Suche:vibratio

Up and next on the releases are Decka & Roseen with "Keynote", introducing their first ever collaborative musical project.

With "Message From The Error System" we dive into an abyss of icy blue vibrations. Just like the alternate rising and falling of the tide, so does this track expand and breathe through a cyclical recurrence of the groove... Cycles and repetition. A cinematic, abrasive polyrhythm will drown all your senses as the
frequencies increase and increase. And so does the tension. Until... all of a sudden.. The frequency is lost... no more life signals... You feel alone in the cold. You are scared. But slowly... Hope grabs your hand from the water... takes you on the shore and slowly dries your tired and wet body.

The storm has passed. Clearing our heads from this apocalyptic sonic journey, B1 jumps in with a distracting and high energy looped cut. A classic, dance-floor oriented percussive and versatile track. Once again, repetition marks a fundamental element of the KEY family.

Last but not least comes B2 "Captivate"- which is a sort of synthesis between the dreamy A1 and the minimalistic composition of B1. A soft and mellow synth line is seduced by playful high hats into a redundant, cyclical game of sounds.

Igziabeher Yi mas gan (Let Jah be Praised!) - as we follow up with the next release forwarding from Ashanti Selah Music; we are proud to present a fresh combination to the label with Iqulah Rastafari who is a true ambassador and master of his faith as well as being a high-caliber artist in his own right; this release delivers the whole roots and nothing but the roots in its full entirety. Hailing from Jamaica and toured the 4 corners of the world with his band 'Giddeon Family' as well as performing many shows in Africa with the 'Azania Band' - Iqulah always brings the spiritual power and most honourable Rasta energy in connection with the music; making it a such an engaging experience when being among the vibration.

The Maxi-single offers two original vocals and two dub mixes per side with strong lyrics and heavy riddims to accompany!

Hot on the heels of their sophomore release with DJ Rocca, Cyphon Recordings welcome Tijuana’s Cyborg Nerve to the family for the third installment in their busy label schedule.

A new project helmed by the Cedillo brothers - also known for their work under the monikers Soul of Hex and Mano De Fuego - Cyborg Nerve’s sound tips the hat to the roots of Detroit electro and techno.

The Vicario Musique Recordings bosses have already made a mark under their Soul of Hex alias, pushing their cosmic, vibrant take on deep house. It’s caught the ear of labels and artists across the world; the likes of Delusions of Grandeur, Freerange Records and Quintessentials have shared their music and they’ve even earned the Larry Heard seal of approval, with the legendary Chicago producer stepping up to remix their 2014 track ‘Lip Reading’. As Mano De Fuego they’re also getting their music into the hands of pioneering figures in the American dance music scene - summer of this year saw them release a shamanistic debut via the inimitable Underground Resistance.

For their debut outing as Cyborg Nerve, the pair deliver four tracks of old school electro grooves. Title track ‘Cristalizacion’ kicks things off. A slice of intergalactic electro; celestial pads soar above warm bass and staccato drum rhythms. Their eponymous track follows and takes the energy levels up a notch: a warbling bass line drives the track forward, whirring and revving while crisp hats fizz overhead.

‘Tijuana 3000’ is another cut that's custom-made for the dance floor. As with the title track, the duo call to mind the interstellar jazz-tinged electronics of Detroit outfit Galaxy 2 Galaxy, as they pair cosmic twinkling melodies with a hypnotic acid line that takes centre stage. ‘Machine Effect’ brings the EP to a close. Like its name suggests the track is powered by a raw, machine funk groove and precise drum programming - no bells and whistles, just pure cosmic vibrations to move your body.

Emerging talent Amazingblaze has unveiled his new EP ‘Can’t Stop’, out on 3rd March on Charlotte de Witte’s KNTXT imprint.

A four track release, the EP opens with trance cut ‘Can’t Stop’, an electrifying club record which is reminiscent of the 90s. Next up is ‘Got The Vibe’ following the theme of 90s raving, a pulsating, high energy cut. Combining heavy hitting techno beats, ‘Enter The Rave’ sets the tone of the EP, whilst the emotive ‘On The Grind’ closes off the EP with driving pummeling techno, laced with captivating hip-hop vocals.

“Can't Stop EP has a very individual vibe, this time I decided to go through some classic 90s trance & techno vibes and added some freshness by using hip-hop vocals.” Amazingblaze explains. “Each track has its own story. Here we got massive bangers for big venues and hard hitting tracks for clubs.”

Charlotte de Witte adds: “Amazingblaze is back on KNTXT with some truly magnificent tracks. Can’t Stop EP is filled with masterpieces that always turn out to be one of the highlights of my sets. His very distinctive sound just never disappoints. I’m very happy to have him on board for another massive EP on the label.”

