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Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

A song about Colostomy - from the opening bars you might think so. but it gets worse. 'X rated' stuff.
the label say 'Djoko is no stranger to Voyage Direct. Having first appeared on the label way back in 2012, he's returned numerous times since, becoming an integral member of the imprint's growing family of artists. Elsewhere, he's delivered material on Tuskegee, Mobilee and Leftroom, amongst others, developing an approach that takes inspiration from numerous styles of house and techno. However, little he's previously released can match the raw, eyebrow-raising lust and sexually charged funk of Dirty Talk'.

Driven forward by Djoko's sleazy, whispered spoken word vocal, the original version combines the rubbery, bass-heavy rhythms of classic, Dance Mania-style ghetto house, the delay-laden guitar flashes of vintage NYC proto-house, and the kind of darting, funk-fuelled keys - provided by fellow Dutch producer Kid Sublime - that recall the glory days of '80s electrofunk. Djoko provides an alternate version in the shape of the thrusting, stripped-back Club Dub', with his breathy Accapella' rounding off the A-side.

On the flip, two Voyage Direct stalwarts take it in turns to rework the track. First up is label boss Tom Trago, who builds on Djoko's elastic percussion with some dense new drum hits of his own. These are combined with spacey synths and sharp string stabs, giving Dirty Talk' a more classic techno/house fusion flavour. In contrast, Werner uses the opportunity to turn in a triple-X-rated interpretation full of bounding, Chicago-influenced beats, intergalactic pads, sleazy acid lines, and sweaty, surging drum fills. It's a fittingly breathless remix.'

With The Whole Story, their debut album released in 2024, Astral Bakers laid the foundations for a hushed soft-grunge, somewhere between misty folk and weightless rock. Vertical Life marks a turning point: a band that, after discovering itself, has now established itself as a tight-knit collective, with each member shaping its sonic identity with equal force. Recorded in the USA with Sam Evian (Big Thief, Blonde Redhead...), the album captures the freedom and raw energy of the quartet. There"s no over-recording or over-production here: the moment takes precedence, mistakes become texture, and slight imperfections a signature. Vertical Life is a choral album, a constant dialogue between the four musicians - Ambroise, Theodora, Nico and Zoé - where each now finds a more assertive place in this shifting puzzle, where voices cross and roles interchange. Textured guitars, sometimes silky, sometimes abrasive, criss- cross and overlap like wisps of delicate fuzz. Theodora"s bass anchors the tracks in a cinematic languor, while Zoé"s supple, restrained drumming builds a nocturnal, almost vaporous groove. The vocals, both fragile and assertive, are always balanced between whisper and soar, between indie introspection and grunge energy. A record where verticality is not just an upward movement, but a vertigo, a tension between rootedness and escape.

Lexachast is an ongoing collaborative work by Amnesia Scanner, Bill Kouligas & Harm van den Dorpel.
Initially birthed as a joint, improvised performance between Amnesia Scanner and Kouligas at the ICA, London in 2015, it was later recreated and extended with visual artist van den Dorpel into a 15-minute online-only audiovisual work – known simply as Lexachast. Since then, it has expanded into a live show that has been performed at Transmediale, CTM Festival, Unsound Krakow & Adelaide, Next and LEV Festival and during Paris Fashion Week in collaboration with the brand Ottolinger. Now to be released on PAN, is a new document of Lexachast in its current, full-grown form.
Whilst broadly inspired by the experience derived from and exposure to algorithmic patterns as generated by visual artist Harm van den Dorpel’s specially- devised program, the work is a sonic reference to the fallouts of avant-EDM and cyberdrone. This in turn is simultaneously mirrored by the perturbing visuals, created by a unique algorithm that sources and blends various filtered imagery from DeviantArt and Flickr in real time – with a bias towards the NSFW, extreme banality, and ornamental melancholia. The results were a perfect fit for the deliberate intention of non-intent, an anti-video of sorts, which ended up as a defining element for the project.

**Includes double sided insert with liner notes and photos*

Al Mati was the pseudonym of eccentric Portuguese-born, Dutch-based artist Alberto Mesquita. The name translates to ‘Alberto Friend’, with ‘Al’ short for Alberto and ‘Mati’ meaning ‘friend’ in Surinamese.
Alberto’s story comes across like a mythical character from a European Kerouac novel, but instead of writing it down, he poured those adventures and characters into his record. The music and the comic-style artwork, drawn by his friend Bruno Scoriels, work as one, with Alberto himself becoming both the story and the character within it.

Raised under Salazar’s regime in Lisbon, where all men were conscripted to Africa, he refused, a pacifist. This put him at odds with his father, born in Angola and a prominent lawyer tied to the dictatorship. Unable to accept his son’s stance, the rift forced Alberto to flee Portugal as a deserter, leaving everything behind.

He sought a new life in Paris, where he met Bruno Scoriels. The pair busked to get by, and young and broke, set off on adventures across Europe. On one trip to Barcelona, they crossed the Pyrenees on foot through a five-kilometre train tunnel, not knowing if they would make it out alive. The train later featured on the cover of Some Shit, a nod to that hazardous journey and the strange turns of his life.

From there he moved to Belgium, where he met Jolanda, his future wife who also features on the album. They lived in The Netherlands, then back in Belgium where they married, before returning to Portugal under false pretences. The regime promised deserters immunity, but it proved untrue, and Alberto was forced to flee again — this time with a young family, using Bruno’s passport to escape to The Netherlands.

They settled in the Gliphoeve flats in Amsterdam’s Bijlmermeer, a vibrant immigrant community. This melting pot of cultures inspired Alberto musically. He started a studio in their flat where musicians from Suriname, Angola, the Antilles, Brazil, Mozambique and Portugal came and went, jamming, rehearsing, recording and forming bands including Albatros, Comoção and Mati Africa, performing internationally and at iconic Amsterdam venues like De Melkweg and Paradiso.

Being an immigrant was tough. Alberto was stateless for years, drifting across countries. Some songs voiced his frustration with the Portuguese regime, others were playful or simply love notes to his wife and kids. He passed away in the Netherlands in 2021, leaving Some Shit open to interpretation. But when you picture Europe in the 1970s — the politics, the upheaval, and his need to connect people across cultures — you can hear an artist shaped by contrast, who poured his experiences, feelings and love into music.

Brian Kage turns up the heat with a full-strength solo outing of deep, dub-heavy grooves. "Dubz on 12" marks the twelfth release on his Michigander imprint, serving four heavyweight techno/house cuts engineered for the most discerning dance floors. Legendary producer Funk D’Void (Soma, Outpost) delivers an interstellar reimagining of Kage’s Learn to Surrender, pushing it into hypnotic, cosmic territory. Complementing the remix, Kage drops three signature dub-driven weapons—Reels for the Wheels, Oberdub, and the title track Dubz on 12. Versatile, heady, and floor-ready, this EP is a must-have for deep listeners and DJs alike—dope, durable, and guaranteed to move.

Ground-breaking percussive ambient recordings from Gabrielle Roth & The Mirrors, inducing altered states of consciousness through ecstatic dance. "Selected Works from 1985 to 2005" finally available on Time Capsule

Despite featuring an extraordinary cast of musicians (with credits including Pharoah Sanders, Miles Davis, Sun Ra, Santana and Milton
Nascimento) and selling hundreds of thousands of albums, the music of Gabrielle Roth & The Mirrors remains largely unheard beyond their sphere. Conceived as live, improvised soundtracks to Roth’s transcendental dance workshops, musical acclaim was never on the agenda.Instead, for a passionate dancer and spiritual polyglot like Gabrielle Roth, movement was a means through which to channel a wide spectrum of teaching, from experimental psychology to psychedelic counter-culture. It was from this heady mix that she devised a movement meditation known as 5Rhtyhms, which came to define her life’s work.

