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HiIDAS ist ein instrumentales Trio aus München, das sich im Doom Metal verortet, aber dessen Grenzen gerne überschreitet. Gegründet hat sich die Band im Frühjahr 2023, Flo Bätz (Gitarre), Christoph Mühlbauer (Drums) und Richard Noyn (Bass) haben allerdings schon in verschiedenen Bands zusammengespielt und machen somit schon jahrelang Musik zusammen. Dies zeigt sich darin, was für eine tighte Einheit sie sind und das erlebt man am besten auf einem ihrer Live- Konzerte. Die vermeintliche Lücke im Sound und Storytelling einer Instrumentalband verstehen Hidas durch ihr intelligentes Songwriting nicht nur zu schließen, sondern zu ihrer Stärke zu machen.

NEW VERSION ON WHITE VINYL! After turning heads with the relentless 2024 EP Råtner på rot, Jordsjuk are back with their full-length debut: Naglet til livet (translates to 'Nailed to life'). Across twelve tracks and 36 minutes, the band delivers a visceral strike of raw, uncompromising metal - free of gloss, gimmicks and nonsense. Naglet til livet is a kaleidoscope of destruction, decay, and ugliness, the band states. From the thrash-fueled chaos of "Grovt skadeverk" and the suffocating aggression of "Parasitt", to the punk-driven decay of "Rennestein" and the gloomy introspectiveness of "Svikter den neste", this is the sound of filth, concrete, ruin, and rage. Twelve tracks of in-your-face, riff-driven and organic metal. Jordsjuk consists of Renton (drums), Mannevond (vocals), Sagstad (guitars), and Larsen (bass) - seasoned musicians from the Norwegian underground. Their sound sits somewhere between black, death, thrash, punk, and rock, forging a sonic identity as raw as it is deliberate. The lyrics, written in Norwegian, dive into personal collapse, trauma, and apocalyptic despair, delivered with uncompromising honesty. Drums were recorded at PhatCat Studios (Rygge, Norway), with the rest captured at various locations in Oslo. Mixing was handled by Kurt Ballou (Converge) at God City Studios (Salem, MA), while Brad Boatright took care of mastering at Audiosiege Studio (Portland, OR). The result is exactly what it needs to be: dirty, sharp, and heavy. Jordsjuk is necro music for necro times, says the band, and after hearing Naglet til livet, it's hard to disagree. The band were booked to by:Larm festival and Midgardsblot in 2025, and it's on stage that their sonic violence truly takes over. For those who've seen them live, expectations are high. For everyone else - prepare to be run over.

First Word Records are proud to bring you 'Penny Ballads', a 5-track EP from Royce Wood Junior. Royce Wood Junior is a Grammy & Mercury Award-nominated musician, songwriter and record producer from London, currently based in Brighton. As a multi-instrumentalist, he's collaborated with a litany of brilliant artists over the years, such as Jamie Woon, Nao, Disclosure, Jessie Ware, Olivia Dean, Joy Crookes, Jamie Lidell and Jordan Rakei, additionally to touring with the likes of the legendary Thomas Dolby. He's released two acclaimed solo albums to date ('The Ashen Tang' in 2015, and 'No Two Blue Ticks' in 2021). 'Penny Ballads' demonstrates RWJ's varied talents, with a collection of alternative soul compositions, each one as unique as the next. It includes the first two singles, the Poplife-Prince era flavoured 'Go Get Your Money', and the double-time future funk adrenaline shot, 'Clean Up', along with three previously-unreleased tracks. 'Beretta' is low-slung soul funk, beginning with quirky squelchy synths, before the soulful lead vocal of feature artist Lucey Way breezes in to melt everyone's hearts. 'Things' sweeps in next, an infectiously soulful midtempo heavy soul bop, with an instant earwork of a hook, like a modern-day Steely Dan / Doobie Brothers, complete with a head-nodding string section to end the track. The collection concludes on a more melancholy downtempo tip with 'Rolling'; an almost-folktronic anthem, with a key refrain that wouldn't be out of place on a 70's Stevie piece. RWJ (aka Jim Wood) says of this project… "Back in the 17 and 1800's Troubadours and minstrels would go from Tavern to Tavern selling Penny Ballads, single sheets of music and lyrics written quickly and frivolously to make a quick buck.. It strikes me that we're in a similar phase in the way we value music in 2025. An old Penny Ballad was cheap and dog-eared, ink-smudged, sung aloud by firelight, Now songs live in the digital ether, dissolved in the air, a ghostly breath paid in micro cents. The new era of Penny Balladry is here, and weird. This EP is a snapshot of my writing over a two year period. Focussed on minimal recording styles, one mic on the drums, generally first or second takes on parts and vocals, I wanted the music to feel like small moments with lyrics that talk about the weird nuances of being alive as a latter stage human on the cusp of the Ai revolution. Culturally so evolved, but physiologically still just a bunch of mammals walking about with primitive fears and needs. Just trying to reconcile it all moment to moment…" Previous support for Royce's music has included Radio 1's Future Sounds, BBC 6 Music's New Music Fix, Annie Mac, Clara Amfo, Jo Whiley (BBC Radio 2), Mary Anne Hobbs, Jamz Supernova, Tom Robinson, Huw Stephens (BBC 6 Music), Zane Lowe and MistaJam. There have been sessions previously for the likes of Red Bull and press from Huck, Line of Best Fit, Clash, Aesthetica & DIY magazine. Entirely self-written and self-produced, this EP gives a solid taste of RWJ's talents. A deeply funky diverse set of music from an immensely talented individual. 'Penny Ballads' is due to be released on vinyl & digital, 24th October 2025. The vinyl version also includes an exclusive additional mix of the first single 'Go Get Your Money'. TRACKLIST: 01: Clean Up (EP Mix) 02: Go Get Your Money 03: Beretta (feat. Lucey Way) 04: Things 05: Rolling 06: Go Get Your Money (B-Sharp Mix) Deconstructed Mixes

