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2026 Repress


DJ Koze's 2013 album opus Amygdala has continued to bewitch all who encounter it since its release. Tipped as his own personal Sgt. Pepper, the sublime long-player revealed a fully-realised and personal body of work, complete with a classic songwriting at its core, House in its heart, and veins coursing with psychedelic color. La Duquesa' was the album's dreamy single standout, a journey into deep, tropical ecstasy. XTC' begins in the same spirit, and captures the all the blissful allusions of its name, but its initial gentility belies the deep intensity to come. Floating pads glow with celestial ambience as a kick drum is gradually coaxed into solid form, and the introduction of spoken text begins the second act. Many people are experimenting with the drug Ecstasy,' it says, ...is the drug like the lie and meditation the truth Or am I missing something that could really help me". XTC' then transforms: sweetly imploring tones become demanding, gentle gradients between chords turn hard-edged, and sharp hi-hats cut through the haze. Complete with Koze's signature percussive quirks, it drives towards the track's final pay off: an undeniable, all-consuming, irresistible high. Knee On Belly' recalls Koze at his most tongue-in-cheek and overt, it is bright, bold and literally brassy, using cut-up horns of all shapes and sizes to patchwork together his own unique arrangement. With the highs and mid ranges accounted for, Koze adds in a swollen, thrumming bass line to mix to bring this floor-filler to life. Knee on Belly' recalls a raw, filtered and funky approach to groove, with a nod to disco house and the art of artful sampling, as it orbits between its own neon highs and simmering lows.

Ilija Rudman is marking the 30th release on our musical town of Sakskøbing. The Croatian artist has told this particular story how he wanted with 4 tracks crucially being together on this disc so it would be a complete tale of “Egg of the Sun”. From heavenly pads & guitar riffs he has given birth to this particular disc which is ready to enter into the vast world of music. The artist has been putting out discs since the early 2000’s and has developed a vast discography behind his name that only deserves respect and admiration whether he is working solo or in collaborations with other musical souls. The label is welcoming a true visionary to its roster and it can only yield the feelings of excitement, admiration and proudness. The egg is so close to the sun like Icarus used to be in his time however instead of burning it only shines with brilliance.

This vinyl compilation brings together some of the key pillars of Mexican Tribal and celebrates the artists who helped shape one of the most distinctive languages in electronic music made in Mexico.

Produced by Sabotaje Media, Trucha Soul Records, and La Chekera Records, the record works as a physical archive of Tribal's history, connecting generations, territories, and visions that have kept the genre alive and in motion.

Molecular Recordings – Structure Series 3

The framework expands.

Structure Series 3 marks the next instalment in Molecular Recordings' ongoing vinyl series, bringing together a selection of artists connected by a common language: deep, functional, uncompromising techno.

Forged between machine pressure, hypnotic movement, and warehouse energy, the release continues the label's tradition of spotlighting both respected figures and emerging producers without distinction. The focus remains where it has always belonged — on the music itself.

Across four cuts, Structure Series 3 moves through shifting textures and intensities, balancing raw groove, atmospheric depth, and precise rhythmic architecture. Built for sound systems rather than algorithms, these tracks are designed to reveal their full weight in the physical space of the dancefloor.

Three decades after its foundation, Molecular Recordings continues to operate beyond trends and short-lived cycles, remaining committed to authentic underground techno and the artists shaping its future.

Structure Series 3 is another transmission from the Molecular network: Built from experience, driven by instinct. Structured for the underground

Last summer, Psychederek released his four-part cosmic journey Thinkin' 'Bout U as the debut release on his label, Via Jupiter.
This summer, he's brought together a gang of local mates to deliver a fresh and unexpected set of remixes of the underground psychedelic hit.

Synkro, Moodymanc, ATM Musick and Bobby Thorpe serve up a diverse selection of remixes, bringing Psychederek's galactic world into the realms of drum and bass, deep disco, baggy krautrock swagness and pure-up voodoo energy.

This year marks the 40th anniversary of one of the true cult classics of the Italo Disco universe: Mike Mareen’s “Love Spy.” Released in 1986, the track sounded strikingly different from much of the dance music around it: futuristic, dramatic, playful and instantly recognisable. It quickly found its way into DJ cases across Europe and became one of the records that would define Mike Mareen’s electronic sound.