As “guide and catalyst”, Roth would dance to inspire the percussion-led instrumentals that would in turn fuel her 5Rhythms workshops, stimulating a secular form of ecstatic dance with roots in Native American shamanic traditions, Afro-Brazilian Candomblé and Yoruba drumming. Using anything from a Sioux pony drum to East African kihembe and Japanese Kabuki drums, Gabrielle’s lawyer-turned-drummer husband Robert Ansell set the foundational rhythms for The Mirrors’ recordings, each of which would then feature a rotating cast of friends and professional musicians.

“The secret of everything we’ve done is that we never told anybody what to play,” Robert shares. “Instead of our albums being a musical vision of one person like me or Gabrielle, they were the musical vision of a whole bunch of people.”At times the recordings have a Middle Eastern flair, at others, West African and spiritual jazz modes come to the fore. Hints of kosmische musik, proto-house and electronic ambience are laced like LSD through the organic rhythmic structures. This was kaleidoscopic ambient music to stir the body and free the mind.

In practice, the task of synthesising these different elements fell to Scott Ansell, Robert’s son and a recording engineer whose credits now include Nile Rogers, Duran Duran, Grace Jones. With meticulous attention to detail he captured and translated the dynamic energy of each drum onto record. Their sessions became legendary, and with access to the best studios in the NYC, The Mirrors sparkled.

Despite being initially overlooked by the burgeoning ‘80s New Age market, which preferred pipes and gongs to The Mirrors’ heavy-grooving drums, Robert Ansell set up Raven Recording to self-release the music, creating a vast sonic archive of sixteen albums over almost forty years. The breadth of Raven’s catalogue is such that curator Pol Valls had to cut an initial selection of sixty-six tracks down to the eleven featured here. What crystallises is a stunning, mind-altering collection which spans, in Pol’s words, “a variety of genres, styles, and vibes within their catalogue, whether it is emotional, esoteric, spiritual, melancholic, hypnotic, dark, or at times a combination of these elements together.”Music for immersive and intimate environments, Gabrielle Roth & The Mirrors were born from the dance. In the hands of the right DJ, at the right time, in the right place, they might just return there.

Straight out of the local mud of the city of Antwerp comes dancing this next Souvenirs from Imaginary Cities slab of free-flowing bits of electronic wonder : Schönen Abend by Simon B. Just in time to ease you out of this endless winter and right into springtime. Like the previous hit by Purple Uncle, this flower takes some time to bloom and fill up your head and body with it's ear wormy fragrance.

It's hazy and cinematic, makes you think of Italian electronic pioneers and their library magic, Patrick Cowley's School Daze and Haruomi Hosono in some kind of gothic manner. It's quite stripped and lush at the same time, rhythms like minimal mechanics make you fly above the river and land just outside reality. It's a nice place where soft jazz tingles right around the dark corner, and that particular mix of exotica and melancholia — the trademark of this port city's best electronic auteurs is definitely in the air. The river still shines, but she’s deeply poisoned. The old town has lost every bit of fresh air but keeps on digging for old gold. This bitter pill is served with delicacy and lightness, the wound is dressed up seductively — feet in the mud, head in the air. Stuff is sensuous, with quiet places reminding of the good side of those times when the big wheel stopped turning ever so madly. A strange quietness whistles through the leaves. Some things take time to unfold. In or out of C.

Four years in the making, this is the solo debut LP of Simon B, a longtime contributor to Antwerp's improvised music scene (Groovecats Deluxe, Wij Blij Trio ). Primarily a double bass player, he also has a deep-felt passion for offbeat electronica and the rainbowy side of American minimalism, which takes front here. The smoky voice on the last track belongs to Nina-Joy Thielemans, Nina-Joy is part of Particals, a trio working with live electronics and field recordings, releasing an lp on Ultra Eczema later this year. Furthermore, you can hear the tenor and soprano saxophone of Adia Van Heerentals on 4 tracks, deepening out Simon's naturally flowing compositions and playing around with his melodies. You may know her from Bodem and her strong presence in the Belgian jazz scene lately.

Simon's electroacoustic experiments — using a clarinet and some outboard effects — were important tools in finding the very specific colour of this record. There's this airy character, like wind blowing through old layers of bricks and over the river, anchored with a deep sense of bass, gathering ages of dust and memories in these eight elegantly wobbling tracks, forming a perfect whole that’s really coming together in one deep listening from A to Z.

The centrepiece is perhaps Come to Me, instrumental and reprise with vocals, but no fillers on this one. Every part of the mystery is needed to come to its end and back again. It's a record that works in the morning, to open up a day and in the quiet corners of the night, with it's sleazy quirkiness, smiling towards you from the right corner of the eye. A perfect compagnon for your long-form wandering habits, light reflections on a wet surface obsessions, coffee slurping in the morning and the forgotten art of beachcombing. Quite essential these days, witnessing a world going apeshit.

A collection of earlier and newer works by LFU
combined in one EP.
On November 14, 2025 !K7 Records released DJ-Kicks by Eris Drew. She chose 'Oh Echt' by LFU as the opening track of her mix.
The style of 'Oh Echt' is not easy to categorize. Electronic breakbeats with Detroit hi-hat patterns and a typically pushy four-to-the-floor kick. The funky, staccato bassline and mysterious strings take you back to the eighties and the added funky organs and stabs complete the story. The "Oh Echt" Main Mix is the instrumental mix of the 'Vogel Mix' in which the 'Oh Echtapella' is incorporated.
The first design of 'Boom Boom Tracking' was in 2011 for a DJ/DRUM performance that LFU did. He picked it up again in 2014, but did not finish it until 2024. This big beat floor filler contains chemical beats accompanied by electrostabs and a deep, dark bassline. If you listen intently to this song on a regular audio device, you might notice a thump on every 1 of the 4 beats, but when it's played on a good, big sound system, you can't miss this tension in your stomach. 'Boom Boom Tracking' it is!
Downtempo percussive track 'Tjeetje' is the first track LFU has made in North Coast Studio in 2001. 'Slow Forward' was the third song he completed there in 2003, the same place where he met Ben Baan of Fruitcake, who played the piano part.
Initially, 'Queen Cubana' did not make it as a remix of Eddy Zoey's 'No Soy Cubano' in 2017. In this new version, LFU removed his vocals, except for "Step". LFU took inspiration from Katy Perry's 'Bon Appetit' and turned it into a rhythmic slow jam with carefully programmed beats, resulting in a spectacular funky joint.

Psychic 9-5 Club marks the beginning of a new chapter for HTRK. It's an album that looks back on a time of sadness and struggle, and within that struggle they find hope and humour and love. It's Jonnine Standish and Nigel Yang's first album recorded entirely as a duo— former band member Sean Stewart died halfway through the recording of their last LP, 2011's Work (Work, Work).
Though the record is instantly recognisable as HTRK—Standish's vocal delivery remains central to the band's sound, while the productions are typically lean and dubby—they've found ample room for exploration within this framework. Gone are the reverb-soaked guitar explorations of 2009's Marry Me Tonight and the fuzzy growls that ran through Work (Work Work). They've been replaced with something tender, velvety and polished. This is HTRK, but the flesh has been stripped from their sound, throwing the focus on naked arrangements and minimalist sound design.
The album was recorded at Blazer Sound Studios in New Mexico with Excepter's Nathan Corbin, who had previously directed the video clip for Work (Work Work) cut "Bendin." Inviting a third party into their world was no easy decision, but in Corbin they found a kindred spirit. The LP was then refined and reworked in Australia at the turn of 2013, before the finishing touches were applied in New York during the summer.
Of all the themes that run through Psychic 9-5 Club, love is the most central. The word is laced throughout the album in lyrics and titles— love as a distraction, loving yourself, loving others. Standish's lyrics explore the complexities of sexuality and the body's reaction to personal loss, though there's room for wry humour—a constant through much of the best experimental Australian music of the past few decades.
Standish explores her vocal range fully—her husky spoken-word drawl remains, but we also hear her laugh and sing. Equally, Yang's exploratory production techniques—particularly his well-documented love of dub—are given room to shine. They dip headlong into some of the things that make humans tick—love, loss and desire—with the kind of integrity that has marked the band out from day one. Psychic 9-5 Club is truly an album for the body and for the soul.