Already fifteen years that Cléa Vincent has been stepping on stage with that childlike fervor, that passion for pop and its elasticity, from her early days in Parisian bars to last year’s show at the Bataclan for the release of her third album Advitam Æternamour. You could say she needs no introduction, her name being inseparable from some of the most exciting work to emerge in contemporary French independent music. From the very beginning, she asserted her taste for spontaneous, candid, sunlit music, turning her songs not only into spaces of introspection but also into small capsules for dialogue. She collaborates constantly, with Kim Giani, Jeanne Balibar, Alison Wheeler, Jacques, NUSKY & VAATI, João Selva, Les Clopes…driven by a desire for sharing, for visions that meet and collide across genres. Alongside her work as a composer, she dedicates herself to giving a voice to the artists around her, notably through her show Sooo Pop, broadcast on YouTube in 2018 and 2019, where she welcomed guests as varied as Christophe, Moodoïd, Mathilde Fernandez, Katerine, and The Pirouettes. Like others of her generation, she claims the influence of francophone pop from the 1980s, but rather than being a successor to Jacno, Cléa draws from everything that shapes her era, fully plugged into the present, its faces, its energies, its collisions. She travels too, a way of reshuffling the cards of her inspiration, and her discovery of South America, of bossa nova and samba during her tour dates, became the catalyst for her series of EPs Tropi-Cléa.

"Collision Drive" ist Alan Vegas zweites Solo-Studioalbum, das ursprünglich 1981 rausgekommen ist. Während sein Debütalbum den Grundstein für eine rohe, minimalistische Interpretation von Rockabilly und Blues gelegt hat, erweitert Collision Drive" die Palette mit einer raueren, vielschichtigen und ungefilterten Energie. Hier greifen Vegas Texte universelle Themen auf, die in seiner Faszination für das Straßenleben, Science-Fiction, Politik, Comics, Liebe und die Geheimnisse des Universums verwurzelt sind. Es ist ein Album, das vor Gefühl und Rebellion pulsiert und das gesamte Spektrum menschlicher Erfahrungen sowie Vegas sich weiterentwickelnde Vision zeigt. Alan erfand sich immer wieder neu, schuf und verfeinerte seine Meisterschaft der Variation und behielt dabei seine eigene unvergleichliche und unverwechselbare Ästhetik bei. Klanglich ist dieses Album dynamischer als sein erstes. Collision Drive" verzichtete auf Drum Machines zugunsten eines Live-Drummers und holte eine Hardrock-Band als Begleitung hinzu, wodurch es eine andere Sichtweise auf Vegas künstlerische Vision bot. Der schmerzhafte Punk-Rockabilly von Magdalena 82" entfaltet sich mit einer hypnotischen Mischung aus Gitarren-Slides und frenetischer Energie, während Vegas Cover von Be Bop A Lula" Gene Vincents Klassiker in ein aggressiv aufgeladenes, manisches Heulen verwandelt. Andere Tracks wie der treibende kosmische Rock 'n' Roll Raver" dringen in Psychobilly-Gefilde vor. Vega war unerbittlich innovativ und beschritt ständig neue Wege. Hier werden wir Zeugen seines vollständigen Aufstiegs in seine eigene Mythologie: teils Rockabilly-Outlaw, teils kosmischer Prediger, teils visionärer Außenseiter. Collision Drive" ist breiter angelegt als sein Debüt, aber genauso kompromisslos und eine mutige und persönliche Erkundung von Klang und Identität. Roh, elektrisierend und bahnbrechend bleibt es ein Kult-Meilenstein des Outsider-Rock und ein Prüfstein für die Entwicklung des Art-Punk und des experimentellen Pop von einer der furchtlosesten Ikonen New Yorks. Collision Drive" wurde von Josh Bonati anhand der Originalbänder neu gemastert und erscheint nun in einer ehrfürchtigen Neuauflage bei Sacred Bones.