But the story actually began under a different name. An early incarnation of the song was called “Batman,” with lyrics inspired by the adventures of the famous comic-book hero and the villains surrounding him. A small number of promotional copies circulated before copyright concerns meant that the concept had to be abandoned. The title and lyrics were rewritten and “Love Spy” was born. The early “Batman” version has since become one of the most fascinating curiosities in Mike Mareen’s catalogue.

Four decades later, we felt an anniversary like this deserved something special.
LOVE SPY 40th Anniversary will therefore arrive in two parts, bringing together some of our favourite producers from today’s Italo, synth and electronic scene.

Part One features brand-new remixes by Luca Dell’Orso, Flemming Dalum, Also Playable Mono and Disco Computer. And enthusiasm was never going to be a problem here. “Love Spy” is not simply an ’80s classic, it remains a genuine DJ favourite, loved by old-school collectors and a new generation of Italo-wave selectors alike.

Alongside four killer new interpretations, we are bringing back the original Badman Mix, plus the highly sought-after “MAKE YOUR OWN MIX” material – rare set of individual elements created for DJs to deconstruct, combine and rebuild “Love Spy” themselves. These samples have become particularly desirable among collectors and make the perfect addition to the first chapter of our anniversary edition.

Four new remixes. Two pieces of history. Forty years of LOVE SPY.

And we are only halfway there.

LOVE SPY 40th Anniversary Part Two, featuring another line-up of major names from our scene arrives in November.

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.

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.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

2026 Repress

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.

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.

Tracklisting:

Yr Knives is a Chicago instrumental quartet built around two very different guitar voices. The band came together sideways: composer Paul Karner wanted guitarists Andrew Trim and Brian Sulpizio to play disparate parts on a recording of his own, and when the two finally rehearsed together, a band fell into focus. Trim leads the groups Hanami and Retroreflector; Sulpizio is the constant behind Health and Beauty. Anchoring them are two Chicago mainstays, bassist Douglas McCombs (Tortoise, Eleventh Dream Day) and drummer Quin Kirchner. Two of them come up as rock and roll players, two as jazz players, and the music lives in how closely they listen across those languages.

Their debut, Begin Yr Singing, centers on two overdriven guitars merging into something neither could produce alone, over a rhythm section that can lock a groove or let it drift. The result is exploratory but grounded, "a searching music," in Trim's words, that asks questions it doesn't always answer and shifts from one performance to the next. Recorded live in a single room at Chicago's Palisade studio with Nick Broste engineering and mixed by Cooper Crain with Sulpizio, the six tracks draw on Sonny Sharrock, Neil Young and Crazy Horse, Albert Ayler, Erik Satie, and Television. The band has toured supporting The Messthetics.

The 5th classic goa trax under the wings of Suntrip Records & Flatlife Records Labelgroup is there ! Representing this Psychedelic/Goa trance due from Sweden "Drop & Dash". Started making music together in 1995 as a duo, and also worked together in the group Germinator; which is also represented on this excellent goa release.

Ghanaian producer, songwriter, and cultural innovator Delasi has earned international recognition for his forward-thinking blend of traditional Ewe rhythms, soul, jazz, hip-hop, and electronic music, with recent releases on Gilles Peterson's Brownswood Recordings and support from outlets including Bandcamp Daily, CLASH, CRACK, COLORS, and BBC Radio 6 Music. His music has also appeared in the indie feature Dreams in Nightmares and the UK Premier League. Joining him are Tokyo's acclaimed experimental pop outfit TAMTAM, whose distinctive fusion of reggae, dub, jazz, soul, exotica, and electronic music has drawn praise from Gilles Peterson, Bandcamp, NTS, Mr. Bongo, and Rolling Stone Japan, alongside performances at Fuji Rock and international tours across Canada, Australia, and South Korea.

