Cerca:this is

Born and raised in the birthplace of House Music, Paul Johnson was known for his raw, soulful, and infectious sound, that helped shape Chicago's house scene and inspired generations of DJs worldwide in particular he was a massive inspiration to Daft Punk and the 'French Touch' scene.
Releasing a vast amount of music throughout the 1990s for some of the most consistently underground dance labels including legendary Chicago imprints Cajual, Relief and Dance Mania he finally gained global fame with his 1999 hit “Get Get Down,” a dancefloor anthem that topped charts across Europe. Despite facing physical challenges, including losing both legs in accidents, he remained an unstoppable force in music—touring, producing, and uplifting others with his resilient spirit and signature groove.
Re-pressed for our 35th anniversary, Paul Johnson’s classic 1995 debut album on Peacefrog, Bump Talkin is a timeless showcase of Paul’s signature deep, soulful house sound, blending irresistible peak-time, piano-driven anthems with a playful touch of bouncy Ghetto House energy.
They dont make em like this anymore...
RIP Paul Johnson.

Communique Records continues with the next re-issue of the sublabel Country Western. This time in the re-bound the most wanted of the series from David Spaans called 3D Bingo. Originally released in 1997. The 20205 version is re-mastered!

Don't feed the Discogs Sharks!

To celebrate the 10th anniversary of the iconically brutal-yet-stylish Hotline Miami, the head honchos at Devolver Digital, Dennaton Games and Laced Records picked up the phone and made the call to bring back two killer soundtracks to vinyl.

This Standard Edition of the Hotline Miami 1 & 2: The Complete Collection 8LP box set includes traditional black vinyl.

Every in-game track from Hotline Miami and Hotline Miami 2: Wrong Number is present and correct, including Castanets’ “You Are The Blood” (not previously available via the HM2 Steam soundtrack release.) 76 tracks remastered for vinyl will be pressed to heavyweight LPs that come in spined inner sleeves, contained in a rigid board lift-off lid box with spot UV highlight.

Also included in the box are two 12” art prints of the front and back cover pieces, and a 50 Blessings symbol felt slipmat and metallic sticker.

The box set features brand new eye-exploding artwork by long-time Dennaton collaborator Niklas Åkerblad — aka El Huervo aka Beard — alongside illustrator -IZMA-. El Huervo’s grisly covers depict contradictory accounts of a berserk face-off between Jacket and Biker, replete with entrails. -IZMA-’s disc sleeves explore scenes from the series’ lore, tapping into the violence, psychedelia and nihilism that pervade its characters and themes.

10 years on, neon-soaked indie hit Hotline Miami has become a cultural touchstone in a way that few video games ever achieve — and the electronic soundtracks for both series titles are held up as modern classics that have transcended gaming. At turns brutal and laid-back, pulsating and aimless, coked-up and checked-out, these two ultracool compilations were at the heart of the retro-’80s synthwave scene that swept the Internet over the 2010s.

Following the release of the dreamy and bewitching darkwave debut single “Mirror Twin”, Harsh Symmetry announces the release of a full-length debut Display Model on Fabrika Records, home of Selofan, Lebanon Hanover, and She Past Away, whose own Doruk Öztürkcan mixed and mastered the LP. With a vocal style reminiscent of Cocteau Twins collaborator Cinder (This Mortal Coil, Cindytalk), and Ian McCulloch of Echo & The Bunnymen, Harsh Symmetry’s Julian Sharwarko is the epitome of old-school and post-punk and goth, capturing a vision that perfectly matches his sound, while physically resembling his music forebears to the point where he looks like he just stepped out of a copy of Smash Hits circa 1983. Hailing from Sacramento, California, Sharwarko’s love of music began at the tender age of 8, with parents who influenced his early music tastes by playing the music of Siouxsie and The Banshees, The Birthday Party, Iggy Pop, Depeche Mode, and Bauhaus. David Lynch’s work also made a profound impact on his style, specifically the short film The Grandmother.

The Nu’rons were a family group consisting of two sets of brothers and cousins, the four young men in question being brothers Daryl Howard and Raymond Gibson (Daryl’s mother registered him under his father’s surname of Howard and Raymond under her maiden name of Gibson) together with Otho Bateman and Charles Bateman. They were all born and raised in Salem, New Jersey and from the age of ten and eleven began singing with a fifth member and Gibson brother Rudolph as a group called The Gospel 5. They eventually decided to crossover to secular music and as a group known for their energetic dance routines they came up with the new performing name of ‘The Nu’rons’ (taken from the word ‘Neuron’ which is a cell that transmits nerve impulses). However Rudolph was soon to leave the group due to physical illness. Also Daryl Howard and Charles Bateman had also been part of a working group known as The Devotions prior to becoming The Nu-Ron’s.Following hours of practice The Nu’rons eventually felt confident enough to put their own shows together and began to perform at local dances and parties around New Jersey and Philadelphia, often being used as a non-paid warm up act for bigger named artists. They moved between several different managers including Jimmy Bishop (Duo Dynamic Productions) until they came under the tutelage of WDAS radio DJ Georgie Woods (his wife Gilda, being the owner of the Philadelphia Gil, Dion and Top & Bottom record Labels). It was Georgie who introduced them to Manny Campbell who in turn invited them to an audition at his and partner Charles Bowen’s Emandolynn Music studio in Chester P.A. The song The Nu’rons chose to audition with was the self penned “I’m A Loner”, the audition went well, as during late January/early February of 1970 Manny and Charles took The Nu’rons into the Sigma Sound Studio’s with Tom Bell and the TSOP musicians to record “I’m A Loner” and “All My Life” which was released on the Nu-Ron label in April of the same year. The two studio takes presente don this release came short after the band moved on from the collaboration with producer Emanuel Campbell to take music matters in their own hands. Beside recording "Disco Hustle" to be part of the disco boom in Philly of the times, they recorded also “You Came Thru”, a rough yet beautiful heavy bassline driven soul funk recording, and the just amazing “Hurry Up Tomorrow”, here presented in one of the original Studio takes.

Blue Vinyl
Das irische Rockduo Dea Matrona der beiden Belfaster Schulfreundinnen Mollie McGinn und Orlaith Forsythe hat mit knallharten Riffs und musikalischer Intensität einen seltenen, sensationellen Sound etabliert – düster und echt, aber voller Melodien und Stil. Ihr Debütalbum 'For Your Sins' ist eine mitreißende Mischung aus Indiepop, Hardrock, hervorragender Raffinesse und Einflüssen von Fleetwood Mac, HAIM, The White Stripes und Arctic Monkeys. Krachende Basslines und schwere Instrumental-Grooves zeugen von einem kühnen, sensationellen Rockethos mit modernem Touch.

Xzibit – Kingmaker markiert die lang erwartete Rückkehr der Westcoast-Legende, sein erstes Album seit 2012. Vollgepackt mit Heavyweight-Kollaborationen präsentiert Kingmaker Branchengrößen wie Dr. Dre, Ice Cube, Busta Rhymes, Redman, Royce Da 5'9", Ty Dolla $ign und viele mehr. Mit einer knallharten Produktion und Xzibits charakteristischer, messerscharfer Darbietung verbindet dieses Album rohe Lyrik mit erstklassigen Beats und bekräftigt Xzibits Status als Hip-Hop-Powerhouse. Kingmaker ist ein Muss für Shops und Fans gleichermassen und wird in der gesamten Kulturszene für Aufsehen sorgen.

The second volume in a survey of the modern jazz & hard-bop scenes that emerged in the new cultural melting pot of post war London, with recordings from the end of the 1940s through to the early 1960s.

Featuring representations from players whose roots lay in the East-End's jewish community alongside a wealth of talent of Caribbean and African descent playing and recording in post war London during this period.

Made in partnership with the Barbican to coincide with the exhibition Postwar Modern: New Art in Britain 1945-1965.

Vibraphone Records is back from winter break with a new release by Danijel Kevic!
Classy retro Acid House with this remakeble Vibrapohone sound.
Highly recommended!

RAWAX proudly presents Swayzak - Ping Pong/ Skoobarl from 2000!
We are very happy to re-issue this beauty and celebrate the 26th anniversary with a new mastering.
Don't feed the Discogs Sharks!

REVIEWS
"Utterly gorgeous. This magnificent album is the gift that keeps on giving. Downright essential"
Electronic Sound (No. 6 Album Of The Year 2022)
"A cosmic swoon that plays with closeness and distance in the realm of revelation"
Pitchfork - 7.6
"Gloriously introspective"
Sunday Times
2022 Album Of The Year
The Thin Air

For the second IT record from Detroit's Andy Toth, he explores a sci fi fusion of electro and acid, with a remix by BMG of Ectomorph fame. Andy Toth has a long history in Detroit Techno, from an engineering and mixing background where he mixed records for the likes of Mike Huckaby and many others, to co-authoring "Sandwiches". For this record, Andy had the songs mixed on hardware by BMG in his studio, to give them an even more 3 dimensional sound and an even greater weight. The result for the "Mind Lock EP" is simultaneously hypnotic, acid, sci fi, and electro. The depth of tone, density of sound and maturity of concept come through the 4 deeply compelling tracks that you can just get lost in.

Irish label Il Corpo returns for its third outing with a hard to pigeon hole 10” from 710 Exit. 2 tracks that sit on the electro end of things but with a generous nod to the sound of Detroit, early UK breakbeat, soul and the deeper realms of electronic music. Close To The Sun feels like more than just a cosmic position. A solid 808 foundation and loose percussion sit beneath a bed of synth lines and soaring pads that are guaranteed to stir the soul. The signal for nostalgia is strong but there are plenty more twists and turns to keep the listener engaged. Warped guitar and soul samples make Strat an infectious workout brimming with experimentation and originality. Effected chords take on an almost vocal quality which talks over the casual, understated funk on offer here. Ever changing tones draw you in and make it hard to distinguish between guitar, synth or human. A unique E.P. which will find its way into the sets of varying selectors at this summer’s gatherings.

AS THE WORLD TURNS is the newly founded label by Rob Manga -- a platform created to channel his distinct sonic identity while cultivating a community rooted in shared energy and expression. The label emerges from a clear intention: to push a personal sound forward while opening space for others to connect, contribute, and evolve alongside it. It is both a statement and an invitation -- a place where sound becomes a meeting point. The first release marks this vision with a four-track EP, weaving together soulful textures, deep atmospheres, and club-driven impact. Each track reflects a different facet of the dancefloor, balancing introspection with movement, and depth with raw energy. With this debut, AS THE WORLD TURNS sets the tone -- not just as a label, but as a growing circle centered around sound, rhythm, and connection.

