Ariadne's Labyrinth returns with Endless Corners on Adepta Editions. Classically trained yet shaped by London's illegal rave scene, her distinct sonic language is born from live improvisation. Following acclaimed releases on Detroit Underground and Touched Music, this EP seamlessly intertwines the dense, physical pulse of underground club culture with breathtakingly beautiful string arrangements. It is a visceral journey, bridging heavy dancefloor tension with vulnerable, chamber-esque introspection.
*Originally pressed in 2021 - this is a brand new master and cut.**
In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.
Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:
"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."
Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:
"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."
An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.
On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.
'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.
Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.
Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.
The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."
Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.
Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."
The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."
Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.
To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.
This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.
Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.
Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.
The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."
Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.
Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."
The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."
Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.
To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.
This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.
“I am not sure which of us it is that's writing this page” - Jorge Luis Borges. There are places where a river runs through the story even when you cannot see it. Austin Cash grew up in the Arkansas Delta, and Nathan Smerage in the Chicago suburbs, their paths crossing years later in Fayetteville, Arkansas, where both became members of the Ozark Free Music Society, a loose congregation of musicians who made free and experimental music in non-traditional venues across the city. ‘River Season’ began as an impulsive text sent to Smerage in the summer of 2024, Cash suggesting they should make an album of guitar duets. Calling his bluff, Smerage returned a folder of recordings within a week. Cash had a handful of pieces of his own, originally written for an unreleased film about an Ozarks ceramicist. The songs began traveling back and forth between them by email, however, after opening for the Magic Tuber String Band and playing the compositions live for the first time together, realised the decision to record them live was the only true option. For four days, in the basement apartment where Cash lived, they recorded River Season live. The result is a meticulously composed collection of steel-string guitar music: part folk record, part road map.
Fahey and Ackerman are somewhere in the distance, alongside Bert Jansch, Nick Drake, Marisa Anderson, Nathan Salsburg, Loren Connors, and others. But River Season belongs to neither Arkansas nor Chicago entirely. Cash grew up in Arkansas before moving to Chicago, whereas Smerage grew up in Illinois before moving to Arkansas. River Season catches the two musicians at an intersection in their paths; it belongs to the stretches of road and rivers between them, real and imagined. "This new collaboration between Austin and Nathan is intimate and tonally diverse. Many of the tracks see Austin playing acoustic and Nathan on electric. The statements are succinct (all but two clock in under four minutes) and idiosyncratic. "Bell Harp" and "Painting Friend" are two stand out examples for me in which the textures of the electric/acoustic pairing play off each other in a way that I can't say I have encountered before." -Evan Morgan (Magic Tuber Stringband)
Rubbermaidxxx is a recent music performance project by the Irish artist Anna McCarthy, rather than simply the title of one autonomous artwork. Rubbermaidxxx is a character or unstable identity, an emancipatory underdog with a heart for daredevilry. The project sits naturally within McCarthy’s larger practice, which moves between drawing, assemblage, happenings and collective actions.
Clad in a black balaclava and fetish climbing wear, she abseils from buildings before entering the stage. For the first performance in New York City, she was invited by Kyp Malone of TV on the Radio to perform at his club Francis Kite Club in Alphabet City, NYC and since has continued to make a name for herself hanging off façades, singing, dancing and mopping the floor together with her performance collaborators Miss Philip a.k.a. Philip Errico and Michael Tapper at Pianos NYC, Kottbusser Tor and Genezarethkirche Berlin or the Villa Stuck Museum in Munich.
The album was produced in Munich and New York in 2025 in collaboration with her brother Nick McCarthy (Franz Ferdinand) and Anton Kaun (Rumpeln). What started as a quick improv turned into a high-energy 4-hour session of the siblings playing manic ball with beats, bass, guitars and vocals resulting in what laid the basis to this album. In the weeks following, Anna McCarthy, who is known for her cut-up production style, reminiscent of albums such as White Noise or Flying Lotus, continued to develop the vocals, performance and music by mixing in an amalgam of field recordings with her narrative spoken word, including sounds of protests, dollar stores or ice-cream trucks, as well as collaborating with the noise artist Rumpeln for the last two tracks of the album.
McCarthy is also known as the lyricist and singer of What Are People For? (debut 2022 on Alien Transistor) with its dystopic dance music candy-cane shows and equally humorously critical tongue-in-cheek bangers such as Bring back the Dirt, Drones or Partytime. Anna McCarthy's spoken word, social urgency and enthusiasm to experiment across mediums is comparable to other contemporaries such as Moor Mother, Miho Hatori, Gonjasufi, Tricky, or Cibo Matto.