This limited 7" brings the two artists together across two richly textured collaborations. A-side "Guardian of The Green" blends alternative soul, downtempo electronica, trip-hop, and cinematic post-rock into a lush, organic soundscape where futuristic electronics meet live instrumentation. On the flip, "Celestial Bodies" explores dream pop, ambient electronica, and jazz-inflected soul, pairing hypnotic rhythms with shimmering synths, expressive guitars, and warm lo-fi grooves. Together, the release showcases a cinematic, globally minded approach to contemporary electronic music that will appeal to fans of Bonobo, Khruangbin, Little Dragon, and Cinematic Orchestra.

Blending shimmering disco grooves, warm analog synths and soulful vocals, Luna Soul bring together the elegance of the 70s and 80s with contemporary disco pop. Formed by German singer Lisa Michèle Lietz and Spanish guitarist Jordi Arnau Rubio, the band creates music that feels equally at home on the dancefloor and during a quiet drive home after midnight.


Following the release of their debut album „First Move“ (2025), Luna Soul have established themselves as an internationally touring live act, performing more than 50 concerts each year across Germany, Spain, France, the Netherlands and Denmark. Airplay and features on radio stations including Deutschlandradio Kultur, Radio Eins, NDR and Bayern 2 introduced the band to a growing European audience.


With their new album „Second Nature“ Luna Soul expand both sonically and emotionally. Written between tours and shaped by constant movement, the record explores themes of change, longing, resilience and the search for genuine connection. Ten new songs unfold like scenes from a midnight movie. Synthesizers, guitars and soulful melodies accompany stories of long journeys, quiet conversations, fading memories and the hope found in new beginnings. The album’s first singles, “Only Human” and “Down The Line” capture the two emotional poles of the record. „Only Human“ embraces vulnerability and acceptance with an uplifting warmth, while „Down The Line“ moves through nocturnal cityscapes, combining cinematic intimacy with the pulse of the dancefloor. Together they introduce an album that feels equally suited to solitary late-night drives and crowded dancefloors.


Live, Luna Soul perform as an multi-national four- to six-piece band, seamlessly moving between disco, sophisticated indie pop, yacht rock and atmospheric slow-burners. Their performances combine musical precision with emotional immediacy, inviting audiences into the same cinematic world that defines „Second Nature“.


„Second Nature“ defines Luna Soul‘s most mature artistic statement to date, a record less concerned with nostalgia than with preserving fleeting moments before they disappear.

That infamous bassline from Mr Fingers timeless 'Can You Feel It' has been featured in various shapes and forms, over the years, but definitely never like this !

This rework by UK producer Diesler has been circulating as a secret weapon among a small circle of DJs for years, but it's never been available to the public until now.
Blending together percussive latin rhythms, B-Boy breaks and Chicago 4/4s...all put together, it becomes a serious DJ weapon.

For good measures there's also a highly percussive dub version on the flipside...if you wanna work the floor a bit deeper.

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.

Agora Records is proud to present the second edition of its Agora Wax vinyl series, bringing together five cutting-edge tracks from Sicion, Lacchesi, Schwefelgelb, AK1 and MRD.

Designed as an essential tool for DJs and selectors, this annual compilation showcases five forward-thinking productions exploring the darker, driving and uncompromising side of contemporary club music.

From hypnotic grooves and raw industrial textures to high-energy, dancefloor-focused rhythms, Agora Wax brings together a selection of tracks built for the club and made for discerning selectors.

2026 Repress

Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.

The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."

All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."

Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.

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.

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

When Khalab and Baba Sissoko first recorded together in 2015, they produced something definitive: a record where electronics and griot tradition achieved genuine synthesis rather than polite cohabitation.

Not layered genres maintaining separate identities, but two forms evolving into something singular. "Tata" took Track of the Year at the 2016 Gilles Peterson Worldwide Awards, found champions in Laurent Garnier, Ben UFO, Matthew Dear, Bonobo, and many others — but more significantly, it established a working method built to last.

Eleven years on, they return with Foli Bah on Hyperjazz Records. Theirs is a relationship built on trust. Khalab constructs structures that don't develop linearly but spiral inward — loops that reveal something new with each rotation, tightening until the listener stops resisting and surrenders. Sonic architectures that don't expand outward but deepen over time, layering toward saturation. Baba Sissoko inhabits these structures with instruments from Malian tradition, not as ornamentation but as load-bearing elements: the tradition becomes structure, not decoration. Electronics and griot practice stop negotiating terms and start speaking the same language.

