-doubt and remorse, bemoaning others' good luck. 'Toxic Friend' is from the book of the TVP's Daniel Treacey with an upbeat chorus that smacks of all that was good in old school indie in a hail of fuzzy logic and guitars. From humble beginnings as a home recording project, The Reds, Pinks and Purples has blossomed into a sporadic live unit with tours on both sides of the Atlantic and appearances at Pitchfork Fest London and Woodsist Fest as well as support slots for indie legends such as Destroyer, Guided By Voices, and The Feelies. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork.

Since first forming in 2016, London's High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: "It's trying to be a hopeful record, while also being incensed." Rounded out by drummer Edward 'Ski' Harper, guitarists Martin MacNamara and Rob Hammaren, and bassist Jack Muncaster, the band's deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, "Everyone's scratching, everyone's working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that."From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: "We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done."The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk ("Drop Me Out," "Mob DLA") to jangling indie sneer ("Worth The Wait," "Deserve It") to heavy alt ("Feeling Bless," "Fill The Gap") to shoegazey spoken word ("Untethered"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: "For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places."Nowhere is this sentiment flexed more boldly than on "Mind's A Lie," a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths ("Face to face with all I've known / I can't call these thoughts my own"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern un-derground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while stay-ing firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Enter-tainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

We’re thrilled to announce the ultimate collection for fans of Raz Fresco’s groundbreaking “Pocket Operations” album series! For the first time, all three volumes of this critically acclaimed series have been brought together into one seamless release. Featuring over 40 meticulously crafted tracks, this collection showcases Raz Fresco’s unique production skills, with every beat and sound created on the PO-33 – the world’s smallest sampler, designed by the innovative minds at Teenage Engineering.

This special release comes packaged in a stunning trifold jacket, making it a must-have for collectors and audiophiles alike. Available in your choice of vibrant colored vinyl or classic black vinyl, this exclusive edition is now open for pre-order. Don’t miss your chance to own this iconic compilation – secure your copy today!

Bobby Lyle is a keyboard legend from the fusion period of jazz in the mid to late 1970s. He was the pianist with Young Holt Unlimited and played with Jimi Hendricks, booked to go on the road with him just ahead of the untimely death. In 1974 he moved to Los Angeles and went on the road with Sly & The Family Stone, and then through dates with Ronnie Laws he met ex-Crusader Wayne Henderson who took him to Capitol Records where this, the first of three iconic albums was released in 1977. Bobby also became Wayne’s keyboard player of choice on his solo albums and productions through the remainder of the 70s and early 80s, contributing to the ‘At Home Production’ sound which defines these albums. “The Genie” was rediscovered in the ‘rare groove’ period of the 80s and is from which Bobby gets his nickname for the lightning pace and magic of his playing. This album is ultimate jazz funk from a period that gave us artists like Lonnie Liston Smith, Joe Sample and Bob James. Bobby still tours to this day with artists like George Benson and Anita Baker.

LA-based producer Real Bad Man and Detroit artist ZelooperZ release their joint album Dear Psilocybin via the pro-ducer’s own Real Bad Man Records. The album marks the duo’s first collaboration, culminating in a full-length project that also features guest appearances from Boldy James, MAVI and a verse from The Alchemist. On Dear Psilocybin, ZelooperZ invokes unconventional production out of Real Bad Man to match his own unpredictable and outlandish delivery, working outside of traditional song structures and existing in a lane of his own. The Detroit multihyphenate, who is an integral part of Danny Brown’s Bruiser Brigadecollective and also an accomplished visual artist, painted the album’s corresponding cover artwork as well.

“I definitely haven’t made anything like this before, it’s a very subtle version of my music as far as tone, ” ZelooperZ explained in a conversation with Real Bad Man for his RBM Radio show. He elaborates on the off-kilter approach to the way he recorded to say, “the album feels like a movie soundtrack for a film about a man losing his mind and getting spurts of memories along the way. ”

Speaking about how the project differs from the rest of his collaborative catalog, RBM says, “It’s trippy and it’s a little different – but the main goal was for it to be authentic to Z and his process. ” That dedication to authenticity rings true across his catalog, drawing back to the foundations of his beginnings as a producer, learning the fundamentals of sampling, experimenting with chords and learning to piece songs together by ear. RBM builds a cohesive production arc around each artist he works with, catered to their strengths as artists, working with a variety of lyrical stylists includ-ing Memphis rapper Lukah, Pink Siifu, Blu, Kool Keith, Elcamino & more.

Real Bad Man is the production moniker of visual artist and designer Adam Jay Weissman. A designer and visual artist first, he made his foray into music through his On High Alert series of imaginative, multi-generational compilations, which have featured the likes of Roc Marciano, ROME STREETZ, Pink Siifu, Maxo and more. In the years since, he’s partnered with some of hip-hop’s most talented and adventurous artists on full-length projects, refining and shaping the trajectory of some of rap’s most exciting independent artists.

A true embodiment of Brazilian Boogie, this is the first official reissue of Brylho's album, founded in Rio de Janeiro in 1978 as Brylho da Cidade. The group was influenced by the Black Rio movement of Tim Maia, Cassiano, and others. Members included Arnaldo Brandão (vocals/bass), Paulo Roquette (guitar), Cláudio Zoli (guitar/vocals), Robério Rafael (drums), Bolão (percussion), and Ricardo Cristaldi (keyboard). Claudio Zoli stands out as an important funk artist of the 1980s, during a time when Pop Rock bands dominated the Brazilian music scene. This album features one of the biggest hits of 1983: the soulful reggae groove "Noite do Prazer." Often described as Rio de Janeiro's answer to George Benson's "Give Me the Night," it's a timeless classic that bridges funk, soul, and Brazilian grooves. On "Se Você For a Salvador," a sun-soaked, feel-good boogie track, younger generations have embraced a new term to describe the sound: Brazilian City Pop. The record also delivers dancefloor heat like the stomping "Jóia Rara," the vibrant soul-reggae fusion "Destrava Maria," the ahead-of-its- time rap-funk hybrid "Cheque Sem Fundo," and the electrifying samba-reggae "Pé de Guerra," rich with Bahian rhythms and energy. Closing out the album are two under-the-radar jazz-funk gems: "Meditando" and "171." Though often lumped into the boogie category, these tracks lean more toward the sleek 1980s jazz-funk sound, reminiscent of UK acts like Level 42.