Straddling an intriguing intersection of Drum & Bass, Jazz, Fusion and unidentifiable electronica, ‘You Won't Find Your Way From Here’ is the debut album from Jhauk.

An extremely talented multi-instrumentalist from Sheffield, UK, Jhauk came to Blu Mar Ten’s attention when, in 2017, he created a wild prog-rock inflected remix of BMT’s track ‘Titans’
Further conversations with Jhauk revealed the depth of his unorthodox approach to electronic music and unearthed a treasure trove of production skills, culminating in the album before you.

Oscillating between the late-night, moody calm of late 50s Miles Davis, John Coltrane & Bill Evans, the riotous 70s instrumentation of Weather Report, the modern cool stylings of Matthew Halsall and the gritty edges of modern D&B production, it’s scarcely believable that this collection of tracks came from one person working alone in their studio. With tempos and time signatures skittering all over the place, Jhauk uses genres as catalysts rather than containers, he finds the interesting stuff in the hinterlands of their structural relationships and tensions. 

Talking about the album, Jhauk has strong opinions:

“Drum & Bass emerged as club music, and club music comes with its own logic. Specific structures, specific build-ups, a formula that supports that context. 
That's fair enough, but almost 40 years later, why is 99% of D&B still made the exact same way when 99% of the time it's never heard in a club? The same structure, the same formula, barely any development beyond the core idea. Tracks where you can hear 10 seconds of the drop and know almost beat-for-beat how the next 5 minutes sound. No real musical depth or exploration. People regurgitating the same material ad-nauseum but never actually saying anything for themselves. 
This period of composition for me was about taking what I love about D&B, the rhythmic energy and potential for creative freedom it presents and really stretching it to its limits. Of taking drum & bass as a starting point and seeing where it ends up without an idea of what that destination might be. Most people would probably never call a lot of the results D&B, but that's okay because it was never the point.”

 
Dripping with melancholy, euphoria, longing and pure urgency ‘You Won't Find Your Way From Here’ is unlike anything else you’ll hear this year. The sound of an artist entirely unconcerned with impressing peers or performing on ‘socials’; you're hearing a true musician at work, expressing ideas through the skill of his hands, mind and ears. The album’s secrets aren’t revealed with a single play-through, but bears (or even requires) multiple listens to expose its layers.
In previous times, they called this ‘art'.

Faux Poly is delighted to release its first vinyl record release since 2023: NINA, a rising UKG/Dub prodigy, is arriving with Internal Makeup. Bristol-based NINA has steadily built a reputation as a forward-thinking
solo artist, dropping highly sought-after records with a distinct sound and craftsmanship that set him
apart. Just one year in, NINA has released on labels such as Innamind Recordings, 20/20 LDN, and
Locus Sound. This new chapter is a pure distillation of that journey - a sound informed by dub, garage,
grime, and soundsystem pressure.

Internal Makeup features four bass-driven club tools that are minimal, weighty and focussed on sub. Opening with “The World Is On Fire”, the only 4x4 track on the record, NINA sets the mood with a cavernous dub techno jam and spaced out vocals. The rest of the record - including the Rowl collaboration “When I Come” - hits firmly in UK Bass territory, with stripped compositions that focus on bass-weight and a strong Bristol influence.

Words from NINA: This EP came together slowly and surely over the space of about a year. I wanted to
encapsulate my true sound which can be extremely versatile which is why there is a bit of everything on there, from techno to garage to dubstep.

Sushitech continues its expertly curated mission of uncovering hidden gems adding to its ever-green catalogue with another immersive, rare house classic from the West Coast of the late '90s.

Tim Buna and Eric James (RIP), who produced as E.T.I. and formed part of the solid bedrock of the West Coast sound alongside DJ Garth (together as Rocket) and the Wicked crew, join forces with Tony Hewitt, another titan of the era.

This rare genre-crossing underground record has been treasured by collectors for years, earning support from key players and featuring in the infamous Tyrant mix of Craig Richards and Lee Burridge.

Carefully restored and recut, this monster of a record is now available once again on Sushitech in its full form. Three decades on from its original release, its raw, dirty, high-energy vibe remains hard to match, with authentic, magical sound that stands second to none. Late '90s acid house at its finest.

Patchwork Inc. is a multi genre music collective based in Chicago. Inspired by the intricate and repetitive patterns on a quilt, deep grooves are stitched together with vibrant threads of analog synths, fat bass, Fender Rhodes, and a plethora of percussion to form a uniquely personal piece of art.

Their latest offering, Michael Damani’s "It’s Just The Rain," is officially getting the vinyl treatment. This special release features a fresh remix by Little Rocker on the A-side, backed by an immersive Dub Version on the B-side—a must-have for collectors and audiophiles alike.

Limited to 500 units.

With the title "Treatise On A Narcissist" hinting at the EP's thematic exploration, the four originals by Shaleen are a masterclass in atmospheric, driving techno-built on powerful basslines, intricate percussion and an unnerving emotional intensity. This formidable body of work is then subjected to four distinct and high-calibre reinterpretations, each pushing the originals into new sonic territories.

Fiedel delivers a masterclass in raw, functional Berlin Techno. His "Treatise on a Narcissist" Remix builds on a foundation of caustic percussion and echoing metallic textures to create a journey into the machine's heart, powered by monolithic kick drums and pulsating, hypnotic sequences. This is peak-time, strobelit intensity-a dark, unforgiving lesson in rhythm and propulsion.

Mareena's sophisticated version of Shaleen's "Treatise On A Narcissist" strips the original back to its essential hypnotic core. It locks into a precise, relentless rhythm with characterizing sharp hi-hats, a focused, pulsating kick drum and creates a sense of deep,
foreboding atmosphere by utilizing subtle, filtered synth drones and echo effects.

Rosati's Remix of Shaleen's "Nymphomaniac" layers hypnotic elements, leading to a massive, euphoric breakdown and creates a captivating, almost obsessive mood. This track demands movement. It's an unrelenting sonic journey characterized by a hard-thumping rhythm section that maintains relentless forward momentum.

JakoJako steps up to deliver a nuanced and immersive re-imagining of Shaleen's "Fused in Desire". Moving away from high-impact euphoria, this remix focuses on dark, driving Techno.
The textural soundscape features a powerful low-end as well as lush, evolving pads and shimmering, modulated synth textures that create a vast, emotional space to establish a profound, steady pulse. Designed for total immersion, this track serves as both a
high-energy peak-time weapon and a hypnotic journey for early-morning dancefloors.

Limited, 500 copies black gatefold 2LP...

Originally released in 2013, the long-awaited second album from Lulu Rouge finally returns to vinyl in its first-ever limited repress — revived after years of growing demand.

The Song Is In The Drum captures the duo at their most fearless and immersive. Known for their deep melancholia and anti-traditional pop structures, Lulu Rouge blur the lines between dark dub, cinematic electronica, and left-field songwriting. Intense, soul-cutting vocal pieces unfold alongside towering instrumentals — brooding, beautiful, and unapologetically atmospheric.

The album features standout appearances from Danish indie pop visionary Asbjørn and Icelandic-born vocalist Fanney Osk, adding further depth to an already richly textured sonic landscape.

Across 11 meticulously crafted tracks, producers Torsten “Buda” Jacobsen and Thomas “T.O.M” Bertelsen shape a world that feels both intimate and vast. Every beat is deliberate, every space intentional. This is music that doesn’t simply play — it envelops.

Fifty-three minutes that grip you by the heart and refuse to let go.

Welcome to the brightest dark place you’ve ever been.

Look out for a much anticipated new album coming later this year from Lulu Rouge - making this re-issue a timely reminder of the power of their work.

I first encountered Pascal Comelade’s music thirty years ago—and nothing has sounded quite the same since. I was immediately captivated: he is an artist like no other, whose sincere and selfless love of music is always evident, especially in his tender reworkings of other people’s songs.

Comelade seems to work like a watchmaker: meticulous, precise, and obsessive—yet always drifting into something dreamlike. His music opens hidden doors, telling strange and beguiling stories filled with obscurity, kindness, and reserved humour.

Back then, my fascination was instinctive. Today, with a few more words at my disposal, I look to this exceptional 70-year-old French musician and feel exactly the same pull.

Métaphysique Du Hit-Parade is the first vinyl compilation devoted to Pascal Comelade’s favourite cover versions. It spans a forty-year career and traces sixty years of rock and roll history along the way. “Sheena Is a Punk Rocker” becomes a soft, soothing lullaby that may well have made the Ramones weep. Then there are his idiosyncratic tributes to Jonathan Richman (“Egyptian Reggae”) and The Kinks (“Sunny Afternoon”), alongside nods to formative heroes such as The Gun Club, Captain Beefheart, and MC5.

Two exclusive recordings stand out particularly: Bob Dylan’s “Girl from the North Country” and Nirvana’s “Come As You Are”—a song that shaped my early youth. Both were recorded especially for this release.

Jan Lankisch, January 2026

Irish drone-doom-folk act One Leg One Eye, the project of founding Lankum member Ian Lynch and veteran noise monger George Brennan, announce their new album, CRONE, out on 1 May on AD 93.

Today the group share the first track on the album, ‘Many are my Names Besides’, on which they are joined by the elemental force that is legendary actor, performer, writer and director Olwen Fouéré (Operating Theatre) contributing vocals.

Olwen Fouéré comments:

“When Ian and George first approached me to work with them, they were already creating the Crone album as a sonic invocation of the ‘sovereignty goddess’, who personifies the land and the legitimacy to rule it, in her darkest and most terrifying form. As we spoke, the triple goddess figure of the Morrigan entered my mind, reinforced by a marked presence of crows every time we met. The Morrigan is essentially a war goddess, frequently appearing as a crow in a battlefield, a death prophet, a guardian of sovereignty, and a very powerful figure in Irish Mythology.

So I invoked her energy as a starting point, using text extracts that Ian sent me from the Ulster Cycle and other sources. The voice recording was done in one day, improvising the source material while the already composed music occupied my psyche through headphones.

Listening back, at this time in our world, I can only wonder at how much blood and war the Crone/ Crow of sovereignty is preparing to unleash now. Watch out.”

CRONE is the second album from Lynch and Brennan, following on from 2022’s slowburn slab of ambient grit, …And Take The Black Worm With Me. Bewildering, psychedelic and ultimately transcendental, the four tracks of One Leg One Eye’s CRONE shapeshift and morph endlessly in a coarse miasma. Traditional song structures and vocal melody are eschewed, instead the trio directly channel energies from the rich seams of mythological significance submerged below the Irish psyche. The anger, rage and beauty of the sovereignty goddess burn a consistent and deliberate line through the album in the form of obscure incantations and dire pronouncements, the gnarled sinews that bind it all together.