1st repress of the rare UK compilation “In Reggae Time”.

Originally released in 1970, it brings together a series of very rare tracks issued only on 7" singles around 1967 by Ember Records and its sub-labels.

The sound is not just Reggae—it’s only marginally so—offering a vibrant mix of 1960s UK mod, R&B, Ska, and Northern soul.

Limited-edition Picture-disc LP.

It's fitting that Mike Jefford is both a photographer and a musician, his music career having slowly evolved like a developing photo coaxes Technicolor images out of the shadows. His sonic palette began taking shape in Medway, Kent with darker, grittier strains: teenage grunge and metal turned into drum & bass and IDM, following the Brighton club scene to Berlin as Positive Centre, until he made a nest in rural Portugal where Laguna Seca’s bright, expressive range would blossom.
A longstanding friendship with Chris Clark supported Jefford’s most pivotal artistic evolution yet, jumping from a decade of techno dusk to music practically overflowing with life as Laguna Seca debuted on Throttle Records.
“O tempo” can mean “the time” or “the weather” in Portuguese, two intensely changing powers whose many different connotations Jefford reflects in a highly varied tracklist. The breadth of climatic catharsis permeates through textural production and songwriting experiments, down into the very bedrock of the album’s engineering process where Jefford traces the long signal chain of time: the amps, desks, and tapes of Motown, the vinyl mastering studio’s intricacies, the Akai samplers that gave modern hip hop its “ghostly and impressionistic” sound, the software that drives electronic music today.
Much as 2026’s O Tempo was inspired by vintage tonality, retro aesthetic, and the likes of CAN, Kraftwerk, and Jimi Hendrix, it’s not an exercise in nostalgia; this is music that could have only been made with today’s technological advancements, revelling in anachronisms and collisions between hindsight and present tense.
It’s tempting to view Jefford’s projects as opposites, but they come from the same sonic values. Positive Centre’s “bleak” and “sinister” world is also incredibly detailed, constantly updating pile-driving grooves with microscopic flourishes and vast ambient swells. The flaring psychedelia of Laguna Seca is a continuation of those textural, material, and kinetic explorations, where plate reverb splashes, blistering and crunchy beats, vocal glimmers, and guitar swagger are all glued together by recurrent themes of memory and time. As each of his projects travel to the same destination, all of Jefford’s roads have eventually led to vibrant colour.


Open Universe is a new record label founded in 2025 following an invitation to envision a series of releases for the German production music library Sonoton.

Curated by Jon Tye (Lo Recordings, Ocean Moon, Seahawks, MLO) with a remit to explore and create new worlds of sound in which to dwell and discover. Prismatic Fields is a collaboration between Ocean Moon and Silver Ley (Jon Tye & Bethany Ley), together they create metaphysical pop from another dimension where warm oscillations mingle and resonate to conjure a world alive with light and life.

An album that leans lightly into the worlds of fantasy synth and sacral medievalist electronics where silken harp glissandos, synth waves and enchanted vocal tones mix with lush fourth world textures and clusters of rhythmic invention.

Tripping into spaces modern and game-like, soundtrack moods that dip into the liminal dream states found in the work of Daniel Lopatin, Susumu Yokota and Boards Of Canada. Music that is both functional and formless, designed to stimulate and facilitate, to inspire and motivate.

Ocean Moon & Silver Ley will be performing live alongside Sonic Boom and Alexis Taylor at the Sonoton Music Label showcase @Schmidtchen, Hamburg 17th September 26.

Match Box continue an unstoppable run of form. Following their 2026 12” on Neptune Discs and relentless support from Job Jobse, they link with Amsterdam’s Mixolydian for a summer-closing split that marks their debut on the label. The record brings Mixolydian’s slick tech-house sensibility together with Match Box’s vibrant prog palette.

Played by Peach and Gabrielle
Kwarteng during their b2b at Junction 2, the A1 pairs catchy vocal cuts with a relentless, festival-ready groove — while Bliss Inc. joins the ozone on remix duties on A2 with a heads-down, tunnelling dose of wormhole prog.