The name itself is telling. Rubbermaidxxx evokes elasticity, artificiality, domestic labour and the commercial world of cleaning and garbage. It suggests a body capable of stretching, absorbing filth and cleaning up after society – only to revolt against the role it has been assigned.
Rubbermaidxxx is a master of deception, juggling fact and fiction as a reflection of our times – a diamond thief, a protester, or even responsible for the Louvre heist? This album invites the listener and viewer in, playfully dismantling hierarchies and power structures as she goes through a hopeful amalgam of dance, protest & love songs.
With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.
It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.
Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.
Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.
Hope & Sorrow turns 20: Wax Tailor announces a limited collector's edition in Orange & Black Marbled double vinyls.
Twenty years ago, Wax Tailor released Hope & Sorrow, his second album. Following the success of Tales of the Forgotten Melodies, this new record confirmed and amplified a trajectory already well underway. Gold record certification, a world tour, an Indie Music Award in the United States, and a nomination at the Victoires de la Musique in the "Best Electronic Artist" category: Hope & Sorrow would firmly establish his singular world, blending trip-hop, finely cut samples, and cinematic arrangements, far beyond French borders.
Two decades later, Hope & Sorrow has lost none of its power. To celebrate this anniversary, Wax Tailor unveils a limited collector's edition on double gatefold vinyl, crafted both for those who have followed the album since its release and for those discovering it today.
An opportunity to revisit a pivotal record in his discography, one that played a major role in establishing Wax Tailor on the international stage.
For the seventh edition of the Vega Records 5 Pack Unreleased series, Louie Vega once again opens the vault to reveal a special collection of unreleased recordings, alternate versions, remixes, demos, tribute reworks and deep cuts from the Vega Records musical family.
5 Pack Unreleased VII brings together 15 tracks across five 12-inch records, showcasing the wide musical spectrum that has always been part of the Vega Records story. From soulful house and deep grooves to jazz, soul, Brazilian influences, live instrumentation, Latin influences, powerful vocals, disco-rooted rhythms and the freedom to experiment in the studio, this collection moves through many different sides of the music.
Some of these recordings have been waiting patiently in the vault. Others represent alternate versions of songs that continue to evolve through different interpretations. Together, they create another musical journey through the sounds, collaborations and ideas that have shaped the Vega Records universe.
These final recordings speak to something that has always been important to Louie’s musical journey: respecting the music that came before while finding a way to reinterpret it through his own musical language.
From Loleatta Holloway and Duane Harden to Elements Of Life, 2SoulFusion, Domo Domo, Brutha Louie & Brutha Basil, and the tribute recordings, 5 Pack Unreleased VII brings together different generations, different voices and different musical influences under one roof.
The Elements Of Life sound continues throughout the collection, with “Sunshine (I Can Fly),” “Every Step” and “Dreamer” offering special previews into the musical direction of the forthcoming 2027 Elements Of Life album.
This is the seventh chapter of the series, but the philosophy remains the same:
Open the vault.
Share the music.
Let the DJs discover it.
Let the dancers feel it.
Five records.
Fifteen tracks.
A collection of unreleased music, special versions, studio discoveries, tributes and musical experiments from the world of Vega Records — with plenty more waiting inside the vault.
Do not adjust your tuning! Cowper emerges disc in hand from the liminal static, exposing us all to his peculiar brand of outsider club chaos. Boldly, slowly, Goa-ing into the fray, these three tracks chew your ear off in the sonic language of acid, trance and progressive house, churning and gurning their way deep into the darkness. In the time since the first dispatch of edit excellence, Cowper’s Between Stations has firmly established itself as an essential underground outpost, adding tape releases by Tolouse Low Trax, Zato and Miles J Paralysis to a growing catalogue of genre-fluid mayhem, consistently captured by his essential Noods Radio shows. Introducing itself with a gut punching kick and gurgling prog throb, the first track here is simultaneously upbeat and downcast, a glorious gloom-core ode to narcotic indulgence.