For 15 years, female-fronted quintet LEONOV have been honing their captivating brand of celestial doom metal. Named after Aleksej Leonov, the first human to take a walk in space, the Norwegians combine the melancholic slow burn of King Woman with the ethereal heaviness of Subrosa and an incredible voice that undeniably reminds of Julie Christmas. Shape of Ash showcases the refined sound of a band that has been around for quite a while_ a band whose career has been a similar slow burn as their music, yet a band that has managed to stay together and create music throughout all these years, despite the odds of families and the real world. Like staring into a purgatory bonfire, listening to `Shape of Ash' is a powerfully entrancing experience. Dealing with themes of helplessness, uncertainty, conflict and resolution, these four songs touch upon the many adversities of life. On Shape of Ash, LEONOV create moments of primordial heaviness on which Tåran's unique voice floats atop, blends in effortlessly in some moments and takes reserved distance in others. With the 4 songs that make up this stunning EP, the band sets the bar incredibly high for their upcoming full length album. We can't wait for it! FOR FANS OF GGGOLDDD, King Woman, Marriages, Subrosa, Cult of Luna, Julie Christmas, Chelsea Wolfe, True Widow, Spurv

Originally released on Shoebox in 1993, this wonderfully pink piece of vibrant vinyl comes with two hardcore/proto-jungle bangers made by SDR & Subsonic who also own Shoebox. They are also the artists behind the Digital Pressure release on A Guy Called Gerald’s label Juicebox (keep it locked to Vinyl Fanatiks in 2024 for this one).

This release has been sought after for a good number of years with the usual high-ticket price on Discogs. But now the opportunity is here to grab a copy at a fraction of the price with some saying it is also a better sounding release compared to the original pressing.

The fourth and final bubblegum pink vinyl release. Grab yours before they sell out.
Lock N Loaded…

Allen Toussaint’s debut as a solo artist, “The Wild Sound Of New Orleans” was released in 1958 under the name of Tousan. In the 60s, he established himself as a songwriter, producer and arranger for a number of labels and generated hits like ‘Working In The Coal Mine’ for Lee Dorsey that got to #8 in the Billboard Hot 100 in 1966. Other classic tracks that Toussaint either wrote, produced or arranged included ‘Fortune Teller’, Lipstick Traces’ and ‘Ooh Poo Pah Do’

It was only in 1970 that he found time to record another solo album, aptly entitled “Toussaint”. As well as serving up his own version Of ‘Working In The Coal Mine’, Toussaint recorded other originals like ‘From A Whisper To A Scream’ and ‘Everything I Do Is Gonna Be Funky’. There were also four instrumental tracks – ‘Pickles’, ‘Louie’, ‘Either’ and a sublime version of ‘Cast Your Fate To The Wind’ listed as ‘Allen Toussaint at the piano’.
The original version of Toussaint was released in 1970 on Scepter records and is now hailed as a soulful classic. Ace were delighted to first reissue it in 1985 as “From A Whisper To A Scream” with the addition of a bonus track and with a slightly different running order.
On “Toussaint” we present the original album as Allen Toussaint intended it to be heard. Remastered to perfection this is an essential purchase

Modeight steps into 2025 with a thrilling entry from Vedana, the Leeds-born, New Zealand-based artist making waves in the underground scene. With a career shaped by years behind the decks and a newfound passion for production, Vedana distills his rich clubbing heritage into four cutting-edge tracks on Epiphany EP. The journey begins on A1 with "Epiphany". This groove-heavy minimal house piece is powered by rolling basslines and jagged modular sequences that ignite the dancefloor. Perfectly tuned for pre-parties and equally ready to take over peak-time sets, it's a versatile cut that balances tension and release in all the right places. Next up is A2's "Flawless Victory". As the name suggests, this track hits with triumphant energy. A massive beat locks in with deep, dynamic basslines, building a sense of pressure that commands attention. Add in trippy atmospheres and enveloping textures, and you've got a dancefloor weapon primed to elevate the vibe. Flipping to the B-side, "Onomatopoeia" lives up to its playful title. Short, synthetic stabs cut sharply across the soundstage, synchronized with a hypnotic groove that feels both meticulous and spontaneous. It's a standout piece, rich in personality and brimming with rhythmically charged creativity. Closing the record is B2's "Present in the Culture". An absolute heavyweight of a track, it delivers a mix of atmospheric swells and plucky, tactile sounds that pull listeners deep into a trippy sonic journey. With its driving force and immersive vibe, it's a fitting finale to a stellar EP.

Temple Fang is a rare breed of band - one that refuses to compromise in an increasingly cutthroat and number-obsessed music industry. Formed in 2018 in Amsterdam, the band hit their stride in 2019 with acclaimed Roadburn performances and a reputation for electrifying live shows across Europe, all before releasing a single track. With alternating lead vocalists, dual harmonizing guitars, and a rhythm section powered by pure psychedelic energy, Temple Fang quickly became a phenomenon in the heavy-psych underground. Though always leaving live viewers in awe of their performances, the band struggled against internal fractures and external forces, all stalling efforts to create their vision of a proper studio album. This fueled speculation that Temple Fang"s live sound was too in-the moment, too whimsical, too untamed to be properly captured in a studio environment, something the band never themselves believed to be true, quite the opposite. It just would require the right set of circumstances. Fast forward to 2025 as Temple Fang is ready to release "Lifted from the Wind" on Stickman Records. A record they themselves consider to be their true debut studio album. On this sprawling double record Temple Fang appears, for the first time in their existence, fully formed: fierce and strong, hard rocking yet elegant, with 20+ minute psych freak-outs and prog ballads side-by-side. Temple Fang truly delivers on the promise they"ve always held, to really stretch the possibilities of what it means to be a rock band in 2025. With spectacular wild-man Daan Wopereis as a full member on the drums, Temple Fang now can deliver on their commitment to really rock, to blow your mind AND tear your heart out.

Jukebox Disco Divas makes a fine entry into the world of wax with this first too-classic-to-fail edit offering. First up is an instrumental rework of a well-known and strident disco delight from the golden 70s era. It's sympathetically done with big drums, hooky trumpets and enough original vocals from the Moroder-style gem to make sure the floor catches fire. On the flip, an equally delicious tweak of an equally great original. This first 7" sets a fine standard for what is sure to be a very useful new label for lovers of old and new disco and plenty of sounds in between.

