"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!
"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!
Amsterdam based Malik Kassim & Cem Mo arrive on Cataleya Music with the diverse Breaking Clouds EP. With outings for the likes of Wolf Music and Love On The Rocks, Kassim made a name for himself with retro yet upfront House as Retromigration and now is focusing on making music as Malik Kassim. Cem Mo released the dreamy What Remains for Metro Beirut. They combine in style on the broken house groover that is Breaking Clouds. A cool flute, brass and smart keys do the work here alongside gliding percussion. A more intense remix comes from DJ Spinna where he tightens up the beats and gives the track the Galactic Soul treatment. Short Stay from Malik Kassim & Cem Mo is a fizzing Deep House effort with flying synths and underlaid keys. A great debut for the label!
Rooted in raw, minimal, dubby and emotional music, the Amsterdam-based Label Delver focuses on expressive recordings rather than polished productions, with releases that wander across genres.
The label’s first vinyl EP grew out of a shared passion for hardware jams between three friends, who regularly come together for live performances. Recorded in the afterglow of the summer of 2025, Delve Deeper Vol.1 brings together four tracks that combine from deep and hypnotic to more ambient and experimental territories.
Vand joins the roster with a collaboration with Holotropic, adding his singular interpretation of techno to the record. Each artist brings their perspective and while dub techno is the common ground here, the record explores a variety of its expressions.
Holotropic opens with “Sabra”, a patient, raw dub techno cut with subtle traces of the deeper Vril catalogue. Sasemoi’s “Those Who Seek” heads into more ethereal territory, its rhythm gradually surrounded by layers of sound that seem to pull the track upwards. “Binary” goes further into Sasemoi’s more experimental side, with broken rhythms and a heavier dub presence. Closing the record, Vantropic’s “Rift” shifts towards ambient and IDM, built from textured sounds and open space rather than a conventional dancefloor structure.
Born from a summer of shared sessions, Delve Deeper Vol.1 carries something of that time with it: the closeness of playing together, the freedom of improvisation, and a shared love of dub techno.
Nach der Veröffentlichung der Lead-Single ,Glowin'" im Jahr 2025 kehrt Mike James Kirkland mit seinem lang erwarteten Album ,The Business" zurück. Begleitet von den Monophonics präsentiert Kirkland eine facettenreiche, von Bläsern geprägte Sammlung, die beschwingten Soul nahtlos mit gefühlvollen Balladen verbindet und damit seinen Platz als eine der beständigen Stimmen des Genres bekräftigt. Das Album beginnt mit dem energiegeladenen ,Ready Or Not", in dem Kirkland selbstbewusst verkündet: ,Baby, I am ready", und damit den Ton für ein triumphales Comeback angibt. Produzent Kelly Finnigan lässt in ,Where Did We Go Wrong" die üppige Raffinesse des Philly-Soul einfließen und unterlegt Kirklands Reflexion über eine Liebe in Aufruhr mit Bläsern, Flöte, Waldhorn und Sitar. Finnigan arrangiert zudem das romantische ,Leading Lady" und begleitet Kirkland beim zarten ,Remembering Our Love" im Hintergrundgesang. Der Midtempo-Titelsong ,The Business" widmet sich sozialen Themen und verbindet fließende Streicherklänge mit Texten, die systemische Ungerechtigkeit und polizeiliche Unterdrückung thematisieren. Im Gegensatz dazu fängt ,Joyriding" die Unbeschwertheit des Sommers mit einem mitreißenden Groove ein, der zu den Höhepunkten des Albums zählt. Die vielbeachtete Single ,Glowin'" bildet den Abschluss des Albums. Inspiriert von der Version der Rationals aus dem Jahr 1969 des von Dr. John komponierten Stücks spiegelt der Song Kirklands beständige Botschaft wider, spirituelles Gleichgewicht und Glück dem materiellen Erfolg vorzuziehen. ,The Business" wurde zwischen Ende 2021 und Mitte 2022 geschrieben und aufgenommen, unter Mitwirkung von Jimmy James (Parlor Greens) und Lou King (Ironsides). Das Album verbindet Kirklands zeitlosen Gesang mit der üppigen Musikalität der Monophonics und markiert damit eine willkommene Rückkehr des legendären Soulsängers.
As Eerie Enterprise, upsammy and Piezo have funnelled their singular styles into a classic-feeling but ultra-modern album of elegant, angular electronica. With a strong melodic sensibility and a highly developed palette of playful sound design in their toolkit, the unexpected pairing grew spontaneous jams into a considered collaboration, and Places Remember Events is the end result.
Individually, Thessa Torsing and Luca Mucci have carved out strong identities within contemporary electronic music. As upsammy, Torsing has applied a delicate precision to ambient and uptempo approaches alike, building up a striking catalogue of releases including her 2020 LP for Dekmantel, Zoom. Meanwhile, Mucci has taken a wayward path through contemporary bass music and techno that matches edgy sound design with playful unpredictability. As Eerie Enterprise, both artists tap into their respective creative instincts while arriving at a unique sound with a nurturing quality they were both missing from modern dance music.
Having appreciated each other's work for some years, in July 2024 Torsing and Mucci seized an opportunity to carve out two days in the studio. There was no expectation of an end product, but the sketches conceived during those open-ended, hardware-oriented sessions felt worthy of a deeper exploration developed and finalised over the following year-and-a-half.
Places Remember Events has an unapologetically nostalgic streak, calling to mind the warm glow of melodically-charged, golden-era electronica. The twitchy rhythmic make-up of tracks like 'Decay + Collapse' and 'Folding Origin' speak to the duo's shared affinity for ravey energy, but even within faster frameworks they lean into half-time space to maintain a light-footed agility that allows the relatively busy arrangements to feel grounded and patient rather than frantic.
There's an appreciation for mystery in the emotional make-up of many of the tracks, not least in the slithering textural exploration and spatial tension of 'Capsule', but elsewhere fragile melancholia guides the melody direction of 'Superradiance' and 'Things Fall Upwards'. The final impression is crisp and modern while delivering an accessible experience that seeks to soothe rather than shock when so much contemporary club music tips towards uneasy intensity.
Finding malleable approaches to their chosen sonics and applying them to intentional song structures, Eerie Enterprise collectively land on a sound that promises a lasting reward for the repeat voyager — satisfying headphone gear in the grand tradition of introspective electronic music, but also with a physical immediacy that will manifest in the live set upsammy and Piezo have put together to perform later in the year.
More than five decades into one of Brazilian music's most remarkable careers, Joyce Moreno returns with a new collection of songs that reflect the warmth, lyrical sophistication and innovation that have made her one of Brazil's most defining musical voices.
Produced by Joyce Moreno alongside her husband and longtime collaborator Tutty Moreno, the album finds the Rio-born singer, guitarist and composer at her most reflective. Across nine beautifully crafted songs, Joyce pairs intricate guitar work, lyrical intimacy and effortless swing with the musical curiosity that has defined her work for more than half a century.
Invited into the studio by Roberto Menescal at just sixteen years old, Joyce emerged during a transformative period for Brazilian music, releasing her self-titled debut in 1968. She soon established herself as one of Brazil's pioneering female songwriters, writing unapologetically from a woman's perspective at a time when few women were afforded that voice. Her song “Me Disseram” sparked national debate, while later works including “Feminina” cemented her reputation as an artist unafraid to challenge convention.
While some of her politically charged songs were censored during Brazil's military dictatorship, Joyce continued to write with honesty and independence. After studying journalism in the late 1960s, her gift for observation and storytelling became an even more defining feature of her songwriting. Over the following decades she released a succession of acclaimed albums, including the now-classic Feminina and Água e Luz, earning widespread recognition both in Brazil and internationally. Antônio Carlos Jobim would later describe her as "one of the greatest singers", while generations of musicians have drawn inspiration from her fearless artistry and enduring originality.
That same artistic fearlessness remains at the heart of her latest work. The album brings together an exceptional ensemble of Brazilian musicians. Tutty Moreno's expressive drumming underpins Joyce's vocals and guitar throughout, while Jorge Helder's bass, Lula Galvão's guitar and Marcos Nimrichter's warm Fender Rhodes create a sound that is both intimate and expansive. Contributions also come from the legendary Toninho Horta, alongside José Arimatéa, Teco Cardoso, Nailor Proveta, Josué dos Santos and Raphael Sampaio, whose additions add colour and texture without overshadowing Joyce's understated brilliance.
Throughout the album, Joyce balances quiet reflection with effortless rhythmic vitality. “Chovendo na Horta” serves as both a heartfelt dedication and a celebration of Joyce's enduring musical connections, featuring the unmistakable guitar of Toninho Horta. Elsewhere, “Aldeia de Ogum” receives a fresh new arrangement by Nailor Proveta, revisiting one of Joyce's most beloved compositions. Originally released in 1980, the track has enjoyed a remarkable resurgence in recent years, embraced by a new generation of listeners and became an underground favourite among DJs including Floating Points, Four Tet and Danilo Plessow. Now a staple of Joyce's live performances, this reimagined version brings renewed energy to a song that continues to transcend generations.
At seventy-eight, Joyce Moreno continues to write with the same curiosity, generosity and quiet innovation that have defined her career from the very beginning. "For me, it's never too soon to try something new, either in music or in life," she reflects - a philosophy that gives both the album and its title their enduring sense of optimism. This latest album is neither a retrospective nor a reinvention, but the work of an artist who continues to refine her voice with remarkable grace, proving that her most compelling music remains firmly rooted in the present.
Following the album's release, Joyce Moreno will embark on a European tour this November, bringing her celebrated live show to audiences across the UK and Europe. A rare opportunity to experience one of Brazil's most influential and enduring artists in concert, the tour showcases a songwriter whose voice, virtuosity and musical vision remain as compelling today as ever.
Where Sky High, the first release on Zeynep Erbay’s Moments on the Floor, looked upwards, Dans turns its attention to the body. The label’s second release moves into a bolder, more playful space across four house tracks: ‘Dans,’ ‘Find The Girl’ and two distinct versions of ‘Waiting Now.’ Instinctive grooves carry fragmented voices and sudden flashes of acid, while familiar club sounds take on stranger forms. Nostalgic without being tied to one era, Dans moves between yearning and euphoria without losing its dance floor edge.
„Continue Here“ ist das Album, das es bisher noch nicht gab. „Continue Here“ schließt die Lücke zwischen „Begin Here“ und „Odessey & Oracle“ und enthält die bei den Fans beliebten Titel „I Love You“, „Leave Me Be“ und „I Want You Back Again“. Zum ersten Mal auf einem Album vereint, dokumentiert „Continue Here“ alle 18 Nicht-Album-Singles und B-Seiten aus den Jahren 1964 bis 1967 in ihrer ursprünglichen Mono-Mischung. „Continue Here (Mono Remastered)“ ist das nächste Kapitel in der Reihe der Zombies-Neuauflagen über das bandeigene Label Beechwood Park Records, mit demselben Team wie bei „Begin Here“ und „Odessey & Oracle“ – erneut unter der Leitung von Matthew und Jamie White, gemastert von Reuben Cohen bei Lurssen Mastering, mit brandneuem Artwork von Darren Evans und Liner Notes des legendären David Fricke. Die CD enthält einen Bonustrack: „I’m Going Home“.
The Five Green Moons present Moon 3. The third sphere to find its way into orbit. On its surface the evolution of a many faceted creature has taken place. Now with long, long tentacles and a million mouths the creature dances and sings. Its voice is the sound of the ghost dub ritual. The echo of spirits passing through the translucent veil. The chants of souls lost in the vampire woods. The clap, clap of its limbs colliding is the sound of frequencies being bent into fascinating new shapes by machine/ human hybrids. Post punk dubwise angular electro folk, Pastoral dub, whatever name you give to this music is of no consequence. It is alive and spinning in orbit.
The third Five Green Moons album sees Justin Robertson's sonic pallet blossoming into new exciting shapes. These 11 tracks offer a wide vista of across the frequencies including a truly remarkable and uncanny tale from celebrated author David Keenan on ' To Haunt of the Dark Earth A Spot' that brings to mind a vision of M.R. James merging with African Headcharge. Another refreshing collaboration can be found on 'Message from the Tone Generator' where underground electronic producer Nickelle adds her magical poetry to the psychedelic swirl. This is a bold and magical offering in a time of pastiche where new shapes are drawn from the sketches of the past.
If you need a sonic shorthand imagine Public Image Limited meeting the haunting chants of a new age Incredible String Band. The spiritual tones of late 70's Don Cherry. The whispering psych swooshes from Planet Gong and most importantly a solid bass foundation straight out of King Tubby's studio.
Kool Keith - Wall Street / Rework by Mister Modo & Ugly Mac Beer
We teamed up with the legendary Kool Keith on « Wall Street », originally produced by Junkaz Lou. Mister Modo & Ugly Mac Beer completely flipped the track with a fresh production hence the Rework title instead of a classic remix
CPEN is the alias of Chris Penny and his 'Pirates Life' EP on Seasons Recordings back in the 2000s is one of our all-time favourites. It was used on Craig Richards's fabric mix and still sounds original more than a quarter of a century on as the man behind it has gone on to work with Luke Solomon and Honey Dijon on a Grammy-winning album. It's the title cut that does it for us with the way the groove is so languid and loose as it hangs just above the floor and deep space sounds colour the airwaves. 'Song Of The Muse' is a beautiful synth scape stripped of rhythm and 'Liquid Steps' has a little more bite but still roll on nice soft kicks with life-affirming keys up top. 'Third Quarter' is a majestic post-club comedown with all of CPEN's signature synth sounds and even some brassy smears, making it an utter downtempo delight.
„Future Quiet“ markiert ein neues, bemerkenswertes Kapitel für einen der einflussreichsten und visionärsten
Künstler der elektronischen Musik. Auf vierzehn Tracks, die modernen Klavierminimalismus, immersive
Ambient-Klanglandschaften und einige Gesangskollaborationen umfassen, reflektiert Moby die Spannung
zwischen dem hypervernetzten modernen Leben und dem tiefen menschlichen Bedürfnis nach Stille.
Toy Tonics Italomania Vol. 4 is a compilation dedicated to new ITALIAN DISCO. Not ITALO DISCO.
10 new tracks made by young producers from Italy, exclusively made for Toy Tonics. All songs with Italian vocals.
Made with a lot of love by
Cleeeo, Giorgio Lopez, Magnolia, Juan Soto & Sam Ruffillo, KOKO, Luca Averna, Ricardo Baez, Euro Nettuno, The Cube Guys and Paccone.
The Italomania compilation was initiated by Mathias ‚Kapote‘ Modica. Creative mind behind Toy Tonics and half italian producer himself.
The series is a manifesto to show the status of Italian disco of today.
Kapote invited the most relevant producers to show different new styles of modern Italian disco and house music.
With a wide range of influence: Live disco, indie dance, italo pop, and italo house.
Italian disco is not Italo disco. The last few years saw a big revival of the trashy pop music of the 1980s called Italo disco, mostly with English lyrics.
But this compilation is about something else. It is about this new Italian disco. Toy Tonics wants to show a new way to combine Italianity with dance culture.
The Italomania Vol. 4 Artists
Cleeeo - Come Tocchitu: A sexy and sophisticated disco house track by 22 year old newcomer DJ and producer Cleeeo. Driven by a warm, uplifting groove and strong dancefloor energy. The record is dedicated to Brazil. The vocals move between Italian and Portuguese. This creates a natural bridge between two cultures.
Giorgio Lopez - Italiani Brava Gente: Giorgio Lopez is an important player from the much talked about new music scene from Napoli.
For "Italiani Brava Gente," he teams up with Los Angeles artist Sueño. The track is a tongue-in-cheek take on the stereotypical Italian male. It pays homage to late Italodisco legend Pino D’Angiò. The story unfolds from the perspective of a foreign tourist navigating the contradictions of self-proclaimed Casanovas.
The Cube Guys - Saper Ringraziare: The legendary italo house duo shows their Italian vibes and musical taste with “Saper Ringraziare”. The track captures the warmth of summer and the infinity of urban nights. A combination of early Italo disco elements mixed with their typical groovy beats.
Magnolia - Vesuvio: Magnolia’s “Vesuvio” is a cover version of a song from the 1960s by artist E’ Zezi. While the original is more in a folk vibes, the new version is an irresistible piano house track with groovy, sun-soaked vibes. It is made for the dance floor. This track blends Mediterranean roots with the euphoric energy of modern house. Some might know the vocals already from another cover version by Nu Genea from the previous album.
Juan Soto & Sam Ruffillo - Italomexicano: What happens when a Toy Tonics artist hangs out in Mexico city and teams up with the local scene? The result is here. A blend a Toy Tonics sound and tons of vintage synthesizers and some additional production by Mexican producer talent Juan Soto.
You get "Italomexicano". A fuse of the mystique of Mexican mariachi with the magnetic pulse of Italo disco.