Extra-terrestrial pads and choral synth hark back to childhood days of Perfect Dark before a trance lead interrupts all remaining neural connections. When that snare lands in the second half we’re in fully fledged techno-pagan mode, red-faced and rushing right till the end. Assuming that even xenomorphs dance sometimes, this end of the world apocalypso is absolutely their jam. Track 2 tunnels further into the planetary core, 16bit woodblocks and bells sitting atop synthetic swells and hoover-ish vamps, before a hooning bassline drops like a sledgehammer on your unsuspecting ear drums. An unexpected, but very welcome left turn into mid track breakbeat provides a moment of airy reprise before we lock back into the cavern-shaking groove until the run out abates. For the encore, Cowper didgeri-doesus with the oscillating bass and molasses-apache break of a techno-tribal, prog-frog delicacy. Complete with the type of mantra vocal usually found on pound-bin trance or superspenny Dream House rarities, and a little acid-gwamph resonance abuse Josh Wink would be proud of, this chug-athon sounds a bit like Psychic TV tuning into Psy-trance, which is a very good thing indeed. Dark, dense and musky stuff that will drive a proper dance floor wild.
Rekombinant is the solo project of Rome based composer and sound artist Alfonso Montagnese. Blending electroacoustic composition, analogue electronics, magnetic tape and sound design, his work explores the physical qualities of sound, embracing imperfection, transformation and degradation as expressive compositional tools.
Borrowing its title from the physical principle of parity symmetry, the album is less interested in scientific theory than in the possibility that an identity may endure even after profound change. Sound is treated as matter, it is stretched, reflected, saturated, compressed and displaced, yet never entirely separated from its origin.
Magnetic tape is the medium through which this question unfolds. Magnetic tape does not preserve sound faithfully, it reshapes the sound. It compresses, saturates, colours and gradually erodes it, producing not a copy but another state of the same material. Every recording becomes both document and transformation.
Most of the instruments used throughout the album were selected from more recent generations of electronic equipment compared to previous works. Their character is not defined by nostalgia, but by their functional and sonic qualities: instruments chosen for how they behave under pressure.
The album consists of fourteen compositions, each one approaching sound as a material in continuous state of alteration and was conceived within what feels like a new Middle Ages, one that is still unfolding. An era marked by increasing fragmentation, uncertainty and the erosion of shared cultural references. The music does not illustrate this condition; it absorbs and inhabits it.
Throughout these fourteen pieces, sound continuously changes its appearance without abandoning its identity. What remains after every inversion, every saturation and every layer of magnetic degradation is not certainty, but persistence.
Parity Symmetry is Conserved is ultimately an exploration of that persistence: the fragile possibility that memory, identity and human experience may continue to exist, even after passing through irreversible transformation.
Ramjac Corporation, aka Paul Chivers, emerged from the UK's late-'80s rave underground, performing live at parties like Sunrise, Energy, Back to the Future, Fun-da-Mental and Synergy. Building tracks with an Atari computer and an E-MU 12-bit sampler, turning severe technical limitations into raw, elastic club music, 88-92: It is What it Was gathers music born in bedrooms then tested in front of crowds at warehouse raves, while the culture was still inventing itself without boundaries, completelyfree.
Ramjac was the original artist on Irdial Discs, following label founder Akin Fernandez's Aqua Regia, and introduced Lee Purkis' In Sync and Neuropolitique to the label, shaping the singular catalogue of that extraordinary imprint alongside Luke Slater's Morganistic, Thee J Johanz and Anthony Manning.
That legacy is now revisited by Musique Pour La Danse, with the release of a limited edition vinyl and digital edition featuring extended liner notes by Nick Halkes of XL Recordings, Positiva and Kicks Like A Mule fame, who witnessed the early Ramjac period first-hand. The release is illustrated by Grant Fulton, who created the visual identity for The Shamen's Synergy events and Orbital albums.
This album presents music written exclusively between 1988-92 and forms the foundation of Ramjac Corporation's ongoing live performances. Restored from the original floppy discs, the recordings preserve the uniquerelationship between early digital technology, sampling culture and live improvisation that defines the Ramjac approach.
Mixed for release for the first time by Trevor Lancaster-Smith, whose 90s engineering work encompassed Leftfield, Faithless and Roni Size, the album brings these compositions into sharp focus while preserving the character of the original instruments and performances. Not just a historical document, 88-92: It is What it Was is a living body of work: music created then, realised now, and continuing to surprise and evolve.
Devotional and visceral, patient and euphoric, a poem, a hymnal. Shygirl calls Swallow! a reintroduction. Her 2022 debut Nymph announced an artist fluent in sonic languages: slippery club structures, toothy pop hooks, juicy production—music that invites you to come closer, pay attention, keep up. That magnetism took her from the electronic underground to the foreground of contemporary pop. She’s collaborated with producers Sega Bodega and Mura Masa, Charli xcx, Arca, SOPHIE, fka twigs, and Björk, and performed on stages across the globe. Swallow! is a new kind of rapturous indie songwriting, woven through the electronica she came from, recorded with Karma Kid and Casey MQ. It is the scripture of the cult of falling in love—radiant, clear-eyed, all-encompassing, divine transformation. “I want people to remember how big the world is even when you feel so small and singular,” she says. “Swallow! is the soundtrack to that experience. “This record is my message in a bottle. Let’s see who picks it up.”