Lionheart is the sixteenth studio album by English heavy metal band Saxon, released in 2004. The title is inspired from Richard the Lionheart, a 12th-century King of England. ""Beyond the Grave"" was released as a single with complementary video. Lionheart is a pure heavy metal album -- the Saxon that old-timers know and love. Such standouts as the album-opening ""Witchfinder General"" and ""Man and Machine"" would not sound out of place on such earlier classics as Denim & Leather and Power & the Glory. Lionheart is available as a limited edition of 1000 individually numbered copies on gold colored vinyl and includes an insert. This special edition contains an additional and exclusive cover print.

This is the second release that DJ Diplomat made all the way back in the early 90’s. His first release was repressed by Vinyl Fanatiks in 2019. This second repress we are doing for him was originally recorded in 1993 and engineered by Secret Squirrel AKA Hellfish who went on to create the Deathchant label in 1997, a label which Diplomat also recorded for. He was also responsible for the mega mixes on the Street Sounds electro series when it was relaunched in the noughties.

Enthused by the support his first repress received Will Diplomat decided to get back into the studio and start making fresh hardcore that sounded like it was made back in the day for the Vinyl Fanatiks sister label Amen Brother. His first release sold out many moons ago but his collab with former partner in the old 1993 hardcore group NARC (DJ Beagle) under the name Diplomat & Beagle is still in stock via Sequence.

Now check his examples of many samples!

The Argentinian punk-noise-queer combo Blanco Tet ais back with a new album from the underground scene of Buenos Aires. La debacle de las divas is a raw, satiric and emotional album about capitalism"s obsession with youth, and the burnout of always having to keep yourself "new." It dives into the sounds of pop and rock, noise, no wave and even metal and grunge, and it"s a record for the working-class divas, the Flixbus divas - too broke, too tired, too late, but still loud. Recorded live in one room, no overdubs, no edits-just the urgent chaos of cables, bodies and feedback. It"s danceable, glitchy, and full of heartache and rage. Fuck meritocracy. Fuck techno-feudalism. This is survival music for the ones paying subscriptions to platforms that censor them. La debacle de las divas is a shelter and also a call to arms for outdated divas.

NSTOCK AND SHIPPING Next up on Feral Child (alongside the mighty new Lake Ruth full length) comes an absolute banger of a 45 from THE HOLOGRAM PEOPLE. Following hugely well received -and sought after- releases on Dreamlord Recordings, Library of the Occult, Up In Her Room and others, the duo of Jonathan Parkes (Korb) and Dom Keen (Studio Kosmische) release “Bongo Express” as a limited one-off vinyl pressing for Crouch End based label Feral Child. "A heady, psychedelic collision of bongos and analogue synths create a dusty mid 70's groove of masterful krautrock infused funk instrumentation. The duo’s trippy soundtrack and radiophonic leanings are at the fore across both sides of this beauty. It is anticipated that a quick sell out is on the cards, and the single looks wonderful too- dressed in Feral Childs’ new psych company bags designed by label head Dom.

It’s been a short time since the van-dwelling singer-songwriter Olive Klug has fully pursued the life of a touring musician. Their DIY career has resulted in a huge following with over 20 million Spotify streams and 100,000+ Instagram followers. Self-described as “someone who floats on the breeze, letting the wind take me wherever I’m meant to be,” Klug’s sophomore album and label debut, Lost Dog finds them contemplating this propensity for adventure no matter which avenue of love and loss it leads down. Although still very young, Klug artfully addresses “aging as a neurodivergent free spirit” on the road with a compelling ability to voice honest emotions through captivating storytelling. Audiotree praised, ”equal parts vulnerable and powerful, ebullient and heartbreaking, reminding us how powerful the journey of music can be.” Olive Klug is a singular voice for the future of folk: honest, fearless, often unsure, but willing to try anyway.

Underground Pacific is back with a new double vinyl compilation titled ‘The Only Good Wave is a Dead One’ that confirms, once again, its uncompromising taste for bold electronic music, psychedelic textures, and raw, electrified rock ‘n roll. This release brings together a varied group of artists, each of them adding something special to the journey.

The trip begins with “Excursions” by Gregory Moore, a piece that floats into a humid sonic world, between the nostalgic tones of vintage video game soundtracks, the Fourth World atmospheres of Jon Hassell, and the shimmering calm of ’90s Japanese ambient à la Takashi Kokubo.

Next comes Talee, the Rotterdam-based regular of the label, with “Makes Me Wonder”. Here, grunge-soaked vocals meet a tight dark disco groove, pierced by crystalline guitar chords that shimmer at the track’s heart. A song with its soul in the past and its feet in the club.

Label founder Cantor teams up once again with German duo New Hook on “Achtung! Achtung!”, an homage to the eponymous track by Italian producer Black Saagan. Fueled by vintage drum machines, punk-infused vocals, and melodies echoing the krautrock minimalism of Cluster, the track channels pure Cold War disco energy.

On “Scavengers”, Berlin based World Wild Web and Rasp Thorne deliver a pure mix of electro-rock noir – Suicide by way of David Lynch. Picture a never seen before episode of the series where Martin Rev and Alan Vega are playing live at the Roadhouse in Twin Peaks, while Laura Palmer slowly moves her head to the music, with a devilish smile on her face.

All the way from Grenoble to Berlin, H.L.M. deliver a dirty bass-driven anthem called ‘Fronde’. French spoken vocals spitfire over layers of distorted drones and hypnotic rhythms. The result is rough, hypnotic, and brings to mind the grooves of Death in Vegas.

New Hook return, this time solo, with ‘Unity’: a blend of groovy downtempo percussions, melancholic guitar riffs, and their signature brand of spoken word, a style that’s quickly become their sonic fingerprint.

Then it’s the turn of mexican-wave exponents Montessori featuring Vongold on “Ad Libitum”: a techy sunrise piece with soft pads, subtle build-ups, and an ecstatic sense of endlessness. After-party music for vast, open spaces.
Next up are SX2 from Ireland with their ‘Buttons’, offering a rolling tech-house banger laced with desert guitars. Psychedelic FX’s and whispered vocals drenched in delay slow the pace in a breakdown full of tension, preparing the floor to an euphoric release.

A dream from the pandemic era reappears: Cantor’s “Hannett’s Dream”, originally released in 2020 by Modular’s Project’s imprint ‘Nothing Is Real’ together with their own reworked version present also in two very limited vinyl-collector editions released by Underground Pacific. The introspection and hypnotic structure of the original cut here is replaced by a more stripped down arrangement, with a four-to-the-floor groove that is perfectly crafted for peak-time ignition.