Set against the backdrop of New York City’s high-pressure nightlife scene, Black Rabbit centers on two brothers who are pushed to the brink by their duty to family and their pursuit of success. Jake Friedken (Jude Law) is the charismatic owner of Black Rabbit, a restaurant and VIP lounge, poised to become the hottest spot in New York. But when his brother, Vince (Jason Bateman), returns to the business unexpectedly, trouble soon follows; opening the door to old traumas and new dangers that threaten to bring down everything they’ve built. Black Rabbit is a propulsive thrill ride and character examination about the way an unbreakable bond between two brothers can shatter their world and everything in its orbit.
Black Rabbit is a music-fuelled series featuring a brand new song of RAYE and two songs by The Black Rabbits (Albert Hammond Jr. and Jude Law). Also with the exciting score of Danny Bensi and Saunder Jurriaans a vinyl release is an absolute necessity for the this soundtrack.
Black Rabbit is available as a limited edition on crystal clear & black marbled vinyl.

Manchester’s own The Slow Readers Club are set to embark on a special anniversary tour celebrating ten years since
their seminal breakthrough album, Cavalcade. Titled ‘A Decade of Cavalcade’, the tour will see the band revisiting the
album that set them on their path to becoming one of the UK’s most revered indie acts, while also marking an exciting
new chapter in their journey.
The tour announcement follows a milestone year for the band with their latest album Out Of A Dream landing at
UK Number 11 in the Official Charts in the first week. With growing momentum on streaming platforms and an everexpanding fanbase, The Slow Readers Club continue their upward trajectory, making A Decade of Cavalcade both a
reflection on the past and a celebration of what’s still to come.
A Celebration of a Pivotal Moment
Originally released in 2015, Cavalcade was a turning point for The Slow Readers Club, capturing hearts and minds with
its brooding, atmospheric sound and emotive lyricism. Featuring fan-favorite tracks such as Plant The Seed, I Saw A
Ghost and Forever In Your Debt, the album resonated with a generation of music lovers and laid the foundation for the
band’s future success. One of those supporters were the band James who personally invited The Slow Readers Club to
support them on a huge headline tour which brought them to a whole new audience.
Now, a decade later, the band will bring Cavalcade back to life on stage, performing it in full alongside other cherished
songs from their extensive catalog. The tour promises to be an electrifying experience, blending nostalgia with the raw
energy of and ambition that continue to define The Slow Readers Club today.

Manchester’s own The Slow Readers Club are set to embark on a special anniversary tour celebrating ten years since
their seminal breakthrough album, Cavalcade. Titled ‘A Decade of Cavalcade’, the tour will see the band revisiting the
album that set them on their path to becoming one of the UK’s most revered indie acts, while also marking an exciting
new chapter in their journey.
The tour announcement follows a milestone year for the band with their latest album Out Of A Dream landing at
UK Number 11 in the Official Charts in the first week. With growing momentum on streaming platforms and an everexpanding fanbase, The Slow Readers Club continue their upward trajectory, making A Decade of Cavalcade both a
reflection on the past and a celebration of what’s still to come.
A Celebration of a Pivotal Moment
Originally released in 2015, Cavalcade was a turning point for The Slow Readers Club, capturing hearts and minds with
its brooding, atmospheric sound and emotive lyricism. Featuring fan-favorite tracks such as Plant The Seed, I Saw A
Ghost and Forever In Your Debt, the album resonated with a generation of music lovers and laid the foundation for the
band’s future success. One of those supporters were the band James who personally invited The Slow Readers Club to
support them on a huge headline tour which brought them to a whole new audience.
Now, a decade later, the band will bring Cavalcade back to life on stage, performing it in full alongside other cherished
songs from their extensive catalog. The tour promises to be an electrifying experience, blending nostalgia with the raw
energy of and ambition that continue to define The Slow Readers Club today.

Clear Vinyl. Luxurious jacket with embossed logo and details plus cut-out on the side. Explore an emotional sci-fi game with a unique blend of survival, adventure, and base-building elements. Help the sole survivor of an ill-fated space expedition create alternative versions of himself to escape a hostile planet and tackle personal turmoils with this unconventional crew. 11 bit studios, the creators of the award-winning games This War of Mine and Frostpunk, present The Alters, an ambitious sci-fi survival game with a unique twist. You play as Jan Dolski, the lone survivor of a crash-landed expedition on a hostile planet. To survive, you must form a new crew for your mobile base. Using a substance called Rapidium, you create alternative versions of Jan -The Alters- each one shaped by a different crucial decision from the protagonist's past. The one-of-a-kind soundtrack for The Alters was created by Piotr Musial best known for his compositions for games like The Witcher, Frostpunk and This War of Mine. For The Alters, Musial chose to stray from the obvious path when it comes to this genre of games and head for something more original: "While many sci-fi soundtracks these days favor the sound of analog synths, the idea behind the music of The Alters was a bit different. We wanted the music to feel more untraditional and mix digital, glitchy elements, unstable reverb with organic sounds, all of which together could support this unique story." With this approach, Musial dove deep into the world of The Alters to turn abstract ideas and atmospheres in very concrete music: "We aimed for the planet to feel overwhelmingly strange and hostile at first. The music starts as more abstract and based on dense atmospheric sound design. Our circular base, a place of safety and comfort inspired to create a theme that 'goes round' by a repeating leitfmotif. You will always feel at home there, unless there's something bad happening, and that's where the theme will get changed, broken." Musial further explains: "One of the key elements we get to discover in the game is the Rapidium crystal. A strange mineral, with yet unexplored properties. We felt like it could have its own theme too, and therefore, wherever you find it, it 'sings' to you with it's strange, bassy voice, supported by a trace of live recorded strings, that were digitally destroyed to create this translucent texture, that sound unlike the real thing. A glitch crystal, is what they call it after all. But the more we explore the planet, the more the story we uncover. We wanted the music to gradually gain momentum and show the leitfmotifs more often, guiding you through emotional moments, fun moments, tough ones, reaching a grand finale. I hope you'll enjoy this ride." Enjoy playing and listening to The Alters!

»Chronotopia« is the second album by composer-performer Elisabeth Klinck. After collaborating closely with artist Oscar Claus to blend her violin playing with electronic soundscapes and field recordings on her 2023 debut Picture a Frame (Hallow Ground), Belgian electroacoustic artist Elisabeth Klinck now turns inward. On Chronotopia, she takes a more song-oriented approach, embracing her voice as a vital counterpart to her violin, intertwining their sounds like threads in a dynamic, multicolored fabric. The record marks an essential turning point in her artistic evolution and opens up a rich internal world. It is a tapestry of sound, emotion, and curiosity spun from—both literally and figuratively—her growing voice.Klinck, who works as a composer and performer in theater, wrote the pieces between tours and recorded the album in the same place as its predecessor, the Spanish Pyrenees. Though the outside world isn’t as explicitly reflected in the recordings as it was the case on »Picture a Frame,« her sophomore album responds to the outside world by capturing both the expansive serenity of the mountains and the frenetic pulse of life on the road. Eschewing her previous, more atmospheric and abstract approach, Klinck creates a landscape that is built on the song and filled with intimacy. Her music feels at once vulnerable and deeply human, balancing the rawness of improvisation with the careful precision of melody-led composition.Klinck describes »Chronotopia« as a playful exploration of time—its fluidity, its constraints, and its influence on how we navigate the world. These notions reverberate through her melodies and lyrics, which dance between moments of shimmering clarity and messy, beautiful chaos. These contrasts are further accentuated by the cunning interplay of voice and violin, which itself reflects the artist’s fascination with duality and transformation. Recorded in both organic and controlled environments, »Chronotopia« blurs the lines between intuition and design. The »time space« into which Klinck invites her audience is a place where sound becomes touch, time bends like light, and every moment carries the thrill of discovery

Moving freely through time and space via experimental DIY recordings since 2009, Joasihno return with their fourth album "Spots".