Amazingblaze is a fast-rising newcomer on the scene who caught the attention of Charlotte de Witte with his unique talent and craft. Surrounded by music since childhood, Amazingblaze was intrigued by the mysterious vibrations of sound, which was his initial inspiration to produce electronic music. Arriving in St. Petersburg as a teenager, he met producer BMB Spacekid, who later became his mentor. Amazingblaze went onto releasing on Charlotte de Witte's iconic label KNTXT for the first time in 2022 with his ‘Venture EP’ that turned heads on a worldwide scale.

The ‘Can’t Stop EP’ showcases Amazingblaze’s meticulous craft as a fresh newcomer on the scene.

Meiosistosis is a unique and creative descriptive innerstanding created by DemoDc taken from the scientific terminology of Mitosis - a splitting of one cell to create 2 identical cells and Meiosis - a splitting of 1 cell to create 4 very unique cells. Combining these 2 findings to create its own unique expression of what Demo feels earth herself is potentially going through in what most humans refer to as 'crazy mad' times.

‘Call me mad or crazy yet my artistic take on all this madness of change, coming from a more spiritual aware perspective, I feel its very possible and plausible that earth herself is shifting from an energetical vibrational frequency resonance, shifting from a lower to a higher frequency that has souls who inhabit at this present time on Earth, have choices made available to either shift to these higher frequencies of perception or to chose to remain in the lower frequencies of perception’

….says Demo when explaining the meaning of the titles chosen for his brand new releases. Hence, from this perspective it would give more purpose and meaning with the Earth splitting itself from 1 earth into 2 with the merging of it being identical and unique all at once.

True or not, through creative expression can we all individually make sense in our own rights, which then gives more power to the inner-standing of what co-creating with any greater power outside of ourselves, is. Each track holds its own unique expression to what has been described here and of course gives each listener a chance to give meaning to what is embraced in their own connection made when absorbed in the creations these ep's offer.

Everything is vibrations.

The infinitely deep chaos of things rests on the tiny and fragile chemical balance of the depths.

Eliaz traps us in his raw and introspective groove with complex and saturated signals that call for bodies motions. He gives us a key to read and decript the Mercury Frequencies.

Soulful sounds from the South of Italy, coming courtesy of Soul Departure Recordings label head Kikko Esse. Four dynamic, emotive, and downright delectable house cuts that will have you dreaming of Italian coastlines and Campari’s. Produced to perfection, laced with feeling and driven by groove, it’s house that hits you in the heart.

Suns of Arqa is a sonic mission created by luminary Michael Wadada, who began in 1979 after receiving higher guidance in Jamaica while working with roots reggae chanter Prince Far-I. It is a prolific traveling music collective that has seen over 200 collaborators, meant to connect people from all cultures and walks of life through a “deeply spiritual vibration that merges cultures, faiths and musical genres”. Wadada combines ancient Hindustani raga systems with Piobaireachd and Nyabinghi roots drumming, creating ritualistic world music infused with dub and reggae.

The lyrics combine both mystical and sensory elements, often including prayer and referencing a higher power but finding root in experiences common to all people- memory, sight, and physical sensation.

Their first album, Revenge of the Mozabites, was a collaboration between Wadada and On-U Sound creator Adrian Sherwood. Following its 1980 release,Peter Gabriel invited them to perform at the first WOMAD festival. Today, the record is regarded by some as a cult classic. Over the years they have played at many major music festivals including Glastonbury, Big Chill, Telerama Dub Festival, and Transmusicales, and released over 40 albums on Virgin, EMI, Interchill Records, Antler Subway, Red Rhino, and their own label, Arka Sound.

Suns of Arqa has had a seminal influence on the World Beat sound, and continued to make appearances at seasonal festivals and sacred ritual spaces all over the world until 2021. Michael Wadada passed away in the midst of planning their U.S. tour for this release. The record is a compilation of some of Wadada’s and Sleepers Record’s favorite old Sun of Arqa tracks, mixed by Youth and Adrian Sherwood, and mastered by Eroc (drummer of Grobshnitt).

Notable collaborating artists include: Guy Called Gerald, UK producers Youth and John Leckie, Greg Hunter, 808 State's Graham Massey, Finley Quaye, Sounds From the Ground, Bryn Jones aka MuslimGauze, Adrian Sherwood, John Cooper-Clarke, The late great Professor Stanley Unwin, Eric Random, New age guru Tim Wheater, Astralasia, Prince Far-I, The Orb's Alex Patterson, Zion Train, and Gaudi.

"And although the Great Spiritual being Michael Wadada has returned to source and his body to earth at our time, his music is alive and will continue to be a great force for higher spiritual realms and raising vibration through occult frequencies...Suns of Arqa will continue to raise the vibration of the hearts and minds of humanity" – Angela aka Angel-Eye (Wadada's wife and bandmate)

Retromigration returns to WOLF Music for his 2nd solo outing on the label with a trademark, warm, jazz-flecked house journey.