KOKO feat. Elena Moroder - I Can't Understand: This melancholic piano house track is a serious floorfiller! Goosebumps! Italian DJ and producer KOKO teams up with Elena Moroder on "I Can’t Understand". Elena delivers a captivating vocal performance. The track explores the misunderstandings of a relationship where emotions were never fully expressed. It blends an iconic piano melody with warm, uplifting grooves.
Luca Averna - Le Luci Della Pista: Luca Averna is a DJ, producer, and resident at the iconic Pikes Hotel in Ibiza. "Le Luci Della Pista" is an energetic track designed for peak-time Ibiza moments while keeping a strong groove and a playful spirit.
Ricardo Baez - È Venerdì: Ricardo Baez is an Italian-Venezuelan DJ and producer. He is known for his distinctive blend of house, dark electro, italo disco, and leftfield electronics. Well respected in Italy's contemporary electronic scene he has been releasing on labels such as Running Bag, Permanent Vacation, Bordello a Parigi, Correspondant, Mule music, Live at Robert Johnson.
Euro Nettuno - La Notte Chiama: These guys are hot! Part of the Polyamore Crew, one of the rising italian new disco collectives their sound mixes Italo house from the 1990ies, electro and Pop in a very cool new way.
Paccone - J'Adore Napoli: Vincenzo Paccone is a DJ, producer but also very renowned graphic designer. He is co-founder of NSS. A fashion agency that is by now one of the leading italian fashion crews. He has been also working as a designer for Circoloco Ibiza for many years and organizes some of the hottest parties in Napoli currently. He makes his official debut as a producer with “J’Adore Napoli”. It is a vibrant tribute to the house music culture born in Naples. The track draws inspiration from the late 1990s and early 2000s. And is part of a NSS campaign about the ’new coolness of the city of Napoli“.
Black Mekon gelten als Kultfavoriten und verbringen seit mehr als 15 Jahren ihre Zeit damit, rund um den Globus zu touren und eine Reihe hochgelobter Geheimtipp-Alben zu veröffentlichen. Dabei haben sie ihren einzigartigen Mix aus Lo-Fi-Garage-Rock, Punk und Blues stetig perfektioniert und sich eine treue Fangemeinde aufgebaut.Nachdem sie bereits mit Künstlern wie Jon Spencer, Black Lips, Kid Congo und The Scientists die Bühne geteilt haben, wurden sie kürzlich persönlich von Jack White als Support-Act ausgewählt. Dies geschah kurz nach einer weiteren Japan-Tournee gemeinsam mit Guitar Wolf.13 Songs About Monsters hält genau das, was der Titel verspricht: eine Sammlung von Horror-inspirierten Garage-Rock-Hymnen, die pünktlich zu Halloween erscheint und als streng limitierte Glow-in-the-Dark-Vinyl-Edition veröffentlicht wird.
Four tracks moving between techno, house and tech house, built for club play. Turning Pages opens on a rolling groove, drums locked tight, a track that works as a peak or a warm up. The Avem Remix pulls it toward a leaner, more direct techno reading, stripping the arrangement back for a harder pass through the mix. On the flip, Get With It feat. Sammy Legs leans into house swing, vocal woven through a bouncing bassline. Christopher Schwarzwälder's remix reworks it with a tech house angle, tighter percussion and a more functional low end. Four versions of two ideas, each built to sit differently in a set.
„Nowawes2“ marks the second chapter for the label, staying true to its sound without repeating itself. Poul Verner delivers another limited hand-stamped two-tracker built around warm analog textures, organic grooves and understated depth. No unnecessary tricks, no oversized moments. Just two carefully crafted cuts that unfold in their own time. The A-side, „Choose Your Future“, settles into a deep 120 BPM groove, drifting through layers of dub delays, tape noise, subtle pads and restrained chords. Equal parts dub techno and deep house, it leaves plenty of space for atmosphere to do the talking. Flip it over and „Choose Life“ raises the tempo to 130 BPM without sacrificing its hypnotic flow. Stretching across 12 minutes, it builds patiently without ever rushing its destination. More drive, more momentum, yet the same sense of space. Dreamlike, immersive and made for those moments when the dancefloor locks into a rhythm of its own. „Nowawes2“ continues to explore the space between laid back house and organic techno with patience, restraint and an unmistakably analog character. Built for long blends, late hours and selectors who know that the most subtle records often leave the deepest impression.
House music has truly gone worldwide and here at Local Talk Records we like to think that we're open-minded to all shades of our beloved 4/4 rhythms...
This time we've given North Africa an opportunity to showcase their take on electronic deep house...with soul of course.
Egyptian producer Adham Zahran has been on our radar for quite a while now.
With a blend of dark yet beautiful electronic themes we like to think that his sound lands somewhere between Ron Trent, Atjazz or the more electronic Glenn Underground tracks.
For his debut on Local Talk, Adham presents 'Stripped Years', a beautiful production that takes us down below with big strings, supa deep chords and a light yet bumpy 4/4 kick.
Not hard, not pumping, just sexy and deep.
In order to make the North African theme even stronger we asked Moroccan producer Cee ElAssaad to take 'Stripped Years' further beyond the limits of the original version. The result is quite Chicago-ish, slightly more soulful but still very electronic and thumping. Cee gives us two versions, the original remix but also a massive beatless version that works just as well without beats.
Second Storey launches new record label High Canopy - with Ladakh EP, 20 years since the artist's first vinyl release. Storey's working template has always been to take on the observations of his inner and outer world experiences, folding them into his expertise as a highly skilled drummer, knack for dream-scape sound design and love of rave and soundsystem culture. High Canopy promises to be an environment that platforms full artistic freedom and homes the mechanised, cerebral dancefloor workouts of Second Storey's studio life alongside his deeper, more experimental terrain. The EP's first stop is 'Blue Eye' named after the spring source of the Bistrice river in Albania. Crystal-clear sound design that echoes the flow of this natural water and sits alongside softly distorted low end. Contrasting 'Urban Hermit' was written in Berlin, during a bout of cabin fever and is a heavy case of gnarled up, spat out, paranoid machine funk. 'Post Columbia' - recorded after an eye opening trip to Bogota- then shifts the tone for the B side into more heady melodic territory with luminous, floating synths evolving throughout the track. ' ABC Conjecture' builds an intense atmosphere as it crawls and morphs across growling, distorted bass with a creeping shuffle of layered elements building overhead. Title track 'Ladakh' completes the EP, inspired by the remote town in the Indian Himalayas on the border of Tibet, AKA snow leopard country. It takes on a special and expansive ambient quality of this deeply precious and spiritual mountain land.
CFUNK 050 is presented as a special collector edition commemorating the 50th Cyberfunk release. The package celebrates more than two decades of the label's music, artwork and visual identity.
The accompanying booklet brings together artwork from across the Cyberfunk catalogue, including labels from some of Quest's biggest and most memorable releases, alongside a personal retrospective from DJ Quest looking back at the creation of the label, the artists who shaped it and the journey back to vinyl.
Dedicated artist pages introduce DJ Quest, Paket, Destroyers, Code BreakerZ and Groovebox, connecting the artists behind release 050 with the wider story of Cyberfunk and the international breakbeat community that continues to support it.
More than simply a four-track 12", CFUNK 050 is designed as a physical celebration of Cyberfunk: its records, its artwork, its artists and the people who have kept the sound alive.
Cyberfunk reaches release number 50. To mark the milestone, DJ Quest opens up the Cyberfunk archives for a special four-track vinyl release featuring new interpretations from Paket, Destroyers, Code BreakerZ and Groovebox.
CFUNK 050 connects the label's original UK Bassline Breaks foundations directly with a new generation of producers. Each artist has been given the freedom to reinterpret classic Quest material in their own style while retaining the character, bass pressure and dancefloor attitude that made the originals unmistakably Cyberfunk.
From Paket's reworking of Muffled Mayhem and Destroyers' take on Cybanet, through to two very different versions of Back To The Old Skool from Code Breakerz and Tech House maestro Groovebox, the release moves across modern breaks, heavyweight club production and rolling groove-led territory.
It is both a celebration of 50 Cyberfunk releases and a statement about what comes next.
A1. DJ Quest feat. Yoof - Muffled Mayhem (Paket Remix)
Spanish breaks heavyweight Paket takes on Muffled Mayhem, retaining the attitude and personality of the original while rebuilding it for contemporary dancefloors with heavyweight drums, powerful bass and the polished low-end pressure that has made him a leading figure in the new generation of Andalusian Breakbeat.
A2. DJ Quest - Cybanet (Destroyers Remix)
Destroyers turns his attention to Cybanet, pushing one of Quest's darker electronic productions firmly into modern club territory. Futuristic electronics, heavyweight rhythm programming and serious dancefloor pressure meet the machine-driven character of the original.
B1. DJ Quest - Back To The Old Skool (Code BreakerZ Remix)
Code BreakerZ completely re-engineer one of Quest's defining tracks for a new generation. Their acid-tinged, hard-hitting approach injects fresh energy into Back To The Old Skool while keeping the hooks and attitude that made the original such an important Quest record.
B2. DJ Quest - Back To The Old Skool (Groovebox Remix)
Groovebox closes the release with a deeper, tech house, groove-led interpretation. Built around movement, rhythm and rolling dancefloor momentum, his remix takes the original somewhere different while preserving the unmistakable old-skool spirit at its core.
Eine historische Begegnung zwischen zwei der größten und legendärsten Bands des ehemaligen Jugoslawiens: LAIBACH - international anerkannt für ihre kompromisslose Auseinandersetzung mit Ideologie, Ästhetik und Macht - präsentieren "Die Kanone". Dabei handelt es sich um eine Neuinterpretation von "Top", der ersten, 1974 veröffentlichten Single von BIJELO DUGME, den Pionieren der jugoslawischen Rockkultur, gegründet von Goran Bregovic. Gemeinsam verwandeln sie einen historischen Song in ein neues Statement über die Zyklen der Geschichte und die Mechanismen, die die Gegenwart prägen - ein Werk, das tief in der Kulturlandschaft des ehemaligen Jugoslawiens verwurzelt ist, aber ebenso deutlich darüber hinausweist. Die Version von Laibach, unter Mitwirkung von Bijelo Dugme und insbesondere Goran Bregovic an der Gitarre, erschien 2025 digital, sowohl in deutscher als auch in slowenischer Sprache. Nun zusätzlich von DIE KRUPPS, THE LINCOLNSHIRE POACHER, BLACK DOT und dem RTV Slovenia Symphony Orchestra neu gemischt und interpretiert, um die allererste physische Veröffentlichung auf 12"-Vinyl und CD zu vervollständigen. Mehr als fünfzig Jahre nachdem das Debüt von Bijelo Dugme ein neues Kapitel in der Geschichte des Balkan-Rock aufschlug, greifen Laibach dieses ikonische Material auf und interpretieren es in ihrer eigenen, monumentalen Klangsprache neu. Das Ergebnis ist ein Dialog zwischen zwei Epochen, zwei künstlerischen Visionen und zwei Herangehensweisen an die Symbole, durch die sich Gesellschaften selbst definieren. "Die Kanone" ist nicht bloß eine Neuinterpretation eines historischen Songs - es ist ein zeitgenössischer Kommentar zum sich wandelnden Verhältnis zwischen Industrie, Technologie und Militarisierung. Der Titel evoziert den Wandel der industriellen Produktion und die beunruhigende Neuausrichtung etablierter Fertigungstraditionen hin zur Herstellung von Waffen und Kriegssystemen. Durch das Aufeinandertreffen der ursprünglichen Rock-Mythologie von Bijelo Dugme und dem Industrial-Ritualismus von Laibach untersucht der Song, wie wirtschaftliche Macht, technologischer Fortschritt und militärische Ambitionen miteinander verflochten sind. Das Stück reflektiert eine Welt, in der die Sprache der Produktion zunehmend mit der Sprache des Konflikts verschmilzt. "Die Kanone" und die slowenische Version "S topom te bom ciljal moja mala" erscheinen erstmals physisch, mit Remixen der deutschen Industrial/EBM-Legenden DIE KRUPPS (die eine episch-wuchtige Version beisteuern, welche ein Hit in ganz eigener Sache ist), des britischen Produzenten The Lincolnshire Poacher sowie des slowenisch-kroatischen Elektronik-Duos Black Dot. Der sechste Titel der 12"-Vinylversion ist eine Live-Aufnahme aus der Oper von Ljubljana, eingespielt mit dem RTV Slovenia Symphony Orchestra. Erhältlich ist klassisch schwarzes oder limitiertes farbiges Vinyl sowie CD mit zwei Bonustracks (iTurks Symphonic Mix der slowenischen Version und eine Instrumental-/Karaoke-Version). Beide Formate mit Obi-Banderole.
Following her foundational role in the early years of The Fall, and then the searing post punk of The Blue Orchids, as well as several tours serving as a backing group for Velvet Underground chanteuse Nico, Una Baines found herself starting 1985 without a band. Drafting together members of the all-female Beyond The Glass, and compatriots associated with her past projects, she entered the studio with a clutch of songs and a willingness to experiment. Separating the sides into “waxing”, for the more traditional songs, and “waning”, where the structures become looser and varied, the resulting album was the sole release on her Taboo Records and seemed quickly lost to time, but feels shockingly current in both feminist content, and freak folk execution.
It is a collection of influences that would emerge decades later in the wyrd folk movement, and Furia is not out of place at an intersection of Devendra Banhart and Meg Baird, but there was absolutely nothing like it in 1986. Upon release, Mark E. Smith famously likened it to Third Ear Band, having to dip back to 1970 for a touchstone. Songs like “Bridget of Ireland” could be traditional ballads from decades past, while “No Romance” is a lo-fi new wave hit waiting to happen. “Sheila/Beats My Heart” fashions The Velvet Underground as a feminist protest band, and “Ritual” plays out like all of the Motown girl groups banding together to tell the world that they don’t need a boyfriend to solve all of their problems. It all draws on sources that are so familiar, yet turns them upside down in a celebratory fashion. Is it freak folk? Pagan punk? Pastoral drone? It is all of that and so much more. It is the sound of a woman, and an artist, truly finding her voice, and it is both magical and compelling.
“Remarkably prescient and weirdly beautiful record. A creative, challenging and memorable companion, with a distinct voice and identity of its own: in turn playful, political and experimental. It's highly recommended.” – The Quietus
It’s a rare occurrence for a band to continue making music into their fifth decade, even fewer top off that achievement with one of their most recent albums being named one of “2023’s Best Albums” by a venerable magazine like SPIN. But The Church did just that with The Hypnogogue, an album so adored by critics and fans alike that it ushered in an entirely new era for the Australian band.
Now armed with their 28th album Lacuna, the psychedelic dreampop legends continue to evolve and transform, remaining not only relevant but consistently delivering music that is innovative yet true to their signature sound. “Intense, forlorn, and exultant,” is how bassist/vocalist/founder Steve Kilbey describes the album.
With a measured command of melody and instrumentation that only comes with experience and age, it’s an album rife with indelible musical clasps that fasten hold of your attention and refuses easy surrender. It’s a steadfast talent that Kilbey hosts close to his chest that’s been ever-present in the 27 albums that preceded it (best evidenced by the jubilant, nearly sold out 2025-2026 Singles Tour legs across Australia and North America, featuring night after night of incredible three-hour sets).
Starting in 1980, The Church continued expanding their highly cinematic and atmospheric blend of indie rock, shimmering post-punk, icy dreampop and psychedelic post-rock without retreading their steps. Beginning with classic early albums Of Skins and Heart, The Blurred Crusade, and Heyday which built a sturdy foundation, 1988’s Starfish broke into the mainstream and gave The Church the international hit “Under the Milky Way.” The hit single has been regarded as one of the most influential and recognizable Australian rock anthems of all time.
BLOOM, the 2026 Grammy Award-winning album from four-time Grammy-nominated singer, songwriter, and vocal powerhouse Durand Bernarr, is a landmark release from one of contemporary R&B's most celebrated voices. The album also earned Grammy nominations for Best Traditional R&B Vocal Performance ("Here We Are") and Best R&B Song ("Overqualified"), further cementing Bernarr's reputation as one of the genre's most innovative artists. BLOOM explores the concept of love beyond romantic intimacy, weaving together themes of self-love, personal growth, friendship, community, accountability, and the freedom to cultivate spaces where love can flourish. Rich in soulful songwriting and genre-blending production, the album showcases Bernarr at the height of his creative powers.
POV zeigt Nico Santos in zwei Extremen: ganz nah und ganz groß. Sein viertes Album ist ein Doppelalbum
aus zwei vollständigen Welten: Personal und Optimist. Personal versammelt intime, persönliche und echte
Geschichten, vielleicht die biografischsten Texte, die Nico bisher geschrieben hat, für Momente, die man
allein mit sich hört. Optimist ist das Gegenstück: große Hymnen und der Soundtrack zu seinem lauten,
schnellen Leben als Popstar, für Nächte und Momente mit Freunden. Zusammen ergeben beide Seiten 18
Songs, darunter ”Why Don’t You Stay”, ”Optimist”, ”Ray of Light”, ”All Time High” und ”Body”.