“Find your spot in the shade,” a truly laid-back and incredibly soft-spoken MC once advised, yet in a world that seems to get shadier every day, it’s probably time to finally get out and face the sun. Southern German experimental pop duo Joasihno – initial solo founder Cico Beck (The Notwist, Aloa Input, Spirit Fest) and drummer/composer Nico Sierig (Instrument, Fehler Kuti) – seem to know exactly when it’s time to shine. Idiosyncratic genre tweakers since day one, they have been operating at their own pace, mostly staying in their own shady corner. Yet, almost a decade after their most recent “Meshes” (an album that came with a whole legion of tiny music robots), it’s high time for them to take over more corners, to reclaim even more spots between lo-fi and sci-fi, retro electronica and contemporary classic. Drawing upon influences as varied as Reich, Riley, and Ryuichi, múm, Meek, and Moondog, while also nodding to other experimental twosomes (e.g. The Books), the duo’s fourth full-length “Spots” is set to arrive via Alien Transistor in late 2025.

Leaving soulless automation and all things artificial to others, Joasihno launch the latest record on “2 Squares” that feel like a peaceful, almost bucolic version of retro space age: lights blink ever so softly as easy-going bass tones point at today’s introspective flight arc. Electronic shapes align and things lift off – with a majestic 8-bit sunrise soon appearing right in front of us. Whereas playful title song “Spots” is a miniature Rube Goldberg kind of device, with quirky plucked strings and glitches setting off more and more contraption layers, “Crackleboom” is uncharted energy, an open landscape, an expanding bonfire that leads to a long-forgotten piano, all dust-covered in some kind of saloon. Space might be only noise to others, here, it’s foreboding screeches (“Dizzle Whistle”) that make room for A-side center piece “Forest Lights”: a steady beat that lures us to a clearance in the woods. Things break and shatter in the distance, but this spot right here is for hypnosis, dancing, sylvan spirits. And yeah, it’s surprisingly hot down here in the undergrowth…

Opening side B with a fun banger that takes the unhinged dancing to the playground – “Characa Orb.” feels like French kids on swings going crazy, a tipsy, tongue-in-cheek electro blow-out between Oizo and Orbis Tertius –, things get even more cinematic throughout the second half. Even the cheapest, lo-fiest gear is sufficient to make “The Slow Hour” glow like true, timeless pop royalty. In fact, the very same pop spirits roam and celebrate freely in the chirpy coves of mesmerizing “Detune Lagoon” – more hand-crafted sci-fi/lo-fi loops you’ll only find after facing the ghosts of Lynch or Sakamoto on those night-time trails under the “Deep Moon”. It’s all DIY spots, spots that leave room to dream or dangle, drape yourself over or dive into. Returning to the leafy bower on a melancholy post rock tip, we eventually learn that “Death Is Real” – and so we’re left with a laterna magica that turns and turns and turns. It’s a beautiful spot where light and shadows keep on dancing, just like they’ve always done, ever since the dawn of this madcap universe.

GATEFOLD DOUBLE VINYL WITH SPOT UV FRONT COVER

Following the skewed-unself-help-brilliance of ‘Sus Dog’ (which marked his first full foray into songs, abetted by Thom Yorke), and its companion piece ‘Cave Dog’, Chris Clark returns to the dancefloor’s simple, but no less affecting pleasures, with ‘Steep Stims’.
“I found it hard to pull away from listening to this record, hard to stop making it, I had to remove myself from the Stims and stop enjoying it at some point. The album feels like nature to me. I love it when electronic music feels more naturalistic than acoustic music, more potent, that’s the devil’s trick, the promise of electronic music.” comments Chris.
“I used an old synth - the Virus on all of the tracks. I used it at Mess in Melbourne - run by my friend Robin Fox - I loved it so much I had to buy one when I got back to the UK, it took a while to find. They’re a bit clunky to program but make some of my most favourite sounds.”
‘Steep Stims’ marks a back-to-basics approach, invoking the early years of gung-ho creativity enforced by limitations in technology at the time. “Most of the tracks on this album capture the spirit of making music on old samplers, which don’t have much memory time”, explains Clark. “It reminds me of making ‘Clarence Park’, my first album, where I would have to finish tunes in the session, as they would be saved on floppy disks and I couldn’t easily go between tracks. This new record is just a few synths and a few choice sounds; the writing is the important thing.”
Made quickly, ‘Steep Stims’ reflects the immediate rave energy of his live show, but that’s not to say it’s basic floor fodder, as it’s rife with personality, synth magic, and knack for melody. Although swift and impressionistically captured rather than laboured over, it’s still formidably deft, with plenty of oddball weirdness lurking beneath the dancefloor.
Soft, orange, scorched, brutal, the opening track ‘Gift and Wound’ captures the classic dance music dread / awe / euphoria combo perfectly, before ‘Infinite Roller’ merges sparkly-minimalism with snarling bass and soft sines, which turn more dense and metallic as it progresses.
The melancholic smoke belch of ‘No Pills U’ gives strong classic vibrations, which is belied by its creation, made in just 20 minutes. “I love working quickly sometimes”, comments Clark. “Inspiration hits, rough and ready. It’s off the cuff but also screams ‘don’t gild the lily with nonsense, keep it simple keep it clean’”. Segueing into its elder brother, the piece becomes bigger and beatier on ‘Janus Modal’, where it permutates for over 7 minutes of fluttering, beatific club majesty.
At ‘18EDO Bailiff’ you inexplicably find yourself at a clearing, things have suddenly got much quieter. You enter a decrepit and eerie old house, and as you move through its unsettling interior, you arrive at ‘Globecore Flats’. A real piano tuned to 18 notes per octave gives the pair of tracks a haunted, olde worlde feel, which promptly gets eaten by a huge tech step tearout monster, birthing a strange but exotic beast.
The white hot ‘Blowtorch Thimble’ is all hooktasm-rave-hyper-amen-energy, whilst acidic flute leaps around like Ian Anderson on pingers throughout the catchily simple jump-up lurch of ‘Civilians’.
“‘In Patient’s Day Out’ is like some sort of Morricone-does-kraut-rock-with-drum-machines, but that’s probably just in my head” says Clark. “I made several versions of this then went with the early mix but cranked through some choice outboard because it just had something.”
Drumless, yet still full of exhilarating-big-trance-drama, ‘Who Booed The Goose’ flashes by in stroboscopic fast forward, then ‘5 Millionth Cave Painting’ gives a palate cleanser, letting “the virus with its delicious broken, luxurious reverb have a moment”, before ‘Negation Loop’ swoops down in all its glory, with Clark’s tweaked vocals leading deconstructed trance breakdowns, tape edits and brutal noisebursts.
An antidote to the bombast of its predecessor is ‘Micro Lyf’, which closes the set on a poignant note, of sorts. Muted staccato gives way to field recordings “that gradually put it in this outside space; alien in a meadow somewhere nameless. It feels like a sinkhole. The record kinda swallows itself up and then is gone”, ends Chris.

»Lilac« is the first Donna Regina album since 2019’s »Transient.« The world has changed considerably since then, which has also left its mark on the Berlin indie pop duo. The songs released as part of the 2021 single »Welt in einer Stadt« (»World in a City«) for Karaoke Kalk had already dealt with the pandemic-induced standstill and its effects on urban space, and also the rest of the album shows that Günther and Regina Janssen have been influenced by recent social and political developments. »In ›Lilac,‹ I imagine good ol’ Earth as a big ol’ bear shaking us off because it can’t stand us anymore,« says Regina Janssen. It has become a serious album, Günther affirms, but he is also adamant that it is not a sad one. Musically, Donna Regina have remained true to the spirit of their early work, recently re-released by Karaoke Kalk: their arrangements are as minimalist as they are emotionally rich.