The B-side is built for movement. ‘Go’ locks shuffling hats, alien bleeps and whispered fragments into a restless club groove. The B2 is pure vortex prog: warm trance pads, a hypnotic inward pull and a huge, ecstatic breakbeat that arrives out of nowhere at the breakdown.

Four club tracks spanning vibrant prog and heads-down pressure. Limited edition 12” and digital.

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.

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.

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…

Josh Ludlow - one half of MAKE A DANCE - one of London’s most beloved duos - steps out on his own for a rare solo outing on legendary London imprint Rhythm Section International.

A late contender for EP of the year - the record meanders menacingly across four tracks of mind-altering, dissociative Brain Music, precision engineered to transport a listener and hypnotise a crowd without losing any dancefloor impact.

Interestingly, Bradley Zero (RS label boss) and Mr. Ludlow have a connection dating back to the late 2000s, when they were both drummers in rock and roll bands...almost 20 years later - a shared love of experimental electronic music has brought them back together, resulting in this spellbinding EP.

Channelling a much darker, heads down, aggressive sound than the uplifting house M.A.D have become known for, the record begins with 'Brain Music’, which serves as a Detroit techno-inspired wormhole of a track, guiding us into a parallel, inner dimension.

Time Upside Down is next up and it becomes apparent we have entered another realm entirely. The introductory bars of the song feel like a long journey down a dark tunnel. The sound design and acoustic backdrop are so evocative you can almost see it. Obnoxious bass notes reverberate through the space created by the track, slowly giving way to flurries of high-pitched, resonant acid lines - the sum of which escape easy classification. It would be lazy to call it house music, misleading to call it techno - but it’s definitely not tech house. Elements of disco, electro, post-punk, balearic and Weatherall-esque chug are all in the mix but essentially, this is its own thing - this is Brain Music.

The record continues to the penultimate track “The Kettle”, which starts off in more familiar upbeat, bongo-house territory before the calm is betrayed by a hovering intensity which grows out of nowhere before making space for a humungous bass synth melody - so big in fact that it has never once failed to elicit club-wide bass-face; which for a mid-tempo track is no mean feat. We round things off with ‘Mean Mother’, the most playful of the bunch: a Chicago house-indebted workout reminiscent of Paranoid London at their most visceral. The track feels familiar and almost safe until the synth-work is cranked up to 11, creating a cacophonous SH-101 build-up into a disco-esque drop that would get even the most reluctant raver jumping up and down for more.

Besides all the theatrics and acoustic world building, the evocative sound design and the insatiable, no-nonsense grooves - the thing that makes these tracks stand out is the attention to detail. No two fills are alike, every embellishment is EQ’d and polished to perfection - yet no immediacy is lost. The tracks feel alive, intentional and constantly evolving. Hyperbole aside - we have a serious, generational talent on our hands whose mastery of the equipment, understanding of the dynamics of the dance and unabashed
playfulness is being harnessed into something that stands out head and shoulders above the crowd.

The meeting of 2 legends Armin van Buuren and Adam Beyer remixing the classic D-Shake 'Techno Trance'.

On the flip we have "No Mercy", their second joint venture and first fully original production together, released jointly through Armada Music and Drumcode. The track first saw a live preview during their B2B performance at Coachella 2026.

Pressed on tri-colour black white & pink effect vinyl and housed in a designed sleeve.

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.

Spanish label LOOPAINA hits its 007th vinyl reference with a devastating split EP that bridges the underground scenes of Spain and Argentina. For this special release, the label brings together Argentinian producer NWHR and the powerful Spanish duo MIST GASP on a limited 12-inch wax that redefines contemporary club music. The physical record features 6 meticulously crafted tracks: two original cuts from each artist alongside a crossover remix where each act replicates and transforms the other's work. The result is a cohesive sonic journey that exudes serious, deep, and hypnotic techno, while maintaining a sharp focus on the dancefloor by championing the rawest underground sound. All music written and produced by NWHR & MIST GASP Mastered by: Carlos Koschitzky Label: Loopaina Records CAT#: LPR-V007 Artwork by Rocío Barrio

Finnish-American guitarist Raoul Björkenheim and Norwegian drummer Paal Nilssen-Love join forces on their new album PING, released by We Jazz Records on 30th October on LP, CD and digital formats. Recorded in Helsinki, the album finds the seasoned duo firing on all cylinders and delivering a remarkable set of contemporary free music.