Barefoot Beats drop two highly infectious Brazilian power jams for all the vinyl collectors and lovers of International sounds out there.
Regular contributor to the imprint Bernardo Pinheiro teams up with Zaidan to expertly craft a timeless Reggae classic into a pure Brazilian good times anthem.
Over on the flip, Rio based producer Joutro Mundo combines superbly with Dicky Trisco to produce a more late night inspired number which is ready to fuel your Carnarave and set that dance floor on fire.
All delivered on a beautiful, LTD edition 10inch vinyl pressing.
Every now and then, there are tracks that stand the test of time. Tracks that are more than just another DJ-tool. Tracks to remember. When „Fom Within“ was released 13 years ago. the track found its way into almost every DJ-Case that summer, and to this day, people playit out at special moments. When Gregor Tresher started to mix Celeda´s „Music Is the Answer“ Acapella over it, inofficial remixes popped up everywhere. We decided to actually never release that version, as we believe some things should be in the DJ´s hands, as there´s nothing quite magic as if a DJ-Mix creates something new. We are happy to give to you an official repress of one of the strongest tracks from our label´s history. Play it out and let it work it´s magic.
Soft Resonance is a 4-track EP focused on deep, driving techno with a strong sense of space and movement. The tracks are built to work on a system — controlled pressure, solid low end, and evolving atmospheres.
Each piece moves between elevation and grounding: moments of lift and openness contrast with dense, earth-bound grooves designed to lock the floor in place.
Rather than peak-time aggression, the EP relies on tension, resonance, and gradual progression. Rhythms are steady and hypnotic, allowing DJs to shape long blends and transitions. Soft Resonance functions both as a tool and a statement —
deep techno for late hours, focused rooms, and careful hands behind the decks.
Fred Peterkin releases a lot of music but rarely hands his work over to other artists to remix. This EP, which sees a trio of artists deliver their interpretation of the Berlin-based New Yorker's strings-and-piano-drenched 2023 deep house number 'Someone', is therefore an interesting development. He kicks things off with his own smooth, bass-heavy 2026 'Interpretation', an even deeper and more sensual take that blends dancefloor weight with light-touch jazziness, before Juliet Mendoza takes over with a more locked-in interpretation smothered in warming Rhodes motifs and snippets of soulful, eyes-closed vocal. Dave Aju's take is more weighty, psychedelic and propulsive, while Korea Town's 'Acid' interpretation is darker, faster, tougher and altogether more thickset - the kind of revision tailor-made for peak-time moments in dark basement clubs.
Mutual Dreaming label head and New York favourite Aurora Halal is back on her own imprint for the first time in some seven years. This new EP finds her in a cosmic mood and exploring new frontiers, starting with the journeying 'Red Alert' which is encircled by clean sci-fi melodies as slinky drums power onwards and upwards. 'The Spell' is less mobile, instead hunkering down in a deeper, slower, more inert groove, but one no less detailed by intergalactic melody. 'Airtrain To Jamaica Station' takes flight on liquid and linear deep techno grooves with a psychedelic synth wash and 'Mist' and 'PF Tek' bring anxious moods to restless grooves.
Das Wiener Kollektiv TAKESHI'S CASHEW präsentiert sein neues, drittes Album "Planet Odyssey 64". Nach weltweiten Tourneen mit ihren ersten beiden Alben, gönnte sich die Band eine kreative Pause und kehrt nun mit neuem Sound zurück. Der bisherige analoge Cosmofunk der Band wurde um Electro-Einflüsse erweitert. Die sechs Musiker experimentierten mit alten Synthesizern, ließen sich von vintage Computerspielen inspirieren und schufen so ein neuartiges Klanguniversum. Ihre besondere Spielfreude brachte die Idee für eine Art Konzeptalbum namens "Planet Odyssey 64" hervor. Zahlreiche Bands kreisen nach ihrem zweiten oder dritten Album um Fragen der Standortbestimmung - auch Takeshi's Cashew mussten eine Weiche stellen bzw. wollten ein Konzept: nun treffen - back to the 90s - Mittelalterwelten auf Game Boy & Nintendo 64. Wie die loopbasierten Klangwelten der ersten Konsolen oder die höfischen Tanzmusiken, arbeiten Takeshi's Cashew auf Planet Odyssey 64 ebenfalls mit zyklischen Figuren. Nicht nur 8-Bit-Games erzeugten ihre Atmosphären mit reduzierten Mitteln - auch die Wiener Instrumentalisten haben ihre Werkzeugkiste im Vergleich zum bisherigen Ouvre komprimiert. Di verwendeten Leitmelodien und Chiptunesounds gedenken Videospielikonen wie "The Legend of Zelda: Ocarina of Time" oder "Pokémon Saphir Edition". Das rhythmische Amalgam hingegen formt ein Hybrid aus synthetischen Elementen und organischen Bausteinen. Präsent im Klangraum steht ein vorwärts kippendes Krautrock-Gerüst samt E-Bass und Schlagzeug. Die zweite Säule übernimmt ein monophoner Bass-Synthesizer namens Roland SH-101. Völlig verabschiedet haben sich Takeshi's Cashew trotzdem nicht von ihrer originären Herangehensweise, dem Jam. So entstand z.B. binnen eines Tages der vibrierende "Operator" auf dem alten Moog-Synthesizer eines Familienmitgliedes. Im Kern dient diese Musik als Transzendenzapparat, die Hörer*innen kehren mit heiterer Verwandlung von dieser Odyssey zu sich selbst zurück. Möglich auf klarem Vinyl, als analoges Tape, auf CD im Digi-Sleeve oder als Album Digital.
We Shine In The Darkness have made a superb start to life with two first EPs that both sold out. Their third is another hot one with dancefloor-savvy reworkings set to light up summer floors. The A-side reimagines 'Beachball', the beloved 1997 Ibiza house anthem that here becomes a smooth, nu-disco bumper with fine-grain synths and an electro-funk vibe that is finished with a great vocal from Ukrainian singer Teya Flow, lending the track fresh emotional pull. The B-side shifts into 'Gulf Dream', a deeper, more hypnotic and cosmic disco sound that takes its time to unfold, before closer 'Shining Star' channels New York's Neo funk lineage into something super cool and loved up, swaggy and full of summer heat. Vital cuts for vibey selectors.
From the depths of Rotterdam's machine soul, Gerd returns with Plasmic Echo - a four-track transmission drifting between submerged dub atmospheres, decayed textures and hypnotic late-night pressure. Released on Frame Of Mind, the EP moves through dense fog, frozen delays and low-end currents with precision and restraint. Deep, spacious and subtly psychedelic, Plasmic Echo balances stripped-down rhythm tracks with immersive atmospheres and pulsing analog textures. Built for dark rooms, long blends and those moments where time starts to dissolve into the groove.
Shadowy Detroit duo The Fantasy continue to offer up "secret mixes fixes" - high-grade, sonically spectacular re-rubs inspired by the original reel-to-reel re-edit era and the now iconic DJs behind the movement (Ron Hardy, Danny Krivit and Larry Levan included). The Motor City twosome kick off volume 5 in their ongoing series with 'Working Girl', a throbbing, San Francisco style electro disco workout peppered with spacey synth riffs, before turning a Bay Area drum machine workout into a breathless peak-time percussion-fest. Over on the reverse, 'On Fire Warp' is another percussion-laden revision of what sounds like a post-punk era industrial funk gem, while 'Lovefingers' is a break-driven translation of an ancient psychedelic rock workout.
In January 2016, a 21-year-old Jacquees confidently stepped into the spotlight and officially shifted the climate of modern R&B. Released as a mixtape hosted by DJ Spinz, Mood wasn't just a collection of songs—it was a bold sonic manifesto. Merging classic, unbridled Southern R&B vocals with the heavy, localized bounce of Atlanta’s dominant trap scene, the project gave a generation of fans their definitive late-night soundtrack. Now, a decade after its initial release, the foundational classic is finally making its official debut on all major streaming services, as well as arriving on CD and vinyl for the very first time.
Produced primarily by Nash B, Mood captured an artist on the precipice of superstardom. Backed by executive support from Birdman and the Cash Money Records family, the project features a powerhouse lineup of mid-2010s royalty, including standout guest verses from Kevin Gates, DeJ Loaf, Rich Homie Quan, Kirko Bangz, and Young Scooter.
For years, Mood lived in the digital underground of mixtape websites and YouTube rips, passed around by R&B purists like a treasured secret. Whether you're streaming it on the go, spinning the rich analog grooves of the vinyl, or popping the CD into your car, this release honors the timeless body of work that cemented Jacquees as the King of R&B.
Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.
Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.
Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.
A new sub-division from Earth Dog Records, reissuing overlooked gems from the North American underground
The ‘90s to early 2000s saw US dance music experience a uniquely innovative gold rush. Records from that period narrate a burgeoning rave-obsessed sub culture, experimenting with the psychedelic sounds of tech house and progressive, with further flirtations with trance, breaks and beyond.
Many of those era’s artefacts have been increasingly difficult to find, and even rarer to hear out in the contexts they were constructed for. Relik exists as a means to preserve the legacy of this formative era, honouring the artists and labels that helped shape an ethos and sound unique to North America, and pivotal to the Earth Dog vision, while exposing this music to a new generation of listeners.
Each reissue will be released with permission and in collaboration with the original artists.
R001: The Vortex Archives
Volume one shines a light on Gainesville’s legendary Vortex Records.
Founded in 1996 by Boyd Westerman and Kyle Hogan, lifelong underground innovators (with Boyd remaining the undisputed king of the Discogs comment section). Vortex was home to a catalog of sounds that helped define a unique tech house and progressive flavoured corner of the North American underground.
Vortex Archives compiles four of our favourite cuts from the label’s discography, that for our money showcases their unmistakable sound best; a seamless fusion of progressive house, tech house, trance and breaks.
Nearly three decades on, these tracks (and the label from where they came) are as timeless and prescient than ever. We’re honored to certify their legacy by bringing them back into circulation.
A huge thank you to Boyd for trusting us with this release and helping to bring a sample of the Vortex catalog back into the world.
Endless respect to all the OGs who archived their catalogues, continued to make incredible music and subsequently paved the way for future generations. We wouldn’t be here without you.
Since forming in 2020, Dinner Party has continued to erase the lines between jazz, soul, and hip-hop, building a discography celebrated for its warmth, musicianship, and effortless chemistry. Following their Grammy-nominated 2020 self-titled debut, the Dinner Party: Dessert reimagining, and 2023's Enigmatic Society, Whatchu Bringing? finds the group as locked-in as ever — trading the same easy, in-the-room feel that has made them one of the most beloved collectives in modern music.
Whatchu Bringing? arrives on the heels of a pair of 2026 Grammy nominations for Dinner Party co-founder Terrace Martin. Martin's collaborative album with Kenyon Dixon, Come As You Are, was nominated for Best Progressive R&B Album, while its single "WeMaj" (feat. Rapsody) earned a nod for Best Melodic Rap Performance at the 68th Annual Grammy Awards. The nominations arrived in the middle of an especially prolific run for Martin, who spent early 2026 rolling out his ambitious four-part album series — Passion, Peace, Purpose, and Perspective — building toward the full-length Love Is Louder Than Algorithms. Whatchu Bringing? marks his next chapter, bringing that same restless creative energy back to Dinner Party.
With Whatchu Bringing?, Dinner Party continues a run defined by joy, community, and genre-defying collaboration — an invitation, as always, to pull up a chair.
It’s Italian time! Sam Ruffillo is back. Sicilian producer doing smooth Balearic disco with Italian vocals. The direction is clear: Sam Ruffillo's music brings us back into the Italian riviera and the hippy days of Ibiza in the late 1970ies. Even his way of production is similar to how the early days disco producers in Italia used to work: No samples needed. Instead a few guest musicians come to jam over Sam's beats in his Italian studio space. Guitar, bass, percussions. Sam later makes the production and added keyboard solos and put together the vibes into what is this new EP.
The girl voice comes from NINFA. It’s the classic studio story: Ninfa is a singer and DJ and friend of Sam. She was hanging at the studio while Sam was finishing these tracks. She stated to sing along... the words came up spontaneously… so they decided to record her and finally decided to keep them. The vibe was too good. Why talk English if u can do it better: in Italian! :)
This is second for Toy Tonics after his Sport House EP from last year. Sam also appeared on the solo record of Joel Holmes on Toy Tonics. Together with Kapote Modica he co-produced and made the beats on that record. Now Sam is back with this pure Italian EP. Inclusive remixes by new German artists Gome and Italian Musemeci - known to many from his fabulous Italo-trance releases on Diynamic records.
Reissued on Pascal Pinkert's new label 'Phantom Sounds'. Originally release 2019, now remastered with bonus track included! TIP!
Excerpt from the original release text
"On the album, you’ll find a touch of the old and a great deal of new material. ‘Geen Genade’, ‘Wat Voel Je Nou’ and ‘Verloren’ still stand strong in pride of place, reminding us why we love De Ambassade so much in the first place. The opener and title track, ‘Duistre Kamers’ has a dark industrial vibe that is a perfect introduction of what is to come. Somehow ‘Zo Hoog Als De Bogen’ feels warm and cold simultaneously, it maintains an almost spooky tone; ‘Malefica’ in comparison sounds raw, uncut and almost upbeat. ‘Niet Van Mij’ is one of the reasons the album is so special. Its unexpected wavering synths create another contrast of the melancholic and the joyful in one, and the heavy percussion and echoing vocals tie it in with the rest. ‘Laatste Uur’ kicks you in the face, again with this industrial, moody feel and beautifully handled synths. The closing track ‘Wapengekletter’ is elegant, and a new favourite here. The dark vocals, haunting melody and cleverly tempoed percussion conclude the album wonderfully. Overall, De Ambassade has hit the nail on the head and produced this autumn’s must have Amsterdam album."
La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.
Written during and after a year touring the world, Sweet American Boy
expands the raw honesty that built honestav's audience while pushing his
sound into bigger, rock-driven territory - heard on Can't Let Go, Storm In
This House, and Crash First.
Across 16 tracks he wrestles with family history, addiction, grief, love, and
the complicated reality of chasing - and catching - the dreams he once
chased. It’s honestav at his most vulnerable, self-aware, and ambitious: an
evolution of his signature storyteling that feels larger, louder, and more
unfiltered than ever before.
• MGK co-sign Multiple dates on MGK's Lost Americana Tour; Crash
First (with mgk) on the LP
• Deeply engaged fanbase: 1.8M TikTok • 1.2M Spotify monthly
listeners
• A bigger, bolder chapter: Rock-driven evolution of his sound, with a
headline tour on the way
The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.
Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.
Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.
The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”
Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.
More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.
The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.
Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.
Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.
The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”
Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.
More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.
Ian Pooley's 'Roller Skate Disco EP' Returns with Digital Debut and Vinyl Repress
Definitive Recordings brings back one of the label's early house gems with a remastered reissue of Ian Pooley's 'Roller Skate Disco EP'. Originally released in 1994, the EP returns for the first time as a digital release while also receiving a new vinyl repress. Alongside the original material, the reissue expands the package with the previously unreleased track 'Unity' and the Bandcamp-exclusive 'Never Give Up'.
For more than three decades, Ian Pooley has been one of house music's most respected producers and DJs. Emerging from Mainz, Germany, with a deep love for the sounds of Chicago and Detroit, he has built a career defined by subtle artistry, impeccable groove, and timeless musicality. His acclaimed albums 'Meridian' and 'Since Then', remixes for artists including Daft Punk and Jovonn, and releases on labels such as Plus 8, Innervisions, Rekids, and his own Pooledmusic have established him as one of the true masters of deep and soulful house music.
The title track, 'Roller Skate Disco', immediately captures the uplifting spirit of classic 90s house. Built around an infectious disco-inspired sample, funky guitar loops, and a warm, rolling house bassline, the track is complemented by a looping female vocal that gives it an unmistakable feel-good energy. 'Sure!' follows with a groove driven by crisp TR-909 drums, deep synth chords, and a playful TB-303 sequence, while a repeated female vocal ties the arrangement together into a hypnotic club workout.
'The Brückenkopf at 7 AM', named after the legendary club in Pooley's hometown of Mainz, moves into deeper territory. Dreamlike synth textures, a memorable deep house piano motif, and another signature 303 sequence combine to create one of the EP's most atmospheric moments. The previously unreleased 'Unity' continues this journey with a hypnotic groove, deep house aesthetics, and another beautifully woven acid line, making it a natural addition to the original release. Completing the digital edition, 'Never Give Up' arrives as a Bandcamp exclusive, pairing playful M1 organ sounds with a rolling 303 sequence and an effortlessly flowing house groove.
More than thirty years after its original release, 'Roller Skate Disco EP' remains a perfect snapshot of Ian Pooley's early sound and a testament to the timeless appeal of classic house music. This expanded edition celebrates one of Definitive Recordings' defining releases while introducing it to a new generation of listeners.