"Collision Drive" ist Alan Vegas zweites Solo-Studioalbum, das ursprünglich 1981 rausgekommen ist. Während sein Debütalbum den Grundstein für eine rohe, minimalistische Interpretation von Rockabilly und Blues gelegt hat, erweitert Collision Drive" die Palette mit einer raueren, vielschichtigen und ungefilterten Energie. Hier greifen Vegas Texte universelle Themen auf, die in seiner Faszination für das Straßenleben, Science-Fiction, Politik, Comics, Liebe und die Geheimnisse des Universums verwurzelt sind. Es ist ein Album, das vor Gefühl und Rebellion pulsiert und das gesamte Spektrum menschlicher Erfahrungen sowie Vegas sich weiterentwickelnde Vision zeigt. Alan erfand sich immer wieder neu, schuf und verfeinerte seine Meisterschaft der Variation und behielt dabei seine eigene unvergleichliche und unverwechselbare Ästhetik bei. Klanglich ist dieses Album dynamischer als sein erstes. Collision Drive" verzichtete auf Drum Machines zugunsten eines Live-Drummers und holte eine Hardrock-Band als Begleitung hinzu, wodurch es eine andere Sichtweise auf Vegas künstlerische Vision bot. Der schmerzhafte Punk-Rockabilly von Magdalena 82" entfaltet sich mit einer hypnotischen Mischung aus Gitarren-Slides und frenetischer Energie, während Vegas Cover von Be Bop A Lula" Gene Vincents Klassiker in ein aggressiv aufgeladenes, manisches Heulen verwandelt. Andere Tracks wie der treibende kosmische Rock 'n' Roll Raver" dringen in Psychobilly-Gefilde vor. Vega war unerbittlich innovativ und beschritt ständig neue Wege. Hier werden wir Zeugen seines vollständigen Aufstiegs in seine eigene Mythologie: teils Rockabilly-Outlaw, teils kosmischer Prediger, teils visionärer Außenseiter. Collision Drive" ist breiter angelegt als sein Debüt, aber genauso kompromisslos und eine mutige und persönliche Erkundung von Klang und Identität. Roh, elektrisierend und bahnbrechend bleibt es ein Kult-Meilenstein des Outsider-Rock und ein Prüfstein für die Entwicklung des Art-Punk und des experimentellen Pop von einer der furchtlosesten Ikonen New Yorks. Collision Drive" wurde von Josh Bonati anhand der Originalbänder neu gemastert und erscheint nun in einer ehrfürchtigen Neuauflage bei Sacred Bones.

For years, Jackson C. Frank was as ghostly a legend as they come. Even the relatively few record collectors who revered his work were usually only aware of the lone album that he released in his lifetime. For all most listeners knew, Frank put out a celebrated LP and vanished, despite that record having been produced by Paul Simon.

1975 Mekeel Sessions features six tracks recorded in the mid-'70s at a studio in Lake Hill, New York about five miles from Woodstock where Frank was living at the time. Only discovered in the mid-'90s, these recordings still hum with the same mysterious warmth that defined Jackson at his peak. His guitar work, alternating between strummed and fingerpicking, is consistently adept. His stark and somber voice more weathered than the lighter tone heard on his 1965 debut.