PING brings together nine excursions beyond “guitar + drums” and way beyond “free jazz”. That being said, those are still good touching points for the music that is wild, imaginative, raw, yet also at times delicate and introspective. Friends and collaborators for decades in groups such as the lauded Scorch Trio, Raoul and Paal have the history and the trust to create memorable and original improvised music that stuns and moves the curious listener.

Raoul Björkenheim (b. 1956) is a Finnish-American guitarist and composer who has been creating original music for the past four decades living in New York City and Helsinki, where he is presently based. Describing his on-going work as investigative guitarism, he is best known for an expressionistic and lyrical guitar style. Björkenheim’s eclectic discography numbers 50+ albums, ranging from ambient soundscapes to visceral free jazz, from duo to big band. His large-scale works for symphony orchestra have yet to be recorded, and he has also composed scores for over ten films and dance productions. Björkenheim has collaborated musically with Bill Laswell, Toshinori Kondo, William Parker, Mats Gustafsson, Hamid Drake, Ingebrigt Håker Flaten, Gerald Cleaver, Henry Kaiser, Lukas Ligeti, Morgan Ågren, Paul Schütze, Edward Vesala and Juhani Aaltonen, for the labels ECM, Rune Grammofon, Cuneiform, Tum Records and Long Song records. Björkenheim has been awarded various prizes including the Emma prize for best jazz recording of the year, and been nominated three times for the Nordic Music Award.

Paal Nilssen-Love (b. 1974) is a Norwegian drummer, composer, bandleader, and producer known for his central role in Scandinavian free jazz and improvised music. Since the mid- 1990s, he has appeared on more than 280 albums, including 70 released through his label, PNL Records. He has performed with influential groups including Atomic, The Thing, Peter Brötzmann’s Chicago Tentet, Scorch Trio, and Frode Gjerstad Trio, and collaborates regularly with artists such as, Ken Vandermark, Akira Sakata, Otomo Yoshihide, David Murray, Arto Lindsay and more. Paal Nilssen-Love’s fascination with traditional and experimental music has taken him around the world. Since his first visit to Ethiopia in 2009, he has built strong connections with musicians and artists in Addis Ababa, leading to collaborations, performances, teaching, and artist exchanges with Norway. Since his first trip to Brazil in 2013, he has returned regularly, developing collaborations with artists and musicians across the country. His musical explorations have also brought him to Tsugaru and Aomori in northern Japan, where he has developed an interest in the region’s traditional music. Nilssen-Love is also an active organizer and educator. He started both Oslo’s all-Ears festival, the Blow Out festival and FRAM Kunstfest, and has led workshops internationally and in Norway.

DALGA – A Selection of ’80s Pop Oddities from Turkey is the first compilation to bring together rare Turkish pop oddities from the 1980s, and the first compilation to explore how new studio technologies shaped the sound of 1980s Turkish pop and dance music. Features six tracks that were released only on rare cassette tapes.

In the aftermath of Turkey’s 1980 military coup, collective music-making gradually gave way to studio-based production, as drum machines, samplers, and synthesisers took centre stage. From the early 1980s onwards, these technologies became increasingly popular among Turkish musicians and producers. While some sought to emulate the global pop sound of the era, like Neriman’s “Sever Gibi” and Füsun Önal’s “Takma Kafana” others experimented by blending electronic elements with Arabesque, as heard in Mehmet Pekün’s “Anca Gidersin” and Zorbeyler’s “Bir Mumdur” or with Anatolian pop influences, such as the studio project Tele Tempo’s “Şu Samsunun Evleri” and “Havada Bulut”.

Let these waves carry you through the electrified tides of 1980s Turkey.

DALGA is compiled by Istanbul-based beat maker and digger extraordinaire Grup Ses.