Das Wiener Kollektiv TAKESHI'S CASHEW präsentiert sein neues, drittes Album "Planet Odyssey 64". Nach weltweiten Tourneen mit ihren ersten beiden Alben, gönnte sich die Band eine kreative Pause und kehrt nun mit neuem Sound zurück. Der bisherige analoge Cosmofunk der Band wurde um Electro-Einflüsse erweitert. Die sechs Musiker experimentierten mit alten Synthesizern, ließen sich von vintage Computerspielen inspirieren und schufen so ein neuartiges Klanguniversum. Ihre besondere Spielfreude brachte die Idee für eine Art Konzeptalbum namens "Planet Odyssey 64" hervor. Zahlreiche Bands kreisen nach ihrem zweiten oder dritten Album um Fragen der Standortbestimmung - auch Takeshi's Cashew mussten eine Weiche stellen bzw. wollten ein Konzept: nun treffen - back to the 90s - Mittelalterwelten auf Game Boy & Nintendo 64. Wie die loopbasierten Klangwelten der ersten Konsolen oder die höfischen Tanzmusiken, arbeiten Takeshi's Cashew auf Planet Odyssey 64 ebenfalls mit zyklischen Figuren. Nicht nur 8-Bit-Games erzeugten ihre Atmosphären mit reduzierten Mitteln - auch die Wiener Instrumentalisten haben ihre Werkzeugkiste im Vergleich zum bisherigen Ouvre komprimiert. Di verwendeten Leitmelodien und Chiptunesounds gedenken Videospielikonen wie "The Legend of Zelda: Ocarina of Time" oder "Pokémon Saphir Edition". Das rhythmische Amalgam hingegen formt ein Hybrid aus synthetischen Elementen und organischen Bausteinen. Präsent im Klangraum steht ein vorwärts kippendes Krautrock-Gerüst samt E-Bass und Schlagzeug. Die zweite Säule übernimmt ein monophoner Bass-Synthesizer namens Roland SH-101. Völlig verabschiedet haben sich Takeshi's Cashew trotzdem nicht von ihrer originären Herangehensweise, dem Jam. So entstand z.B. binnen eines Tages der vibrierende "Operator" auf dem alten Moog-Synthesizer eines Familienmitgliedes. Im Kern dient diese Musik als Transzendenzapparat, die Hörer*innen kehren mit heiterer Verwandlung von dieser Odyssey zu sich selbst zurück. Möglich auf klarem Vinyl, als analoges Tape, auf CD im Digi-Sleeve oder als Album Digital.
Priding themselves in having cultivated a community and culture at their club nights, they play some of the best music ever cut to wax. It might not be quite what you’d expect from a typical northern soul night, it isn’t stepping back into the past, it’s the music stepping forward into 21st century.
“We’re not interested in nostalgia – we love soul music because it’s brilliant. It probably still resonates with young people because it has a message of something bigger than what’s inside your own head – that what really matters resides in relationships with other people, not material things. We think that is beautiful” – DNSC.
“Deptford Northern Soul Club have emerged as the new faces of northern soul” – Yuck.
As featured in Alan Byron’s documentary Northern Soul: Still Burning (2026).
“By recontextualising northern soul in a modern context, they empower the genre to continuously evolve, imparting new meaning to younger, perhaps previously unaware audiences” – Pilot magazine
(limited red vinyl, including poster / lyric sheet) 'The Way You Talk Reminds Me Of Home' is the second album by Belgian indie band BLUAI. Two years after their warmly received debut 'Save It For Later' and an extensive run of shows across some of Europe's biggest festivals and venues, the three-piece return with their most ambitious and immediate record yet.
Across eleven songs, BLUAI explore what it means to live somewhere between past and present. Conversations with family, friends, partners and people who resurface after years away become starting points for songs about childhood, love, grief, responsibility and the uncertainty of approaching thirty. Rather than a traditional coming-of-age record, 'The Way You Talk Reminds Me Of Home' is about figuring things out while you are already in the middle of them.
Produced by Isabel Gracefield (Adele, Dua Lipa, PJ Harvey, Radiohead...) and recorded at London's legendary RAK Studios, the album was made with a deliberately instinctive approach.
BLUAI much as they sound on stage: raw, direct and closely connected.
'Palle Mikkelborg (b. 1941) - a spiritual jazz legend, acclaimed composer, trumpet player and electronic music pioneer - is back in the studio recording his first solo album in more than 25 years. Working with him as a producer is Jakob Bro, with whom he has recorded the great ECM albums Returnings with Jon Christensen and Thomas Morgan, and Strands with Marilyn Mazur.
'"When Palle decided to stop touring and performing live, I suggested that we sit down together and listen through the many MiniDiscs and DAT tapes he had tucked away, hoping we might find a new direction for making music together. We went through everything - recordings of orchestras and choirs, soundscapes, and so on - material he had worked on throughout his career,” says Jakob Bro. “I can still remember the first time we said it out loud. Suddenly, it made perfect sense in my mind: a solo album. An album devoted entirely to Palle - his sound, his vision, his voice. It felt like something the world truly needed.”
'This final opus sees Palle Mikkelborg re-interpret and record his own orchestral works and two pieces by Per Nørgaard and Thomas Laub as 'meditations' on solo piano, trumpet and flugelhorn mixed with soundscapes and guest performances by longtime collaborators Helen Davis, Jakob Bro and Thomas Li.
'As a soloist his sound on trumpet and flugelhorn is both much loved and familiar after decades at the forefront of Nordic Music, but on Light one is struck by the weight Palle Mikkelborg has given his soundscapes and the grand piano. Forever curious on what's ahead, the album underlines his spiritual and ever-seeking approach to free improvisation, classical composition, choral works and experimental sound landcapes.'
Bo Harwood (1946–2022) was one of those behind-the-scenes figures of American independent cinema: a self-taught musician, composer, sound editor, sound mixer and songwriter.
Harwood started out as the lead singer and guitarist of a Southern California rock band before a chance meeting with John Cassavetes changed the course of his career. He scored his first feature, The Bach Train, in 1969, and later joined Husbands as an inexperienced assistant in the editing room. He gradually became Cassavetes’s sound editor, music supervisor, composer and sound mixer, eventually working across six of his films, from Husbands and A Woman Under the Influence through The Killing of a Chinese Bookie, Opening Night and Love Streams.Harwood’s music is inseparable from the peculiar emotional universe of those films: strange, romantic, funny and often devastating.
Harwood and Cassavetes worked closely and instinctively together, developing music in the process of making the films. The surviving master tapes reveal something of this exchange: alongside finished pieces are improvisations, experiments and conversations, capturing the two of them working through ideas in real time. Harwood’s compositions were often recorded as rough “scratch tracks”, with Cassavetes preferring their immediacy and vulnerability to more polished arrangements.
This nine-track LP brings together some of that work. There is something wonderfully intimate about hearing these recordings outside the films: the songs stand on their own, while retaining the rawness and emotional charge that made Harwood’s collaboration with Cassavetes so distinctive.
A small document of a remarkable and largely overlooked body of work.
Hoshina Anniversary returns to MUSAR for his fourth appearance on the label with Sankaku, a five-track EP offering the latest snapshot of his ever-evolving ‘Watechno’ sound.
Taking its name from the Japanese word for ‘triangle’, Sankaku opens with a storming, floor-focused title track, pairing hypnotic techno rhythms with shifting textures and sharp acid drops. Tsuppari follows, named after the rapid hand thrusts used in sumo. Driving percussion, Japanese instrumentation and a raw techno pulse give the track a physical, forward-moving energy, making it a natural club cut.
Side B opens with Kono Kanjitte, where acidic tones meet jazzy elements and a playful sense of uncertainty. Slower and psychedelic, it unfolds as a track for restless minds and hazy nights. Ariake, named after the Ariake Sea, moves into more spacious territory, with Japanese instrumentation creating an atmosphere of mystery and anticipation, like looking towards an unknown horizon. Closing the EP, Itsukushimi brings a melancholic blend of melodic touches and darker cinematic tension, recalling the atmosphere of a Hitchcock soundtrack.
With ‘Sankaku’ EP, Hoshina Anniversary turns Japanese imagery, psychedelic textures and club-driven rhythms into a world that feels both familiar and otherworldly.
Hanne Lippard and Renato Grieco's Today's Special is a suite of language works synthesising melody and diction that integrates the literary and the audible in a repertoire of songs that bask in the melody of voice and the punctuations of structured composition. Working with methods of reduction rather than opulence in both tonal composition and rhetoric, each piece pegs the poetic to the musical with compositional schematics and methods. It is important to state that there is little to none improvisation here, instead, the duo set up matrices, rules and structural links that facilitated meaningful locus of exchange between their two practices. Lippard's texts are a collection of new and previously completed works. In these, as is typical for her work, she enjoys the easy pleasure of wordplay, iterative language, and decontextualised anecdote, as in opener Portrait of a Betrayal, a piece about the loss of a phone and the way it haunted the owner who dropped it, based on a lived experience. Grieco's instrumentation works with Lippard's language art as a form of acoustic typography. "I studied graphic design and I think about how you can express typography through voice," she says. "Renato's use of the viola da gamba becomes like an underline, or a font's brushstrokes, in ways that feel typographical." In this, the classically-trained composer Grieco often finds and echoes the pitch movements of Lippard's voice, intonation mirrored and revealed, linguistic meaning doubled and shadowed by plucked, strummed or bowed strings. His main instrument is the viola da gamba, the instrument considered closest to the human voice for its tonal range and ability to mimic inflections and timbre, and here he brings it even closer to the voice, building systems by which it moves with and around Lippard. He also plays piano and Wurlitzer, and joins her in speaking on Receiver and in conversation for final track The Black Rose. "Hanne's voice is an artist's voice, embodied as the artwork itself," he says. "But where my approach is from the perspective of a composer, hers is around rhetoric and language. We worked towards each other in this sense, Hanne finding a space to welcome my voice, and me designing an acoustic space to enhance her vocal persona." In some tracks the structural connections are obvious - the matched tumbling delivery and stepped pitches of voice and piano in Aficionado sounding like two tipsy friends descending a staircase. In others, like the triptych of tracks Three Rungs Ladder, structured with rules derived from nursery rhymes, or cumulative song (akin to the 12 Days of Christmas). For the Colour 1 and Colour 2 pieces, the duo worked from palettes of colours connected to clusters of harmonies, which underlined the power of the word and its articulation. The absurd Labradorable personifies a people pleaser, A Story About Being Blue is an imagined playful monologue from the Deep Blue supercomputer - requesting in sing-song stop motion to be called Debbie, and Larry - as Grieco echoes in factual reportage. Hurtbeat unpacks and recomposes a tweeted non-apology by a Russian art collector about owning a piece of racist art, Grieco shadowing Lippard's generating a third `drop-shadow' performer from the resonances between the duo, typographic re-articulation of the source material. The Receiver includes lines from Robert Ashley's Improvement (Don Leaves Linda), Ashley existing as a spiritual parent of sorts to the practices contained on Today's Special, and here interpolated as if he is being quoted and written through within the audible world of the piece in a palimpsest of borrowed sentences. Closing track The Black Rose contains its own self-aware comedy, a lightly distorted conversation sourced from a Reddit thread about whether black roses exist, recorded as if it were an internet radio or a low budget podcast, the casual exchange stilted in the delivery of platitudes as scripted speech. Today's Special was developed in person over the course of a series of small residencies - at Deutsche Akademie Rom Villa Massimo, Rome; Fondazione Morra, Napoli; Callie's, Berlin. In these limited periods that rarely stretched beyond a week, Lippard and Grieco developed strategies for the works, keeping tightly locked to musical concepts. This, for Grieco, is about maintaining a solid, meaningful connection within the compositions, and committing to everything having a purpose for existing within the work. Each element pulls its weight; has something to say, literally and metaphorically speaking. In the same way that Lippard's work leaves nowhere for her to hide, he wants the music to exist with its own naked purpose: "It's is about exposing nudity via reduced materials," says Grieco. "This is a form of courage we want to embrace. Once we take off everything, it needs to be extremely precise to maintain a connection with the audience. We have a lot of tools to hide behind now, to protect ourselves and our identities as artists, performers, and in life more generally. It's something I don't want to do. I want extreme reduction: no hiding."
Since forming in 2020, Dinner Party has continued to erase the lines between jazz, soul, and hip-hop, building a discography celebrated for its warmth, musicianship, and effortless chemistry. Following their Grammy-nominated 2020 self-titled debut, the Dinner Party: Dessert reimagining, and 2023's Enigmatic Society, Whatchu Bringing? finds the group as locked-in as ever — trading the same easy, in-the-room feel that has made them one of the most beloved collectives in modern music.
Whatchu Bringing? arrives on the heels of a pair of 2026 Grammy nominations for Dinner Party co-founder Terrace Martin. Martin's collaborative album with Kenyon Dixon, Come As You Are, was nominated for Best Progressive R&B Album, while its single "WeMaj" (feat. Rapsody) earned a nod for Best Melodic Rap Performance at the 68th Annual Grammy Awards. The nominations arrived in the middle of an especially prolific run for Martin, who spent early 2026 rolling out his ambitious four-part album series — Passion, Peace, Purpose, and Perspective — building toward the full-length Love Is Louder Than Algorithms. Whatchu Bringing? marks his next chapter, bringing that same restless creative energy back to Dinner Party.
With Whatchu Bringing?, Dinner Party continues a run defined by joy, community, and genre-defying collaboration — an invitation, as always, to pull up a chair.
Texan beatmaker Flobama continues his Astrophonica journey with the four-track EP ‘Soundboy’s Return’, exploring fuzzy Jungle/Hip-Hop crossovers with the help of the now-iconic Amigo software. The results so far have been full of character and depth, marking the emergence of a distinct artistic identity. Now more than ever, a unique sonic palette feels essential—and Flobama has one in bucketloads. From the first pad, chord or whiff of a breakbeat, his sound is instantly recognisable: a fresh, modern take on a classic formula.
After cutting his teeth in the late '70s No Wave scene with bands Theoretical Girls and The Static, Glenn Branca made his first solo statement, Lesson No. 1, in 1980. The inaugural release on legendary post-punk / dance label 99 Records, Lesson No. 1 unveils Branca's visionary guitar concepts with two monstrous, side-long compositions that helped forge NYC's downtown art-punk sound and acted as a massive influence on countless young groups, including Sonic Youth and Swans.
The title track is easily Branca's most-accessible moment; its driving beat and interlocking patterns resemble German pioneers Neu! playing Philip Glass. Never before (or since) has minimalism sounded so euphoric. "Dissonance" is the A-side's polar opposite. Dark, skittish and unhinged, Branca leads his band (guitar, keyboard, bass, drums and sledgehammer) through block after block of industrial terror, leaving listeners drained in the process.
WHIMM formed around the shadowy heart of the Toronto post-punk underground over a decade ago. The partnership between Mounir Al Shami and Andrew Matthews has emitted sporadic musical shards over time, while slowly evolving into something so much bigger than its beginnings. Ideas seep out of every corner of No Promotion, showcasing a burning desire to explore and challenge while delivering very direct sonic offerings. The result is an album that feels as if you took the entire Coil discography and smashed it into pieces, assembling these precious songs from the fragments. Or as if Vangelis beckoned Section 25 to the studio in hopes of recording the score to a seedy film. The resulting LP is in a state of flux – equal parts motion and decay.
Patrick Flegel, of Cindy Lee, welcomed Al Shami and Matthews into REALISTIK Studios in Montreal to engineer half of the tracks for the album, including lending guitar to the opening track "Five in Decline." That influence is evident early on, as the first three songs are taken from those sessions. "Five in Decline" throbs and barks before racing through the hallways closing in around it. "Another Labour" slows to a spidery waltz as anxious melodies call out to one another. "Returnal" pulses, floats through the night sky and haunts you forever. "Rye" carves a percussive pathway toward similar travellers like Terry Riley and Jon Hassell, before the lament of "A Death Remembered" forms the perfect midpoint for the record. A slow build countered by twitching drums and blanketed by organs recorded at Metropolitan United Church in Toronto, it feels like emotion right on the edge of resolve.
"Rhymes of December" screeches through on a solitary train under the towering cityscape as the flickering lights blur past, its doors opening to the candlelit altar of "After the Last Sky" (those beautiful organs again) with an operatic swirl. "K'20" throws you into a claustrophobic and chaotic cab ride (Who is talking? Are those sirens?) until you finally find the quiet of the early morning, waiting at the window for the sun to join you once again as the first notes of "No Promotion" are delicately plucked. The final song from the Flegel sessions, it is over eight minutes of contemplative beauty. A restless heart that is ready to rest. Closing with a final apparition in the key of The Caretaker, "After the Last Sky (Reprise)" is a return to melody when words lose all meaning.
Al Shami and Matthews weave their lyrics throughout, words describing a search for lucidity, and of reactions and reflections. Al Shami – speaking from the Palestinian diaspora – ruminates on displacement, both personal and collective. His journey from having "been without a land and I can still see clearly" in "Rhymes of December" to a more defiant "we will be back again, no matter how it ends or where we've been" in "Returnal" takes a very insular turn on No Promotion. That sense of alienation pulls at the very center of a relationship when land and circumstances separate: "And after our last breath, all that's left in me is our flesh and fears, your last words would swim for years, you'll never find a home in me." Hearts on the outskirts that know the direction.