Closing out the release is “Carissima” by the man behind iconic label Wonder Stories, Aimes – a Moroder-esque bassline and sensual vocals play on top of a warm groove that suddenly fractures into jazz-tinged, breakbeat mood, in the style of early Warp Records, just in time to get back into its disco-ish swing.

Contrary to what the title of this release might suggest, the wave isn’t dead at all. It’s well alive in the underground, reanimated by labels like Underground Pacific who are always ready to welcome artists who aren’t afraid to crash genres together and, above all, who are driven by the desire to make free-form, inspired pieces of music.

When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating “You Oughta Know” in 1995, everything about the Top 10 song communicated it wasn’t the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity. Morissette, and both the lead single from and her entire American major-label debut — the profoundly personal Jagged Little Pill — represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream nearly three decades later.

Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame’s list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It’s a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.

Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time. A key part of the record’s appeal and accessibility — Glen Ballard’s smooth production, touches that help Morissette’s exposed-nerve fare seem more accessible and melodic — comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist’s songs that much more real and visceral.

The singer’s distinctive mezzo-soprano deliveries — the octave-rippling highs, dark-hued lows, dramatic crescendos, belted choruses, wispy reflections, occasional yodels — resonate with full-range ardor and depth. As crucial as anything on the record, Morissette’s confessional words take center stage like never before. Ditto the instrumentation and atmospherics that form the magnetic backgrounds of the songs. Key in on the contributions from Red Hot Chili Peppers Dave Navarro and Flea on “You Oughta Know” to Tom Petty & the Heartbreakers' co-founder Benmont Tench’s organ playing on six tracks.

The deluxe packaging of Mobile Fidelity’s Jagged Little Pill UD1S set underscores the work’s distinguished status. Housed in a slipcase, the LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this UD1S reissue is for listeners who prize sound quality and desire to engage themselves in everything involved with the album, including the now-iconic cover art that juxtaposes two portraits of the then-21-year-old singer-songwriter and features typewriter font.

That script — which suggests a raw, blood-on-the-floor document created without modern aids like spell check or language correction — hints at the heightened level of unvarnished intimacy, honesty, and catharsis Morissette offers throughout Jagged Little Pill. Named after a phrase uttered on the astute “You Learn,” the album explores the frank emotions, inherent contradictions, and wishful desires people feel everyday but are often too afraid to express. Morissette displays no such fear or shyness.

Akin to a woman reading from a diary, Morissette leaves nothing to the imagination as she skewers hypocrisy during the poignant “Forgiven,” seeks recompense on the vengeful “You Oughta Know,” and spills her guts on the soul-purging “All I Really Want.” For all the anger and bile ascribed to the singer and record, Jagged Little Pill is incredibly healthy and upbeat. Morissette uses the catchy pop-rock frameworks and moody ambience to suss out situations, to learn, to give hope. There’s the clever yearning of “Hand in My Pocket”; wry contrarianism of “Ironic”; kind-heartedness of “Hand over Feet”; the live-and-let-live spirit of “You Learn” – all positive and amiable.

Throughout Jagged Little Pill, the ever-approachable Morissette connects with listeners who recognize themselves in her — and has an intelligent conversation with anyone who wants to participate. It seemed almost everyone did. In addition to the mammoth sales that make the effort the 17th-best-selling album in American history, Jagged Little Pill collected four Grammy Awards, two American Music Awards, three Billboard Music Awards, and eight Juno Awards. In 2018, the record became the basis for a musical that netted 15 Tony nominations on Broadway.

Ironic? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening “All I Really Want,”, the album represents “deliverance” — “a place to find common ground.”

Mannequin Records reissues "My Government Is My Soul", a searing 1989 statement from Bourbonese Qualk, one of the UK’s most defiant and politically engaged experimental acts. Originally released on the group’s own label, this LP captures the uncompromising spirit of a band deeply embedded in the resistance movements of 1980s Britain.

Recorded during a turbulent period of social unrest, "My Government Is My Soul" stands as a fierce response to authoritarianism, surveillance, and the neoliberal decay that defined the Thatcher era. Bourbonese Qualk fused industrial rhythms, minimal synth, distorted tape loops, and spoken-word polemics into a sound that was both confrontational and deeply physical—a weaponized form of music rooted in activism and direct action.

Widely regarded by fans as one of the band’s strongest works, "My Government Is My Soul" has earned a near-mythic status in underground circles. Fans have praised the album’s stylistic breadth—“sometimes it kisses the hem of rock, at others it bows towards the likes of Steve Reich & Philip Glass".

This reissue, fully remastered by Rude 66, reintroduces a critical work of post-industrial dissent to a new generation. Still as urgent and unflinching as ever, the album resonates with today’s climate of mass disinformation and systemic control. It is a timely reminder that sound can still be a form of resistance.

"OKU" – An Introspective Journey through Sound and Playfulness
With his fourth LP, Martin Merz invites you on a journey into personal moments and memories. Through the playful and experimental lens of electronic soundscapes, OKU explores various moments of interaction, capturing the innocence, wonder, and depth of the bond shared between a father and his son. From spontaneous moments of laughter to quiet, reflective exchanges, OKU paints a sonic portrait of a pair navigating their world through sound.
The compositions are filled with vibrant textures, dynamic beats, and intricate layers, drawing the listener into a world where the boundaries between sound and emotion dissolve into a thrilling exploration. OKU is a record that reminds us of the simple yet profound beauty of our relationships and the music that exists between the spaces of our everyday lives.
Immerse yourself in the captivating soundscapes of OKU!

Aiko Takahashi is a Nova Gorica-based musician, a spirit that has released albums on various labels. Just like the line that separates the two cities where Aiko lives, Gorizia and Nova Gorica, divided between two countries yet united as one, Aiko’s music exists on a boundary. A line that separates silence from peculiar, almost imperceptible sounds. Too quiet to be Ambient, too Ambient to be Sound Art.

Two years ago, after a first complete release on IIKKI with "It Could Have Been A Beautiful", Aiko Takahashi comes back with a second complete album, this time, on LAAPS.

"This album is a delicate, meditative collection recorded between March and November 2024 in Aiko's former studio, a secluded spot near the River Isonzo, between Gorizia and Nova Gorica in Slovenia. The Grass Harp was made specifically for LAAPS, who asked Aiko to create a new complete piece of sounds. As always, it was largely recorded using dense layers of manipulated loops that weave in and out of the recordings, shaping them in a singular way through effects pedals, tape decks, and tape loops. The Grass Harp is a meditation on decay and silence, blending warm soundscapes with soft, playful melodies. That’s Aiko’s signature sound."