Hot property by anyone’s standards, the Amsterdam-based producer stretches his legs across six MPC chopped and screwed heaters, from the punchy, deep deliciousness of ‘Hafenluft’ and sun-soaked vibrations of ‘Mad Fox’, to the bouncing bubbler ‘Tinger’ that features Nephews.

On the flip, the Dam-Funk channeling, keytar cruise ‘Be Alright’ sits side by side with ‘Disk Yard’ and ‘Nur Wir’, two twilight cuts that showcase Retromigration's love of the beats and hip hop scenes whilst putting his own unique spin on them. Another sure-fire example of why you’re seeing Retromigration’s name popping up all over the place right now – pure class from start to finish.

OMG
a portion of positive vibrations has arrived, just turn on and dance without stopping, it's proven it's a complete bananas

hurry up,
limited edition.
sorry no repress <3

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the 60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South african artists, as well as, of course, his wife Letta.

Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus’s African compositions for the scores to Roots and Spielberg’s adaptation of The Color Purple.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

The Afro-Cuban grooves of “Mamase” open the record. Continuing where Listen To The Wind left off, this is another horn-heavy call-and-response ode to a positive life. Life as an invitation to party, to take part, to “get involved”. But only if you’re willing to let in the transcendent power of music. “There’s gonna be a Mardi Gras, there’s gonna be a carnival; there’s gonna be a jamboree, there’s gonna be a bacchanal”. Who can resist that? Vibrations everywhere.

It’s followed by the joy of “Aida”. Gleeful, dayglow keys and synths *just* on the right side of mid-80s sleaze are accompanied by a killer bassline, slick, skipping drums and proud horns. Infectious funk.

The tempo is taken down a few notches for the powerful “Nomalanga” and the lamentations of a heartbroken man who must leave his wife Nomalanga and their children to join the fight against apartheid. It’s an emotional song, no question, but it doesn’t bring you down. The uplifting music and optimistic vocal delivery from Caiphus and his backing singers in the second half offer hope.

Breezy drums and contemplative keys act as a backdrop for the stunning backing vocal harmonies in the intro of “Moshanyana”. This gives way to stuttering beats, a bassline to die for and Caiphus giving it his all, over guitars, marimba and synth strings. Another slo-mo winner.

Side two opens with “Dial Your Number”, an uptempo English-language boogie-funk workout, complete with mid-song cutaway to a random telephone call. Whether or not this propels the song into “key track” status, we’ll let you decide.

What’s not up for debate is the brilliance of “Matswale”. This was a hit in South Africa in the mid-80s and you can still hear why. It might just be our favourite Caiphus hit. Wow. This is some damn fine breezy, beautiful, emotional pop. The restrained playing, the guitar licks and the gentle keys are out of this world. The beats? Thundering, direct and slick. The singing? It’ll give you goosebumps. As for the sentiment? This is Caiphus singing to his in-laws about their daughter’s adultery, begging them to intervene and help him save his marriage. Not your typical pop single story-telling!

The ferocious “Ndi-Kulindile” closes the set with a nod to the coming sound of the States. The hard-edged, electro-influenced drum patterns and bouncing, elastic bassline are something of a departure from the album’s predominant sound, yet one wonderful constant, Caiphus’s exceptional delivery and his sparring with his backing vocalists, is satisfyingly present and warmly deployed.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The stunning sleeve has been restored, with its painting of a dream-like cosmic vista, as a lone figure takes in a scene that’s part distant planet, part urban sprawl. One listen and you’ll be transported.


Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

One listen and you’ll be transported.

Over the last couple of years Nandu has made quite an impact, dropping several releases both with Innervisions on their Secret Weapons compilations, his massive cut ‘Child Of A Child’ levelled dance floors across the world last year, and now he’s landed on TAU with four new cuts fresh from his lab.

Kicking off with ‘Horisont’, a bumpin’ cut with dense kicks and an energy-fueled main melody which bounces around the mid-range. Shimmering synths complement the riff, transporting us from our mortal bodies into another vibrational dimension.

Then we have ‘Outlined’, where Nandu channels his mystical aura into a rousing cut that blends arcane sounds with warped vocals and entrancing instrumentation. This one feels like an adventure in the rustic, indoor souks of a vibrant desert land.

‘Not The First’ is next up, offering more of that Nandu magic. At its essence, this one undulates way down below, growing and slowly billowing out into a smooth, serene soundscape. The track is optimistic, emotive and nourishing, taking us by the hand and leading us into a life-affirming breakdown and an equally enriching second half, full of joy and euphoric energy.

Finally ‘Telesaki’ is like a portal that transports us into a hopeful future. Gentle piano keys combine with the soothing low end as a melancholy melody triggers memories of a distant past. Towards the middle of the track a gnarly riff appears, switching up the energy of the track and ushering in a pumped up second half. When you look into the past you can see where you’re going...