Cosmic Romance presents the debut album from Sua Galera, a vibrant 8-track journey shaped by friendship, late-night sessions, and a shared love for groove-driven music.
Formed in Dortmund, Germany, located in the middle of the multicultural region Ruhr, Sua Galera brings together nine musicians who first connected through the city’s jazz music scene. Led by keyboardist and producer Eskil Bauer, the collective channels a multinational identity, reflected both in its sound and its name: “Sua Galera,” Portuguese for “your crew.” With vocalists with Brazilian and Moroccan background at the forefront, the project naturally blends diverse cultural influences into a warm and cohesive musical language.
The album moves effortlessly between Brasil funk and Mediterranean-inspired grooves, all filtered through the timeless sound aesthetics of 1970s and 1980s studio productions. Recorded through countless nights spent both in the studio and immersed in live music culture, the record captures the spontaneity and chemistry of a band deeply connected through performance and collaboration.
Perfectly aligned with the Cosmic Romance universe, Sua Galera’s debut delivers an organic, soulful, and rhythm-forward sound designed for DJs and listeners seeking emotionally rich groove music.
London duo Kassian trade darkness for daylight on Gradients, their third EP for !K7 Records
The EP arrives as a bridge between last year's debut album and a new live show and sophomore LP, due in 2027
As Kassian, Warren Cummings and Joe Danvers continue to sit apart from any one scene. Their fruitful relationship with !K7 has spanned eclectic and global club cuts, including the spatial breaks and bass of 2024's best-selling Supercontinent EP. 2025's debut album, Channels, emerged from lockdown so leaned slow, downtempo and introspective, but this new EP points toward a clubbier, more physical direction that will carry through into album two.
Crucially, the record was written and played live on an array of studio gear rather than assembled piece by piece in the box. It's a way of building towards their first fully live show in 2027 - a hands-on, jam-first approach that leads to "happy accidents" and the unpredictable textures that hardware throws up and no amount of in-the-box planning can replicate.
Gradients is built for the floor without playing to trends and marks some of the duo's most melodic work to date. Rather than sitting purely in heads-down territory, the EP folds in hooks and vocal fragments that lift you out of the smoke and the shadows of the club. The low ends are still rooted in techno with potent drums and bass, but deft vocal hooks and subtle melodies bring a brightness that deliberately steers away from the darker, meaner aesthetic dominating much of dance music right now.
Vocal touches throughout nod to what's going on in the wider underground without tethering to tried and tested tropes. Opener 'Blush' rides warm, soft yet bold melodic riffs, looping in arcs over a hunched, speedy tech house groove. 'Ritmo' is a muscular bouncer with spring-loaded bass, 'Inner Dance' has lurching drums and a cavernous rhythm with vocals that make a playful nod to sound system culture. Last but not least, 'Sweat' is the brightest and most bubbly cut on the EP, with a tight techno low end infused with a velvety whispered vocal.
The Gradients EP is a bright, hardware-built prelude to Kassian's next chapter and a typically well-crafted four-tracker that pairs physical weight with classy emotional release.
Frenchman Janeret heads up the second release on fledgling label Species. Deep in the game for over a decade now, Janeret has an innate ability to blend emotive layers of electronic funk with sultry grooves and hypnotic rhythms. His output is impeccable, each release encapsulating his emotionally rich approach. On the road, he’s an in-demand selector, channelling his love for sharing music that moves people into spellbinding sets from Europe to the USA, Australia and South America.
On the Vibrations EP Janeret embodies the essence of what makes him unique: combining the core foundational components of his sound to produce four dancefloor-ready cuts that epitomise where he’s at right now…
The EP opens with its title cut, ‘Vibrations’, a steppy production with an enchanting riff and mythical melodies. A reggae vocal utters “vibration” intermittently, accompanied by a hip hop sample, demonstrating Janeret’s broad sonic palette. Layered drum arrangement and deep bassline make this one a surefire dancefloor groover.
Up next it’s ‘No End’, a mesmerising trip driven by crisp percussion and a mean b-line. As the drums roll out, Janeret introduces jaunty layers that add cosmic funk to the cut. With each stage of progression the swirling funky synths envelop the listener more and more, immersing you in their wistful vibrations. A spinetingling break allows space for a short breather before the beats come back in, guiding us to the close.
On the flip we have ‘Fazed’, which kicks off with sturdy breaks and a highly effective, simple melody. The low end is immediately captivating, complementing the melody with a little more complexity. Together, the beats, bass and uncomplicated melody build steadily, with more elements added bringing further depth to the cut. This is one for closing your eyes and really losing yourself in the moment.
Finally, ‘Sub Pressure’ closes out the EP with a dreamy, yet bass-heavy atmosphere. Soft pads glide across the top layer, while a hefty b-line balances things out in the bottom end. Janeret’s exquisite production keeps things progressing with subtle elements creeping in throughout, creating a symphony of electronic sound and vibration. Let the brighter layers tantalise your spirit, while the bass moves your body.
Masterful work from Janeret here, with four versatile tracks designed to move the dancefloor across mind, body and soul. Feel the Vibrations…
Craig Alexander drops back with the Soul Revival repress — a raw, deep house cut built for heads who know. Originally released on Transparent Records, now back on wax through Phonogramme.
Limited-run energy, timeless groove, straight-up dancefloor business.
Feedbacks:
Dave Huismans (ex_libris, In Transit) : Nice to get Soul Revival digitally, thanks!
Ben UFO (Hessle Audio / Rinse FM) : absolute classic
Laurent Garnier : SOUL REVIVAL is super cool track Will play
Mike Shannon (Cynosure) : Nice to have this one back! thx
Prosumer : this a journey into sound
Red Eye (Crash Planet Rec, R.E.A.D., Red/Shift, Lavish Habits, Multipass) : ahh i have this original vinyl. Glad to have a digi!!!
Dorian Paic (Raum Musik) : good re release too. Soul Revival is the one for me, in the past and now as well. ;) Thx for the promo !!
Hunee (Rush Hour) : lovely reissue
DJ Bone (FURTHER) : Lovin Feelin works for me, thanks
Chloe Caillet (Smile Records) : love these!
Franck Roger (Real Tone Records) : soul revivais is dope as always !!!
Terence :Terry: (La Vie En Ros / Freak N Chic) : what a good remember we use to played it a lot " Soul Revival" super track to surprise everyone Terence :Terry:
Tripmastaz (Plant 74) : tight cutz
Jorkes (Freeride Millenium) : soul revival is cute
Girls Of The Internet (Classic) : Classic!
Geir Aspenes (G-Ha (Sunkissed)) : Thanks
Terry Francis (Fabric) : nice
Sven Weisemann (Mojuba Records) : absolute classic!!!
Pacific Coliseum (Dublab, Teen Daze, Noire & Blanche) : DEEP!!! These are gorgeous, thank you so much for sending!
Pat Hyland (Northside Loft Society) : A welcome release from Craig. Three pure dancefloor heaters with Soul Revival topping!
Fred P : Dope...
Doc Martin (Sublevel) : Good Grooves!!!!
Mark Farina : good stuff. thanks!
Samuel Deep (SlapFunk Records) : yes
DJ Steaw (Rutilance / Steaward) : Nice ep thanks :-)
Lea Lisa (Phonica Records / Folklor Club) : Soul revival for me !
Brothers' Vibe (Luv4Wax) : Bangers!
Anthony Collins (Frank & Tony / Scissor & Thread) : great record
Carlos Valdes (Is Burning) : Loved it since the first time I've heard it! Happy to have the digital file!
Twenty years after the release of Anjanas, Pablo Bolivar returns to the album that marked the beginning of his distinctive and deeply emotional approach to electronic music.
Originally released in 2006, Anjanas became an important milestone in Pablo’s musical journey, introducing the atmospheric textures, hypnotic rhythms and subtle emotional depth that would shape his sound for years to come.
To celebrate its 20th anniversary, Pablo has revisited and remixed every track, bringing a fresh sonic perspective while preserving the essence and timeless character of the original album.
More than a look back, Anjanas 20th Anniversary is a dialogue between past and present — a personal reimagining of where it all began, seen through twenty years of experience, evolution and musical exploration.
Continuing its mission to bring classic records to a modern audience, Tresor Records celebrates the 30th anniversary of The Infiniti Collection with a remastered & expanded edition of this classic compilation from Infiniti, an alias of Detroit originator Juan Atkins, available on vinyl for the very first time.
First gathered together in the mid-'90s, The Infiniti Collection draws together tracks Atkins cut under the Infiniti name across a number of labels into a single, cohesive listen. Where his Model 500 work pushed toward the electro-funk that built Detroit techno's foundation, Infiniti was always the deeper, more
playful persona concentrated on what was then a nascent yet burgeoning techno sound. The collection stands as a document of Atkins at his most exploratory: futurist, hypnotic, and unmistakably human despite its machine architecture.
This collection brings together some of Atkins’ most essential work with tracks like "Sunlight", "Flash Flood", fan favourite "Game One", and the deep dub of the Moritz von Oswald remix of "Think Quick". Alongside Infiniti's Skynet reissue, a significant part of the Infiniti catalogue now lives in Tresor
catalogue, forming the ultimate archive.
The Infiniti Collection will be available from 30th October on triple vinyl and digitally with a cassette version being available exclusively through Tresor.
Yuki Kawamura - a multifaceted producer, songwriter, DJ, and the founder of Tokyo's iconic DJ warmup bar, Shibuya Oiran - presents a highly anticipated 12" vinyl release on her imprint OIRAN MUSIC.
As a globally active selector, her international footprint includes a monthly residency on Romania's Black Rhino Radio, alongside notable appearances on world-renowned platforms like NTS Radio and The Lot Radio.
Back in Tokyo, her venue Shibuya Oiran - featured in Time Out Tokyo's '50 Things to Do in Japan' as a premier spot to "pregame in stylish surroundings" - serves as a vital cultural hub where legendary international and local DJs gather. Its unique musical ecosystem is perfectly reflected in this release, which features a carefully curated selection of popular remixes from her debut album, Love Forever.
Side A delivers Balearic and dancefloor-ready grooves. It opens with 'Ra' a tribute to Sun Ra featuring musicians Watusi and George Kano, a track that has garnered massive support from top DJs including Red Axes...
The A-side also features brilliant Balearic-infused dance remixes by DJ SHIKISAI and XTAL (known for his work with Traks Boys and (((ssurround)))).
Side B shifts the focus to deep ambient and chillout soundscapes. It includes the previously unreleased full version of R.I.P Sunset',featuring an exquisite violin performance by Neko Saito.
The standout on this side is a stunning remix by renowned Japanese producer Calm. This specific remix holds a special history: Yuki debuted it as her opening track during her historic DJ set at the legendary Cafe Del Mar in Ibiza - making her the first Japanese Female DJ to perform there - where it received an incredible response on the floor.
The striking cover art is designed by HAMADARAKA, an acclaimed and rapidly rising female twin artist duo, produced by Nomadic Gallery in Tokyo.
Battlefield sees No Ice Cream Sound knock on the door of the real foundations of Roots Reggae and Dancehall culture with a heavyweight, riddim-focused multi-vocalist release.
The release perfectly balances a bold and fresh contemporary sound while retaining the spirit; energy and rawness of the classic riddims we all know and love. Battlefield creates a sturdy platform for the carefully curated selection of vocalists to showcase their respective styles and patterns.
At the heart of the release is a unique vocal link-up that reflects the ever-growing globalisation of the Reggae Sound-system culture. Each of the men behind the microphones invites us to embark on a journey; connecting the dots on the map that represent the places they call home. We start in The South West of England and track across country to Southend-on-Sea; from here we make the mission all the way down to Madrid before taking a bearing on the North Star to guide us over hills and valleys to Scotland.
Where the riddim creates a constant, the vocals provide variety. Made by design the track allows them a spacious environment for the individual styles and messages to come across with precision and clarity.
Hailing from different backgrounds; accents of different origins, insights and perspectives drawn from their own stories all come together over one sound. This could be seen as an analogy of the ethos and motivation behind Reggae music itself. Reggae music as a genre tells the same story, Reggae artists tell their version of the story. Via this timeless format we are always building on the teachings of yesteryear while simultaneously learning something new. The gift that will forever more continue to give!
Superb first EP from Vinyl Foundation record shop... Kind of the vibe for a newskool Pumpin Tribe style... Like Sterrata or Funk Rebels... But bringing more space for Tribe !!
It’s that time of year again! Are your copies of “Now! That’s What I Ca l Christmas” and “A Motown Christmas” finaly feeling worn out? Strut has the ideal antidote this year, as we dive into the world of festive records made by African artists spanning the late 1960s to the 1980s with our new Krismasi: Christmas Sounds From Africa compilation.
Taking in music from across the continent from Nigeria and Ghana to South Africa and Zimbabwe, Krismasi draws from a wide range of sounds from fun novelty records and spur-of-the-moment jams to spiritual and gospel favourites. Featured artists include Ghanian great Kwadwo Donkoh with a meditative highlife praise song from his much-loved Christmas Africana album. Elsewhere, pop star turned pastor, Jerry Boifraind, has some fun with a song celebrating seeing friends at Christmas and Nigerian pop favourite Martha Ulaeto features with the lilting lead track from her own Christmas Africana release. We pick out some choice Central and East African sounds with Kakai Kilonzo’s bri liant Kilimambogo Brothers Band and Congolese legend Baba Gaston’s Orchestra Baba National capturing the joy of the festive season. We stop off in Zim for a rare Dorothy Masuka acoustic piece and one of the country’s great musicians post-independence, Paul “Dr. Love” Matavire with ‘Christmas Yaswedera’ (‘Christmas Is Near’). Township jazz star Reggie Msomi appears with a joyous township instrumental and, fina ly, we couldn’t release a Christmas co lection without some carols. Here we include here a great version of ‘Mary’s Boy Child’ by UK-based Nigerian highlife musician Flash Dominci and a hi-octane funky medley of favourite festive hymns by Ghana’s Oscar Suley.
The compilation is the first in-depth co lection of rare African Christmas recordings, uncovering a rich and often overlooked chapter of the continent's musical history. Krismasi is available on Red & White Inkplosion Vinyl LP and CD. Vinyl restoration is by Colin Young at See Why Audio, mastering is by Frank Merritt at The Carvery, and the album features striking new artwork by Liam Large.
Alveromancy is a method of divination performed by attending to and interpreting certain sounds, so that the loudness of sound is taken to indicate the severity of predicted event and from its proximity how soon the event will come to pass.
The label’s first divination session is made up of 4 selected cuts originally composed between 1994 and 1996 coming from Fred Exelby’s archives, bringing his All Broken solo project back to a renewed life more than 30 years after his last release.
Rooting its core into Canada’s 90s DIY electronic scene and drawing inspiration from themes such as anti-pop culture, shared knowledge, music programming and his formative frequentation of the seminal Rivoli in Toronto, this record might also be seen as a picture in time, a reflection of Fred’s world back then.
A highly anticipated collaboration with Taiwan’s rising star Andr, released on vinyl for the first time with newly shot cover artwork! REJAY, a singer from Niseko, Hokkaido, joins forces with Andr, one of Taiwan’s most exciting emerging singer-songwriters in the alternative pop scene, for their first-ever collaboration, now available as a 7-inch vinyl release. REJAY, a 20-year-old singer whose voice captivated Nulbarich’s JQ, who also serves as his overall producer, released the A-side track “Hangover feat. Andr” in April 2026. The song is an ambitious work in which REJAY portrays a deep immersion into the emotions of a romantic relationship, while Andr offers a more detached and rational perspective. Their vocals and lyrics, spanning three languages, intertwine to create a unique musical experience. The B-side features “Meant to Be,” a fan-favorite track originally released in 2024, making this a must-have record for music lovers.
“Cue Blue”, the latest and fifth studio recording from Australian down under, gritty jazzfunk grooves ensemble Kerbside Collection sees a return to a more classic, stripped back, meat-and-potatoes, home-cooked, quartet formation sound of guitar, bass, drums and brass.
A sound formed on previous, recent recordings (incl. Golden Rules compilation tune “Fleet Streak” etc), seemingly harking back to the approach of the group’s first recordings (2013’s “Mind The Curb”, “Night in Tunisia” etc), whilst embodying inspirations from more ‘true school’, classic, bluesy New Orleans funk and soul groove flavours à la early Meters, Boogaloo Joe Jones, Melvin Sparks, Billy Butler etc. But it’s not all completely ‘retro’ and ‘looking back’, the album definitely taps into some of the current exponents and leaders of the contemporary deep funk sound – The Greyboy Allstars, Eddie Roberts, The New Mastersounds, The Mighty Mocambos, Breakestra and fellow Aussie funksters Cookin’ on 3 Burners, Lance Ferguson and The Bamboos etc.