Just as the subject matter of the tracks delve deeper into Irish myth and the remote past, the temporal reality of the album reaches back into the bands prehistory, with the majority of it the material being recorded by Lynch and Brennan in 2021 before One Leg One Eye was conceived of as an entity with Brennan working on the CRONE project while Lynch worked on …And Take The Black Worm With Me.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head.

She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within.

"Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?"

"Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws."

"It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?"

"Calib," she answers.

"That is not much of a name," says Conaire.

"Lo, many are my names besides."

"Which be they?" asks Conaire.

"Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, Bloár, Huae, óe Aife la Sruth, Mache, Médé, Mod."

On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

JUDDER opens a new chapter in its history with its first 12-inch vinyl release As part of a new mini-album series, the label brings together artists from diverse backgrounds and musical perspectives. What unites them all is an openness to experimentation and a deep affinity for sub-frequencies. Side A is driven by a bold, high-impact sound with references to techno, grime, and baile funk. The release opens with Komo by Italian producer Coido. The track unfolds in unpredictable ways, its rebellious character maintaining tension from start to finish and refusing to let go of the dancefloor. This energy is carried forward by Oddkut. His Phase Shift is a pure body-mover, where the core bassline and rhythms awaken a raw, primal energy. Side B shifts the focus toward more minimalist, rhythm-centered forms of bass music. In Diligence by Nattah, breakbeat and UK techno merge into a hybrid where atmospheric reverbs are expertly balanced with the drive of sub-bass pressure. Inspired by racing games, Naprimer closes the release with Carrera. This new 100 BPM experiment brings together the best elements of the Bristol and Manchester scenes. Tracklist: A1 Coido – Komo A2 Oddkut – Phase Shift B1 Nattah – Diligence B2 Naprimer – Carrera

Building momentum around his moody, alchemical breakthroughs in the techno-bass laboratory, Buckley lands on Sneaker Social Club with a punchy quadruplex that marks him out as an innovative talent in the next generation of low end producers.

Manchester-based Elias Buckley first came to light with a lathe-cut drop on ec2a, followed up over the past two years with outings on Well Street, Dimeshift and S.P.E.C. That sets the tone for exploratory zone Buckley is operating in, and he maintains a forward-thinking slant to his physical, dynamic club weapons on this latest EP.

'City Dweller' rests on a creeping mid tempo 4/4 pulse, all the better to carry slithering layers of sound design that slide off the undulating sub bass throb. Minimalism is the order of the day here, but his approach is shot through with gully zaps and rude swagger that makes this a positively UK- centric affair. 'Carl's Floorboard' makes a sizeable swerve towards brutalist grime mutation, letting the space in the mix swallow you whole around the dislocated bass womps and whipcrack snares.

On the B side, 'Gawy' hits the mark squarely between techno propulsion and soundsystem swagger, plying slippery sound design to the bass blasts and working an offbeat groove designed for maximum lock-in. Making sure there are no doubts about his range, Buckley saves one of the deadliest joints on the record for the closer, whipping up a wide-as-you-like UKG bounce on 'M.O.B.S.O.T.' while maintaining the lean and mean sound that binds the EPs any angles together.

CBR009 by Hannah Addams & Cxma (Including Oxygeno Remix) Hannah Addams, Label Owner is back on the imprint after a long period of silence. First of many releases to come is a collaboration with Cxma.

This EP is the result of a whole life together in Sin City, a friendship longer than 30 years, thousands of moments, raves, parties, countless time sharing their love for music. 3 Original Mixes, Raw music, dirty bass lines, crazy random Synthe patterns. A style where both artists feel like at home. It is notorious how comfy they feel swimming on those seas. The EP gets to its maximum when a good old friend of
both, after listening to the tracks, realizes and decides he would love remixing one of them. Oxygeno Remix of "Danza de los ET" is adding the class and cleanness that was missing in the though original mixes.

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition. This release is a Limited Edition 12" (100 on Red and Black Marbled vinyl). New life and an expanded treatment for this 1990 French House classic with the 2 Original tracks + 2 special dancefloor Remixes by none other than Marcoradi.

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition. This release is a Limited Edition 12" (100 on Red and Black Marbled vinyl). New life and an expanded treatment for this 1990 French House classic with the 2 Original tracks + 2 special dancefloor Remixes by none other than Marcoradi.

The A Side of course is just one of the biggest tunes from the grunge era and is given a Jazzy Funky Groovy version by Blue Mode of Nirvana's Biggest Hit. It turns out that they were influenced by everything from the Gap Band to Louie Louie and a fair smattering of 80's indie and this producytion by by Chip Wickham mixes together a Swinging '60's Blue Note Vibe with the Acid Jazz sound and brings it bang up to date with the Nu-Jazz Experience. First time on 45 and is already a DJ favourite after being included in the Paul Murphy set "Jazz Room" on BBE Records. Side 2 is a Boogaloo Latin Jazz version (produced by Paul Murphy Live in the studio in Budapest when he was living there) of the Lonnie Smith track "Hola Muneca" beloved of the Acid Jazz era DJ's and previously released on a now impossible to find 7 inch single that goes for crazy prices....

‘Sustained’ is the new album by Jungstötter, the solo project of Berlin-based songwriter and musician Fabian Altstötter. With sparse, poignant arrangements of piano, strings, electronics, and noise, Jungstötter composes a tender, raw, and poetic song cycle of exquisite romanticism, featuring a cast of close collaborators including the Berlin-based artist Ronja (Roomer). Evoking the fervent vocal versatility of ANOHNI and Scott Walker, Jungstötter adopts the human breath as a central metaphor in a miraculously moving opus of intimacy, vulnerability, and communion.

Across ten tracks of experimental pop songcraft, notes oscillate, soft strings linger, piano ambles, noise billows up and sears back into itself – and all of it is bound by a distinct voice that roams from a remote, warped undertone to an immediate melodic intensity.

Distorting the soft edges of vocal melody with rattling tactile noise, ‘Sustained’ is a mercurial portrait of layered lyric and contracting sound. The third album by Jungstötter, ‘Sustained’ bends away from the more dense, knotted sounds of his last two solo albums, ‘Love Is’ (2019) and ‘One Star’ (2023), toward a particular rawness that reestablishes the strength of poetics, of vocal sound, and the softness of song when reduced, restrained, redirected.

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition. This release is a Limited Edition EP (100 on Pink Marbled vinyl). New life and an expanded treatment for the magical Free Disco - You Are My Sculpture with the Original 2010 Heterosexual Mix + the Zion Heat Version (an obscure raw unreleased demo from that period that will light up all the dancefloors on the planet) + 2 special Balearic Remixes by label boss Manu Archeo.

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition. This release is a Limited Edition EP (100 on Pink Marbled vinyl). New life and an expanded treatment for the magical Free Disco - You Are My Sculpture with the Original 2010 Heterosexual Mix + the Zion Heat Version (an obscure raw unreleased demo from that period that will light up all the dancefloors on the planet) + 2 special Balearic Remixes by label boss Manu Archeo.

DJ Support: Gilles Peterson and Lauren Laverne on 6Music, with club play from the likes of Axel Boman, Peter Kruder and Erol Alkan.

Photay drops epic acid breakbeat magic on ALWAYS COSMIC. The A-side features his remix of United Freedom Collective’s ‘Always Open’ (featuring the vocal talents of Falle Nioke) in both original and instrumental form. With early plays by Gilles Peterson & Lauren Laverne, the hype around this incredible track is building for good reason. There is an exceptional combination at play: slick, detailed, hifi dance production with powerful, prodigious talent on the drums – we call it ‘the PHOTAY advantage.’ The B-side brings expansive cosmic dub versions, the first track derived from the Always Open session, the second from Photay’s recent remix for Conclave & Toribio. Deep, emotional stuff that doesn’t lose track of fun-factor with sheer, un-fakeable excitement in the rhythm section!

"This EP is that classic MYTHM 140 sound my fans know and love, and the vibe fits perfectly with Deep Medi." - MYTHM

Straight from the weedy fields of swampville Bruxelles we bring you 8 ‘tranches de vie’ of deep zone-hall by weirdtronic bass veteran Michael Crabbé’s best fitting sound costume to date: the mighty Rudi J! You might know him from earlier outfits but that’s not the main issue here. Rudi J is!

When this swamp thing touches the pads, it’s off-road after three seconds, even if you’re in the middle of Europe’s capital. Mixing analog dirt and digital sound bits in a very loose and personal take on dancehall, we’re pretty far away from the dance floor but definitely swinging. It’s a trippy affair wandering around concrete flowers with a deep ambient flavor, but it’s edgy.

A hot summer fever dream following his own lusty path, full of life and wonder but with something sinister hiding around every corner. Often reaching for the stars, a deeper shade of bass keeps things nicely grounded. These sounds are built with a sound system in mind and bass culture at heart. Even if you can definitely surf on it from your couch, picking out all of its ear-pricking details, it will very much come alive on a big sound.

A layered affair with almost jazzy and orchestral elements peeping through the stereo-field, spectral and dissonant but also playful. Like early dubstep, some of these tunes can destroy a clubsound, keeping you skunking out in pedestrian mode and snorting up the atmospherics, finally forgetting about that damn phone.

Studiomaster Digipack Vol. 2 sees Marco Passarani back with another serving of unique club sounds straight from Rome. Following the vibe of the first volume,
this new edition delivers his unmistakable blend of house pressure and pure techno, featuring two brand new gems: “Hypercuatro” and “Locked In A Trance.” Both are wired for late hours and low ceilings, where acid grooves meet hypnotic drum programming and forward leaning intent.
Completing the set are three remastered tracks from his Bandcamp vault, making their first appearance on vinyl: Analog Fingerprints (“Unusual Behaviour”, “Motion 5”) and PSS2099 (“Kir’Shara”). Together, these digitalonly transmissions sketch a lean map of Passarani’s studio practice: tactile, direct, and crafted with that in the moment feel.
No nostalgia trip here, just functional futurism with character. Whether you know these tunes from online drops or the first 12”, Vol. 2 delivers real deal dancefloor tools ready for heavy rotation. No fillers, just groove for dancers who still believe the floor is a testing ground for what comes next.

With the launch of Flirt, Alarico distills the essence of his current techno vision while sketching its next phase.
This is techno stripped to its most instinctive form: rolling basslines, teasing vocals and seductive rhythms with hints towards deeper and more melodic realms.