Regular issue of the album by iconic Jazz Funk legend Roy Ayers from 1983. Unique to this album are “Chicago” (the highly sought after seven minute version), “Keep On Movin’”, “Smiling With Our Eyes”, and “Good Good Music”.

We were waiting for it and it is for the 17th release of Rutilance Recordings that Dj Steaw offers us a complete album with 9 original tracks in different styles passing from hip hop to funk, from house to techno. This album is not ready to be forgotten.

A cocktail of rebellious queer vocal fragments, deceptive percussive granules and swaying hammered vibrations, upsammy and Valentina Magaletti's first collaboration trembles with suspense. The seeds of 'Seismo' were sown following a commission from Amsterdam's Rijksmuseum to soundtrack an exhibition of work from the Museum Boijmans van Beuningen in Rotterdam and the duo didn't want to approach their collaboration flippantly. So, wandering the museum's maze of rooms, they recorded various improvised percussive sounds with their arsenal of microphones, using the space to inform various rhythms and textures that were sculpted later into electroacoustic vignettes. This was just the starting point, though; as Magaletti and upsammy began performing together, the project evolved and 'Seismo' began to take shape. The duo had struck on a salient aesthetic concept, using mostly digital and acoustic mallet instruments to blur the boundary between their roles and create friction between the synthetic and the authentic. And the finished record is a phantasmagoric push-and-pull between its various conflicting elements: harmony and dissonance, randomness and predictability, openness and constraint. 'Seismo' isn't the first time that upsammy has studied her environment in search of revelation. On her acclaimed second album, 2024's 'Germ in a Population of Buildings', the Amsterdam-based DJ, producer and multidisciplinary artist erected her complex, unorthodox rhythms and eerie melodies around a modernist frame of field recordings collected in various cityscapes, countering heavyweight basslines with subtle, microscopic sounds. London-based Italian vanguard Magaletti, meanwhile, has applied her unique logic to innumerable projects at this point, working with everyone from batida icon Nídia and hardcore-dub outfit Moin to French writer Fanny Chiarello and British bass scientist Shackleton. For years she's approached the drums with criticism, attempting to challenge any preconceptions, something that's most visible on 2020's 'A Queer Anthology of Drums'. And both artists' thoughtful perspectives are welded together seamlessly on 'Seismo', a dizzying suite of eight eccentric statements that's fragile but never insecure, gauzy but not indistinct. An unnerving sense of space characterizes 'It Comes to an End' as Magaletti's in situ improvisations herald for upsammy's microscopic glitches and chiming pitch-bent melodies. It's almost unbalancing to witness the track's impossible dimensionality, the interplay between reverberant marimba hits and bone-dry synths, or percussion that's been recorded and processed in consciously different settings. A new architecture emerges in the sound itself that the two artists scan and explore meticulously, testing its boundaries with undulating hybridized rhythms on the invigorating 'Superimposed' and offsetting the powdery drums with liquified smacks and alien voices. The duo's vibrations are knotted with piano flourishes on 'Hyperlocalize', balanced with artificial clanks and clangs that disappear into the track's sonorous atmosphere, replaced by whispers and half-hallucinated insectoid chirps. 'Seismo' is an album that feeds off the energy generated by its juxtapositions: the tension and anticipation that's melted by rapid, hyperactive movement and the finely drawn rhythms disrupted by a layer of indistinct, barely perceptible microsounds. It's a collaboration that sounds like two minds challenging each other but not wrestling, each peering from their own distinct vantage point and imagining a third landscape shaped by optimistic, queer vibrations.

Ayô Dele — which means "joy comes to me" in Yoruba — is neither a slogan nor a promised miracle. It is a breath of fresh air. That of an album born in the interstices, where the word find their way between shadow and light, between the disorder of the worldand the impulse to be .
At the heart of the project, Julien Gervaix and Damien Tesson, multi-instrumentalist beatmakers, share a groove language that is both dense and airy, where every detail breathes and finds its place.
With background in Afrobeat, Dub, Funk, Soul, Roots Reggae, and Electronic Music, they treat the studio to be their playground. Their music is a hybrid groove that speaks to the body: round or bouncing basslines, brass oscillating between melodic warmth and funk energy, textured guitars, arpeggios, enveloping Rhodes, clavinet that slides, presses, and embraces. Everything comes together with precision and flexibility, in an inventive and warm composition. The meeting of their experiences and sensibilities gives rise to open, generous music, made for dancing and vibration.
With Ayô Dele , Ireke is embarking on a new chapter: the duo is refining its style,allowing the voices to breathe. The groove remains the driving force but opens up to intimacy. This intimacy is carried by two unique female voices: Nayel Hoxo, a Beninese-Nigerian singer/rapper, and Agnès Hélène, who has already made a name for herself on Tropikadelic with "Petit a Petit". They don't sing side-by-side; they coexist, respond to each other, and sometimes intersect. But each follows her own path: Nayel, with the power of her words in Yoruba, offers songs of elevation, healing, and resistance — a light born in the cracks Agnès explores these cracks themselves: what wavers within us, what reinvents itself in bonds, glances, and gestures.
For one track, Olivya (Dowdelin) joins this dialogue in Martinican Creole. Her sunny soul sketches the contours of gentle resistance and celebrates rediscovered light.
Ayô Dele embodies a quiet yet radical determination: to smooth nothing over, to let plurality, contradictory emotions, and mixed heritage live. An album that moves forward through vibrations, that speaks of emancipation without slogans, love without clichés, anger without uproar.
Two women, two inner worlds: a sensitive complicity, a shared breath. Music that seeks not effect, but echo, weaving a living soundscape between reinvented traditions and contemporary textures. An alchemy faithful to the spirit of Underdog Records, where music unites and brings people together. Ayô Dele : "joy comes to me." A lucid joy, crossed by shadows, patiently regained. Music that welcomes, releases, gives, and in doing so, makes us feel good.
In a saturated world, Ayô Dele chooses nuance: transmission without emphasis, joy without naivety. An album that vibrates more than it demonstrates, that connects more than it imposes, and which, in its quiet clarity, resonates with a deep desire to be fully alive.