»The music is always there,« says Regina Janssen about the creation of the tracks on »Lilac.« As always, the two record their music »track by track and without computers,« as Günther notes. Samples play a smaller role this time than on earlier albums, with analogue instruments such as a monophonic synthesiser and, above all, guitars coming to the fore again. This frames lyrics that are being delivered by Regina in German, English, or in both languages. They delve even further into the intricacies of urban life. »Cities are underrated! What a civilisational achievement it is to have so many people living under one sky,« says Regina. »They constantly put you in touch with the unfamiliar. Sometimes they’ll be overwhelming, and they are always alive.« This ambivalence shapes the tone of the album that ponders on the state of the world today.

Starting with the ominous sounds of »Whole World In My Town,« through the dreamscapes of »Autumn In Paris,« to the elegiac conclusion of »No More Roses,« Regina and Günther Janssen move through different timbres and styles with a few select means. Their preference for minimalist electronics becomes evident at times, while elsewhere the pieces open up to balladic arrangements in which the guitar plays a leading role. This turns »Lilac« into a city by itself, the songs forming its soundscape: every neighbourhood looks different, every street has its own character.

Toyah’s 1991 solo album Ophelia's Shadow is issued on limited edition picture disc vinyl for the first time ever.

The picture disc features colour images on each side of the vinyl and is housed in special die-cut vinyl outer sleeves containing previously unseen colour photography from the album shoot.

A personal favourite album of her catalogue, Toyah confirms: “Above all, this is the one album I have made that truly represents me. I’m fiercely proud of it. Ophelia’s Shadow is not just a record, it’s a reflection of who I was, who I am, and who I continue to become. It’s the sound of resilience, reinvention, and raw truth.”

The album features a band line-up including Trey Gunn on stick, Paul Beavis on drums and Tony Geballe on guitar. Two tracks, Brilliant Day and Lords Of The Never Known feature Robert Fripp on guitar and were originally played live by Sunday All Over The World, the band Toyah & Robert Fripp toured and recorded with in the late 1980s.

When people think of Yacht Rock-those smooth, sun-drenched sounds that once drifted from Californian radio stations in the late '70s and early '80s-they rarely imagine it echoing through rehearsal rooms in Hamburg or Linz. Yet even far from the Pacific coastline, the appeal of shimmering chords, laid-back grooves, and polished production found fertile ground.
This compilation gathers rare and overlooked tracks from Germany and Austria. These artists embraced West Coast aesthetics with sincerity and subtle twists, resulting in music that feels both familiar and refreshingly new-smooth sounds for cloudy skies. So drop anchor, pour something cool, and enjoy this unexpected cruise through the lesser-charted waters of Euro Yacht Rock.

Our journey begins in Austria, where Reflection's Because (1981) set the tone with blue-eyed soul and analogue warmth-a sunlit blend of Doobie Brothers polish and local charm. Its creator, Dieter Heyduk, reappears with Austrian Sky, a heartfelt nod to his homeland that fuses mountain calm with oceanic longing.
From the North Sea island of Föhr, Ara Pacis dreamed of California on their 1979 self-release To the Westcoast. Inspired by Steely Dan and Lake, they turned German rock precision into breezy, melodic sophistication. Meanwhile, in Düsseldorf, Mainpoint fused funk and jazz-rock on Frisbee, their 1980 single bursting with rhythmic drive and optimism before the tide of the Neue Deutsche Welle swept such grooves aside.
Bremerhaven's Nuages offered the compilation's only instrumental gem, Strange Weekend (1985)-a gentle blend of jazz-funk and rock and largely lost to time. Its cool restraint captures the European interpretation of Californian ease.
Around the same period, British traveler Gavin James recorded River of Laughter in southern Germany, backed by the blues-rock band Black Cat Bone. His acoustic reflections on water and flow mirrored the soft, meditative pulse at Yacht Rock's core.
Berlin's Top Spin kept things playful with Bikin (1985), a funk-fusion snapshot of urban joy that showcased the city's finest session players. From the Ruhr area, the Jan Pack Band is up next. While not a typical Yacht Rock track, Cable Dance is driven by an effortless, groovy '80s vibe.
Peter Seiler's Goldfinger project reimagined Walkin' in the Sand as a relaxed reggae-tinged track, while Munich's Major Seven closed the voyage with Silverboat, a wistful soft rock ballad gliding between melancholy and light.

Across these hidden harbors of German and Austrian pop, the West Coast dream took on new forms-reflected in rivers, skies, and studio lights half a world away from L.A. Under and Above the Clouds celebrates that spirit: the enduring pull of smooth music, wherever it's made.

Recorded in concert at the University of Sheffield in March 2025, Reality Is Not A Theory is the first collaboration between Mark Fell and Pat Thomas. Major figures in British experimental music since the 1990s, Fell and Thomas have developed their rigorous practices from radically different backgrounds and perspectives: where Fell’s singular take on synthetic abstraction emerged from Sheffield’s electronic underground, Thomas is a virtuoso improvising pianist steeped in jazz and modernist art music who has simultaneously worked with sampler-based electronics for decades. As the record’s wonderfully academic subtitle explains, we are presented here with two sides of ‘algorithmic and improvised music for computer and piano’, exemplifying both players’ insatiable search for new (and sometimes uncomfortable) playing situations.

The performance begins with Fell’s electronics close to the timbres of acoustic percussion, attacks that suggest wood, metal or glass threaded along a rapid pulse while Thomas focuses on the lowest registers of the piano, deadening the strings. As Fell’s electronics start to ring out and occupy more harmonic space, Thomas turns to wide, repeated clusters, which slowly expand into patterns of chords. Like in his recent solo recordings and his trio work with Joel Grip and Anton Gerbal, Thomas’ playing combines extreme dissonance with a deep lyrical sense. Fell’s work gradually shifts its focus toward drum sounds, drawing on the microtemporal processes that have characterized his practice in recent decades. Heard together with Thomas’ probing piano, the computer sounds call up unexpected associations with the klangfarben antics of improv drummers like Paul Lovens or Tony Oxley. Throughout its second half, the music grows increasingly frenetic, as Thomas sounds out rapid, irregularly repeated figures and beautifully sour chords in the upper register, while Fell’s percussion develops into angular pan-pipe-like feedback and waves of glissandi.

With great confidence and patience, Fell and Thomas often let their individual contributions remain rhythmically distinct and unsynchronised, allowing unexpected correspondence and coincidence to guide the music’s development. Recorded in a hall named after Sheffield steel manufacturer and Master Cutler Mark Firth, the location might suggest a model for understanding how Fell and Thomas interact here: two workers in the same workshop, each immersed in their own part of the production process. Arriving in a striking sleeve designed by Mark Fell, with liner notes by Francis Plagne, Reality Is Not A Theory is an invigorating document of the meeting of two mavericks of contemporary music.

2025 Repress

When people think of Tough Gong they usually think of Bob Marley and rightly so, as he was nicknamed and often called Tough Gong and from this his early releases which came out on the Tough Gong label. But Tough Gong was also the name of a recording complex named after Bob Marley hat included a top level recording studio, pressing plant and distribution centre that would allow reggae music to carry on many years after his sad and too early demise.

Bob Marley had take over the former residence of Island Records boss Chris Blackwell the Island House, 56 Hope Road around 1974. Just before the 'Smile Jamaica' concert on 03rd December the same year the house was ambushed by gunmen. Bob's manager Don Taylor was hit 5 times AND Bob was shot in the arm and his wife Rita Marley was hit in the head by a stray bullet. How no one was fatally injured is staggering. Immediately after the concert Bob Marley started his self imposed exile from Jamaica, settling in London, England. This would lead to the aptly named exodus album being recorded there in the summer of 1977. It would not be until the 'One Love' peace concert in Kingston's national arena on the 22nd April 1978 that would see Bob's return to the island. Marley felt is was important to show his commitment to the people of Jamaica and on his return to 56 Hope Road he began construction of his own recording studio with the help of music mogul Tommy Cowen. Unfortunately Bob Marley's short life would end on the 11th May 1981 from cancer which originated form a football injury. His passing would lead to 56 Hope Road being turned into a museum to the legend of reggae music.