The lead single and first tune “Shivers” gives us a clear, picture and definitive opening statement to the record with all the characteristics you’ve come to expect from the Kerbside gritty jazzfunk sound: silky guitar line phrasing, rubbery bass-lines, tight crusty drum breaks, and sweet brass arrangements. Then it’s straight into a frenetic, jangly, mod-funk workout complete with Northern Soul & Motown inflections in the surging B sections. “City Park Avenue” conjures up classic New Orleans funk flavours with its strutting brass, slinky guitar and swinging tambourine groove. There’s classic, b-boy funk territory covered in “Coffee Grinder” (a breakdance move) with its razor-sharp drum break groove and chunky riff complete with sizzling trombone solo. Before the pace of the record changes up with the finger-clicken’, hand-clappin’ boogaloo, reminiscent of early 60s Harlem x Puerto Rican Bronx sounds (à la Willie Bobo, Mongo Santamaria, Ray Barretto) loaded with a scintillating baritone sax solo from long standing part of the collection ‘Papa Joe’ Roberts.
“Sittin’ On The Porch” cools the temperature down even more, delving into slight Southern Louisiana Delta blues territory, while suggesting some of the hot and muggy atmosphere and imagery of their home town location in suburban Brisbane Australia, complete with kooky Casio percussion representing familiar yard sounds such as sprinklers (spinning lawn watering devices) and ‘mozzies’ (mosquitos), passing cars indicated by trombone, and guitarist TC Tyler, channelling some bluesy John Lee Hooker, R.L. Burnside guitar flavours - you can almost feel the humidity on your skin.
Then it’s time for a stroll down memory lane, with their version of a People Under The Stairs hip hop classic “San Francisco Knights”, bringing the tune full circle back into band mode, also with another tasty guitar solo. The album then enters its final stages with a mesmerising, soulful, jazz ballad “Shimmer”, complete with Elliott Parker’s sultry upright double bass, and trombone taking the melody for a gentle stroll down the street. The album finally closes and arrives at its title “Cue Blue”, a classic blue-eyed soul number (penned by bassist Parker), emitting the scent of true school, vintage R&B and soul (à la Donny Hathaway, Marvin Gaye).
An album of funky arrangements and refined compositions, mostly penned by recent new-ish member, guitarist Tyler (for fans of Tower of Power & John Scofield guitar playing) taking the ensemble through their paces with all the usual characteristics of the Kerbside sound, on top a groove that will take you round-the-block-and-back :P Gritty jazzfunk and rustic soul grooves with definite bluesy overtones, some classic 60s, 70s flourishes and down-home funk flavours.
First run of limited black and white vinyl versions of this huge cold war themed classic. Includes Devil's Dancers amongst other tracks. Huge!!
Minimal Wave proudly presents a newly remastered deluxe double album of archival material by pioneering 80s minimal electronic duo Oppenheimer Analysis. Oppenheimer Analysis formed in London, England in 1982 by Andy Oppenheimer and Martin Lloyd. Their first meeting though was at the 1979 World Science Fiction Convention in Brighton. They quickly became good friends, sharing an interest in the work of David Bowie, electronic music and early synthesizer bands such as the Human League and Soft Cell. They also shared a love of old science fiction movies, 1950s graphics and comic book imagery and a fascination with post-World War II propaganda, the politics and aesthetics of the Cold War, and the social impact of the atomic bomb. Over the next few years Andy and Martin frequented the growing club scene, including Studio 21 on Oxford Street, and became involved in the developing Futurist and New Romantic style sub-cultures. During this period Martin recorded as Analysis, both alone and with David Rome of Drinking Electricity. They released their first single, 'Surface Tension/Connections' on David's Survival label in 1981. In 1982, Oppenheimer Analysis began writing and recording together at Feedback Studio in Battersea, and performed several times at The Bell, Islington, the 1983 World David Bowie Convention in Hammersmith, the Starzone Birthday Party at Camden Palace, the 1984 European Science Fiction Convention in Brighton and other live venues. Their first demo tape and twelve song 'New Mexico' cassette were sold at gigs and by mail-order, and were reviewed in Melody Maker, Sounds and Soundmaker.
For the years to follow, Oppenheimer Analysis became recognized among electro-music aficionados as a pioneering duo who influenced countless other bands during the club and home-recording era of the early 1980s and beyond. Their cassettes became massively collectible. In 2005 they re-formed with the release of a self-titled four song 12' EP of selections from the New Mexico cassette, including 'Cold War' and 'The Devil's Dancers'. This marked the first release on Minimal Wave. Now in 2015, we're happy to present the entire New Mexico collection, newly remastered and cut to vinyl for the first time ever, to celebrate our 10 year anniversary. This first edition of 1000 copies is pressed on deluxe 'nuclear' style black and white 160 gram vinyl, housed in a glossy gatefold silver and black printed sleeve, featuring all the song lyrics on the inside of the sleeve. Release date: May 16th, 2015. This quintessential reissue has been produced in loving memory of Martin Lloyd.
These rare unreleased tracks were a part of collection of recordings made specifically for the Jeff Mills Live At Liquid Room DJ Mix film/audio recording in 1995. Finalized and mastered only to ¼' reel to reel tapes, these recordings sat undisturbed and never heard since those infamous two nights in Tokyo.
Created along with the most notable track "i9", in this time period, Mills was also composing music for releases such as Waveform Transmission 5 (that was never released) and the initial tracks for the first release of the label Purpose Maker.
Freerange is delighted to announce the 20th Anniversary Edition of Jimpster’s seminal Amour — remastered and available on vinyl for the first time.
Originally released in 2006, Amour arrived at a pivotal moment in Jimpster’s evolution, as Jamie Odell moved further into electronic and house territory while retaining the lush, downtempo, and eclectic character of his earlier work. Two decades on, Amour remains a beautifully understated record, full of warmth, musicality, and late-night appeal.
Hailing from Sweden, Obergman operates somewhere in the space between deep electronics, Detroit-influenced machine music, and late-night dancefloor hypnosis. Since the mid 90’s, his unique explorations in sound and groove have seen him release on such esteemed labels as Skam, Börft, Abstract Forms and most recently Craigie Knowes and Orson Records.
For his debut release on Cyphon Recordings, Obergman delivers four cuts of atmospheric, machine-driven music under the suitably cosmic title Periodic Motion.
Mighty Music is proud to announce the release of "What Are We Waiting For", the brand-new studio album from Danish rockers ELECTRIC GUITARS. The band's sixth studio album marks a bold new creative direction, with drummer Morten Hellborn taking over production duties and leading Electric Guitars into fresh sonic territory. Recorded at Medley Studios Copenhagen, "What Are We Waiting For" is the first Electric Guitars album produced without founding members Soren Andersen and Mika Vandborg behind the controls. The final mix was also handed over for the first time, with former Duné member Ole Bjorn shaping the album's modern and forward-looking sound. Despite its contemporary production, the album features more guitars than ever before, while deliberately moving away from traditional blues-based and classic rock formulas. Every song was carefully evaluated, resulting in what the band considers its strongest collection of material to date.
Jakob Bro, Brian Blade, Craig Taborn, Chris Cheek, Jesper Zeuthen, Anders Christensen, Larry Grenadier & Marcus Gilmore, playing compositions by Paul Motian and Jakob Bro.
The album was recorded in a single session at New York’s Power Station with engineer James Farber, following a week-long residency at the Village Vanguard.
‘Danish guitarist and composer Jakob Bro is celebrated for his pure reflective expression and penchant for celestial textures, effortlessly distilling and refining quiet sonics. At the Village Vanguard, he leads an impressive group – featuring two bassists and two drummers – for a nearly week-long residency.
‘The perfectly poised, ambient-leaning soundworld that characterizes Bro’s compositions was discomposed and distended by this octet, probing thrilling sounds and providing ample opportunity to create spontaneously. It was an exhilarating jazz night with some of the most esteemed players out there.’ ()
We are honoured and excited to share the fourth Dream Space EP with the world: Domenic Cappello - Celestial Wave.
For more than three decades, Domenic Cappello has been at the helm of Subculture - the innovative and vastly influential Saturday night at Glasgow’s Sub Club. A true master DJ with deep rooted influences from Detroit & Chicago, Dom has consistently pushed things forward over the years and remains at the cutting edge of modern dance music.
Throughout the 90’s and early 2000’s, he put out high-quality records under various monikers on labels such as Soma, 20:20 Vision & Seventh Sign. Fast forward to recent years and Domenic has been on nothing short of a hot streak - releasing music under his own name on Craigie Knowes, Clone Royal Oak and his outstanding ‘Basement Philosophy’ LP on Alien Communications.
He brings the heat once more for this record; blurring the lines of house, techno and electro to deliver four awe-inspiring cuts of electronic music.
‘The Secret Moon Party’ sets things off, nodding to a certain Highland gathering by some of Scotland’s finest purveyors of quality tunes. A warm, gritty bassline carries the track, evolving into a symphony of precise sound design that is in equal parts playful and euphoric.
Dom’s knowledge of the dancefloor shines through on ‘Acid & Love’. This early night floor filler is the alchemy of just about everything you want to hear when things are getting going. Pure warmth and bliss throughout, also holding its place played deep into the late hours.
‘We Loved Your Ears (in memory of Keith)’ is a heartfelt tribute to the one and only Keith McIvor aka JD Twitch of Optimo. Dom wrote this track as something he thought Keith would have loved, and for this one, we’ll let the music do the talking.
Keith was, and continues to be, an enormous inspiration for us and so many others. In his memory, all proceeds from the digital sales of ‘We Loved Your Ears’ and 25% of all vinyl sales will be donated to Beatson Cancer Charity and The Scottish Brain Tumour Research Centre of Excellence.
Closing the EP is title track ‘Celestial Wave’, which does exactly what it says on the tin. A beautiful piece of music and fitting soundtrack for star gazing, moon dancing and dreaming.
Wildweeds Volume II is the followup to Wildweeds (2021), Loren Connors’ first art book, and continues a series of limited artist’s books from Recital devoted to his work outside of music. Following Night of Rain, the book returns to the fragile flower forms of the original Wildweeds, but in a more expansive and varied collection of paintings, drawings, and haiku. Across 108 pages of full-color, hardbound printing, thin stems wander through enormous fields of white, blooming in eruptions of radiant yellow, blue, green, red, and violet. Some pages are nearly empty. Others retain stains, folds, shadows, and the physical disturbances of the original works. The result is a rare survey of Connors’ art, gathering years of paintings and drawings that have largely existed in isolation into one continuous sequence.
The haiku appear throughout the white space as small interruptions, sometimes nearly swallowed by the page. “wandering / into the sky / April mist.” They do not caption the paintings so much as drift alongside them, creating another kind of line, pause, and disappearance. The effect is deeply consonant with Connors’ music: the brief guitar poems of Airs, the shadowed miniatures of Lullaby, and the many other recordings and editions that have established his singular language across decades. A note from Connors’ guitar can hover on the edge of audibility, its beauty emerging through restraint and duration; the paintings possess the same fragility. A line bends, a flower appears. Colors pool and then recede into the surrounding white.
For this volume, Connors mailed hundreds of paintings and drawings as they were being made, arriving in folders with little concern for preservation or presentation. New drawings arrived often, another envelope every few weeks for a year. From this accumulation, the book was photographed, edited, sequenced, and arranged into its present form. In the preface, Yuko Otomo places Connnors’ work within the tradition of Haiga, the Japanese practice of bringing haiku and visual art together. She writes of Mujo, or impermanence, and Ku, or emptiness: the open, shifting space in which things appear and disappear. A flower blooms, a leaf falls, a line fades into the page. Francis T. Patnaude, Jr. describes Connors’ artistic impulse as an attempt to “give form to the formless.” Wildweeds Volume II is an opportunity to spend time inside his quietly accumulated body of visual work: a monograph giving sustained form to years of paintings and drawings. Portrait photograph by Suzanne Langille; art photography and design by Sean McCann.
This is the sound of dream Texas, the cinematic Texas conjured in film and 20th century literary and art myth… big dark blueing horizons swallowing the infinite distance, a lonely poetry of sound, but also a stock taker of the iconoclastic, psychedelic, art rebel side of Texas… the cracked rock music side of Texas, the avant-garde in concrete cracks, the recklessly used, mind expanding drugs Texas, the dripping eastern swamps, the Houston house parties with the sounds of records blasting down the block and becoming musique concrète in the hot summer night.
Chrome Chasm’s debut album Interpreter is ambient, minimal in feel, maximal in texture, beautifully disorienting, vastly spacious— until it isn’t. It's a naturalistic shapeshifter, taking majestic form in the aforementioned elements and then dissolving back to raw genetic material to form anew. Spiritual jazz overtones, pedal steel moans and buzzing, noisy ambient visions are upended by grey-folded psychedelic unveilings. Interpreter’s three expansive tracks present a most detailed performance by its three deft musicians and the outcome often feels like a gorgeous collage in real-time.
Chrome Chasm was formed in 2024 by three of Houston’s brightest underground stars: Mlee Marie (Hearts Of Animals) on alto saxophone, flute and voice (whose long-form experimental sax performances helped inspire the formation of the band), Will Adams (Lower Dens/ Ka-Nives) on pedal steel, synth, percussion and voice, and Tom Carter on guitar. Carter has been casting a long shadow over Texas psychedelia and American underground music for over 3 decades, most notably with the Houston based Charalambides, a powerful creative force of the pre-new weird America era of experimental and avant psychedelic music, and most notably since with his solo guitar magnum opus Long Time Underground (which was deemed among the best experimental albums of 2015 by Pitchfork).
Interpreter’s opening track “The Star,” recorded almost completely live in one room and one take, is a 16-minute manifesto on ‘Dream Noir.’ An astute scholar of cross-genre connectivity and the through-lines of kosmische and spiritual-leaning sonic realms can hear echoes of Cluster, the skronk and beauty of Rahsaan Roland Kirk, and the architectural ambient flow of Harold Budd and Philip Glass in the tidal lapping of distorted guitar, mantra-like saxophone and pedal steel flow. From its deconstructed, pastoral opening moments to its proto-electronic center that crests into a bombastic polytonal climax, Chrome Chasm never neglect narrative arc for experimentation and avant technique. In fact, as a group, they effortlessly control, open, fill and contract space in abeyance to emotional vibration. “The Star,” and indeed the album as a whole, feels more like a communion or extended poem, in direct communication with the listener, than it does a ‘captured experience.’
Across the three longform tracks of Interpreter, Chrome Chasm conducts a masterclass in fusing real time performance energy with an abstract, cut-up master’s reimagining of the literal. They demand the listener meet their music with dream logic and then, like the best dream peddlers, they present a labyrinth to fall into and experience, a place where explanation and conclusion become obsolete, and engagement and immersion become sublime.
Y-3, the pioneering sports-fashion collaboration between adidas and Yohji Yamamoto, has for three decades dwelled calmly within the ''tensions of existence''. In conceiving the brand's long-awaited return to runway format at Paris Fashion Week, these codes laid the groundwork leading up to the Spring/Summer 2025 season. Whilst the focus for runway is traditionally placed on garments, models, styling, environment, and the pageantry in between, it was crucial that music play an integral role in the conversation. Three seasons later, sound has informed creative direction from the very earliest phases of ideation. Commissioning all-original compositions has become a natural part of this ideology. The return to runway has invited the opportunity to define a new sonic palette for the brand, and beyond that, to usher in a new era of sound for Y-3 that echoes across music & culture. Following this ethos, and with a mandate to support obscure talent, Montreal duo Solitary Dancer have emerged as the first collaborators in shaping the intimate brand architecture of noise & feeling. With a body of work now spanning over a trilogy of seasons, the genre-defying Y-3000 imprint provides an outlet to disseminate & recontexualize the original compositions beyond the traditional runway. The label embodies Y-3's enduring commitment to explore innovation within opposing cultural forces. The works, originally released on Y-3000 as a series of white labels, are now being featured as a 6x 12'' vinyl compilation. Designed by Trevor Jackson and limited to just 99 examples, the recordings will also be made available both digitally and on streaming services for the very first time.
Jensen Interceptor debuts on Mesh with Primal Transmissions, an EP of five new genre mutations out Friday 25th September.
Moving through a spectrum of tempos - from smoked out slow burn to tightly wound club pressure - Jensen has a tweak for every BPM. Returning to a more raw, instinctive sound, but never losing sight of his flair for dense rhythmic compositions, the EP explores a moment of reconnection, and a shedding of inherited expectations.
‘False Oracles’ opens with a euphoric downtempo drift, setting the tone with microscopic rhythmic detailing and chugging percussion. ‘Fail to Call’ leads with a grimey bassline and frantic hammerdrill drums that gradually desync into chopped up fragments. ‘What Would Susan Do’ is a double dose of chaos, landing somewhere between dancehall, psytrance, and DnB, but firmly rooted on a planet of its own. ‘Tone Impress’ leans heavier into the industrial, chopping vocals over rolling hits at 160BPM. Rounding things off, ‘Emerald Web’ breaks the rhythms down to their rawest forms for one final workout.