Originally released 1996 on the short-lived Picnolypsis Records (DE) - Down D.C. and Analog Consciousness take a side each for a raw, stripped-back excursions into underground acid house. Driven by hypnotic drum programming, rolling low end and corrosive 303-style lines, the record captures the rough-edged spirit of mid-90s European club music. Long buried in obscurity, the record's reputation has quietly grown amongst DJs. The spotlight now shining on it further after Down D.C.'s Acid-House Part 2 was played on Shanti Celeste’s BBC Radio 1 residency.
This first time re-issue features a remix from Pacific Coliseum - alter ego of Canadian artist Teen Daze.
Kokoroko today announce Tempos Difíceis Sempre Passam, a new remix EP reimagining tracks from their acclaimed album Tuff Times Never Last through the lens of some of Brazil's most exciting contemporary artists.
Translating the album's title into Portuguese, Tempos Difíceis Sempre Passam reflects both the enduring message at the heart of the original record and the creative dialogue between Kokoroko's expansive musical world and Brazil's rich, genre-defying music scene. The four-track collection brings together a handpicked group of artists whose individual approaches blur the boundaries between a variety of genres and contemporary Brazilian sounds.
To be released digitally and on limited vinyl, the EP also sees the return of acclaimed artist Luci Pina, whose artwork for Tuff Times Never Last is reimagined for this new chapter, creating a visual thread between the original album and its Brazilian counterpart.
Leading the announcement is Never Lost (Luedji Luna Remix), available now on all digital platforms. The celebrated Brazilian singer-songwriter brings her unmistakable warmth and emotive vocal sensibility to the track, offering a beautifully understated reinterpretation that deepens the song's themes of hope, resilience and togetherness.
Completing the EP are three further remixes from across Brazil's vibrant musical landscape. Onome of Kokoroko joins forces with acclaimed guitarist Nyron Higor for a richly textured rework of Da Du Dah, while producer Aleh Ferreira delivers a rhythm-driven reinterpretation of the same track. Closing the collection, Bruno Berle transforms Closer To Me with his signature blend of intimate songwriting, Brazilian groove and experimental pop sensibilities.
Together, the remixes offer fresh perspectives on Tuff Times Never Last, extending the album's spirit of optimism while celebrating the creative connections between London and Brazil.
Kokoroko today announce Tempos Difíceis Sempre Passam, a new remix EP reimagining tracks from their acclaimed album Tuff Times Never Last through the lens of some of Brazil's most exciting contemporary artists.
Translating the album's title into Portuguese, Tempos Difíceis Sempre Passam reflects both the enduring message at the heart of the original record and the creative dialogue between Kokoroko's expansive musical world and Brazil's rich, genre-defying music scene. The four-track collection brings together a handpicked group of artists whose individual approaches blur the boundaries between a variety of genres and contemporary Brazilian sounds.
To be released digitally and on limited vinyl, the EP also sees the return of acclaimed artist Luci Pina, whose artwork for Tuff Times Never Last is reimagined for this new chapter, creating a visual thread between the original album and its Brazilian counterpart.
Leading the announcement is Never Lost (Luedji Luna Remix), available now on all digital platforms. The celebrated Brazilian singer-songwriter brings her unmistakable warmth and emotive vocal sensibility to the track, offering a beautifully understated reinterpretation that deepens the song's themes of hope, resilience and togetherness.
Completing the EP are three further remixes from across Brazil's vibrant musical landscape. Onome of Kokoroko joins forces with acclaimed guitarist Nyron Higor for a richly textured rework of Da Du Dah, while producer Aleh Ferreira delivers a rhythm-driven reinterpretation of the same track. Closing the collection, Bruno Berle transforms Closer To Me with his signature blend of intimate songwriting, Brazilian groove and experimental pop sensibilities.
Together, the remixes offer fresh perspectives on Tuff Times Never Last, extending the album's spirit of optimism while celebrating the creative connections between London and Brazil.
Following the events of Pussy Disco (SCCD 021) ...
The nights in Hong Kong did not remain a secret for long. Word spread silently through the feline world, and the gatherings grew until the music no longer belonged to a single hidden basement. The cats had found something of their own.