“We go through life. We shed our skins. We become ourselves.”

This line from Patti Smith was going round and round Felix Manuel’s head as he gradually constructed Under Tangled Silence, his first album in six years and a record of a literal creative rebirth. Felix originally began it in earnest in 2020 Covid lockdown, but a catastrophic hard-drive meltdown destroyed almost all his work and sent him close to psychic collapse himself. However, ultimately this pushed him to rebuild from scratch and in so doing to confront and reassess every part of his musical and psychological processes.

The result is utterly extraordinary. Felix was a child prodigy as an instrumentalist and his advanced musicality has always been prominent in his music, but here he has put himself front and centre as pianist, harpist and more. And this sense of exposure as a performer interweaves with an unflinching emotional openness too. Where sometimes electronic production as advanced as this can use intellect and techniques as shields from soul-baring, this is the sound of someone who can boldly say “I feel things, I cry all the time, and I'm not afraid to say it or show it in the music.”

But this doesn’t mean there’s a move away from the soundsystems and dancefloors where Felix made his name as a uniquely innovative vinyl DJ. Even just in the opening track “A Tune for Us”, minimalist piano ripples and jazz drumming flow into the breaks of vintage jungle – and as the structure of the LP unfolds, a deep ambient meditation like “Hold” can sit very naturally in between the futurist dancehall of “L’Ancienne” and the high-definition acid house mind movie of “Galaxy in Silence”. In fact, as with the hands-on musicianship, that gutsy big-speaker electronic impact is delivered with more certainty, more expertise, more personal flourishes than ever. And all of those elements are more integrated than ever too: the sound of a total musical personality emerging afresh is truly something to behold. An already remarkable talent has been refreshed, reborn and is making the music of his life.

This 15-track project cements BigXThaPlug's status as one of hip-hop's most authentic and compelling voices. Executively produced by Bandplay—the mastermind behind "The Largest"—alongside longtime collaborators Tony Coles, Charley Cooks and others, Take Care offers a raw and unfiltered reflection of BigXThaPlug's rise to stardom. The album showcases his electrifying energy while exploring new sonic territories, all while remaining true to his signature sound.

BigXThaPlug's artistic evolution is evident in his lyricism, a masterful blend of melodic instrumentation and commanding beats. Drawing inspiration from the sounds of '70s and '80s hip hop, Take Care features a powerful tracklist that includes viral sensations "Mmhmm,” and “Change Me,” along with fresh tracks like "Lost The Love," "2AM," and "The Story of X." Throughout the project, he crafts an innermost narrative that speaks to his journey, proving that success hasn't clouded his vision or altered his core values.

The album announcement arrives with a compelling trailer and the launch of pre-orders, igniting anticipation among BigXThaPlug's devoted fanbase. Masterfully directed by creative director TreySoulss, the intimate trailer features his grandmother's voice guiding viewers through precious family footage and pivotal moments, revealing the forces that shaped his meteoric rise. This project not only promises to further establish him as a leading voice in hip-hop's new generation but serves as testament that his success is no fleeting moment—it's the foundation of an enduring legacy.

REPRESS

New Delhi-based Peter Cat Recording Co. will release their debut album, ‘Bismillah’ on June 14, 2019 via French independent label Panache Records. Debut UK live shows are soon also to be announced by the band.


Peter Cat Recording Co. could almost have a question mark on the end of its name. Not least as founder & frontman Suryakant Sawhney refuses to explain where that name really comes from or what it means (perhaps a reference to the Tokyo jazz club owned by Haruki Murakami), but also since the very existence of the band itself raises a raft of questions. When was the last time we fell for an indie rock band for the right reasons? Not because the band in question nostalgically imitate a perceived ‘golden age’ but because they innately embody the fundamentals of such music: fantasy, sincerity and the freedom to make music without rules or career aspi- rations. And when was the last time this kind of band sounded like Sinatra, Barry White, the sweetest doo-wop, humid fanfares and a psychedelic wedding band, all at once? And all of this coming from India?
In truth, the story of Peter Cat Recording Co. was written within the triangle of San Francisco, Delhi and Paris.
In the first of these cities, Sawhney (a native of Delhi) pitched up to study film-making. More distracted by the city’s peaking live scene of the early noughties, this is where he started to make music and to sketch out an idea for the band.“
The people I lived with supported my idea of writing music, they introduced me to great mu-
sic. There used to be a great garage scene in San Francisco, like The Oh Sees also Ty Seagall, Mikal Conin, all those bands. This is a world I had never seen in my entire life. A big inspiration from San Francisco was that you could record yourself. You don’t need to be in a studio and spend a lot of money to make an album. You can do it”.


At the end of the 2000s, Suryakant returned home to New Delhi, and started his band for real, more or less the same band that plays today. “I wasn’t so concerned about will we be performing, will we be the greatest band, will we be trendy. I just wanted to make something that was consequential and important for us, I think. Something which would last, something people could listen to and be like « this is life changing ». It was for the sake of beauty”.


For the first few years and in India alone, this is exactly what Peter Cat Recording Co. did, in total indifference to the rest of the world. This was until young Parisian label Panache stumbled across the band online via Vice’s THUMP subsidiary, stupefied by the band’s cosmic video for seven-minutes-and-counting track, ‘Love De- mons’. And so in spring of 2018, ‘Portrait Of A Time: 2010-2016’ was released on Panache - making the first international release from Peter Cat Recording Co., bizarrely enough, an anthology of re-mastered, hidden gems from the band’s ramshackle back catalogue, previously recorded in Suryakant’s own living room. With Peter Cat’s off-kilter charm hitherto unheard of beyond the fringes of India, the release provided a gateway op-
Whilst the title track found its way onto Tracks Of The Year lists at the Guardian & NME, it was tricky for new PCRC enthusiasts to get a firm grip on the startling push/pull between the immediate, uncanny music this release gathered, and the cultural backdrop of New Delhi at which it was so startlingly at odds.