Carlos Giffoni reconnects with Thurston Moore for two sides of loose-limbed axe noise, oscillator worship and hard-phased, Spacemen 3-style feedback.

Giffoni’s been on a roll recently. Since the No Fun founder returned to the scene with »Vain¡, a genius set of synth mutations that appeared in iDEAL back in 2018, he’s been slowly ramping up the activity, dropping the celestial »Dream Walker« on Stephen O’Malley’s Ideologic Organ in 2024 and following it with »Pendulum«, a bumper compendium of collaborations, just a few weeks back. For those who remember Giffoni’s first trip round the block, he was always able to hold his own chopping it up in person, not just by mail.

Just scrub through his early catalog and you’ll see collabs with Nels Cline and Chris Corsano, Merzbow, Jim O’Rourke and Lasse Marhaug, and of course, Thurston Moore. The two rekindle their thing on »IGUANA’« picking up where 2001’s fabled »4 Guitars Live« performance left off. Here, Giffoni straddles a tabletop synth and FX while Moore attacks his signature Jazzmaster with a drumstick and a screwdriver – vibes fully intact.

Moore is on blistering form, sounding as if he’s taken a step back to refresh his approach since the early ‘00s when he could be spotted moonlighting on any number of basement-adjacent noise sides. Sawing at his strings and turning the guitar into a shrieking resonator, he leaves only faint vapours of the classic Sonic Youth sound as opiating accents on his animalistic wails and rumbles. On the opening half, his whammy – assisted shreds are balanced out by Giffoni’s off-world whirrs and airlocked vibrations, building a dense wall of noise towards an unexpectedly elegiac conclusion. At some point, Giffoni’s rasping churr transforms into a simmering shudder and Moore’s into hymnal drones – squint a bit and you could almost call it pretty.

Of course, they ramp things up on the flip, dissolving the melancholia with smokey white noise and twangy, post-Derek Bailey chimes that Giffoni accompanies with aggy oscillations. Like every great taped noise set, the recording quality is crucial - »IGUANA« was captured from the pit by Guillermo Hernandez Avendano, the dad of Lia Miranda who provides the cover photo. It’s that kinda show.

Few artists can make chaos sound this fun. Steel Beans, the self-titled album from the genre-bending one-man band, is a wild ride through rock, funk, jazz, and whatever else happens to cross the radar of Everett, WA’s Jeremy DeBardi — the multi-instrumentalist and mad scientist behind it all. Known for his jaw-dropping live performances where he sings, shreds guitar, and drums at the same time, Steel Beans brings that same unfiltered energy to tape, capturing the spirit of a garage jam gone cosmic.

The album moves effortlessly from fuzzed-out psych-rock to greasy funk breakdowns and tongue-in-cheek lyricism, mixing humor and virtuosity in equal measure. It’s unpredictable, unpolished in all the right ways, and full of personality — the kind of record that feels alive because it’s never trying to be perfect. Steel Beans isn’t just an album; it’s a reminder that music can still be weird, raw, fun, and ridiculously entertaining. Whether you’re hearing him for the first time or you’ve already seen the madness live, this album is the perfect introduction to the wild world of Steel Beans.