‘They went beyond punk before punk had properly started…the entire album is a controlled explosion of ideas. Nearly fifty years on, This Heat’s debut is something the world has still not completely caught up with.’ - Simon Reynolds

‘Over the years, there have been bands to play as aggressively, or even as strangely, but very few have been able to rise from their collective influences and histories to create music so singularly distinctive and inspiring.’ – Pitchfork 9/10

‘This Heat sounded like the future then ... and still do now.’ - Dan Snaith (Caribou)

Although widely considered to be Post-Punk’s finest, This Heat actually began performing and recording their music in 1976, the early days of London’s punk era. Within their two albums and an EP they perfected a strange and volatile new strain of avant-garde rock that time has proved to be massively influential, a blueprint for much that would follow: post-rock, math rock, homemade musique concrète, experimental electronica.

Numerous critics have recognised the band's influence on the music of Sonic Youth, Glenn Branca, Steven Wilson, Public Image Ltd., Radiohead, Swans, Shellac, Young Knives, Black Dice, Lightning Bolt and numerous other experimental and post-rock bands. Disbanding in 1982 they have left an undeniable legacy that has only continued to grow in stature and relevance.

The album This Heat, also known to fans and critics as the ‘Blue and Yellow’, was their eponymous debut release, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation (producing for example the proto-drum and bass ‘24 Track Loop’) with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did – including gigs – and tracks such as “Water” were entirely improvised in the studio.

Having recently passed the 50 year anniversary of their first gig, and the recording of material that appears on their debut album, the group’s surviving members Charles Bullen and Charles Hayward, true to their DIY roots, have set up an imprint to release their recordings for their growing fan base that is increasingly recognising their influential place in music history. 


If art is to be exhibited, then Ulrika Spacek will ensure that their art is collective; that even as the world becomes inhospitable to community, their intentions are an act of resistance.

Whether it is Oysterland, the self-curated night the band have been Hosting for over ten years to platform artists of other disciplines in live music spaces, or Total Refreshment Centre, the East London studio Syd runs which connects the dots between the jazz scene and like-minded experimental artists of the capital and beyond, or their creative bleed as musicians and producers over the years with the likes of Crack Cloud, caroline, DIIV, Holy Wave and Slowdive, the band’s existence is inseparable from their community.

In a hyper-individual world, the band’s fourth album, ‘EXPO’, offers an antidote. It’s there, in the shared dream logic of the music, the off-kilter melodies, jagged guitars and cirrus cloud atmospherics. It’s there, in all the things that are said and unsaid between them; there in the writing, producing and mixing processes they share in. And even as each of their parts Moves toward a unified vision, it’s never more keenly felt than in the bigger Picture to which Ulrika Spacek belong.

Though their well-established foundations are in the art-rock world - and though they are inspired by electronic elements more than ever - Ulrika Spacek are interested in the glitch that exists between the two. Their Music reckons with human warmth and digital isolation, equal parts welcoming and altogether alienating. “Our music has always been a collage - a bit patchwork, sonically - but what makes this album a landmark for us is that we went one step further and made our own sample bank,” explains singer / guitarist Rhys. They create their own doppelgängers in a world of almostreal, where the band appear as if in a hall of mirrors. Digital drums are sampled layered upon real drums, and the effect is almost like birth in reverse - pulled from the ether and returned back to the tangible world.

“There’s a lot that can be said about writing when there is no aim, there is a freedom and a purity in it which opens a door to more music, and in this case, it set a mood for a new album, one that would be colder, darker and one that would embrace electronics and new instrumentation in a new terrain,” the band share. “The album’s greater theme is isolation and alienation in an online world where it seems everybody around you is constantly exhibiting themselves, living in public wanting to be seen and heard. The age of ‘individuality’ is lonely, it’s a room of concave mirrors, and with this in mind, we set upon making our most collective effort; ‘It’s back to strength in numbers, count in fives.”

For fans of Radiohead, Moin, DIIV, Astrel K, Slowdive.

LP presented on Crystal Clear vinyl.

Pon is Tujiko Noriko’s sixth album for Editions Mego and a further extension of her already significant body of work as both a solo and collaborative artist. Dedicated to her cat who she adopted as an infant and passed away due an accident having been born deaf, Pon is imbued with abstraction, tenderness and a deep emotional resonance.

Noriko’s palette of electronics, romantic melodies and surprising sonic details are all fully present here, and like her last full length, 2023’s Crépuscule this is an epic work, released as a 2LP by Editions Mego alongside a Japanese CD release.

The unmistakable hue of Japan hovers throughout this emotional rich landscape. Subtle field recordings and fragile, abstract motifs drift through the album, all cloaked in a warmth and humanity that only Noriko seems able to conjure.

Pon moves effortlessly between the childlike and the obscure. There are moments of deceptive simplicity where unexpected elements suddenly surface — strange voices emerge on Boku Wa Obaka, Knife of Yonder is a standout: a startling ten-minute unfolding that begins with a warm, almost Eno-esque drift before launching into a soaring mid-section and finally landing somewhere unexpectedly blues-adjacent.

Kikoeru Pon is brimming with childlike wonder — a heartfelt ballad that dissolves into domestic field recordings, including sounds of the feline for whom both the album and track are named. A quietly devastating ending that brings the personal nature of the record into sharp focus.

There is a deep sense of the human in the way Noriko embraces technology. This is far from cold abstraction; rather, Ponfeels like a colourful photo album, documenting Noriko’s inner world and instincts with remarkable intimacy. Hovering in liminal states between pop, ambient and abstraction, this is a deeply affective and moving release that reveals new surprises with each listen.

The emotional range of Noriko’s latest offering inspires hope in a world in disarray. It is both gentle and epic and one which we feel embodies the work of an artist fully at the height of her powers.

What's the point of the howl of string to speaker, the hammering of stick-on skin? Is it transcendence, elevating the human spirit by catharsis in sound? Or is it summoning chaos, a purgatory in which to bask in all that’s unclean, the better to feel alive?
Why not both? Because that’s what’s on offer on Diet Of Worms, the second Rocket release by The Shits, Leeds via Newcastle’s titans of disgust and deliverance. This is a feast for the senses in the worst way possible - primal rock boiled down to its essence and flung full in your face. Using repetition, tortured vocal invective and heads-down intensity as blunt instruments, these eight tracks are an unprecedented torrent of acidic salvation. Whilst lurking somewhere on the decadence-destruction axis between the nihilism of prime Stooges and the bloody blackout of Braimbombs, Diet Of Worms is possessed of a legitimately uncompromising hostility that both elevates and debases it to co-ordinates unknown.
There are revelations here in the riffage and the rancour, even if they are the kind that occur in the bleary miasma of the lock-in, or witnessing the streetlight blur of the subsequent stagger home. Even more single-minded and remorseless than the band’s Rocket debut ‘You’re A Mess’, this is a record that demands full immersion. Whether it’s ‘Then You’re Dead’ hammering on a pulverising garage-stinking riff until it begs for mercy, or ‘Change My Ways’, whose Creedence-In-Hell swagger and lurch is that of abjection transmuted into joy, this is psychedelia forcibly removed from its comfort zone of pastiche, and thrust into a bad-trip realm of the vivid and nightmarish.
But rarely has the process of making beauty and horror indivisible seemed like so much fun. If Werner Herzog was right, and the only harmony in the universe is that of overwhelming and collective murder, then The Shits are the true music of the spheres.

Growing together both personally and musically… That is indeed the good fortune of the musicians in the Marseille-based trio ubaq. We’re talking about bassist Antoine Carletto, guitarist Lucas Schemidt, and drummer Antoine Saussol, winners of the Rezzo springboard competition at Jazz à Vienne 2025. In their early twenties, they met in their late teens while still honing their musical skills. Nearly ten years later, they burst onto the scene, in perfect harmony, with their very first album, “Night WIP,” a follow-up to their EP, “20bis,” released in 2024. They owe their stylized stage name—written in lowercase with a “q”—to the ubac, that side of a mountain with very little sun exposure, where twilight reigns. “We liked that idea because we’re night owls,” says bassist Antoine Carletto. Hence the “night” for “nuit” and the “WIP” for “Work In Progress,” explains guitarist Lucas Shemidt. ubaq’s music is characterized by a nocturnal, melancholic heaviness, pierced by beams of light. “We love creating music that soothes us and highlights the precious nature of composing and playing in complete harmony,” says Antoine Carletto. “We cultivate complex tones, sometimes difficult to bear, whether they’re nostalgic or even verging on depression. But we manage to convey emotions without falling into clichés,” adds Antoine Saussol. Night and twilight serve as the perfect catalysts for this trio, which moves forward with perfect chemistry and harmony.

On this album, they feature the German-Armenian rapper and singer Talin, who is also based in Marseille. She appears on the track “Regarding Others,” where she chants that even though the year 2026 may see mothers weeping in every corner of the world, she still manages to smile. Thus, this track explores the three musicians’ relationship with the world and the necessity of looking at others. The unsettling “Sciatiq,” the haunting “Sakakinik,” and the ambivalence of “Flayosc”—the final track, on which the trio features trombonist Jules Regard—owe their titles to the musicians’ own observations and experiences. The multi-faceted track “Proud,” in two parts, is a tribute to Lucas Schemidt’s mother, who has since passed away. The presence of wind instruments—whether Jules Regard’s trombone or Mathieu Fabre’s saxophone on the intense track “From The Ending”—adds textures missing from the natural landscape depicted in “Night WIP.” This debut album captures the obsessions and introspective wanderings—sometimes anxious, sometimes enchanted—of a trio that cultivates melody as a pledge of warm fulfillment.