The Mekeel tapes were intended for Frank's sophomore album (titled Marlene), but alas it never came to be. What one hears is not a singer-songwriter fading out of view; it is a singular artist who never stopped trying to build his own world, even when no one was watching. For fans of everyone who Jackson influenced: from Nick Drake, Sandy Denny, Bert Jansch and John Martyn to more contemporary acts like Elliott Smith and Iron And Wine who surely used Frank's sparse approach as a template.

Our director, Joe Stephenson, was looking for a bold, gothic, and dramatic score mixing traditional Hammer Films tropes with a modern sensibility.

Much like Jekyll and Hyde, this is a score of two parts, recorded with two different orchestras - the Budapest Art Orchestra and The Royal Scottish National Orchestra.
This helped to emphasise the split personality of the score: switching from sparse, haunting horror to the operatic gothic explosions we hear towards the end of the film.

A 30-person choir helped achieve a sense of scale where needed, and Hyde’s textural effects are performed on a variety of rare archaic instruments such as the Viola Da Gamba and Stroh Violin which help to evoke the sense of an ancient evil.

With a gorgeous smoky coloured vinyl, and Sean Longmore’s stunning bespoke artwork, this is a limited release that I’m eagerly awaiting to display on my own shelf.
The future of Hammer Films is bright, and I’m thrilled that fans can celebrate its rebirth with a score that honours the past while eagerly stepping into a new era." - Blair Mowat

Zombie Club presents a re-edition (new sleeve art) of "Mambo Calypso" another volume of sonic Caribbean Cruise. Following the approach of the first volume and understanding the Caribbean as a region is not limited to a strictly geographical demarcation but rather a demographic and cultural space where countries, islands and coastal areas may fall into a common Mare Nostrum even arrives in New Orleans. The influence of African drum and the "Cuban clave" makes different music beyond its specific components be they Latinos, Anglos or Frenchie's - look at themselves and recognize a certain family. This is not a coincidence, since the slave trade brought African music from the port of Havana to Cartagena de Indias, Nassau, Port-au-Prince, Salvador de Bahía and the southern United States. The same Blackness, the same rhythm, the same festive mood, spirit of resistance and struggle. And so, Arsenio Rodriguez can be heard without jumps next to a Calypso of Blind Blake, or a tasty Pacho Galán's coastal Cumbia crossover with Dave Bartholomew's Mambo or a Latin Swing of Lalo Guerrero, where the Dominican Merengue sounds Joseíto Mateo in line with that of its Haitian neighbor Nemour Jean Baptiste. A very spicy musical "melting pot," a gumbo of percussion and languages, to enjoy and dance. Re-board the Zombie Club Cruise, mixing different genres of Caribbean music with a high dance and rhythmic component. This selection designed for collectors, Dj's & calypsofied zombie dancers.

The tenth release of a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time.

The follow-up to 2024’s "Perpetual Eden" sees Bloody Head stretch out and capture the cosmic sprawl of their live gigs on record. Available on limited-edition LP with spot-varnished sleeve.
After finding their Perpetual Eden and then seeing it violently retrograde, Bloody Head return with a new transmission devoted to the pendulum’s swing and the big wheel’s turn.
The big wheel turns and the seasons turn and we turn and it all just keeps on spinning away… elliptic, off kilter, centres not holding, the whole merry-go-round whirling and dissolving and coagulating, perpetually.
The CHILDREN OF THE DUSK and the sundry weirdoes and creeps depicted on the cover painting, channelled by Danny Roberts 777, all spinning and singing and sinning as they rattle along… in some sort of strange, discordant VIBRATORY AFFINITY with themselves/each other/it all.
Stay a while and take the time to BEND DOWN AND KISS THE GROUND/smell the roses/find your Eden, in and amongst the nooks and cracks and crannies and in the thin, strange places.
TIME AS VEILED ETERNITY is a microcosm of the whole merry Shambala, pushing and pulling and coming together and falling apar
Recorded, mixed and mastered by James Atkinson at the Stationhouse, Leeds. The session almost kiboshed by Storm Éowyn. A sprawling mass/mess which oozes and lurches from bloody minded heaviness to meditative reflection to unsettling delirium and back again, ending in total sonic breakdown. More focused and restrained, more reckless and chaotic. There is No time, to every season some sort of purpose.