Opportunity for a wider fanbase to fall in love with their cloud-like, drunken songs for the first time.
If discovering your favourite new band via a ‘Best Of’ feels a curious premise, then ‘Bismillah’ does more than hint towards the promise of Peter Cat Recording Co’s future. Blending gypsy jazz, psychedelic cabaret, space disco, bossa supernova, Bollywood and uneasy listening with kaleidoscopic ease, in many senses, the band’s knack hasn’t altered. Always different, paradoxical, unpredictable yet somehow familiar. The new album opens to the strains of bird chatter, the whisper of a city’s soundscape and the first few notes from an instrument which seem to be calling us to the departure lounge, a fore-shadow of the flight ‘Bismillah’ launches its listener
on. Suryakant sings with the detached, rueful elegance of Sinatra marooned on a desert island, whilst his band create small space-time capsules which navigate their way through genres and eras – including the future – and between nostalgia and eccentricity.


Peter Cat recently trailed ‘Bismillah’ with the release of ‘Floated By’, an appositely titled musing on failure & missed opportunities, punctuated by the fulsome brass section which weaves through so much of the album.


The languid, blue quality to the track is offset by the attendant music video, created with footage shot, implau- sibly enough, at Suryakant’s own marriage ceremony (needless to say, the wedding band hired for the day was of course, Peter Cat Recording Co.) Sawhney dryly notes; “Hopefully it’s not a many-a-times-in-a-lifetime event. You can’t fake that set, those people actually having a good time, being really emotional and intense.” ‘Bismillah’’s colour-drenched album cover also captures Suryakant’s father-in-law making his wedding toast on that same day - a nod back towards the cover of ‘Portrait Of A Time’, itself a black & white image taken at the wedding ceremony of Suryakant’s own father.


A stumbling but gracious collection of songs rooted in a kind of drunken soul music, the melancholy nature of some of the songs on ‘Bismillah’ renders them almost liquid, before they develop into more dance-like shapes. Suryakant’s rangy voice swoops from the falsetto glide of ‘I’m This’ to the beat-up baritone blown along by the warm breeze of ‘Soulless Friends’. The elliptical structure of album opener ‘Where The Money Flows’ also al-
lows for the use of brief bursts of autotune effect on his vocal without feeling incongruous, whilst the desultory lyrics of ‘Heera’ (a Hindi word for diamond) - sharing something with the Morricone school of grand storytelling - have an emotional weight that would impress even coming from a native English speaker. Perhaps the most gleefully unpredictable moment on ‘Bismillah’ comes with the illusory, vocal loops on the intro to ‘Memory Box’, errupting into 8 exhilarating minutes worth of unbridled, string-backed disco joy. A cat might have nine lives, but on ‘Bismillah’ and beyond, Peter Cat Recording Co. are hinting towards an un- knowable multitude of dimensions. Throw them all together, and it equates less to a listening experience and more to an out-of-body experience.


Peter Cat Recording Co. are: Suryakant Sawhney (vocals/guitar/organ), Dhruv Bhola (bass), Kartik S Pillai (organ/guitar/electronics), Rohit Gupta (horns), Karan Singh (drums)

BerettaMusic has long been a cornerstone of Detroit’s underground dance scene, launching the careers of renowned artists like Seth Troxler, Ryan Crosson, Luke Hess, and many more. With its latest release, the label continues to cement its legacy—this time with a standout record from label boss Ryan Sadorus.

Sadorus has been on a production streak, making waves not only in Detroit but across the globe. His recent work includes the deep and driving “Down Below” on Norm Talley’s esteemed Upstairs Asylum label. Now, he teams up with the incredibly talented vocalist Simon Black to deliver a fresh slice of Detroit house music.

Their track “Hot in the D” captures the raw, moody, and hypnotic essence of the city’s signature house sound. While Detroit is often synonymous with techno, its deep and soulful house scene has also made an undeniable global impact. The track has already been turning heads at underground parties in Detroit, with dancers and DJs alike asking, “What is this?!” and “When can I get it?!”

On remix duties, Delano Smith—a true pioneer of the Detroit sound and someone that needs no introduction—delivers his signature deep, rolling, and hypnotic style to “Hot in the D”, making this release a must-have for house music lovers globally. Stay tuned—this one is destined to move dance floors everywhere… Already getting heavy rotation from Jimpster, Gilles Peterson and DJ Harvey to name a few.

HUGE CONGRATULATIONS TO MOXIE AND THE LOVE INTERNATIONAL X TEST PRESSING TEAM FOR WINNING THE BEST COMPILATION IN THE DJ MAG BEST OF BRITISH AWARDS 2025


“I feel really chuffed as a lot of work went into building this compilation,” beams Moxie, when we congratulate her on the award. “I also worked alongside a great team, including Dave Harvey, Ellie Stokes, Chez de Milo and everyone at Prime Distribution. I’d been manifesting working on a project like this for years, so when it all came together I was so happy with it. But to have recognition from the DJ Mag public vote is the cherry on the cake.”


Few artists have shaped their local scene quite like Alice Moxom under her celebrated Moxie alias. A born-and-bred Londoner, Moxie is a dance music powerhouse whose influence runs deep—from the grassroots to global stages. Her trajectory spans early teenage years digging for garage records, to dubstep sets at legendary club nights, to running her long-standing and beloved NTS Radio residency. For over a decade, she’s been a midweek staple on NTS, championing deep house, Detroit techno, and all things dubby, groovy, and percussive, while regularly platforming artists through guest mixes and interviews with icons like Jeff Mills, Four Tet, and Or:la.

Her latest endeavor, the Love International compilation, brings that wealth of experience to life. 'I’d secretly been manifesting this for a while,' Moxie admits. 'Love International has such a specific energy, and I wanted the compilation to reflect that—dubby, fun, euphoric, deep. It’s all the styles of music I love, pulled together in harmony. Being at Love International always feels like coming home. Whether it’s dancing in Barbarellas or sharing a smile with a stranger on the dancefloor, there’s this sense of unity that’s hard to describe. That’s why I chose ‘U Skladu’ for the sleeve—because that’s what it feels like: in harmony.'

“Recorded at BBC Broadcasting House and partially aired on BBC Radio 3’s Late Junction, the first studio encounter between London-based duo Exotic Sin and Swiss percussionist Julian Sartorius is now published in full on this album from Sagome.

Winding through six distinct and interconnected paths, the trio effortlessly create a shared language in this expansive improvised session.

Listening back two years later — the session was recorded on March 24, 2023 — it’s evident how they build at a relaxed pace, offering space for the listener to enter into their evolving sound. Anchored by piano, delicate wood, metal, and air instruments, a fluid system of interactions develops: repeating, deepening, but not fixating. The direction of travel is not cyclical or linear and the pace insists on forward confidently, avoiding the trap or comfort of recurring motifs.