For his sixth solo album, Ezéchiel Pailhès returns with a new collection of songs infused by a sunny wandering spirit.
Within each of the twelve songs on SOL is a thread of melancholic happiness that has permeated much of Pailhès’ music and songwriting. He addresses love, the passing of time, hope, lost illusions, fleeting moments of grace, the temptation of forgetting, a need to escape, and desire. All this is
insulated by understated orchestrations that blend acoustic and electronic instrumentation with deft confidence.
The Portuguese and Brazilian concept of saudade—a form of melancholic longing and nostalgia— pervades, thanks in part to Pailhès decision to record the album in Rio de Janiero and to reinterpret some of the finest works of Música Popular Brasileira (MPB). In particular, he revisits a handful of
lesser known classics from the mid-century samba and bossa nova era—originally written or performed by talents including Vinícius de Moraes, João Gilberto, Tom Zé, Dorival Caymmi, João Donato, Os Tincoãs, and Ataulfo Alves.
The shift from Brazilian Portuguese to French and the decision to adapt rather than perform a straightforward cover versions, allows Pailhès to invent a form of prosody and euphony (the musicality and harmonious combination of words) that feels vibrant and unlike anything else in today’s French
chanson landscape.
“Some lyrics are simple translations from Portuguese, in what I’d call an expanded version. For others, I started from a single word or a single phrase and embroidered an entirely new text that carried me elsewhere,” explains Pailhès. “I allowed myself great interpretive freedom, while preserving the humanist dimension of the original songs. I’ve always been deeply moved by the way Brazilians transfigure reality through heightened emotion. I love this visceral and spontaneous country, which always seems to live through emotion. And above all, I love its music both popular and unifying,
bringing together all social classes. In that sense, it’s very political music, but even more so utopian, made by the people and for the people.”
On this new album, however, the French artist was keen to avoid cliché. Each song is therefore built around a carefully balanced interplay between Pailhès’ piano and synthesizers, alongside restrained arrangements of percussion, brass, bass, and cavaquinho (a small four-string plucked guitar). These parts were recorded in Rio de Janeiro with two musicians who regularly perform alongside the legendary Caetano Veloso—Kainã Do Jêje and Alberto Continentino—joined by Thomas Harres, Antônio Neves, Eduardo Neves, and Gabriel Loddo.
Since the 1960s, France and Brazil have shared a long-standing cultural and musical relationship. Some Brazilian artists, most famously Gilberto Gil, took refuge in France during the dictatorship years (1964–1985). But above all, French chanson quickly fell in love with the richness and ingenuity of
bossa nova and samba, translating and reinventing them in the language of Molière. Throughout the 1960s and 1970s, albums and hits by Henri Salvador, Georges Moustaki, Pierre Barouh, Pierre Vassiliu, and Claude Nougaro all drew from the MPB repertoire.
Fifty years later, with SOL, Ezéchiel Pailhès reinvents this rich Franco-Brazilian musical legacy, bringing to it a personality and modernity that stand confidently alongside those of his forbears.

Those albums that never age, that never cease to surprise with their innovative freshness—listen after listen—defying the years that go by.

Released in 2016, Heimat’s debut album is one of those records you love knowing is there on the shelf or on the turntable, like a reassuring talisman.

To mark its 10th anniversary, and such an awaited repress, we decided to honor this landmark album as it deserves: with a powerful remaster by Tioma Tchoulanov (UVB76, NzeNze) featuring enhanced dynamics, and an ultra-limited edition on blue splatter vinyl.

What a beautiful object this is, celebrating—alongside Armelle and Olivier Demeaux—ten years spent exploring the outer limits of music, in France and abroad, from SMAC venues to squats and other joyful initiatives.

Their deeply sincere music loses none of its naive tension; the emphasis is there, yet it remains restrained, contained, almost nervous, without any show of. Here, then, is something to make this fantastic album, a subtle milestone in a teeming musical landscape.

A fine achievement indeed!

2026 Repress

In March 2023, Tresor Records will release "Crash Recoil", a new album by Surgeon. It marks Anthony Child's first techno LP in five years, following a period in which he felt uncertainty in his role as a techno producer and found it tough to locate inspiration. This new album encounters him drawing on spontaneous techniques to arrive at unchartered topographies.
"Crash Recoil" originates from Surgeon's recent live sets, where he experimented with constraints in performing and embracing the twists, turns and paradoxes that arrive from this. Each fresh iteration on consistent MIDI sequences and hardware reconfigured tracks into dierent constellations, creating an inspiring vortex of unpredicted events where ideas could flourish. This new approach allowed him to capture the spontaneous energy of his live shows in a way he had never done before. "This is not a live album, since it has not been recorded in one go during a live performance. In the same way that bands tour songs before going into the studio to record an album, I was able to explore these songs and hone their eectiveness during my live performances before creating a studio version."
The result is eight tracks that emphasise a new techno sound for Surgeon, drawing in references from across the musical spectrum. "I can hear Coil, King Tubby, Detroit Techno and The Cure all wrapped up with 30 years of DJing," Surgeon says of the album. Melancholic hum-like ambiences smudge around unadorned, near-droning basslines, crunching rhythm and percolating arpeggiations. The tracks carry unique and potent locomotion, with a low-slung grind through toughened terrains, breathing with a free spirit, untethered by a studio-based perspective. We hear manifestations of the same raw material across the album, like a textural motif, carving new variants and creating a cohesive work full of recollection.

On his new album, Micha Acher rearranged compositions for bands such as Tied & Tickled Trio and Ms. John Soda from previous years.

Why are we interested in ghosts? What fascinates us about the eerie? According to cultural theorist Mark Fisher, the allure that the eerie possesses is not captured by the idea that we „enjoy what scares us“. It has, rather, to do with a fascination for the outside. For that which lies beyond standard perception, cognition or experience, as he writes in his book „The Weird and the Eerie“.

In fact, also none of the 15 pieces from Henry and the Ghost is really scary. On the contrary, they all feel strangely familiar. Like revenants or doppelgängers, which in fact they are. They have all been released before. But in a different form. In different line-ups. With different band projects such as Tied & Tickled Trio, The Notwist or the Alien Ensemble.

With the „Songbook“, Micha Acher's aim was, as he says, to find out how the familiar pieces sound in a chamber music instrumentation. Therefore he met with Theresa Loibl (bass clarinet, piano), Timm Kornelius (bassoon), Markus Rom (guitar, banjo, electronics) and Simon Popp (drums, percussion) in his living room for a musical séance in the summer of 2022. The séance lasted two days. Afterwards, Markus Rom (Oh No Noh), added some haunting electronical ideas.

The mood of most of the pieces is melancholic. There are surprising twists and siren-like melodies. Just as ghost stories should be. However, most of the songs sound very light-footed. With their feet in pop, folk, jazz and classical music. Pieces such as „Johanna“ with its wheezing harmonium and spooky piano, or the dreamy „Modest Farewell“ on the other hand have a cinematic flair. Immediately faces and scenes arise in the mind. But at the beginning, there is „Hamlet“. It starts with ghostly electronics and merges into a calm, almost classical guitar piece. Could it be that the ghost of Hamlet's father is hiding between the strings?

„34E“ begins with a banjo. Then the deep humming of Micha Achers sousaphone and the other brass instruments kick in. In the slow, solemn „Aelita“, the sousaphone starts a dialogue with a children's piano. With the banjo and the other wind instruments acting as mediators. The title of „All Tomorrow's Past“ brings Velvet Undergrounds „All Tomorrow's Parties“ to mind. Another ghost from the past. What connects the two pieces is free-floating percussion, which accompanies the sumptuous melodies.

„Arc“ takes us on an exhilarating voyage at sea, with the sousaphone providing powerful propulsion. Towards the end, things get quite turbulent. With the clarinet stirring up the water, before the sea calms down again. „Henry and the Ghost“ is characterised by a ghostly mood change between major and minor. In „Radio Four“ the banjo with its stoic chords keeps the lively brass section in check. „Solid Ground“ is imbued with melancholy. „Space Minor“ takes us into outer space, with the power of sousaphone and percussion.

„Tomorrows“ is filled with cautious optimism. And the concluding „Nordlead“ turns out to be a revenant of the instrumental „N.L.“ from The Notwist's legendary album „Shrink“ from 1998. In the new version, the piece sounds like a distant echo. One that also brings to mind how Micha Acher's music has evolved. Which new worlds he explored and opened up since the nineties. And yet Acher's signature is recognisable in every single note of this fascinating „Songbook“.

‘Richness of tone; precision of articulation; ingenuity of timbre that, when Akinmusire pursues microtonal avenues, creates the sense that particular sounds are almost hermetically sealed before being slowly squeezed and pinched into the air. In other words there is a high degree of technical mastery, but, tellingly, it underpins a profound and often engrossing sense of narrative.’ - Jazzwise

‘Halvorson has formulated a guitar style with few precedents. One inspiration might be the painter George Seurat, whose Impressionist paintings of a hundred isolated dots cohere into a picture if one steps back from the canvas. Halvorson’s pointillist approach to the guitar works much the same way.’ - JazzTimes

Slo-Mo Neon Luminate Hoverings, the new album by trumpeter/composer Ambrose Akinmusire and guitarist/composer Mary Halvorson, features four new compositions by each musician as well as one collaboration. The duo, long admirers of each other’s musicianship, met at Halvorson’s Brooklyn apartment and began playing together periodically, going back as far as 2009. They rehearsed the music on Slo-Mo Neon Luminate Hoverings in January 2025, just before performing it at the New York City club The Stone; they recorded this album the next day at Sear Sound.

Akinmusire and Halvorson made two previous attempts at recording an album but felt that they got it right with this third session. Halvorson says of their rapport, which developed over those years of friendship and collaboration, “I think it’s partly a shared aesthetic and an ease of communication. I feel comfortable to try whatever.” Akinmusire concurs, “I think it’s rare to find an improviser that all goes and nothing has to go at all. It’s rare to feel like you don’t have to do anything and you can do anything. And that’s what I love about playing with Mary.”

Though Halvorson regularly uses effects pedals on her guitar, Akinmusire’s use of one on Slo-Mo Neon Luminate Hoverings is new. Having recently gotten an updated model of the Line 6, Halvorson was passing her old ones along to friends. “Ambrose was interested in trying a Line Six. I gave him one five minutes before the rehearsal and was amazed how quickly he was able to do incredible shit on it ... in literally five minutes,” she says.

“But I’ve been watching you, I’ve been watching Bill Frisell and other people use it for a long time,” Akinmusire says. “I approached it as if it were its own musician. I played and it would process the sound and then I would choose to react to that or not. The people like Mary that I love to listen to who use delay, I like being able to hear the process of the texture that’s being built. With some people, when they use it, you don’t really hear it. But with Mary, she’ll play a line and then she’ll react to that line and then react to that,” he continues. “It’s really cool to hear how something is being built. So I kind of stole that.”

Halvorson says, “I’ve never seen someone pick up a pedal and then immediately do something with it that felt like, ‘Oh, this is a sound,’ as opposed to just tinkering, you know? It felt like he was making music on it right away, and then also doing things that surprised me, like the vocalizing really surprised me. I wasn’t expecting that, and it was awesome.”

In the evolving landscape of modern Southern hip-hop, the pairing of Starlito and Bandplay stands out as a unique bridge between street-level authenticity and refined, calculated musicality. Their collaborative project, Not The Country You Know, functions less like a standard release and more as a manifesto—a masterclass in the chemistry between a seasoned, introspective lyricist and a producer who possesses an intuitive grasp of the region's pulse. It is an exploration of legacy and adaptation, capturing the tension between where they came from and where the culture is currently headed.

Bandplay, long recognized for sculpting the sonic identity of Memphis icons, brings his signature, trunk-rattling 808s to the project, yet he manages to pivot here. The production feels remarkably expansive, masterfully blending the raw, stripped-back aesthetics of classic Tennessee rap with forward-thinking textures that refuse to be confined to a single sub-genre. Complementing this, Starlito operates with his trademark mix of cynical observation and genuine vulnerability. He navigates these beats with the weary grace of an artist who has weathered the music industry's relentless cycles, treating every bar like a necessary piece of a larger, ongoing story.