Through a process of rupture and renewal, Primal Transmissions arrives as a sharp dispatch of club mechanics from one of the scene’s most inventive operators.
The next chapter on Skip Audio arrives with S.O.N. at the controls, presenting three original productions that move between hypnotic rhythms, rolling basslines, and immersive atmospheres. On remix duties, Romanian heavyweight Sublee reshapes one of the originals into a deep and elegant dancefloor journey. A carefully curated collection of four trippy, groove-driven tracks made for long nights and discerning selectors.
Larry Thompson and Rick Lenoir AKA LNR were early house pioneers who dropped seminal cuts from the late 80s onwards, but few had the impact of their debut, ‘Work It To The Bone’.
The darkly alluring anthem mixed tribal percussion with a minimal groove that went deep and soon became a dance floor classic, spawning a thousand copycats. It has remained an evergreen favourite across the years and now gets covered by New York’s long-time house heavyweight and Grammy-winning producer, remixer and Elements Of Life founder Louie Vega under his Funki Cadets alias. He hooks up with Chicago mainstay Mike Dunn and go-to contemporary house producer Wade Teo for a new version that beefs up the original for modern dance floors.
The opening Louie Vega Mix dials into the original’s tribal energy with a chunky, bouncing groove and hard-hitting percussion, then layers in more synths, effects, and drama to the full-fat sound. It’s a sweaty, steamy affair with a constant sense of momentum as the arrangement evolves, different hooks take the lead, and the pressure stays high. In addition to a DJ Tool Acapella and Louie Vega Beats mix, Wade Teo remixes the track with a deeper groove and dusty drums. It’s a more subtle, heads-down sound but packed with the same edge and rawness that made the original so standout.
“Trust me, you will pogo, skank, sing and possibly dance like your f*cking Dad on spice.” Party Eternal is the fourth studio album by the Brighton-based punk/ska band The Bar Stool Preachers. The album represents a massive turning point for the seven-piece, both creatively and structurally. It’s blisteringly good. Combining the best of brit-pop, ska, rock and indie ‘Party Eternal’ is exactly the tonic for the times. In parts scathing, and in others total escapism, this rowdy septet have written the greatest party punk album you’ll hear all year. Renowned for their relentless touring schedule, The Bar Stool Preachers have played stages around the globe, from grassroots venues to major festivals like Rebellion and Punk Rock Bowling. Their heartfelt lyrics and magnetic stage presence have earned them a reputation as one of the most engaging live acts in the punk scene today. Whether delivering politically charged messages or uplifting party anthems, The Bar Stool Preachers continue to inspire and unite audiences, carrying the torch of punk’s rebellious spirit into the modern era. Featuring the single ‘Pick A Side’ (the profits of which were donated by the band to Medical Aid for Palestinians), ‘This is Goodbye’ featuring Aussie Celtic Punk masters The Rumjacks and ‘Sick World’ which stars a guest turn from the genre-shattering and quite legendary Fishbone.
Omar Neri aka Omar J Born & live in Arezzo, Dj Professionist from 1991, play and produced under name PRESSLABOYS with Luigi Gori since 2011. In1996 instead, while they were in his basement during a storm, the study got flooded and they looked like homeless people holding all them instruments. Here born Presslab Records & two Years later Presslaboys Team, after various names used before. Today, never forget but never look back, keep moving forward, it’s time to fly… my creature, Tapemann, who lives the eternal dilemma linked to his nature, of tapa, grappling with the future, progress and the loss of certain values that leave room for AI. So, let’s start this totally hybrid journeys, in sounds ranging from house to prog house contexts (sometimes Deep and Dub) but with a sound and structure that recalls minimal, in the choice of reverbs and lengths of the sounds... all immersed in a decidedly acidic context. A melting pot from an artist who has spanned three decades of music, we couldn't expect anything different.
MALEDICTUS is a Portuguese metal band formed in Lisbon. Bringing together experienced musicians with a shared vision, the band creates dark, powerful and atmospheric heavy music. With a foundation of aggressive riffs, haunting melodies and emotional vocals, the band blends modern heavy metal with darker, more melodic influences.
The group was formed by musicians seeking to explore a heavier and more expressive sound, combining technical musicianship with compelling songwriting and a cinematic atmosphere. Their music strikes a balance between intensity and melody, moving between crushing guitar passages, dynamic rhythms, and dramatic vocal performances. ""Our music reflects who we are and how we process life and our own emotions. Music is life manifested through an artist's soul. We all process life with a sense of dark melancholy”, comments guitarist Ben Stockwell. As history has taught us, Portuguese metal bands are known for their melancholic sound, which reflects their cultural identity.
Since their formation, MALEDICTUS has been focused on creating music that reflects the darker and more emotional aspects of the metal genre. Drawing inspiration from classic and contemporary metal acts, the band aims to create a sound that feels familiar yet distinct, appealing to fans of powerful, atmospheric metal.
Boasting a line-up of seasoned performers and a clear artistic vision, MALEDICTUS is developing new material and establishing its presence in the Portuguese metal scene and beyond. Their debut album, „Lazarvs“, is set to be released on Friday 13th of November. The album title draws heavily on the biblical story of Lazarus in the Gospel of John, in which Jesus performs the great miracle of raising his deceased friend Lazarus from the dead after he had been in the tomb for four days.
With Rez on vocals, the band has an exceptional singer with a distinctive, powerful voice. „He is undoubtedly one of the best out there having power, soul, range and timbre. Everything fits perfectly with our sound. We couldn't have asked for a better voice or frontman"", says the guitarist. Rez’s lyrics are another perfect addition to the band's dark, epic and partly progressive sound. The lyrical themes focus on life's darkest moments. „Death brings an opportunity for renewal, as do our most difficult struggles, which require part of us to die in order to be overcome.
Chúpame el Dedo are BACK! After years of terrorizing the avant-tropical underground with their manic, mock-satanic metal-cumbia madness, the legendary Bogotano duo of Eblis Álvarez and Pedro Ojeda have officially scrubbed the pentagrams off the drum kit. They aren’t worshipping the dark lord anymore; they’ ve found a much more chaotic deity. Please lower your expectations and raise your instruments: Chúpame el Dedo are now officially Geobah Witnesses.
Forget everything you thought you knew. This new record is a high-octane salsa-altín exorcism. It’s not your abuela’s dance music; it’s a fever dream—like Waka Waka played at double speed through a frying mixing desk that’s caught fire mid-verse.
The Chúpame delirium remains terminal. We’re talking classic, hard-swinging Caribbean breaks that trip over jagged psych-synth riffs, all tied to those signature “broken” vocals—jumping from gutter-low growls to manic, helium-choked chirps. It’s twitchy, heavy, and lyrically, the most blasphemous shit they’ve ever committed to tape. It’s a holy, nonsensical collision that’ll leave you wondering if you’ve been saved or just brainwashed.
Put down the pitchforks, pick up a maraca, and surrender to the frequency. Geobah is watching.
That is Die Angst's approach to Quinoa Cuts' 9th release.
The duo, composed of Sicilian brothers Francesco and Giuseppe Di Stefano, infused a sublime combination of energies into these 4 club cuts. Growly lowends, dynamic grooves and an undeniable touch of nostalgia make this versatile record a good all-rounder for our adventures during the small hours.
Peak time? Check. Steady rollers? Check. Moments of introspection? Sign me up.
Blue System is the studio project founded by Dieter Bohlen after the break-up of the iconic synth-pop/Eurodisco duo Modern Talking. Bohlen, prolific as he is, took care of composing, writing, producing, mixing, arranging, and of course singing, while hiring session musicians for additional voices and instruments. The project ended up producing 13 albums over a span of about 10 years before being retired in favour of Bohlen's many other projects.
Hello America is the seventh album, released in 1992. It contained 11 new tracks all penned by Bohlen, of which "I Will Survive" and "Romeo & Juliet" were released as singles. The album eventually peaked at #29 on the German Albums chart. Now, after almost 25 years, we're reissuing it on vinyl for the first time.
Hello America is available as a limited edition of 2000 individually numbered copies on blue vinyl and includes an insert with lyrics.
A State Of—Trance 25 Years - The Official Anthem Collection celebrates a quarter century of one of electronic music’s most influential movements, curated and driven by Armin van Buuren.
As the visionary behind A State Of Trance, Armin has shaped the global trance community through his radio show, events, and unmistakable sound. This definitive collection brings together, for the first time, the best of the official ASOT anthems, tracks personally championed on the world’s biggest stages and synonymous with unforgettable festival moments. From euphoric climaxes to deeply emotional journeys, these anthems trace both the evolution of trance and Armin van Buuren’s enduring influence.
More than a compilation, this release is a tribute to 25 years of leadership, passion, and connection on dancefloors worldwide.
For twenty-five years, A State Of—Trance has united trance lovers around the world, evolving from a radio show into a global movement and one of the most influential brands in electronic music.
To celebrate this remarkable milestone, Armin van Buuren presents A State Of—Trance 25 Years - Selected Highlights, a special mix featuring a personally curated selection of ASOT tracks that highlight some of the biggest moments, memories, and milestones from the past quarter century.
Bringing together timeless classics, scene-defining anthems, and exclusive new interpretations, the mix also includes brand-new remixes of beloved ASOT favorites by some of today’s most exciting trance artists, including Andrew Rayel, ReOrder, Matt Fax, and Dan Harrison.
Honoring the past while embracing the future, A State Of—Trance 25 Years - Selected Highlights is a celebration of the music, artists, and global community that have shaped the journey—twenty-five years together, all united by one sound: A State Of—Trance.
Berlin-based trio Roomer weave noise, melody, and memory into expansive guitar-driven songs. Formed by long-time friends and collaborators Ronja Schößler, Ludwig Wandinger, and Luka Aron, the band brings together distinct voices from across Europe's avant-garde, folk, and electronic scenes, folding these lineages into a sound that moves between shoegaze density, diaristic songwriting, and sonic exploration. Their music often holds opposites in suspension: clarity and blur, structure and drift, intimacy and collapse.
Their debut album Leaving It All to Chance (2025,) introduced this language in full, pairing emotionally direct songs with shifting textures and dense layers of distortion. With Staircase Made of Rope, their second album on Squama, Roomer widen the frame further. Built largely from improvisations and first takes, the record embraces instability as method, moving between density and silence while allowing melodies to surface and dissolve in unexpected ways.
With one foot in the Mexican underground rock scene and the other one in the global tape trading circuit, Las Ánimas del Cuarto Obscuro found themselves in the middle of a crossroad after their first LP. México wasn´t the same country as when the band first started. Even though access to non-commercial music still was a difficult task in the late eighties, the fringes of culture had way more resources thanks to the stubbornness of certain anonymous heroes: dwellers of El Tianguis Cultural del Chopo, niche record stores, illegal underground parties and hosts of late night Mexican public radio shows.
Ubiquitous social unrest expressed itself in every way possible. The aftermaths of the 1985 earthquake weren’t the only matters on the table. Protests erupted after a rigged presidential election and a student strike hit Mexico’s biggest public university. This was just the tip of the iceberg of issues PRI’s perfect dictatorship was or wasn’t addressing. The clash of the authoritarian regime against new and fresh ideas.
If the first record was about the loneliness of self-destructive youth and it’s urban phantasmagories, LACO’s second LP dealt with change as the axis of human existence. Las Ánimas is just the beginning of the sonic metamorphosis Toño Sánchez went through until this very moment.
The departure of former bandmembers set a different approach towards more experimental and atmospheric sounds. As the project’s only member, Toño Sanchez took an alchemical trip aiming for more mysterious horizons.
Despite the fact that we can still find conventional dark pop and catchy songwriting, the record rests on sound landscapes closer to Jorge Reyes or Tuxedomoon and This Heat than the orthodox ways of so called post-punk, seasoned of course with the lack of music gear and the economic reality prevalent in Mexico of those convulsed times.
Las Ánimas is a goodbye letter to underground but not because the next move is the mainstream. Far away from it, it’s a farewell to traditional rock and a the first steps down into the depths. From now on, Toño Sánchez will dedicate his musical efforts to weirder sounds and scarcer audiences in the search of the arcane, possessed by a mania of constant change that infects the soul after crossing the black door’s threshold.
Celebrate the incredible music from the first half of the 70s with this brand-new 2LP collection packed with the era’s most iconic hits.
LP1 kicks off with Queen’s ‘Killer Queen’, followed by Elton John’s timeless ‘Goodbye Yellow Brick Road’ and Mott The Hoople’s anthemic ‘All The Young Dudes’. Glam-rock favourites from Sweet, Mud and Wizzard sit alongside Pilot’s feel-good ‘Magic’ and David Essex’s distinctive ‘Rock On’. Side Two turns up the guitars with Rod Stewart’s ‘You Wear It Well’, Free’s legendary ‘All Right Now’ and Bachman-Turner Overdrive’s ‘You Ain’t Seen Nothin’ Yet’. Alice Cooper’s rebellious ‘School’s Out’, Status Quo’s ‘Down Down’ and Thin Lizzy’s ‘Whisky In The Jar’ continue an incredible run of rock classics before Bob Dylan closes the LP with ‘Knockin’ On Heaven’s Door’.
LP2 opens with Paul McCartney & Wings’ epic ‘Band On The Run’, before Simon & Garfunkel’s ‘Bridge Over Troubled Water’ and Billy Joel’s ‘Piano Man’ showcase some of the decade’s finest songwriting. Harry Nilsson’s unforgettable ‘Without You’ and Terry Jacks’ ‘Seasons In The Sun’ lead into soulful classics from Harold Melvin & The Blue Notes and The Stylistics. Side Two opens with Neil Diamond’s enduring ‘Sweet Caroline’ and Carly Simon’s ‘You’re So Vain’, before Diana Ross’ ‘Ain’t No Mountain High Enough’ and Stevie Wonder’s ‘Signed, Sealed, Delivered I’m Yours’ launch an irresistible run of soul and dancefloor favourites. Barry White’s ‘You’re The First, The Last, My Everything’, George McCrae’s ‘Rock Your Baby’ and The Three Degrees’ ‘When Will I See You Again?’ lead into Michael Jackson’s beautiful ‘Ben’, bringing this celebration of 1970–1974 to a memorable close.
Tramp Records International proudly presents: The 1975 Baltimore Colts Glenn Doughty and his All-Pro Shake & Bake Band! In 1975 Glenn "Shake & Bake" Doughty Wide Receiver for the Baltimore Colts formed the Shake & Bake Band. Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!
Doughty is a Detroit 'Motown' native and All-American from the University of Michigan, that was recently crowned national champion and the winningest college football program in NCAA History. Doughty and his four world-class athletic teammates formed the heart of the band. The Shake & Bake Band in the mid 70s played live at Baltimore's hottest Clubs with teammates in attendance on Monday nights after Shakin' & Bakin' their opponents on Sunday at Memorial Stadium. Doughty's sports hero was Muhammad Ali. He originated the popular Shake & Bake athletic movement scoring touchdowns. He recited Shake & Bake poetry like Ali to make predictions after games on local and national TV to celebrate Colts victories. His lyrics in his music were used to fire up thousands of his Colts fans and his teammates. Many fans felt the group sounded like WAR the popular funk group from California. Members of the Shake & Bake Band were: Glenn "Dr. Shake" Doughty #7, All-Time Colts leading Wide Receiver, producer, lead singer, congas and lyrics, Ray "RC Cola" Chester, All-Pro Tight End, Super Bowl Champion, Bass, Baltimore, Maryland, David "DT" White, Wide Receiver Lead Guitar, producer, sound technician. Buffalo N.Y., Lloyd "The Bullet" Mumford, Defensive Back Harmonica, Miami Florida, Freddie "Bones" Scott, All-Pro Wide Receiver on percussion, Grady Arkansas, and Bruce "Turn it Loose" Barnett, Drummer and shoe salesman. Randallstown, Maryland. This group of talented stars lead the Colts to its first ever three consecutive Eastern Division Championships.
Additionally to this 45 RPM single release, "Starflight Disco #1 Pt.1&2" has been featured on the "Can You Feel It Vol.5" compilation album.
'Get Back' is a 8-track album and collection celebrating the last ten years of Italian DJ and producer Da Lukas, a respected name in the global nu-disco and house music scenes. Known for blending vintage disco nostalgia with modern electronic production, this collection brings together his strongest club anthems from the past decade. The album also introduces two brand-new tracks. The first new track is a powerful cover of the James Brown-penned Lyn Collins funk classic, "Take Me Just As I Am," featuring a brilliant vocal performance by Fatimah Provillon. The second new addition is the original title track, "Get Back," a driving nu-disco anthem featuring the legendary dance/pop singer Amanda Wilson. This album serves as both a perfect retrospective of his signature sound and an exciting look at his latest work.
Celebrate the season with Christmas Hits, a festive collection of modern holiday favourites and timeless classics pressed on beautiful opaque green vinyl. Featuring tracks from Wham!, Mariah Carey, Kelly Clarkson, Whitney Houston, Bruce Springsteen, and more, this essential Christmas soundtrack brings warmth, joy, and holiday spirit to every gathering.