The Just Joans' new album Romantic Visions of Scotland finds the Glasgow band in characteristically melancholic form, pairing shambling indie pop with sharp observations on romantic pratfalls and everyday dis-appointments, all delivered with sardonic Scottish wit, fronted by siblings David and Katie Pope, whose wry lyrics and heartfelt vocals remain at the heart of the band’s distinctive sound.
Originally inspired by a grandiose exhibition title spotted on Glasgow buses in 2019 for a show at the Nation-al Museum of Scotland called Wild and Majestic: Romantic Visions of Scotland, the new album arrives six years later as a collection of semi-autobiographical snapshots from the Central Belt of Scotland. Whilst some of the details have been exaggerated for comic (or tragic) effect, the songs are based on personal experience of mundane failings, bitter regrets and missed opportunities that make up an unremarkable life.
Recurring themes of nostalgia for a bygone era and the fear of being left behind by lovers, friends and peers run throughout the album. Musically and lyrically, the band channels Village Green-era Kinks, with nods to The Television Personalities, The Smiths and Dolly Mixture.
In the past they have always recorded by themselves in a variety of bedrooms, living rooms – and the occasional toilet. For the first time they have abandoned their DIY recording practices to create what songwriter David Pope calls, “a corporate behemoth in an actual studio.” The album was recorded at Chem19 in Blan-tyre with Paul Savage, who is best known as a founding member of local legends The Delgados. He has also produced and recorded the likes of Teenage Fanclub, Arab Strap and Camera Obscura, and has captured a slightly more muscular version of the band while retaining their ramshackle charm.
The album artwork by vocalist and painter Katie Pope depicts Motherwell Train Station – an ordinary, boring place that speaks to the subject matter of the songs, but with a hint of potential escape. As David Pope ex-plains, “For me, the painting reminds me of the ending of Billy Liar in which Billy tries and fails to leave his hometown for the bright lights of London. Half the band also live in Motherwell, so it seemed appropriate.”
Funded by Creative Scotland, the recording allowed the band to bring in bass and cello arrangements, adding depth and a sheen of musical proficiency to their signature sound.
About The Just Joans - The Just Joans were formed in Glasgow in 2005 by songwriter David Pope. Early demos were collected together and released as a loose concept album, Last Tango in Motherwell, in 2006. Chris Elkin joined on guitar and was followed shortly after by David’s younger sister, Katie, on vocals and Fraser Ford on bass. Over the years they have released EPs and albums on WeePOP! and Fika Records and have gained a cult following as Scottish pop miserabilists.
The current line-up consists of Katie Pope (vocals), David Pope (vocals, guitar), Chris Elkin (lead guitar), Fraser Ford (bass), Arion Xenos (keyboards) and Jason Sweeney (drums).
Press Quotes:
“They fit snugly into the scratchy, low budget Scottish indie tradition of The Delgados and Arab Strap… There’s mischief in this miserabilism.” - Mojo 4*s
“Glasgow’s The Just Joans have documented the romantic pratfalls of a generation of indie kids with sardonic wit and a shambling musical style where Stephin Merrit lies down with The Vaselines.” - Uncut
“Funny and sad, it’s the kind of song that made Red House Painters, The Magnetic Fields and The Wedding Present’s early albums so easy to embrace; an unpretentious sharing of relatable gloom.” - Record Collector

With their bold blend of doom metal roots, atmospheric rock, and ethereal vocals, THE GATHERING were already reshaping heavy music in the mid-90s. But few recordings capture that electric live energy better than their iconic set at Dynamo Open Air , and now, for the very first time, this legendary moment finally arrives and it's everything fans could hope for. Expertly released by 7 Mater / Sevan Mater, this deluxe edition is limited to 500 copies each on Black and Purple vinyl, with a custom cover artwork designed by Sevan Mater that honors the spirit of the era while bringing new visual depth. It's not just a reissue - it's a resurrection. Recorded during a time when the band was ascending into cult status, the Dynamo performance showcases the perfect fusion of Anneke van Giersbergen's soaring vocals with the band's dynamic instrumental interplay. Songs like "Eleanor", and "Leaves" ring out with clarity and emotion, capturing both the power and subtlety that defined their live presence

Neues Album des US-Gitarristen im Stile eines Stevie Ray Vaughan - ist auf der Ruf Records Blues Caravan-Tour im Januar 2026

».​.​.​ihm ist zu attestieren, dass ONE FOR THE RIDE mehr als ansprechend seine Liebe zum Geschichtenerzählen über sein Leben unterwegs einfängt, dass er die musikalischen Einflüsse, die ihn geprägt haben, mit einer eigenständigen Note zusammenbindet.​« (GoodTimes, Februar/März 2026)