A new location would have to be found to carry on Bob's work which was 220 Marcus Garvey Drive, Kingston 11. The buyer would be Rita Marley and the Tough Gong International Organisation.

Engineers working at the new facility included Errol Browne who had worked at Treasure Isle studios and Hopeton Overton Browne known as 'Scientist', named by the great producer Bunny 'Striker' Lee who worked with him previously at King Tubbie's and Channel One's studios described his ground breaking style as being like that of a scientist.

We focus for this release on the work carried out by the great Scientist on the songs of the Black Solidarity Label run by Ossie Thomas (aka Joe The Boss) recorded at Tough Gong studios. One of the foremost recording, pressing and distribution facilities on the Jamaican island set up from the work of Bob Marley to carry forward reggae music. Hope you enjoy this set......

Los Angeles-based producer and composer Hayes Bradley returns with his most ambitious work yet, Audience, out now via StrataSonic Records. A departure from his years composing for film and fashion, the 14-track album marks a return to his dancefloor roots by melding breakbeats, trip-hop, and ambient textures into something both nostalgic and forward-thinking.

After two beatless, melodic LPs on Secular Sabbath, Bradley arrives at Los Angeles’ StrataSonic—an independent label celebrated for prioritizing artistic freedom—with Audience, a record defined by moody, churning breaks and rich soundscapes. Across the album, he merges the emotional depth of his scoring work with the kinetic energy of underground dance music, crafting a deeply-layed and adventurous project that exists beyond trends while highlighting his versatility as both producer and performer.

The album features collaborations with Luna on the ethereal “Dear Treasure” (accompanied by a music video with collaborator and partner Luna Blaise) Amtrac on “Be Right With You,” and Oxis on “Wishes,” alongside a range of instrumental cuts that highlight Bradley’s approach to rhythm and sound design.

At its core, Audience is an exploration of embracing personal and musical chaos. Bradley channels moments of anxiety, uncertainty, and raw emotion into tracks that are unpredictable and immersive. The album reflects his philosophy of leaning into disorder—turning moments of anxiety, unpredictability, and chaos into kinetic music that moves both body and mind.

Secretsundaze’s recently minted 9FINITY continues its stellar run of explorations into the outer regions of modern club music with an imprint debut from fast-rising talent Milès Borghese.

Borrowing elements from early Detroit techno, and Perlonized minimal, the ‘Antic Drive’ EP distills the German-born, Austria-based producer’s broad spectrum of influences into a highly functional, club-ready collection of tracks that perfectly fits the imprint’s modus operandi.

The A-side kicks off with ‘Do You Ever Fantasize’, a deep club tool built around the vocal sample of the title and punctuated by building drums, alien sonics at every turn, and a mean, highly danceable bassline to boot. The peak time worthy ‘Sustain’ follows an impressive opening, as an incessant mind-looping hypnotic groover aimed straight at the floor.

The EP’s title track ‘Antic Drive’ opens up the flip. Leaning on subtle textures and almost off kilter percussion, minimal broody deepness is the motive here. Borghese’s impressive first outing wraps up with ‘Mateo Does’, a driving rhythm-heavy track built for late nights and early mornings.

E23 Records is an independent label from Amersfoort that releases music moving between electro, wave, EBM, and acid—sounds that feel familiar, but not quite at ease. Each release is built with care, made to be both an object to collect and a small joke at the universe’s expense. Patterns appear where they want to, chance plays its role, and sometimes the numbers line up in ways that feel more than coincidental. Tune in, and see what reveals itself.

E23 Records launches its catalog with three dark electro transmissions from Amersfoort residents Son of 8-Bits, Mavanov, and Law Of Fives. Opening with Son of 8-Bits’ “Deliverance”, the record sets an ominous tone: heavy bass pressure and sharp machine rhythms push forward with a cold, driving pulse built for late hours. Mavanov’s “Dark Romanticism” drifts into sparse, hypnotic territory, where cold mechanics meet faint traces of emotion. Law of Fives’ “Primer” closes the trip with an urgent workout that turns rhythm into a labyrinth—metallic strikes, pulsing bass, and restless sequences coiling together, building toward moments where chaos threatens to take over but never quite does.

Together, the three cuts form a statement of intent: E001 is moody, uncompromising electro with just enough strangeness to keep the floor on edge. A first chapter that hints at many more signals to come.

The seventh release in the Punctuality canon lands hot with a peak-time four-tracker from Persian-Swedish DJ and producer Mohajer based in Berlin. All In is a bold statement of intent—the music glistens with sleek, modern production aesthetics, drawing from UK-tinged breaks, pumping ’90s house, and sultry, timeless trance moods, perfect for big rigs and intimate dancefloors alike. Like her DJ sets, the tracks are scintillating and high-throttle, twisting and turning through unexpected paths while maintaining a steady dancefloor focus throughout.
“Intake” sets the tone for the EP. The A1 is a high-octane collage of lustrous, contemporary house, where playful, bouncy low-end slips and skips around glitched-out atmospherics, sleazy tech synths, and earworm organs. The arrangement careens and veers without relenting, driven by pumping amens and provocative vox chops fluttering in and around the bass.

A2, “i c u” keeps things heated with rolling breaks and ultrabright melodies that ignite the track with dazzling intensity. A sultry take on UK soundsystem music, its undulating wubs and flirtatious vocals are anchored by a dub sensibility that keeps the groove low, slung, and sexy. Think smoke machines, red lights, and smoldering sexual tension.
Luscious, trancey, and dripping with percussive sensuality, “You Wannabe” carries the sensuous mood to the flip. The track unfolds like the arc of a DJ set, teasing moments of magic amid layers of atmospheric pads, FX, and a pulsing bassline that grounds the arrangement from start to finish. The vibe is sweltering, cosmic, and irresistibly sultry—drawing from many directions but always locked into the groove, built for DJs and dancers alike.
The EP closes with “Backseat,” a hypnotic journey through swirling synthetic flourishes, rumbling subs, and psyched-up lead lines. It expertly builds tension and release, flipping halfway into bright flashes of euphoria and light. The result: a mysterious, sensual number that captures the ephemeral magic of the dancefloor and showcases the expert production skills of Mohajer.

This is buy-on-sight material from start to finish—don’t sleep.

Two years after making their bow via a fine contribution to the Claremont Editions 3 compilation, Nuremberg’s Neumayer Station are ready to drop their debut full-length excursion, the mesmerising and immersive Crossings.

The brainchild of drummer-turned-producer Michael Kargel, a musician with a bulging CV that includes stints in various German indie-pop and rockabilly bands, Crossings was co-produced and mixed by Frank Mollena (best known to Claremont 56 fans as the man behind the Fürsattl and Bambi Davidson projects), with additional contributions by Alexander Sticht and an impressive roll call of guest musicians plucked from Nuremberg’s vibrant musical underground.

Recorded at different points over the last three years, the eight tracks showcased on Neumayer Station’s inspired debut album draw influence from the hypnotism of classic German ‘kosmische’ recordings, the freewheeling and stoned headiness of CAN, and the gently unfurling beauty of sun soaked Balearica. Kargel, Mollena and their collaborators set the tone with opener ‘Unterführung’, where Sticht’s layered and sonically hazy vocalisations rise above space-rock guitar motifs, droning analogue synth sounds, languid bass and slow-motion drum breaks. With effects aplenty and all manner of melodic electronic flourishes, it’s a deeply psychedelic and mind-expanding affair.