The album’s title serves as a direct commentary on these shifting tides. Across the tracklist, the duo investigates the growing disparity between the romanticized South and the cold realities of the streets, alongside the inevitable evolution of the music business itself. There is no frantic chasing of streaming-era trends or algorithmic bait here; instead, the project remains a stubborn, confident assertion of artistic identity. By weaving together Starlito’s "voice-of-reason" flow and Bandplay’s evolving, genre-bending sound, Not The Country You Know challenges the listener to abandon their preconceived notions of the region, offering instead a complex, urgent vision of a South that is as haunting as it is vibrant.

Art Blakey is one of the inventors of the modern bebop style of drumming. Known as a powerful musician and a vital groover his brand of bluesy, funky hard bop was and continues to be profoundly influential on mainstream jazz. For more than 30 years, his band Art Blakey & The Jazz Messengers included many young musicians who went on to become prominent names in jazz.

Released in the late fifties, A Night In Tunisia is a jazz milestone and prime example of Blakey's exceptional rhythmic prowess. This album is not all about drumming though; it leaves much space for great melodical interplay by fellow musicians Sam Dockery on piano, John Griffin and Ferris Benda on saxophone, Bill Hardman on trumpet and Jimmy De Brest on double bass.

A Night In Tunisia is available as a limited edition of 1500 individually numbered copies on orange vinyl, and is packaged in a deluxe sleeve with linen laminate finish.

The small print:
• Due to rights restrictions, this item is only available in the MOV store to European customers.

When I first heard YELKA play I thought to myself: “I’d like to play in that band.”

In the meantime I have realised that it would not be as easy as I imagined. The fluffy easy sound that gets created is so particular that it would not be so easy to execute those exact sounds of the band. This is mostly due to the unconventional harmonies of the guitar. Daniel himself said he is content with the guitar and added an extra one on almost all of the songs. Which I, as a fan of Daniels anarchic approach to playing, love.

Also Yelka’s groovy smooth bass playing is in the forefront of the album once again. Her sound bounces through the guitar riffs as if it's the most common thing on earth. Once Yelka adds her vocals to the songs, that’s when they almost become pop and reminiscent of Velvet Underground.

Christians drums hold these two together through the track list, with a fun Krautrock and jazz influenced style. Everything was recorded live and it sounds fantastic!

The 6th track of the YELKA album "Jeans" is a highlight with the piano support from Federico Corazzini, who adds lush open jazz chords to the incredible intricate harmonies of the band. Arne Bergner (Studio Popschutz) who is once more responsible for the production of the album, also added a beautiful choir arrangement. The finishing touches completing YELKA´S wonderful sound as always added by Norman Nitzsches Mastering (Mokik Studio).

From top to bottom an amazing album: "King of the World" (Steely Dan cover), a pop song with a fantastic keyboard solo from `the one and only Dan Ra´ alias Daniel Nentwig (The Whitest Boy Alive), "Moon for Now", an atmospheric jazz-ish tune, to "Walking Whispering", a strong 9-minute guitar heavy number... I think there are more than two guitars in this one.

American indie rock/pop/jazz whatever - school (after all, it's the third album in the band's America trilogy) and yet above all Berlin, in its most likeable and perhaps even coolest form.

Masha Qrella

Basking in the glow of Lightsaber, the swashbuckling synthesizer synergy of Tending Tropic, Kay-Chi and Sharlese debuts. A cross-continent collaboration that bridges the Atlantic, this group joins forces through a shared passion for italo and wave with their sound set firmly on the floor. The title track is analogue brightness, drums drive a melody that dips and soars next to Sharlese’s uplifting lyrics. Energy levels are high from the needle drop. Cymbals crash for “Timeloop.” Vocoder words are softened by gently scaling chords before generous builds give way to sparking synthwork. Disco flourishes and bongos break to spiralling notes in the playful “Luminara.” Cosmic influences radiate through key shifts and understated toms in this celebration of the night sky. “Inertia” marches to a heavy-hitting beat. Industrially dipped, the percussion is fortified by a simmering melody that spills over into a bold body-throbbing close. Despite being oceans apart, this is a partnership light years ahead.

Sophisticated Boom Boom is the 1984 debut album by the pop group Dead or Alive. As one of the first synth-goth bands they created a new landmark with this record. Pete Burns' outrageous appearances and his dramatic singing style were characteristic for this new band.

Synthpop and dance elements were integrated in their songs. The album contains the band’s first single hit, a cover version of KC & the Sunshine Band's "That's the Way (I Like It)". The music has monotonous grunting and groaning and some decent dance rhythms can be found on this record. The other single hit from the record is "Misty Circles".

Dead or Alive gained success in the mid-1980s and sold over 50 million records worldwide. Founder and vocalist Pete Burns passed away in 2016 and since the band discontinued.

Sophisticated Boom Boom is available as a limited edition of 1000 individually numbered copies on purple vinyl, and comes in a deluxe sleeve with leather laminate finish.

After years of building this project quietly and patiently, ISLA004 feels like a reflection of everything that shaped the island along the way.

Between hypnotic techno, trance, electro and synth-pop influences, this release moves through nostalgic melodies, dark textures and emotional tension balancing moments of introspection with the energy of the dance floor.

More than defining a genre, this VA captures a state of mind: late nights, distant memories and the feeling of getting lost in sound.

A new chapter for the island.

Welcome

Thirty years. That is how long it has been since 1996, when European electronic music was
overwhelmed and reshaped by a wave of melody, melancholy, and rhythm. At the center of that
big bang was Roberto Concina, known ar1s1cally as Robert Miles—a visionary capable of bringing
Dream Trance to the global stage. Today, to celebrate three decades of pure sonic magic, "Fable"
returns to the turntable in a splendid celebratory reissue that stands as a well-deserved act of love
for an ar1st who passed away far too soon.
If Children was the programma1c manifesto of that era, Fable was its emo1onal evolu1on—the
track that proved dance music could touch in1mate and cinema1c chords. Listening to it today,
remastered for vinyl, is an experience that goes way beyond a simple nostalgia trip. This 30th-anniversary reissue splits into two versions to sa1sfy both purist DJs and avid collectors,
offering two excep1onal vinyl op1ons:

 The Standard Edi3on (Black Vinyl): Perfect for audiophiles and DJs who want to spin this
track in their sets without the fear of wearing out a museum piece. The warmth of the
black groove enhances the dynamics of the famous piano line and the depth of the
enveloping bass.

 The Limited Edi3on (Transparent Blue Vinyl - Limited & Numbered): The true crown jewel
of this release. Visually stunning, the transparent blue vinyl seems to evoke the dreamlike,
liquid, and suspended atmosphere of the track itself. The fact that it is a limited, handnumbered edi1on instantly makes it a grail for collectors worldwide.

Thirty years. That is how long it has been since 1996, when European electronic music was
overwhelmed and reshaped by a wave of melody, melancholy, and rhythm. At the center of that
big bang was Roberto Concina, known ar1s1cally as Robert Miles—a visionary capable of bringing
Dream Trance to the global stage. Today, to celebrate three decades of pure sonic magic, "Fable"
returns to the turntable in a splendid celebratory reissue that stands as a well-deserved act of love
for an ar1st who passed away far too soon.
If Children was the programma1c manifesto of that era, Fable was its emo1onal evolu1on—the
track that proved dance music could touch in1mate and cinema1c chords. Listening to it today,
remastered for vinyl, is an experience that goes way beyond a simple nostalgia trip. This 30th-anniversary reissue splits into two versions to sa1sfy both purist DJs and avid collectors,
offering two excep1onal vinyl op1ons:

 The Standard Edi3on (Black Vinyl): Perfect for audiophiles and DJs who want to spin this
track in their sets without the fear of wearing out a museum piece. The warmth of the
black groove enhances the dynamics of the famous piano line and the depth of the
enveloping bass.

 The Limited Edi3on (Transparent Blue Vinyl - Limited & Numbered): The true crown jewel
of this release. Visually stunning, the transparent blue vinyl seems to evoke the dreamlike,
liquid, and suspended atmosphere of the track itself. The fact that it is a limited, handnumbered edi1on instantly makes it a grail for collectors worldwide.

With their fourth full-length album Signal Fire, GENGHIS TRON awaken us from the post-apocalyptic daydreams of their previous work with a violent—and most welcome—shove. This time, the distant-future reveries we first heard on Board Up The House give way to an unsettling awareness of the present we’re actually living, as our circumstances grow too pressing to try and escape. “Signal Fire envisions a Kojima-esque dystopia of endless proxy warfare,” says vocalist and lyricist Tony Wolski (The Armed), “where the deluge of available information has outmoded the human ability to parse it. A world where those amoral, shameless and cunning enough can literally reshape reality at their whim through sheer insistence." Having roared onto the scene in 2004 with a uniquely demented blend of extreme metal, synthesizer textures, and drum-machine madness, GENGHIS TRON are no strangers to making a forceful impression. But Signal Fire marks the first time bandleaders Michael Sochynsky and Hamilton Jordan –joined again by Wolski and Nick Yacyshyn (SUMAC) on drums, plus newcomer Kenny Szymanski (The Armed) on bass–has captured this level of urgency with such visceral precision. “This album is very much rooted in the now,” confirms Jordan. Album opener “I Am All” sets the table with a chest-throbbing synth pulse as Wolski declares “I’m on a tear, I’m on a tear,” over swirling industrial rhythms and creeping synthlines. “Nothing Blooms in the Hollow” grafts desert-rock swagger onto interlocking layers of dizzying riffs and chants before Wolski steers the band into full-on sonic burnout, like a spaceship careening into the sun. “Born Prey” navigates deftly through Genghis Tron’s classic sonic touchpoints: furious blastbeats, electronic breaks, haunting vocal earworms, and a towering synth-pop crescendo. Meditative interludes like “Like Fotocrom” and “Without Form” deliver shimmering, ominous beauty. And “New Gods” invokes Rabies-era Skinny Puppy to bring the album to a bludgeoning, anthemic finale, as Wolski screams on repeat: “New gods to bleed me out / No new peace / Bleed me out / I love it.” Twenty years into their career, having proven their ability to forge common ground between Ministry and Aphex Twin, between Brutal Truth and Boards Of Canada, between Cluster and Converge, ugly-beautiful new genre hybrids from GENGHIS TRON no longer come as a surprise. What’s remarkable, however, is how Sochynsky and Jordan have taken a project that started in 2004 as a dorm-room genre-pastiche experiment —”a chaotic, wild amalgamation of all our favorite stuff, literally slammed together,” says Jordan—and refined their songwriting craft to deliver a sound that is unmistakably their own.