Their new destination became Macau. Long after midnight, when the casino floors fall silent and the roulette wheels come to rest, they emerge from hidden passages and forgotten service corridors to throw their own secret parties. The gaming tables become dance floors.
The remixes played during these nights were all commissioned by the legendary feline Primadonna Disco Queen Beast (PDQB), reimagining tracks from the original Pussy Disco album. The most celebrated DJ cats perform with nothing but their claws, tracing the grooves like perfectly balanced styli. Their oversized ears become living loudspeakers, carrying every microscopic detail through the vast halls.
Before dawn, the music fades. The cats disappear without a sound, leaving the roulette tables exactly as they found them. When the first employees arrive, there is no sign that anything happened during the night.
Over the years, PDQB commissioned countless remixes of tracks from Pussy Disco. The eleven collected on this double vinyl were all played during the legendary Sunrise Sessions - the final hours before daybreak, when the parties reached their absolute peak. These are the remixes the cats returned to again and again, making them the undisputed classics of Macau's underground feline nightlife.
Statik Selektah links with Nina Sky for a limited 7" release, bringing together two names deeply rooted in the city’s hip-hop and club history.
Boston-born producer and DJ Statik Selektah has spent the last two decades building one of the most consistent catalogs in underground and independent hip-hop, working with artists including Nas, Joey Bada$$, Bun B, Action Bronson and countless others. Nina Sky — twin sisters Nicole and Natalie Albino — broke through in the early 2000s with their global hit “Move Ya Body,” becoming a defining voice in New York’s crossover between hip-hop, R&B, dancehall and club music.
The full vocal version appears on the A-side, backed with the instrumental on the flip.
Pressed in a strictly limited edition of 100 copies, this one is made for collectors, DJs and anyone looking to add a proper modern 45 to the crates.
A hot slice of Latin dance music — produced by the legendary Masters at Work, the house icons and masters of that Nuyorican sound, “Little” Louie Vega and Kenny “Dope” González — from Los Amigos Invisibles, the Venezuelan band who have spent decades perfecting the art of getting away with everything.
Packed with raunchy songs (of course) that fuse every American genre under the sun — from salsa to acid jazz to disco to funk — this record tore up dance floors twenty years ago.
Minutiae is the first full-length release form Stockholm’s Ināra Quartet, made up of brothers Kasper (guitar, banjo, mandolin) and Mauritz Agnas (bass, cello), Johan Graden (piano, harmonium, synths) and Mischa Grind (percussion). Drawing on wide performance and composition experience in free improvisation, jazz, and composed new music, the quartet have carved out a unique niche where radical approaches to rhythmic organisation and group interaction are wedded to immediately accessible, folkish melodic and harmonic material. Unfolding briskly across eight pop-song length tracks, Minutiae places these folk fragments under a microscope, expanding them into intricate patterns of group interplay by turns austere and lushly psychedelic.
The quartet’s layering of independent rhythms, pulses, and tempi suggests a range of precedents, from Ligeti’s ticking clock textures to the pulse music of John McGuire, the repeating asynchronous cycles of The Necks, and the intricate irregular crosshatching of Banda music. Rhythm, harmony and melody shade into one another within each of the instrumental layers that overlap to form the music’s rippling surface. At points guitar, bass, percussion, and keyboards can seem each to occupy their own world, each player moving independently according to their own internal tactus, but attention to the details of group interplay reveals carefully planned collective movement. On ‘Klapparen’, strummed acoustic guitar chords and clinking percussion accelerate and decelerate in unison, washed over by floating synth lines. At other points, the quartet as a whole suddenly shift direction like a This Heat tape edit. Check the opener ‘Box Pieces’, where a brief percussion tag cues an unexpected cut from frenetic layering of percussive attacks undergirded by slow moving synth and bass foundations to a rumbling, locked-in dirge.
The eight pieces span a range of tones, from plaintive abstraction to surging minimalism. Touches of whimsy relieve any threat of over-seriousness: witness the wacky electric guitar glissandi that open ‘Tilting’ or the lovely, almost Pascal Comelade-esque fairground wobbles that begin the wayward journey of ‘Cadence: not even,’ before it stumbles into a totally different zone of spacious Paul Bley balladry sprinkled with banjo plucks. Recorded across two days at Stockholm’s Atlantis studios, Minutiae’s minutiae truly sparkle thanks to the careful mixing work of Ghosted drummer extraordinaire Andreas Werliin. A wonderfully approachable document of the richness of the next generation of contemporary creative musicians from Sweden, Ināra Quartet’s debut also looks back to 70s touchstones like Archimedes Badkar in its joyful embrace of musical collectivity.