‘Nalut’ follows, with Kargel’s own atmospheric howls and whistles cannily combining with sun-bright tropical guitars, echoing chords and delay-laden saxophone solos riding the dub-flecked, low-slung groove. The collective’s Balearic influences are explored in more sonic detail on ‘A Gentle Flow’, a shuffling and soft-focus affair marked out by emotive piano & jazz guitar, brushed percussion, sunrise-ready synths and pleasingly stretched-out electronic textures. Neumayer Station return to this drifting, morning-fresh and eyes-closed sound later in the LP, via the wonderous ‘Von der Morgenröte’.

The heady influence of spaced-out dub production techniques comes to the fore on ‘Bassrutscher’, an Alexander Sticht co-production rich in Americana-influenced guitar textures, metronomic dub bass, rim-shot heavy drums, mazy organ and orange-hued sundown sounds. It ushers in the more up-tempo shuffle of ‘Zielgerade’, an inner space, out-of-mind affair whose driving but loose-limbed groove provides a platform for exotic, droning and otherworldly guitar, sax and synth sounds. As with all great albums, Crossings gently builds towards a triumphant and memorable conclusion. The spacey Balearic/kosmische crossover of ‘Feeling Forst’, where darting intergalactic synth sounds rub shoulders with gentle acoustic guitars in a hallucinatory soundscape, tees up closing cut ‘Crossings’, the krautrock-rooted, sax-sporting slab of enveloping late-night beauty that first introduced listeners to Neumayer Station back in 2023. It’s a fitting conclusion to a staggeringly good debut album.

In 2023, k.d.b lived in a crumbling farmhouse on the edge of the River Maas. Each morning, he’d wake at 6:00 and walk along the river’s bank with his dogfriend Miemel, pausing at sunrise for a cup of coffee.

It’s 6:34, and a thick rug of mist rolls out across the river. It’s so dense that k.d.b can’t see the water beneath it. Then comes the sun: a single ray cutting through the mist like a tube of light, landing on Miemel’s face. In her mouth is a CD she’s picked up, and on the CD is the title Instrumental Romance.

'What is Instrumental Romance?' thinks k.d.b. 'Romantic instrumentals? Or a romance used instrumentally? As in, a romance used to get something—like love?'

Miemel drops the CD and turns her attention to a stray purple grape on the path. Grapes are poisonous to dogs, and as she bends toward it, k.d.b. shouts, “NO!” At that precise moment, a large fish rises from the mist. It launches into the air, mouth wide open, and hangs there above the clouds. His shout, having traveled across the river, bounces back towards k.d.b with a “NO,” and in perfect synchrony, it appears the fish is also shouting at Miemel. The timing is so perfect, they can’t be sure it isn’t.

The fish falls back down, entering its watery world with an eerie, splashless silence, leaving k.d.b and Miemel standing open-mouthed on the bank. Before they can register the perfection of this duet, another fish (or maybe the same one again) rises from the mist in the exact same spot and launches into the air. Without thinking, k.d.b shouts again. The word “ROMANCE” comes out. This time, however, he is slightly too late, and the word is too long, so “ROMANCE” lingers on after the fish has already fallen back down.

'What even is romance?' thinks k.d.b. 'The construction of mystery or excitement with dead red flowers and timing?'

A foghorn sounds behind him, and k.d.b turns 180 degrees to see a boat moving freight, right to left, along the River Maas. 'That’s strange', he thinks. 'If the river is there, then what’s that behind me, below the mist?'

Staring at the boat and its shipping containers as they float out of sight, k.d.b imagines a man. The man is standing at the bottom of a small valley, holding a fish. 'Who is this man, and what does he want?'

- Jacob Dwyer

From the maniacal opening notes and carnival barker howl that launch the album, The Ugly Organ wasted no time searing itself into a listener's ears and quickly established Cursive as a musical force with which to be reckoned. A selfaware examination of artistic constraints (or lack thereof), relationships, sex, and the intersection of all three, The Ugly Organ wowed critics and audiences alike with its cerebral, cathartic blend of songs. Fiercely intelligent and cohesive - the liner notes laid the songs out like a play, complete with stage directions - across its diverse sonic landscape, the album landed Cursive on the Sunday Arts & Leisure section cover of The New York Times (which also called it "a marvelous collection of riddles and left turns, conceived as a single piece of musical theater") and earned accolades from Rolling Stone ("a brilliant leap forward"), Entertainment Weekly, Billboard, Alternative Press, MAGNET ("The best punk record you'll hear all year"), Esquire, and SPIN, among many others, as well as a place on numerous year-end best lists. The Ugly Organ feels as vibrant and vital today as it did upon release more than 20 years ago. A landmark album, it not only catapulted Cursive from the simmering indie underground to the forefront of a genre, but also served to inspire a host of young bands in its wake.

Deadbeat Records is back with a debut 4-track EP from rising star Berwick. Four tracks of tightly produced breaks that range from moody and playful, uplifting to joyous - and everything in between. Will Hofbauer is on remix duties, and turns in a woozy, dub-soaked remix that sounds like it's been up way past its bedtime.

Early support from: Laurent Garnier, Identified Patient, DJ EZ, Doctor Jeep, Enzo Leep, AC Slater, Syz, Jay Carder, Alien Communications, Bake, Giant Swan, Yushh, Dead Man's Chest, Vladimir Ivkovic, Alien Communications, Shy One, Nala Brown, Andy Martin, Ehua, Ayesha, Sha Ru, Double O, French II, Tañ, Dadan Karambolo, Bokonon, An Taobh Tuathail, Shady Daoud, bake, Dax J, LWS, Gigsta, Nancy June, COLA REN, Yas Reven, Just Jane, Will Hofbauer, Guiltee

There are artists we occasionally happen across, even 14 years into our FatKidOnFire journey, where we know we need to work with them. There is material from said artists which sets our world on fire, and then there’s the four tunes that make up our first physical record in over two years. This one’s a long time coming, and also marks one of the first instances in FKOF Records where we welcome an artist to the family with a straight-to-record release. When you hear it, you’ll understand why. This is the long overdue FKOFv009…

Over the last decade and a half, the 140 landscape has been through its peaks and troughs. Tastes and styles change, but the one constant is when we find the right beats, bass and space we know we’re onto a winner. The international TRAKA collective caught our eyes and ears early on in their project – for all the right reasons. We’re delighted to welcome them to FKOF Records with a long-overdue record, as well as welcoming long time FKOF fam Oddkut back into the fold.



“The ninth outing on FKOF Records’ physical imprint opens with the anthemic voice of Rider Shafique joining forces with TRAKA for ‘Soo’. Hard-hitting truths, juddering percussion and a rolling low end so solid you can almost chew on it. Keep fighting and rise.

“Next up, we ratchet things up a notch with ‘Shock Em Up’. It’s an absolute unit of a tune, and when we get asked for what we mean by beats, bass and space this is our 2024 example. Effective heavyweight sonic warfare.

“FKOF009’s B-side opens with ‘Silus' – continuing along the foundations TRAKA laid on the A-side. Suffocating power, engaging atmospherics and a vibe that works at peak time on the dancefloor as well as it does opening or closing out the graveyard slot.

“We close out the record welcoming Oddkut back for his latest outing on FKOF Records with the TRAKA collab ‘Shake Junt’. It twists and turns through its first drop, before taking a completely new direction in the break. It’s an absolute groove and one that’s been a firm favourite for as long as it’s been in the bag.”

2025 Repress!

Recorded in a remote cabin on the Devon coast, STILL OUT is an album-length collaboration between musician-filmmakers – and childhood friends – Will Cookson and Tom Haverly. A reflection on friendship, landscape and the passing of time, it inspired a road trip from North Yorkshire to North Devon they took together in the summer of 2024, and forms the soundtrack to a film of the same name which had its premiere screening as part of Stroud Film Festival in March 2025.

Like the film, STILL OUT is also an oblique homage to The KLF’s iconic 1990 album Chill Out, which the Gloucestershire-based pair revisited after it turned up unexpectedly a few years back in Tom’s dad’s record collection. Inspired to create their own recording using a similarly free-spirited process, Will and Tom relocated to the Devon coast in late summer 2023, splicing together a 40-minute mix from their personal archive of recordings and found sounds in a remote cabin with no electricity or mobile reception.