According to the court ruling in the lawsuit brought against the band, allegedly by a former technician, this album should have been released under a different name for the group. Perhaps as a provocative nod, the individual who appears on the cover wearing a nut as an oppressive turban is struck on the back cover by the hammers of Justice and the Law. However, the group ignores this and continues to sign as it has been doing since 1983. The musical arrangements are more powerful, with the guitars taking precedence over the rest much more than before. The drums are also more present. The soundscape takes centre stage, even over the lyrics. The opening track, 'Monopoly', is representative of this, with its fast-paced rhythm provided by galloping guitars. Originally released in 1994, it is surprising how, almost ten years after their debut, La Polla Records were still capable of making albums of such intensity.

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

In the seclusion of a house in the Bavarian Forest, something unfolded that felt less like a conventional album production and more like an internal process of condensation. This house wasn’t a studio - it was a retreat. Its 1960s-inspired interiors, creaking wooden stairs, and crackling fireplace shaped the sound of Carl Gari as much as the instruments themselves. Though the house no longer exists, its atmosphere remains present in the recordings.


The music of Carl Gari - Jonas Yamer, Till Funke, and Jonas Friedlich - resists easy categorization, a trait that continues on this monumental new album. From the friction between electronic music and guitar textures, the trio forges a distinctive, idiosyncratic sound. Distorted electric guitars and pulsating basslines intertwine with analog drum machines, tape delays, and intricate effect chains, creating music that is raw, organic, and psychedelic. A new element on the album is the trio’s first use of vocals: Jonas Yamer, usually on bass, raises his voice in a punk-tinged, invented language that hints rather than narrates, unsettling more than it explains.


The guest artists do not merely decorate the sound - they alter its very structure at critical points. Polygonia contributes layered vocals that mesh seamlessly with the album’s technoid architecture. Will Brooks of Dälek delivers a dark rap feature on ‘Poison Shyness (Anti-Social)’, his words carving the sonic space with precision. Coby Sey adds introspective vocals that hover between experimentation and restraint on ‘Inner Link’. New York rap pioneer Sensational introduces a deliberately rough, individual counterpoint on ‘Disco Lights’, while the German percussionist Simon Popp drives the album forward with an uncompromising drum performance that insists rather than accompanies on ‘Zeitesser’.


The cover photographs, taken by Jonas Yamer, project images of corridors onto paintings located in the now demolished house where the album was recorded. Visually, this reflects a key motif of the album: spaces exist only as overlays and echoes - not mystical ghosts, but traces of a place that has physically vanished.

Recorded between 2016-2024 in Neunburg vorm Wald and Munich. With kind support by Kulturreferat der Landeshauptstadt München.
Mixed by Johannes Wagner aka J.Manuel at Apollo Studio, Berlin (A1, D1 w/ Fadi Mohem). Mastered & cut by Stefan Betke at Scape Mastering.
Photography by Jonas Yamer. Packaging design by Sepehr Mokhtarzadeh.

Maria is the debut album from renowned Brazilian electric bassist and composer Moyses Dos Santos. A homecoming for the London-based artist, Moyses’ debut reconnects him with his North-Eastern roots while assembling an international cast of collaborators including legendary Brazilian arranger Arthur Verocai, US trumpet sensation Theo Croker and London-based vocal star Lynda Dawn.

After relocating from Brazil to London in the early 2000s, Moyses dos Santos quickly became one of the capitals’ most in-demand players, sharing stages, studios, and writing credits with best-selling artists including Nile Rodgers, Janelle Monáe, Emile Sandé, Gregory Porter and Omar.

In 2022, Moyses toured with Brazilian jazz-funk legends Azymuth, completing the rhythm section alongside Brazilian drumming master Ivan "Mamão" Conti. "It felt like he was my wise Brazilian grandfather figure." Moyses recalls. "When you spend so many years working internationally, you unconsciously start to leave certain parts of yourself behind. Mamão encouraged me to reconnect with Brazilian music, and that's where this record really began."

Brazil’s North-east, where African, indigenous and European traditions collided and fused most intensely, produced a musical heritage unlike anything else on earth, Moyses dos Santos is a product of this syncretism. On Maria, named after his mother, Moyses brings the musical vocabularies of his youth to the fore. From the soul of the church band where he began to learn his trade as a musician, to the rolling batucadas – maractus, baiaos, sambas and frevos – which he played throughout his teenage years.

Drawing on the lineage of North American electric bass giants like George Duke, Jaco Pastorius, and Stanley Clarke, Moyses runs Brazilian musical traditions through jazz, funk, soul and disco: his sound charged with the cosmopolitan energy of London's contemporary jazz scene.

Lead single and album opener “Boa Viagem’ is joyous, carnivalesque dancefloor jazz: a timeless groove for the nightclub and street party alike. Calling directly to a higher power “Brazilian Spirit” is an astral-jazz phenomenon, featuring the transcendent trumpet playing of Grammy nominated Theo Croker. On “Saudade” Moyses calls upon iconic Brazilian maestro Arthur Verocai, whose signature string arrangements cascade around the divine vocals of ascendant London artist Lynda Dawn.

With impeccable style, charisma, warmth and virtuosity, Moyses steps forward with his stunning debut Maria: out on vinyl, LP, CD and digitally on the 12th June 2026.

Newly remastered and repackaged, Soul Jazz Records’ Gipsy Rhumba was first released to much-critical acclaim around the world in 2012, the album is a stunning mix of Latin, Funk, Flamenco and Rhumba rhythms. The album is being released on deluxe double vinyl, complete with large text and lush photography across two inner sleeves. Also new limited-edition new-card sleeved CD, out of print for more than ten years. The album is like no other and remains the first album ever outside of Spain to seriously focus on the history of Gipsy Rhumba, one of the most interesting musical culture clashes ever that first took place in the early 1960s.

In the Catalan region of Spain, Gypsies primarily known as the creators of Flamenco, came up with a fascinating hybrid style – Gipsy Rhumba – which blended together Latin and Rhumba music of Cuba and the Caribbean together with their own Flamenco as well as the emerging Rock and Roll from America. The album tells this unique story of how this Latin-tinged music came about in the heart of Spain's gypsy community. The album comes with extensive sleevenotes, exclusive and stunning photography from the celebrated French photographer Jacques Leonard. The album is put together by two of Spain's most important Gipsy Rhumba specialists - compiler David El Indio and sleevenotes by Jose Manuel Gómez (Gufi).

Casino isn’t just a track to me. It comes straight from my love for the classic Italian American gangster films I grew up on. Being Italian, I was obsessed with movies like Casino and Goodfellas. I’ve watched them more times than I can count. The style, the tension, the way the characters talk and carry themselves always hit me differently.

The idea for this track actually came from one of those iconic moments: a scene between De Niro and Pesci as their relationship starts to unravel. I’d seen it countless times, but this time I stopped and thought: what if I used this in a track? Would it elevate the music or would I ruin one of the greatest films ever made? That thought lit the spark.

I wanted to capture that same energy. The power. The danger. The drama. And bring it into sound. Casino is the result. Raw, cinematic, and authentic. I hope it hits you the same way those films have always hit me.

–EDEF

A little over a year ago Tim Reaper made his first appearance in the town LoDubs is based in, Portland, Oregon, at the always forward thinking westside venue Barn Radio. The bill was rounded out by yours truly, Jon AD, who set the standard for the night, which was a boggy, thick warehouse vibe, even though the venue was more of a tightly packed repurposed storefront with an overactive fog machine.

This stop turned into a bit of a several day stopover for the TR, who saw the town, met up with other Portland people, and after that was left with a bit of a aural vision of the whole experience, the DIY ethos of the Portland, and the desire to document these impressions on the label of his bill mate for the aforementioned night, LoDubs.

Shortly thereafter "Triumphant March" arrived at the LoDubs mailbox, and reverb heavy, oozing slab of Jungle funkiness.

Upon realizing this would be good material for a dubby remix, the next step was reaching out for people to do so, and Beatrice M was at that time really getting noticed with their take on Dub. This year has seen them really move up the ranks, needless to say.

MEGAPTERA, the scientific name of the humpback whale, is also the title of the new album by French producer and composer Rone.


Born from an ambitious film project, the record was largely composed at sea, off the coasts of Brittany and Réunion Island, using a modular synthesizer and melodic sketches developed for an almost unreal proposition: attempting to resonate with whales through music.


Following Room With a View—a soundtrack to a performance created with the alternative dance company La Horde, exploring collapse and rebirth—Rone continues his investigation into new imaginaries. If that earlier work emerged from reflections on ecological, social, and technological tipping points, MEGAPTERA marks a shift: away from the city, toward the sea.


Gradually, he moved away from performance toward a more craft-based approach, extending his practice beyond the studio into a wider space of listening, exchange, and fieldwork. Early footage of sailors broadcasting his work into open water—seemingly answered by whale presence—circulated online, generating fascination, but also a growing unease for the artist regarding what these projections might imply.


This tension became the starting point for a longer period of field experimentation, developed in dialogue with scientists, environmentalists, sailors, and bioacousticians. The resulting 15-track album reflects this open-ended inquiry — not only into whether human-made sound can reach whales, but also into how this process can shape a new form of electronic music, and open it towards new deep-sea soundscapes.


Rather than seeking imitation, Rone works with reduction. Drawing on research into cetacean vocalisation, he pares back his language—focusing on frequency bands, repetition, and suspended structures. Minimalism appears less as reference than as natural convergence.

Mystic Letter K presents Occulimus. Behind this alias stands Cari Lekebusch, one of Europe’s most respected and prolific techno figures, with an undeniable legacy and historic releases on labels such as Missile, Hybrid, and Planet Rhythm, among many others.

With Mystic Letter K, Lekebusch steps into a parallel, more mature and conceptual universe—one where he fully explores a mental, tribal, deeply hypnotic and highly danceable strain of electro. His sound is built on constantly shifting patterns: elements that repeat, reconfigure, and sequence themselves in multiple ways, creating a continuous sense of motion that drives the listener into states of trance and altered perception. Occulimus captures this essence with surgical precision: an unmatched groove, raw yet refined, designed for the dancefloor but equally suited for full immersion. Each side of this double vinyl acts as a powerful and versatile tool, allowing any DJ to build, sustain, and transform energy with a single record in the bag.

A direct, functional, and absorbing work that reaffirms Lekebusch’s forward-thinking vision and his unique ability to sculpt sound in motion.

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of “Vibrations” by Roy Ayers Ubiquity — a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers’ sound at its peak.

Originally released in 1976, “Vibrations” stands as a cornerstone in Ayers’ catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide.

Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the “Godfather of Neo Soul,” Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and “Vibrations” is one of its purest expressions.