Between flesh and silicon. “Under My Skin” (2026) is the first album by IADI, released by Neo Life. A record like few
others, highly conceptual, cover art included. Its essence lies in the folds of the increasingly ambiguous relationship
between man and machine, where the former designs the latter and, perhaps without fully realizing it, is gradually
destined to adapt and be reprogrammed by it. Each track of “Under My Skin” is, in fact, a sort of interface, connector, or
any other imaginative point of contact between two creative phases, amid emotional impulses and binary calculations.
The sonic architecture oscillates between analog warmth and algorithmic coldness, constructing landscapes in which
pulsating synthesizers and mechanical rhythms seem to question each other. There's no linear narrative, but rather a
progressive immersion in a zone of near-friction, where the comfort of technology coexists with more than a faint
musical uneasiness, like a background noise that never ceases to remind you who's truly in charge. In “Under My Skin”,
the machine is neither an enemy nor a simple instrument: it's a real presence, intimate, even tactile, amplifying desires,
fears, and dreams of dawns beyond the digital realm. Intelligent dance music. Less noise, more sensations. Electronic,
but profoundly human.
The final result, then, is a music project that speaks to the present, yet sounds like an X-ray of the future, capturing that
fragile moment when humanity and technology stop observing each other from afar and begin to merge, track after
track. It's no coincidence that IADI's album opens with “Impulse”, an immediate expression of an electrical impulse, for
both humans and machines, which is also the language of the nervous system, as fast as it is vital—pure energy and
rhythm, a track as intense as it is irregular. And after this introduction, it's the turn of the equally erratic “Axon”, whose
title describes the neuron that transmits the signal over distance, telling the listener to sit back and relax for a new
journey through the notes toward the more melodic “Cortex”. The cerebral cortex, the ultimate seat of thought and
memory, becomes the source from which the musical flow of the first part of the work is drawn.
Then, suddenly, an automatic, or instinctive, response to the constant succession of impulses: “Reflex”, or zerotemperature techno, with a fragmented pace, featuring vocal samples, breaks, and restarts. In the producer's
imagination, the subsequent, and conversely placid, “Neuron” represents the emotional core of the second part of the
work, providing a kind of respite from the seething vibrations. While the neuron is the basic unit of the nervous system,
the synapse is the functional connection point between one neuron and another effector cell, essential for the
transmission of nerve impulses and communication in the nervous system, enabling functions such as learning and
movement. Likewise, a track like “Synapse” once again illuminates the path traced by IADI. The more experimental and
streamlined “Static” instead suggests true ordered chaos. “Dreamstate” is the conclusion suspended in the void, relating
to that dreamlike state between waking and sleeping, where consciousness fades toward infinity and visions begin. Pure
fading into the subconscious. Eternal return to where it all began. Dancing is a form of consciousness. Every beat is a
question. IADI, however, holds all the answers you need.

The groove never skipped a beat. 10 years after Global Warming and 2 years after Breaking to the Bus Stop, Romain Dalmasso aka Lord Funk, remains an insatiable crate-digger driven by one thing: the dancefloor. With his 3rd LP, More Orgasms, he drops a record that literally bleeds club culture and raw funk.

This is a deeply organic album. Moving away from clinical productions, the french producer gathered a tribe of top-tier musiciansto bring a living, breathing soul to every track. It’s an in-depth study of groove where cutting-edge electronics meet organic warmth and human vibration.



The tracklist is a map of his musical heart: from the R&B anthem First Crush co-written with his partner-in-crime Guillaume Atlan (The Supermen Lovers) and ignited by Shahdo, to the sharp 80s-Blondie energy of Merryn Jeann. True to his hedonistic roots, the vinyl sleeve doubles as an adult board game. More Orgasms isn't just a release; it’s a tangible piece of club culture—a heavy, singular pressing for the diggers and the lovers who want music that has soul and sweat in its DNA.

Opaque Pink Version

Bubble Bath for Giants is an ode, a Tribute, a reverence for Oceans, for the Mighty Magnificent Power of Fairies, to the energy that we are all everything, whole, well, but in different sized and shaped vessels at times . . . It is a Celebration of Gentleness and of incredible Force, and Charge . . . These, I sea as the same. The Yang Springs from the Yin and together they ever reflect, dance, and express themselves . . .

Many Bells, Bowls, Ceramics, Chimes, Cymbals, Drums (Bass, Sakara, Surdo, Tom, and many more,) Gongs (Chao, Cup, Indonesian, Sun, and Symphonic,) Keyboards (Metal, Synthesizer, and Wooden,) Percussion, Plant Leaf Bundles and Fronds (Bamboo, Eucalyptus, and Palm,) Ratlles, Shakers, Voice, Whistles, and Sound Design by Carlos Niño.

Featuring:
Luis ​Pérez Ixoneztli, Bernard Xolotl, ​Aaron ​Shaw, Surya ​Botofasina, Nate Mercereau, Laraaji, Darius ​Jones, Sheila Govindarajan, ​Idris Ackamoor, Deantoni ​Parks, André 3000, ​Marshall Allen, Sam ​Gendel, Sibusile ​Xaba, Mia ​Doi Todd, ​Anisia Uzeyman, Saul Williams, Jojo Abot, Jowee ​Omicil, Aztlan ​Unearthed

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Cover Photo by Carlos, from in the Maui Waters
Art Direction, Design and Original Art by Nep Sidhu
Layout Production by Jonny O'Hara

Recorded by Carlos Niño in Topanga, California, and by some of the Artists named above, from their Homes . . .