"It came together using cut-and-paste techniques, with ongoing shifts and tweaks,” says Will. “The final result was an audio collage that felt like something legendary hip hop producers The Bomb Squad might make - if ambient music was the only material in their sample library."

Using ‘ambient’ as a starting-point rather than an end in itself, they took inspiration from across the musical spectrum – classic-period Brian Eno, Philip Glass, Bill Evans, plus outliers such as 80s singer-songwriter Virginia Astley and the late DJ-producer Andrew Weatherall. The connections, though, are anything but obvious as the audio shifts seamlessly from field recordings and spoken-word interludes to mood pieces and snatches of vintage pop.

Edited and assembled using freely available open source programs, the source material was often radically altered using tools such as “PaulStretch”, a digital sound-morphing algorithm that allows users to stretch audio files to extreme lengths.

"When we found ourselves in a creative slump or unsure how to navigate a tricky part, we'd say, ‘Let's put some syrup on it and slow it down,’” says Tom. “That always helped us get back on track during late-night recording sessions at the cabin."

Part-soundtrack, part-meditative experiment, STILL OUT is intended as a reflection on the mental and emotional shift that occurs when stepping away from the routine of daily life – an album that forms a celebration of our ever-changing relationship to the world around us and the mystery of what it means to pass through time and space.

“The true follow up, 35 years later, to The KLF’s ‘Chill Out’”.
JD Twitch (Optimo).

An ambient journey reflecting on friendship, the British landscape - and The KLF’s landmark album Chill Out

"This record and film are just lovely. You need this in your life. Moo-Moo!” Balearic Mike (Down To The Sea & Back)

"The album is a perfect companion to the KLF classic, utilising the British countryside as the setting, occasionally reminding you that Mother Nature is not to be messed with.” Strictly Kev (DJ Food)

"A beautiful ambient journey into the landscape, taking the listener from reality to dream state and back again. A mystical realm full of mysterious chanting, rattling trains and sounds from the very depths of the earth."
Lally MacBeth & Matthew Shaw (Stone Club)

Manteca’s 2014 album, first time on vinyl. Manteca, the London Latin jazz/salsa funk combo, are back with a first-time vinyl release of their brilliant digital album “Oye” from 2014. “Oye” is a collection of heavy-duty Latin music that reaches well beyond the standard salsa or Cuban dance-band style, appealing to anyone and everyone, from mambo dancers to B-boys, jazz brothers to soul sisters! Led by Colombian singer Martha Acosta and bassist Javier Fioramonti, who have played with everyone from Roberto Pla and Candela, to Alex Wilson’s groups and Salsa Celtica, as well as backing Latin legends such as Joe Bataan, Jack Costanzo, Henry Fiol and Azuquita, this band really cooks! “Que Pasa” is smoking Latin funk, this will get your head nodding and foot tapping for sure.“Oye”, a lovely mid-tempo Afrobeat/Latin jazz fusion number with punching brass and super-funky kit playing. There are three cover versions on the album: Horace Silver’s “The Jody Grind”, a 1960s Blue Note Records soul jazz classic. Manteca does it justice, taking the original and turning it into a heavy Mongo Santamaria style funky Latin soul belter. Sergio Mendes’s “Groovy Samba” is also given the 1960s Mongo “Watermelon Man” style Latin soul jazz treatment. Very hip arrangement, and some fantastic brass soloing in there too. The last one is a brave choice. It’s the timeless bolero standard “Como Fue”, which the band plays beautifully. “Para Pello” (“For Pello”), a conga-style big percussive beat that evolved from Afro-Cuban street carnivals. Secondly, “Bomba Chevere”, a blend of Puerto Rican bomba and Colombian cumbia. The big Afro-Cuban track of the album is “Descarga China”, which has two different mixes. One is a descarga funk mix with some heavyweight kit playing and smoking trumpet soloing, while the other is a more straight-ahead Latin jam with Javier’s upright bass playing underpinning the whole number in a very Cachao way. Big shouts to the whole band, which features some of the best musicians from the London Latin music scene of the last three decades. These cats are as good as you’ll get in Latin music from anywhere across the world.This London Latin music gem has been crying out for a vinyl release for over a decade. At last, it's here. Slap it on the turntable, drop the needle on track one, turn the volume up, press play and be ready to dance. Standing still is NOT an option! DJ Lubi (One Jazz / Totally Wired Radio)

Due to demand (and that we zero copies of their vinyl studio album left, and only a few of their live vinyl album), we've compiled all the tracks from both (and more - see below), we're reissuing them both on a 2xCD with a 24-page booklet. Before Suicide had really made it to the West Coast, Grey Factor were working in a similar realm - early post-punk, a little before punk (as such) and proto-industrial music. Here's what the band has to say: The future is tricky - and while we may have been left behind, this is our attempt to catch up with it. We offer a double CD capturing everything we've ever recorded. The Future Arrives Without You includes the previously released vinyl LPs - 1979-1980 A.D. Complete Studio Recordings and A Peak In The Signal: Live 1979-1980_plus a few surprises, including our first new studio tracks in 45 years. Both songs are covers, Wire's 12XU and Campag Velocet's Sauntry Sly Chic, and nine more lost studio tracks. 12XU was a jolt of pure adrenaline_two minutes of perfection from one of the era's best bands, a huge influence on us. Sauntry Sly Chic, from a group few remember but we never forgot, had one of the most infectious grooves we had ever heard. We also loved their lead singer's live getup: a cycling helmet and fencing gear. Perfection. These tracks inspired us to head back into the studio after four decades away. On A Peak In The Signal, we've added nine unreleased pieces we call the In-Betweens. Created out of necessity in 1979-1980, pre-recorded and played between our live performances, these sonic interludes filled the dead space while we reprogrammed our temperamental analogue synths between songs. Absurd, experimental, audience favourites.

The engine idles low. The story is almost told. Jaguar On Palisade 3 marks the final descent in a trilogy carved from fog, memory, and cold chrome — a farewell wrapped in smoke and steel.

CRIMEAPPLE weaves through late-night laments and razor-edge reflections, cruising past ghosts and gilded silence, traveling over cinematic productions by trusted collaborators: DJ Muggs, DJ Brown 13, Michaelangelo, Buck Dudley, Loman, DJ Skizz, and Comma Uno. Each beat is a scene; each bar, a flicker of something lost. There’s heat, there’s hunger, and the creeping calm of finality.

It’s not about where we’re going — it’s about what we’ve already left behind. Pressed on limited edition vinyl for those who’ve been riding since the ignition turned. No reruns. No reissues. Just one last ride.

Originally released in 1973 and pressed in very small quantities, Emerge is the second album by the McCrary family and their non-gospel debut. Long sought after by collectors and modern-soul and funk connoisseurs, it's an exemplar of what was considered "progressive soul" in the early 70s as well as what emerged a generation later as "neo-soul." This long-overdue reissue was produced with the full cooperation of the McCrary family and gives this remarkable record wide distribution and easy accessibility for the very first time since its initial low-key release over half a century ago. The McCrary family started out as a gospel group in their native Youngstown, Ohio but turned to secular music upon relocating to Los Angeles in 1970 and recording this album for the tiny Cat’s Eye label of Beverly Hills. The music veers between sophisticated, jazzy R&B (Charity McCrary’s beautiful “Matter Of Time”) to occasionally grittier funk (as on “Kung Fu”). “Be A Father To Your Son” and “People Run On Love” bear messages that are still relevant decades later. The McCrarys would later gain wider recognition with their hit “You” featuring Stevie on harmonica and with “Any Old Sunday” which was memorably covered by Chaka Khan.

Undiluted - a highly anticipated collaborative Hip-Hop album from two of the underground’s most respected artists, Cymarshall Law and Ramson Badbonez, One Nation Exclusive.