Soul Visions is an instrumental journey into the world of Deheb, who, after several years of continuous sound research, continues to draw inspiration from jazz, soul, funk, and progressive rock records, first discovered through his father and then through his fellow collectors and DJs, including his partner DJ Marrrtin from Funky Bijou.
The Breton artist is renowned in the beatmaking world for his collaborations in New York in the mid-2000s (Moka Only, Sean Price, Torae, Tye Phoenix, Apani B, etc.) and for his album “LEAF”, released in 2015 with Swiss producer Chief. He is best known for producing classic Funky Breaks in the global breakdance scene with Marrrtin under the name Funky Bijou, whose tracks have been played at the world's biggest breakdance events since 2011 (Battle Of The Year, Red Bull BC One, etc.). All their tracks have been listened to more than 30 million times on various platforms and social networks.
A prolific artist who draws much of his inspiration from funk and jazz, he is based in Nantes and has collaborated with groups from the French Neo Soul scene, such as J-Silk from Bordeaux, Jo Wedin from Sweden, and Keysuna from Nantes. Close to the dance scene, he has also collaborated with dancer and choreographer Mackenzy Bergile, which led him to join the CCNRB's choreographic project “Earthbound” by choreographers Saïdo Lehlouh and Johanna Faye in 2023.
Deheb has also been composing for documentary projects since his first collaboration with director Shyaka Kagamé in 2015 for “Bounty”. In 2024 and 2025, he worked on two critically acclaimed projects: “Boulevard du village noir”, produced by Radio Television Suisse, and “IMIHIGO, le pacte rwandais”.
This year, 2025, he brings us “Soul Visions”, a journey through the cinematic sound of the early 1970s to the soul funk and jazz funk of the late 1970s, a pivotal period in his own musical identity that contributed to the funk sound of his guitars and the texture of his synthesizers and electric pianos.
Soul Visions is first and foremost a tribute to the artists and composers, the geniuses of that era, such as the Mizell brothers in “Larry and Fonce”, the Bell brothers in “Ron and Don”, and giants of the genre such as Isaac Hayes, Yuji Ohno, Roy Ayers, and Clarence Reid. All these masters of the genre had their own distinctive sound and arrangements, which were easily recognizable and which are among Deheb's major inspirations.

Second LP of duets by these longtime VHF family staples, here delivering 2 side-long epics of “minimalist” bliss. Both sides feature Daniel on piano and Richard on zither, with rippling waves of sound recalling classics like Charlemagne Palestine’s “Strumming Music” (Dan is a frequent collaborator with C.P.) and Richard’s “Advent.” “Persian Carpets I” is a real-humans performance full of tiny variants in rhythm and attack, rising and falling in intensity – sometimes a rush of sound, sometimes a cloud of soft overtones and phantom notes. “Persian Carpets II” is more spare, with quiet and careful piano alongside Richard’s subdued accompaniment – a gorgeous bath of pointillist sound that rewards close listening.

A student of the Weatherall school of DJing, Asa Tate has showcased an astonishingly mature approach to production over the years that belies his age. You’d be forgiven for thinking these 4 tracks had been discovered from a dusty DAT tape, locked away in the vaults of a northern Italian club and rediscovered after 30 years....Listen more closely and you’ll notice the contemporary production flair and more recent influences that make this EP a perfect reinterpretation of the mid 90s house sound: sitting somewhere between dream house and Morales finest work under the red zone moniker.

The EP wastes no time in setting it’s intentions with the A1 Title Track, “Replica” - after a brief and floaty progressive house intro the refrain “ E-e-e-e-e-e-e-ECSTASY” echoes loudly over sampled vocals, euphorias piano chords, throbbing lead synths and a bouncy tech house bass line.

“89” is a sultry deep house cut featuring rising Spanish star, Dariam Coco on Vocals. It floats like a butterfly, but stings like a bee, as the soft chords are interrupted with huge drum fills deftly transforming an after party jam to a peak time moment.

We continue to “ Unknowns” - a masterclass in building tension and holding it - this track simmers with restrained intensity for almost 6 minutes. It’s trademark Asa Tate production at its most understated and classy. We round of the EP with the fittingly titled “Last Dance” , a wistful composition that brings us back down to earth slowly, safely and gently; always grooving but never pushing - this one is the soundtrack to the end of a long summer day and reaffirms Asa Tate’s claim to be a modern master of Deep House.