Mastered by David Allen

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Repress.

Convextion steps up under his “Event Related Potential(E.R.P.)” alias and delivers 4 special cuts for OM:NIA that push his sound into new realms.

Narthex means railed-off western portico or ante-nave in earty Christian churches for women, penitents and catechumens.

Narthex is also a trio featuring (at the beginning) Daniel Denis (Universe Zero, Art Zoyd), Alain Neffe (Pseudocode, Human Flesh, Bene Gesserit) and Nicolas de Villemarqué (Nuwage Music). They had a very different musical background, mostly electric-electronic rock, and decided to work in the field of acoustic music recorded live (two microphones + portable DAT) in churches of their area. After several recording sessions, Nicolas de Villemarqué decides to leave the group. ln order to complete the trio, Daniel Denis and Alain Neffe ask the participation of some of their friends. Anna Homler, Michel Berckmans and Daniel Malempré have accepted the challenge and succeed to fit into their musical universe.

The instruments Church organ, harmonium, sitar, saxophone, oboe, bassoon, zither, valiha, senzas, tarang, voice, percussions, metal clarinet, classical guitar, mew's harp, ongolok, violin, dulcimer, mouth organ, etc.

The music Often dark, sometimes repetitive or experimental, sometimes rhythmical and exotic, always based on emotion inducted by the sound. One could define it as dark age music (as opposite to new age music), a sort of minimal come back to the roots and purity of acoustic sound without the cultural background linked to the 'academic' use of some instruments (for example African senzas are transformed and tuned to sound like Indonesian instruments, sitar or harmonium are used as rhythmical instruments, vahilla is played with a bow).

The places Churches located in an area of 20 kms in the region where Daniel Denis and Alain Neffe live for years and where they feel at home (and feel the vibrations. Every church, place emotionally loaded, has its own specific resonance and sound structure. Every church gave to the musicians a particular inspiration and fill the sound of the instruments with a natural reverberation/echo. The place but also the moment is important. They had the privilege to be allowed to record in the Ecaussines church at night lightened only by candles. lt was one of their most productive recording sessions.

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

Iñigo Medina aka M4 explores the profound convergence of two disciplines that share a common foundation: the manipulation of vibration and resonance to transform consciousness and space: Yoga and Electronic Music.
While Yoga balances the body's energetic vibrations through breath, posture, and meditation, electronic music employs sustained tones, slowly shifting sequences, and atmospheric textures that induce trance states and align with meditative brainwave patterns.
"Reset Series" is characterized by atmospheric, non-danceable soundscapes built on repetitive sequences and arpeggios that slowly evolve, often processed through delay and reverb. Both yoga sequences and M4 compositions (the full track is almost an hourlong, divided into two parts) unfold gradually over extended durations . Each practice invites a journey inward, guiding the practitioner or listener through layers of repeating motifs that subtly transform, revealing deeper states of awareness with patient attention.
Time becomes elastic; space becomes internal; vibration becomes the universal language connecting body, environment, and sound.

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

Shall Not Fade welcomes Pugilist for SNF140 "Maternal".

If you don't already know (and love!) Pugilist's prolific output, you need to get to know! The Naarm/Melbourne based DJ, producer and Rinse resident has released on Martyn's 3024, Melbourne's killer Modern Hypnosis, Silent Era's Of Paradise, Samurai, Rupture, ZamZam, J:Kenzo's Artikal, Sub Basics' Temple of Sound, Whities/AD93, Al Wooton's Trule, Banoffee Pies, Best Intentions and now his own buy on sight Ruff Kutz imprint.

'Maternal' is four blissey dubwise house blurring cuts. Embracing, medicinal, lush & corrective. Vibrations for heads and feet.

'Title track 'Maternal' is deep grooving infectious and honeyed house. Hypnotic, pulsating with head-meltingly warm padwork. 'Bona Fide' sees Pugilist team up with UK duo Mystic State. Drums sidestep with jazz swing while graceful piano and an ensemble of pads are topped with an introspective vocal sample dialing for your subconscious. The B1 'Anomaly' is a stepper - FWD charging drums backed with sub low pulses all brought together by trumpet echoes and woozy melodics. Finally comes 'Marigold', a soulful jungle excursion > early hours business, caressed nostalgic percussion, brushed rhythms, fleeting guitar licks and undulating vibes.

AUMATRA

The vibration that links the invisible. A shared pulse between mind, body and machine. AUMATRA is neither a place nor an object. It is a living structure: a sonic ritual activated when the pulses of different minds fall into sync.

A space where every sound becomes a frequency, and every frequency becomes a connection.
Inspired by the ancestral and shaped by the digital, AUMATRA is a weave of intensity, discipline and collective creation-an echo from the past projected toward what has yet to be name

B' ROOTS SOUND SYSTEM presents the first release of its record label -NORTH&SOUTH Reggae Label-. A 12inch worked with Sergio López aka Japu, from Lana Studio in Linares (Jaén-Andalusia-Spain).