The album flows effortlessly between moods: from the jazz-inflected elegance of ‘Searching’ to the irresistible funk pulse of ‘The Memory,’ the dancefloor-ready ‘One Sweet Love to Remember,’ and the laid-back, atmospheric title track ‘Vibrations.’ Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment.

Beyond its original impact, “Vibrations” has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture.

After almost two decades out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Whether you’re discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.

As a follow-up to our previous work reissuing the recordings of Pau Riba, key figure in Catalonia's counter-culture and music scene, we now present "Juguetes de época y cajas de cerillas - Singles y rarezas. Primera época (1967-1969)," compiling songs drawn from rare releases in his catalog as well as his singles from this period. It includes previously unreleased material sourced from the artist's own tapes, along with an extensive booklet featuring notes and photographs of the artist. This collection brings together songs taken from rare releases in his discography-such as the album recorded at one of the concerts performed by Grup de Folk during its brief existence, "Folk 2" (1968)-as well as from his singles: "Taxista!" (1967), "Noia de porcellana" (1969), "Miniatura" (1969), "L'home estàtic" (1967), "Pau i Jordi" (1968), and "El Nadal no té 20 anys" (1967). Alongside these tracks, this compilation also releases for the first time part of the previously unheard material found on magnetic tapes discovered in the artist's studio after his passing. Among these tapes were the instrumental recordings of "Taxista!"-versions with slight differences from those issued on the original single, possibly prepared for television playbacks. These recordings provide further insight into the making of Riba's first release, particularly regarding the mixing process and the later addition of subtle details.

A tasty slice of early 90s New Jersey hip-hop makes this inaugural release from Concrete Flowers a real doozy. Apache's 'Gangsta Bitch' was produced by Q-Tip and taken from his 1993 debut Apache Ain't Shit, so it is a portal back to the raw, unfiltered energy of a time when the Flavour Unit collective was at its most vital. Apache had already appeared alongside Naughty By Nature, Queen Latifah and 2Pac before this record landed and the Q-Tip production connection to A Tribe Called Quest gives it a lineage that still hits hard. The Beatnuts' 'Hit Me With That' on the flip doubles down on the era's boozy, sample-heavy swagger, making this a perfectly paired two-sider that reminds you exactly why the golden era was so golden.

LIMITED TO 150 COPIES! 2 x 12" Black Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.

To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.

“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.

Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.

Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.

Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.

Froid Dub have steadily developed their “cold” Digidub style to acclaim –

releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.

Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.

Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.

To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.

Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.

As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.

The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”

Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.

By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.

"Imagine a classic singer/songwriter record loaded with the intimacy and grit reminiscent of Alex Chilton or Nikki Sudden." Shindig

Los Angeles singer-songwriter Tracy Bryant returns with his new album The Well, which is his first release since 2019’s critically acclaimed Hush. His fourth solo album, The Well marks a striking new chapter, trading his signature guitar-driven sound for piano-led songwriting that took root during the pandemic. The album was born out of one of the most turbulent periods of his life, written in the wake of his father’s sudden passing and birth of his first child. It was produced by longtime friend and compatriot Joo-Joo Ashworth at Studio 22 in Cypress Park, CA, and mastered by Dave Cooley at Elysian Masters. The nine songs are filled with raw emotion and driving motorik rhythm, telling tales of loss and love, relationships beginning and ending.
 
When the pandemic upended Bryant’s promotion for Hush and brought his 2019 European tour to a halt, he found himself at home rediscovering his musical roots at the piano, listening to Vince Guaraldi and Arthur Russell to take inspiration for the song structures. Without a band around, Bryant used the instrument to create both rhythm and melody, which resulted in a repetitive and precise backbeat, which was elevated when he began working with drummer Carmeron Gartung to rehearse the new songs. This different approach would define the style of The Well, creating an amalgamation of sounds with classic songwriting structures blended with post-punk, 90s indie, krautrock and psychedelia.
 
To produce the record, Bryant turned to Joo-Joo Ashworth, who share a friendship stretching back to 2011 (when Joo Joo was only 18) when both of their bands, Corners and Froth, were at the forefront of the bourgeoning Los Angeles/Echo Park music scene of the time and embarked on their first national tours together. Ashworth, who has since become one of underground music’s most respected producers, recorded the album throughout 2024/2025 on half inch tape at Studio 22 in Cypress Park, California, giving The Well a warm, considered sound that matches the weight of its subject matter.
 
The album’s emotional core was forged by two significant life events arriving in close succession. In January 2022, Bryant’s father passed away unexpectedly at the age of 67. Just three months later, Tracy and his wife welcomed their first child. The Well is a direct result of those experiences, a songwriter processing grief and joy, endings and beginnings in real time. 
 
The nine songs take the listener on a meticulously crafted journey through the nooks and crannies of Bryant’s mind. Spanning 37 minutes, the album is an exploration of classic songwriting elements moving fluidly between driving beat punk, like “Weight” and “Widow”, and more melancholic tracks like “Halfway” and “Danny”. Album opener “Cold Floor” sets the tone immediately, Bryant’s lyrics confronting the day of his father’s death with unflinching directness – the breezy California piano sound is in direct contrast to the heavy theme. The Bowie-esque title track is perhaps the album’s most expansive moment – a fully realised epic composed with a dynamic flare. 
 
 The Well feels like an arrival. Dramatic and expansive, it is a true, visceral reflection of the life changing events that altered the course of Bryant’s life. Fans will be surprised by the heavy focus on piano but they will welcome the change as a bold turning point for an artist who has lived long enough to know exactly what he wants to say. 

Some previous press:

"feels like a slice of California, down to its ringing post-surf guitars and bright melodies, but cross-cut with a folk sensibility more aligned to the work of Elliot Smith or, on occasions, Conor Oberst." Uncut - lead album review

"…sees the Los Angeles rocker confront both the finer and uglier aspects of love and life, combining classic rock with psychedelic tinges and catchy melodies." Evening Standard 4*s

Ltd. silver vinyl. Migja ta Mohh Mignun ("Journey of a Mad Mind") is a concept prose, chronicling the descent and transformation of a man consumed by insatiable thirst for forbidden knowledge. Abandoning wealth and comfort, he pursues ancient secrets hidden in scrolls, caves, and lost maps, ultimately crossing the boundary between life and death. Along the way, he defies the Inquisition, boasts of powers older than God, and embraces the role of a sorcerer and a possible Antichrist. His journey is filled with occult rites, supernatural encounters, resurrection, and even visions of an underworld queen who grants him unmatched wisdom. In the end, his quest leaves him both cursed and exalted; a figure suspended between madness, immortality, and damnation. This concept is based on a Maltese legend formally penned by Agostino Levanzin, which in turn is rooted in actual events from the 16th century. The music is written to accompany the story and is paced in an average medium-paced but intense wall of sound, along with Sa??ar's particularly unique vocals, all in the exotic and arcane Maltese tongue.

Migja ta Mohh Mignun ("Journey of a Mad Mind") is a concept prose, chronicling the descent and transformation of a man consumed by insatiable thirst for forbidden knowledge. Abandoning wealth and comfort, he pursues ancient secrets hidden in scrolls, caves, and lost maps, ultimately crossing the boundary between life and death. Along the way, he defies the Inquisition, boasts of powers older than God, and embraces the role of a sorcerer and a possible Antichrist. His journey is filled with occult rites, supernatural encounters, resurrection, and even visions of an underworld queen who grants him unmatched wisdom. In the end, his quest leaves him both cursed and exalted; a figure suspended between madness, immortality, and damnation. This concept is based on a Maltese legend formally penned by Agostino Levanzin, which in turn is rooted in actual events from the 16th century. The music is written to accompany the story and is paced in an average medium-paced but intense wall of sound, along with Sa??ar's particularly unique vocals, all in the exotic and arcane Maltese tongue.

Sweden has long had a celebrated techno scene and you'd be hard pushed to find anyone who has contributed to it as significantly as Cari Lekebusch. He has a vast back catalogue dating back to the mid-90s under many different aliases, including this one, Phunkey Rhythm Doctor, which yielded his 'Underground Poetry' EP back in 1995. 'Jazz Maze' is an exceptional start - urgent and punchy with freeform melody that brings the fun. 'Mad Poet' is much darker and has a doom-laden vocal over stiff, crisp drums. 'Sugardaddy' is a dubby bumper with a wobbly bassline and wispy synths, cyborg electronics and a cavernous groove. Don't sleep on this one.

Original Funk Band from Paris

With just three years on the scene, Jéroboam is already considered as one of the most exciting and essential new voices in contemporary soul funk.

A true manifesto for live music and the dancefloor, this 11-piece live machine hits the stage like a juggernaut and doesn’t just play funk, they live and breathe it.

After a slew of certified underground classic releases on Space Grapes and Chuwanaga which have been supported worldwide by tastemakers and connoisseurs, Jéroboam is now presenting its long awaited first LP on Favorite Recordings.

From boogie-funk to 2-step soul crossover, Jéroboam delivers 8 heartelf songs, combining razor-sharp compositions with genuine and relatable lyrics.

Achieving such an exciting and challenging piece of work is the outcome of a long and inspiring process started more than 10 years ago in Paris.

From their early beginnings on the local scene, the core musicians of Jéroboam thrived on their mutual love for funk music under the name and concept of Echoes Of.

Building on these successful experiences and expanding its line up over the years, the band has been able to sharpen its sound, craft a distinctive crossover identity and create its own original music under a brand new entity : Jéroboam.

This momentum culminates in their debut full-length album, set for release in june 2026 on Favorite Recordings, a defining moment for one of Europe’s most vital modern funk acts.

2026 Repress

"To make authentic Jungle you’ve got to get the breaks right sonically and LMajor does that without effort. Something in the tone of his drums really spoke to me and I knew immediately I wanted a record for Astrophonica. Authentic UKG is also all in the drums and it turns out he can do those too. Throw in some killer hooks and riffs and it’s the perfect combination - full of vibe and character” - Fracture

‘Can’t Do It’ is raw dance floor Jungle in a drawn out and journey like fashion. They don’t make ‘em like this anymore. Incredibly fun to mix - can you do it?

‘Spinnin’ is all blissed out UKG with dizzying chord stabs and vocal ticks. Wait for the irresistible walking bass line to take you by the arm and go for a stroll.

The drums in ’Feelin’ are so in the pocket that there’s no space for your wallet and keys so forget them and just bubble. Heavy sub bass will have the rest of your jeans flapping.

‘Hush’ closes the EP on a high with trademark LMajor breaks and drawn out arrangement. No need to rush this one, just tune out to the rhodes and Think break workout before the lashing and metallic Amen ramps up the excitement. Shhh, just listen.