Percussion is not a timekeeper, but a key element, introducing new textures that even on the final track Path 6, trace out a horizon that feels more like a blurred beginning than a definitive end.

In Session, Exotic Sin moves into a lighter, perhaps more playful language for improvisation than on their debut album Customer’s Copy. This could be influenced by Sartorius’ tactile approach to sonic materials or the more stripped-back nature of the improvised session, with less emphasis on synthesised and electric sounds. While the emotional imprint from their debut album—murkier and insistent—remains, it has been aired out to dry. In Session, their sound-world is broad and moves with levity.”

Andrea Zarza Canova – April 2025


Music by
Kenichi Iwasa (electric and acoustic percussion, trumpet, horns, thumb piano, effects).
Naima Nefertari (piano, Yamaha keyboard, flute, bells, percussion).
Julian Sartorius (drums, percussion).

Recorded and mixed live for Late Junction at BBC Broadcasting House, London, on the 24th of March 2023 by Joe Yon and John Boland.
Mastered by Giuseppe Ielasi.
Produced by Silvia Malnati at Reduced Listening for BBC Radio 3.
Extracts from the session were played on Late Junction on the 14th of April 2023.
Artwork by Josef William Back.
Graphic design by Nicola Tirabasso.

Kai Alce's NDATL Muzik is one of our favourites for deep house so imagine our delight to learn that it now branches out with a new sub-label, Nutria Sounds. Its debut release is a gem from Shaka with Eve's soulful vocals capturing the essence of Paris through organic textures and sultry melodies. The main vocal mix has jazzy chords and a carefree vibe, while 'Unbleached' is a more driving deep house cut with dancing keys and low end heft. The ever-on form Chicagoan Vick Lavender also steps up with a signature jazz-infused remix that is refined yet ready to work the 'floor. This is a fine debut for Nutria Sounds, which seems like it is going to be another vital outlet for heartfelt and classy house.

Founded in 2020 by Austrian producer Lee Stevens, Rising Seed has evolved into a joint venture with Ken Hayakawa and a collective of guest musicians. Blending Acid Jazz, Trip Hop, and Disco, the project bridges the warmth of live instrumentation with the depth of electronic production.
With a strong focus on recording and re sampling real instruments, Rising Seed crafts a rich, organic sound—where vintage samplers, drum machines, and analog textures meet hypnotic grooves and cinematic atmospheres. Inspired by artists like Moby, Kruder & Dorfmeister, and Massive Attack, their debut album True Lies unfolds like a layered collage, blurring the lines between past and future, truth and illusion.
The opening track, “Follow Me,” perfectly embodies this fusion: sampled instruments and vocal snippets blend seamlessly with live recordings of flute and saxophone, all set against a funky drum break. “Gone West” does the unthinkable—marrying a house groove with esoteric vocals, live sitar by Amrith Jan, and—why not?—a touch of harmonica. “Like A Lion” is a dub-infused downbeat track packed with crusty blues samples.
On “Freedom,” we hear a more minimalist side of Rising Seed, with a tight brush-drum arrangement and densely layered sitar melodies. Another high point is “Soldier of Peace,” featuring even more funky sitar and a subtle acid line, reminiscent of the early days of big beat. It’s followed by “True Lies,” which elegantly distills the downbeat sound of the late '90s while staying true to the Rising Seed formula.
“Psych Jazz” is, as the title suggests, both psychedelic and jazzy, albeit with a somber, low-slung trip-hop feel, while “Don’t Worry” is equally trippy yet more upbeat, carried by a moaning vocal sample that urges us not to worry. Finally, “Stay with Me” closes the album with a jazz-infused vibe that is both moody and uplifting, its shuffling drum groove and elegant piano melodies providing a fitting conclusion.

There are imagined landscapes we all carry within us—dreamed,
half-remembered, or just beyond reach. Lofoten, the new album by
Cate Francesca Brooks on Clay Pipe Music, is a musical reflection on one such place.
Located above the Arctic Circle, Norway's Lofoten Islands are known for their dramatic peaks, open seascapes, and distinctive red fishing cabins dotting the shoreline. Though Brooks has never visited this remote northern region, it became an unexpected source of inspiration.
The project began when Cate listened to a narrated "sleep story" set in the islands. Intrigued, she researched the region and found herself drawn to its stark beauty."I fell in love with creating an impression of somewhere I would probably never visit, but felt a real affinity with," she explains.
This ambitious album translates that connection into sound. Through carefully crafted electronics, melodic themes, richly layered textures and big production, Brooks captures the essence of Lofoten—its icy light, vast horizons, and profound quiet."The other thing that happened around the same time was the first lockdown here in the UK. I had taken the opportunity of having some extra time to learn a new (to me) method of synthesis; that of the Synclavier, which uses one aluminium wheel and an array of buttons to control every parameter of the sound.
"I took to it with intrigue and before I knew it, I had built up hundreds of original sounds, many of which were perfect for the textures I could hear in my head for Lofoten. So that (along with a Prophet synth and a TR-808) became the sound world." Lofoten stands as an evocative testament to how music can transport us to distant places, transforming geographical limitations into imagined creative possibilities.

Reality Shock & Solo Banton are back once again, with a soundsystem anthem entitled Sound Teachings

Produced by Kris Kemist for Reality Shock Records, with support from CultureMix Arts’ Reggae Collective, Sound Teachings is a celebration of global soundsystem culture; a call to honour the past whilst embracing the future.

Solo Banton's lyrical flow is as commanding as ever, his wordplay paying tribute to the soundsystem pioneers who laid the foundation and the sounds of today who continue to fly the flag for the culture. Kris Kemist’s heavyweight production, featuring Wailers drummer Carl Benjamin, gives this record a fresh yet nostalgic sound, complete with obligatory dub mix on the B side.

Novoa/Kamaguchi/Cleaver Trio Delivers Electrifying Second Volume
A Bold, Experimental Fusion of Density and Dialogue

"The wait is over. If you’ve been holding your breath since hearing Novoa/Kamaguchi/Cleaver Trio, Vol. 1, it is time to let it out. Vol. 2 is almost here! The group has returned to 577 Records once more, serving a heaping second helping of addictive musical brilliance that comes out in May.