Cruise Music really does what it says on the tin - serve up the sort of grooves that are easy to slip into a ride along with, especially when the sun is out and the mood gets a little more playful than usual. Their 16th edition of this long-running series is another super fly collection of effective groove and classic house attitude. Makito opens with the funky licks and disco colour of 'Jailhouse Funk' while Mark Funk, Danny Cruz pull back and allow plenty of sunshine and jazzy sax warmth into 'The Vibe.' On the flip, Bonetti gets remixed by Vertigini for some filter-driven and dusty house goodness and Raffaele Ciavolino & FederFunk bring a little Latin heat and percussive texture. Classy stuff.
"Temporary World" sees the return to Canopy of musical whizz kid Joi N'Juno, teaming up with the creative force of Kaleta, who has been a long-time collaborator of the label and long known for his work with Nigerian legends Fela Kuti & Sunny Ade.
For this project, the inspiration came from vintage Nigerian funk & disco, channelled through modern production aesthetics, bridging the gap between past & present.
Joi N'Juno's bouncy disco beats and groovy basslines lay the foundation over which Kaleta's funky guitars and the horn section from London Afrobeat Collective pepper the details. Keys bubble and synths soar as Kaleta's vocals, sung in both English & Yoruba, bring his evocative soulfulness. The culmination is an authentic melting pot of both vintage influence and originality.
Joi N'Juno turns in two different mixes of each song, the first in a "live", sounding approach and a second Mmore "oomphy" mix with fat synth bass, suited to the late night dance floors
„Me and the Noise“ von Wasuremono ist das bislang ambitionierteste und klanglich vielschichtigste Album von William Southward, auf dem er schimmernden Indie-Pop, mitreißende Hooks und eine euphorische, groß angelegte Produktion mit intimeren und nachdenklichen Momenten verbindet. Nachdem Southward ein Jahrzehnt lang unabhängig in seinem Gartenschuppen in Bradford-on-Avon Musik geschaffen hatte, öffnete er den Produktionsprozess und holte Tony Draper für den Mix sowie Dick Beetham für das Mastering mit ins Boot – das Ergebnis ist ein kühner neuer Sound, der auf seinem melodieorientierten Songwriting aufbaut. Das Album knüpft an eine Reihe von Erfolgen an, darunter über 16 Millionen Streams für „Are You OK?“ sowie die Verwendung seiner Musik in „Heartstopper“ und im Trailer zu „Goodrich“, während Titel wie „No More Dancing“, „Is It Weird or Is It Me?“ und „Sleeping Out“ die Bandbreite seines Songwritings demonstrieren. Die Vinyl-Ausgabe erscheint auf schwarzem Heavyweight-Vinyl, wurde im Half-Speed-Verfahren gemastert und ist in einer Gatefold-Hülle untergebracht – damit ist sie eine hochwertige physische Ausgabe, die ein bedeutendes neues Kapitel für Wasuremono einläutet.
Stockholm house mainstays Ari Bald & CJ Scott return to Studio Barnhus with Colombiance, their fourth EP for the label and another generous serving of homegrown dance music from two of our most dependable suppliers.
“Trippin’ Totems” opens in suggestive, hypnotic mode, rolling forward on layers of percussion and a groove that seems to tighten the longer it runs. “Coral Capers” brings the piano to the party, bright and buoyant on the surface with just enough melancholia underneath to keep things interesting.
“Mole Patrol” picks up the pace considerably, a chugging and increasingly intense workout built for peak-time deployment, before “Baobab Bonanza” closes proceedings in more spacious fashion, with great waves of sound washing in and out over a floaty, rolling house groove.
Another intriguing chapter in an increasingly distinctive Stockholm house story, out October 30 on 12'' vinyl and digital platforms, with lovely artwork by Eliot Axelsson.
Just over halfway through 2026 and Craig Bratley’s ‘Return to Bass’ has already been cited as one of the albums of the year and a future classic. Here, two of the album’s standout tracks return in a variety of guises.
First up is “Everybody Pushing”, featuring the vocal talents of Thomas Gandey. Recently described as a “proper blissed out Balearic rave tune,” this release pairs the original with an instrumental version and a remix from the ever reliable 40 Thieves. Their remix takes Everybody Pushing somewhere considerably more psychedelic, pushing the track into late-night territory while retaining the spirit of the original.
Bratley takes care of the title track “Return to Bass” with the Ashigaru Flashback Dub. Hitting harder than Anthony Joshua, the remix strips the track right back, ditching the trumpet in favour of sirens, vocal samples and tougher drums. The result sounds like what might have happened if N.W.A. had got their hands on some Purple Ohms and a TB-303.
All tracks recorded at ROLL OVER STUDIOS, London. January 2004.
Features 10 Studio tracks including: It Mek, Israelites and Sing A Little Song.
Desmond Adolphus Dacres was born on 16th July 1941 in Saint Andrew Parish, Greater Kingston, Jamaica. As a youngster Desmond regularly attended his local church with his grandmother and aunt. Here would bring him his lifetime religious commitment and his enjoyment for singing.
Dekker moved to parish of St. Mary following his mother’s death as a result of illness. He later moved to St. Thomas, where he took up an apprenticeship as a tailor, before he moved back to Kingston and landed himself a job as a welder.
His co-workers encouraged him to pursue his singing career, he successfully auditioned for Leslie Kong's Beverley's record label and was awarded his first recording contract. As his career took off this was the time he decided to adopt the name Desmond Dekker instead of 'Dacres'.
Los Angeles-based producer, composer and multi-instrumentalist Dexter Story returns with his sixth album, T'som (pronounced sawm), a deeply personal work inspired by the spiritual practice of fasting. Meaning "fasting" in the Afro-Semitic languages Tigrinya and Amharic, as well as in Arabic, Tsom represents a time of prayer, reflection and discipline across northeast Africa. Guided by this tradition, Story draws on the musical heritage of the Horn of Africa and musical traditions of the Middle East to create a spiritual jazz album that reflects on devotion, transformation and the power of letting go. Working with frequent collaborators Carlos Nino, Sudan Archives, Kamasi Washington, Jimetta Rose and Kibrom Birhane, the album touches on themes of reflection, inner poise and a quest for deeper connections, bound by explorations of traditional rhythms from the Horn of Africa. Named after jazz saxophone legend Dexter Gordon, Los Angeles-based multi-instrumentalist, composer, arranger, music director and producer Dexter Story is one of the key figures in the city's vibrant creative music scene. Renowned for his genre-defying approach, he has collaborated with an extraordinary range of artists, including Carlos Nino, Madlib, Kamasi Washington, Build An Ark and Gaslamp Killer. His acclaimed solo albums Wondem and Bahir, released by Soundway, established him as a distinctive voice at the intersection of jazz, African music and contemporary production. Most recently, Story produced Mulatu Astatke's acclaimed studio album Mulatu Plays Mulatu, further cementing his reputation as one of today's most sought-after creative producers and musical collaborators.
REPRESS of the Scorpion Child debut album. "Scorpion Child sound like a band who aren't willing to make concessions, nor to strive for some niche appeal. They want the heaviness, the fire and the speed but they aren't willing to sacrifice a good hook for it, and nor should they. Already, they are showing that they are more than adept at handling this fine balance while delivering the goods, and perhaps this is the most 70s thing about them. It was a time when even major rock bands played with prog, psychedelia, funk and blues, something lost when the 80s and hair metal came around, and this Texan quintet carry this torch proudly." - Sleeping Shaman
Das zweite Album der "Colors"-Trilogie! Der aufstrebende Metal(core)- und Alternative-Künstler hält seine über 2 Millionen TikTok-Follower in Atem. Arankai stammt aus Wisconsin (USA) und trat erstmals 2022 mit einer Reihe von Independent-Veröffentlichungen in Erscheinung. Durch die Kombination von Elementen aus Metal, Alternative Rock und emotionalem Storytelling baute er sich dank seines rohen Sounds und seiner markanten Präsenz in den sozialen Medien schnell eine treue Fangemeinde auf. Nach der "The Portrait Tour" im Mai und Juni 2026 - seiner ersten Headliner-Tournee, die mehrere ausverkaufte Shows in den USA umfasste - wird Arankai ausgewählte Headliner-Konzerte in Europa spielen (darunter einen Auftritt beim Reeperbahn Festival). Anschließend nimmt er diesen Schwung mit ins Frühjahr 2027, wenn er gemeinsam mit Melrose Avenue als Support-Act durch Europa tourt. Arankai in his own words: ""The Shape of Blue", like its predecessor "A Portrait of Red," covers a range of human experiences: rebellion, pride, sacrifice, to name a few that stick out. I tend to draw from personal experiences, but with this particular record I found myself writing songs that reflected specific situations involving other people; sometimes I wasn't even a part of those situations, it was just a powerful moment I found inspiring. I really wanted this record to be something special. I did a lot of things I haven't done before, wrote songs in styles that were new to me; I really wanted to give people a new, exciting experience. I believe "The Shape of Blue", as an album, is a strong, emotive piece. And I hope people enjoy it as much as I loved making it."
Blue vinyl, limited to 250 copies. "Scorpion Child sound like a band who aren't willing to make concessions, nor to strive for some niche appeal. They want the heaviness, the fire and the speed but they aren't willing to sacrifice a good hook for it, and nor should they. Already, they are showing that they are more than adept at handling this fine balance while delivering the goods, and perhaps this is the most 70s thing about them. It was a time when even major rock bands played with prog, psychedelia, funk and blues, something lost when the 80s and hair metal came around, and this Texan quintet carry this torch proudly." - Sleeping Shaman
Los Angeles-based producer, composer and multi-instrumentalist Dexter Story returns with his sixth album, T'som (pronounced sawm), a deeply personal work inspired by the spiritual practice of fasting. Meaning "fasting" in the Afro-Semitic languages Tigrinya and Amharic, as well as in Arabic, Tsom represents a time of prayer, reflection and discipline across northeast Africa. Guided by this tradition, Story draws on the musical heritage of the Horn of Africa and musical traditions of the Middle East to create a spiritual jazz album that reflects on devotion, transformation and the power of letting go.
Working with frequent collaborators Carlos Niño, Sudan Archives, Kamasi Washington, Jimetta Rose and Kibrom Birhane, the album touches on themes of reflection, inner poise and a quest for deeper connections, bound by explorations of traditional rhythms from the Horn of Africa.
Named after jazz saxophone legend Dexter Gordon, Los Angeles-based multi-instrumentalist, composer, arranger, music director and producer Dexter Story is one of the key figures in the city's vibrant creative music scene. Renowned for his genre-defying approach, he has collaborated with an extraordinary range of artists, including Carlos Niño, Madlib, Kamasi Washington, Build An Ark and Gaslamp Killer. His acclaimed solo albums Wondem and Bahir, released by Soundway, established him as a distinctive voice at the intersection of jazz, African music and contemporary production. Most recently, Story produced Mulatu Astatke's acclaimed studio album Mulatu Plays Mulatu, further cementing his reputation as one of today's most sought-after creative producers and musical collaborators
Continuing his compelling exploration of dubwise pressure at 170, the relentlessly prolific Brendon Moeller returns to Samurai Music with six stunning demonstrations of purposeful minimalism and spatial intrigue. Arriving in tandem with a second EP of introspective meditations on Samurai sub label SAIBAI, Codebreaker finds Moeller's peerless run of shadowy broken dub techno yielding startling new forms as the upstate New York artist continues to mine a rich seam of inspiration.
There's a pronounced economy of sound exacted on Codebreaker that binds the tracks together aesthetically, taken to the furthest reaches of subtlety on 'Dorian Grey Frequencies' as filigree slithers of percussion skitter across a brooding surface of sub bass with little in the way of distraction. This approach allows the microscopic detail of Moeller's engineering to shine through, as every inflection and murmur crackles with lithe movement to give each track its captivating energy.
Fractured beatdowns creep into earshot on 'Static Possession', edging towards Gescom-informed B-boy structures head-spinning in cryo-stasis surrounded by the hum of machines from a distant future and punctuated with occasional bullet points of delay soaked acid. Even when the bass starts to snarl and the hi-hats start ticking faster on 'Interzone Pulse', they're managed with brutal precision and a narrative flow of anti-build-ups that maintains a nail-biting tension throughout.
The decision to lean into a stripped-back sound on Codebreaker shows the faith Moeller places in his particular interpretation of bassweight 170, as his jaw-dropping sound design speaks volumes with the most modest of lexicons in a dialect never heard before.
Dream Dancing have been on the hunt for something special and find it with the return of Blueless.
On the A side, two highly sought after tracks originally released on her own Capture Records in 2007.
'Groove Me' is a stunning emotive deep tech house moment which will raise the hairs on your neck on every listen.
'OK' enters more club territory, still keeping within the soulful spectrum. Restored and remastered from Blueless' own vault.
On the B side, 'Trueness' and 'Outsounding' are both fresh from the studio, offering organic rhythms, effortlessly gliding with classy musical atmospheres and warm rolling grooves.
Almost 20 years between the productions, Blueless remains true to her unique soulful style with these much welcomed heartfelt, timeless and deep sounds.
This is Timmy Stewart & Jordan Nocturne's debut single together as TNI, a raucous percussive club weapon designed by The Night Institute residents to reflect the pair's shared history & energy as DJs.
First up on remix duties is Shit Robot. The Dublin-born, DFA mainstay cranks the energy right up, driving things further forward with punchy drums and bright insistent synths built for the peak of the night.
Irish collective LA Dysto have been on a roll recently, with their unique brand of chugged-out electronics. Here they get psychedelic, dubbing out the vox and adding a driving hypnotic bassline,
The finale belongs to fellow Belfast artist Viper Patrol, who strips the track back to its bare bones and heads off on a tripped out breakbeat mission with even more middle-eastern twists.
SELN Recordings is proud to present Sillons, the debut release from French musician Pierre François.
Straight from Nantes with love and sadness; Sillons is the soundtrack to being shut inside and sheltered from all the dread beyond your bedroom door. What may at first appear as a collection of abstract loops unravels into something much greater throughout its entirety.
Underneath a thick atmosphere of tape hiss and crackle, minimal synth explorations emerge and float away while the occasional guitar-esq riff ebbs in and out of the foreground like waves at the shore. Percussive refrains come through with perfect timing, their occasional rudimentary timbre all in the spirit of ‘do it yourself magique’.
Picture the following: it’s been decades and you’ve forgotten how to communicate with the world outside, all you have left are message-songs which leave behind a story of what it was like to be separated from everything you’d ever known during an existential sabbatical. This is very near to the audio experience that Sillons gives and thus makes it so real. On this merit alone François deserves his flowers.
Even the shortest of songs manage to conjure up visceral imagery. For example ‘Abouile’, with an impressive runtime of 51 seconds, dives straight into the eeriest corners of a Cold-War era ‘Numbers Broadcast’ being sent out from malfunctioning military personnel venturing off into the depths of their consciousness.
All in all there is something distinctly ambitious and positive within Francois’ work. It takes you to a place where little else matters except the mood and feeling the music provides, a hopeful and emotive landscape.
Tooflie's anonymous archivists return for another trip through the past, this time leaving geography behind for the unruly musical landscape of the 1980s. Four edits bring together the creme de la creme of Polish rock, Danish new wave, Soviet avant-garde and Georgian synth-pop, giving each source a fresh dancefloor angle while keeping what made the original so distinctive. A Balearic rework, an Hi-NRG treatment and two more leftfield interventions turn these unlikely archival finds into records that work just as well at home as they do on a larger system. The original records behind these edits are notoriously hard to find, making Tooflie 008 a rather useful detour for diggers and collectors, as well as anyone with a soft spot for overlooked musical oddities.
Back in print on vinyl in Europe, Mia Gargaret is an ambient, (mostly) instrumental album by Chicago, IL singer, songwriter, multi-instrumentalist and producer Gia Margaret. Not the follow-up she intended to release after the critical success of her debut album but after having to cancel tours because of an illness that left unable to sing for nearly half of the year, she had to rethink her methods. The resulting album is an incredible achievement, finding beauty and possibility in uncertainty while allowing Gia the time to heal. This limited eco-mix pressing was first made available from her merch desk on her recent European tour and is now available from select record stores.
'AMEN is a word that moves between the sacred and the ordinary, across languages and cultures. An ancient, universal expression, born in prayer yet living beyond it - in daily life, especially in the Italian language, where it has become part of ordinary speech, used to accept, conclude, affirm, and let things be.
'The sixth release on e s p e r p e n t o opens a gateway into a timeless, transcultural dimension through a continuous, immersive sonic flow. While conceived as an intimate listening journey, this record emerged from a shared experience within the walls of Frequenze Studio (Monza). ESPER006 is the result of a three-hour improvised live session that brought together experimental music trio MYS and London-based producer Big Hands.'
![Unknown Artist - Tooflie Edits 008 [Hand Stamped,Colored Vinyl]](https://www.deejay.de/images/l/9/5/1270195.jpg)