Even The Wire magazine celebrated the trio's first album, calling it “a deep and thoughtful release” – and Vol. 2 is no different. Eva Novoa is the Barcelona-born pianist/composer taking the world by storm with her creativity and talent. And she is back to wow us again on the piano, Fender Rhodes, Chinese gongs, and a little whistling.

To complete the trio, she chose her longtime comrade and collaborator of some fifteen years, bassist Masa Kamaguchi, and Detroit drum wizard Gerald Cleaver. The group has performed live in NYC since 2017. They made their first record (Vol. 1) with 577 Records in 2024. Their highly anticipated Vol. 2 marks Eva's fourth album with the label.

In their upcoming release, Novoa steers the trio through elegant experimentation of its full potential, confidently grasping golden threads from great masters of music to shape her own melodic universe. The multi-instrumentalist says it’s where melodic density meets contrapuntal dialogue, a free interplay of rich textures and riveting, masterly improvisation. This smooth complexity is what gives rise to the group’s uniqueness.

Like Vol. 1, the album cover art features the work of Novoa’s friend and collaborator, popular street photographer Richard Sandler."

Eva Novoa - Piano, Fender Rhodes, Chinese Gongs & Whistling.
Masa Kamaguchi - Bass.
Gerald Cleaver - Drums.

Recorded on January 19, 2020 at Oktaven Audio, Mount Vernon, NY by Jeremy Loucas.
Mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Photography by Richard Sandler.
Graphic design by Sergio Vezzali.
Graphic support by Mark Smith.

2023 Repress

It's the quiet ones we should watch, they always say. Which is particularly astute advice right now, when loud, constant self-declaration and saturated 'brand' visibility have become the norm. But above the babble and brightness, some voices will always speak quiet volumes ­- with calm eloquence and the kind of certitude that comes from valuing the playing out, not just the prize.

Sweden's José González is just such a voice. He first charmed his way into the UK's earshot via the murmurous and elegant, classically finger-picked folk pop of his 2005 album, Veneer, which has since sold over a staggering 430, 000 copies in UK alone. Two years later came In Our Nature, a further exploration of José's influences (Argentinian Folklore, the '60s US folk tradition and the British pastoral folk-pop style of the same era), on which he resisted the temptation to beef up his alluringly introvert aesthetic. The albums made the UK Top 10 and Top 20 respectively.

Conceived as the natural third part in an acoustic trilogy, Vestiges & Claws is a(nother) hushed and delicate solo set that forefronts the artist and guitarist's compellingly intimate vocal style and intricate playing technique, but it's often strikingly rhythmic in nature and cohere's perfectly, with hand claps and taps on the body of his instrument underlining the songs' mantric rise-and-fall pattern, while elsewhere, over-dubbed guitar parts and multi-tracked vocal harmonies entwine to sweetly immersive effect.

The title refers to both cultural practices and biological features that survive despite having lost their original function, and to currently useful tools, ie the 'claws' of modern life.

Vestiges & Claws was recorded almost entirely by José and self-produced, mostly in his Gothenburg home, using computer plug-ins to achieve a warm, analogue sound. He prefers working alone, mainly for artistic reasons. 'There were a couple of things that enabled me to complete this record: one was curiosity, to be able to play percussion and do a lot of harmonies and also to produce and mix the album; the other was aesthetics. I love to listen to Arthur Russell and Shuggie Otis, to music that has been done mostly by one person in their solitary state.'

As José sees it, the record is his personal, 'zoomed-out eye on humanity on a small, pale blue dot in a cold, sparse and unfriendly space. The amazing fact that we are all here, an attempt at encouraging us to understand ourselves and to make the best of the one life we know we have - after birth and before death.

Kicking off SSR's first ever 4 tracker are Label debutants 'Duburban & Peeb' these boys are really making their mark on the scene right now & when you hear 'Shadows Cast' you will certainly know why! Fans of Source Direct take note.. tearing!

Another new artist to the label is Bristol's LOMA with 'The Open Book' a beautifully minimal, tense & cinematic piece of music! exactly what we like here! Expect more from Loma on SSR in the future.

ETCH returns to the label this time on remix duties for Rawtrachs 'Inter Dimensional' (ETCH Hieroglyphics Remix) ETCH has stripped this one right back & added some his self coined 'breakbeat acrobatics' An amazing remix we can't get enough of here.

Last but most certainly not least we welcome Wolverhampton's RAWTRACHS to the imprint. He delivers a 140 breaks track in his own unique way. Always experimenting with crunching up & twisting sounds he cites influences that span from No Turn Records & even Star Trek for this piece! Rawtrachs is certainly putting Wolves back on the map! Long may it last.

Tommaso is an exciting young talent who has brought plenty of freshness to the underground scenes of both Florence and Chicago. Now he debuts on Rocksteady Disco with more of his signature organic and soulful sounds. This one kicks off with 'G Class' which is a peak-time house pumper with lovely liquid bass and sunny strings. 'Fierro Viejo' is more twisted with rumbling bass and a peppering of percussion that will twist dancers inside out. 'Giente Que' is an arp-fuelled Italo-inflected banger and last of all is the more slow, seductive and absorbing sound of Snake Pit' for late-night lovers. Another fine EP from Tommaso.

This album is probably one of the most outstanding jazz discoveries of this year and highlights the significance of earlyJjazz-Rock recordings from East Germany in the late 60s to the early 1970s.
The highly talented organist Ulrich Gumpert, along with top musicians like drummer Günter "Baby" Sommer, bassist Gert Lübke, and guitarist Günter Dobrowolsky, formed a powerful independent quartet as well the rhythm section within the Klaus Lenz Orchestra and later of the group SOK. Their modern, soulful, and funky Jazz-Rock compositions gained popularity and were even promoted by the
East Berlin youth radio. Guest artists like the famous Günther Fischer contributed to their first recordings. This retrospective LP celebrates a groundbreaking yet underappreciated era in East German Jazz and Rock history.

Motor City great Omar S is not just a don when it comes to programming drums and laying down his irresistible synth lines and heart aching melodies. He can also play a wide array of instruments, and in fact does just that here as he plays all instruments played you can hear across all three cuts of this new one on his FXHE label. Things kick off with the wonderful 'Featuring Omar S (instrumental)' and then 'Sayoungaty Nig' is a hazy, lo-fi ambient sound with occasional synth smears and a barely-there rhythm implied by the odd kick drum sound. 'Featuring Omar S' is a signature deep house joint with bristling metal hi-hats, rickety drums and edgy drones that keep you on edge as more soulful chords rise up through the mix.