A version of the original riddim by N. Bailey with the voice and lyrics of Natty Nature. 'Keep up the vibe', a song full of powerful melodies, where the lyrics refer to creating a harmony between the music and the listener through the vibration of the instruments, the voice and each sound element. That is, keeping the energy and creativity awake in perfect balance.

On the other side, Jorge Dopico contributes his art in 'Trombone vibe', to keep the energy at its highest until the end of the album. A trombone line that delights anyone who loves the most melodic and instrumental reggae.

All this, supported by the respective Dub Versions, by Sergio López aka Japu, from Lana Studio. Providing the riddim, production, mixing and mastering of this sensational first work.

Subconscio left the smallest town in Gargano to begin a new life in uncharted Bologna.
Leaving mother earth, he still retains a strong sense of that distant world, expressed through the senses of his inner child. The Subconscio
project finds its expression in music, where it blends Neo Soul, Hip Hop, and Electronica into a sound deeply influenced by individual experiences. Soft vibrations and relaxed lyrics are the means through which he expresses his devotion to creative freedom, moving with the urgency of someone who has finally found his voice. The word dáimōn originates from Ancient Greek and means divine messenger, a guiding
spirit that hovers in a middle ground, called metaxu, the same place where the soul resides, and acts as a link between God and humanity.*
"Daimon" is Subconscio's debut album, produced by Luzee. It's the intimate vision of a person suspended in his imagination, questioning
the identity of his own memory and how the places that led him to his NOW are actually his future. The present doesn't exist in the narrative.
It exists only in the connection between childhood memories and the adult perspective.
Giulio is his son and also his parent: the Subconscious; the "daimon" is the musical journey that connects these two ways of observing the
same memory. Nostalgic turmoil meets the desire to recognize oneself and fuel the obsession with music, because only this—albeit the least
apparent art—is the only one that can be the voice and bearer of the dimensions of consciousness.
Featuring on the album: Madbuddy and Claver Gold

Hearts and Minds is a new vinyl-only label founded in 2025 by house-head Rich Carrick, named after his Northern UK club night of the same name (co-founded with DJ partner Rayees), and dedicated to showcasing the finest underground artists old and new who have influenced him over the past 30 years. First up is a hero of the scene who carries on his tradition of making 'sublime, sophisticated machine music' with something a little different, in the form of two deep chuggers that will sound equally as good on more discerning dance floors, or on home systems. Lead track 'Acid Cry' brings to mind the menacing, string-laden intensity of Underworld's 'Dark and Long', while the flip-side 'Feel That Vibration' is an uplifting euphonic workout reminiscent of a Spirit Catcher composition. The quality is, unsurprisingly, high, and there are more exciting releases planned for the near future. Definitely one to watch!

Killer Groove Records proudly presents the debut 45 by Italian cinematic funk trio Atabasca. A syncopated journey where funk, psychedelia, and cinematic groove merge into a timeless narrative suspended between rhythm and vision.


"Cacopoulos" and "Kundela Mawedi" mark the birth of Atabasca's sonic universe: the first two singles from the upcoming self-titled debut album,which will be released on March 27 in limited-edition LP, CD digipack, and digital formats.

On the A-side, "Cacopoulos" is an impetuous, visionary ride that fuses the power of instrumental groove with the evocative imagery of library music and Italian golden-age soundtracks. From the first beat, listeners are drawn into a dry, dusty landscape driven by a primal drum groove and the acid twang of a guitar that evokes the spirit of classic Westerns. Indeed, "Cacopoulos" pays homage to I Quattro dell'Ave Maria (Ace High) and to the legendary Eli Wallach, the sly outlaw who turns deception into revenge, a subtle yet powerful nod that ties the trio's sound to imagery steeped in dust, dreams, and redemption.


On the flip side, the sound of an old lap steel guitar evokes the gentle waves of the sea, opening the doors to "Kundela Mawedi", a dreamy track with exotic tones and heavenly atmospheres. The sonic journey unfolds through hypnotic rhythms and echoes of ancient cultures, where ethereal voices and warm, entrancing bass lines intertwine with psychedelic riffs and evocative guitar melodies, merging into a soundscape rich in warmth and mystery. The chorus, with its unexpected choral chant, adds a spark of magic. An elegant twist that gently stirs the dreamlike mood and transports the listener into a new sonic dimension, steeped in mysticism and tribal vibrations. "Kundela Mawedi" is more than just a song: it's a sensory experience, a musical ritual where tradition meets psychedelia, sand meets sea, and the soul dances upon the waves of time.


Recorded in a single take, the session captures the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer, and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the tracks at Velvet Room Mastering Studio in Brighton.


A killer double-sider, blending psychedelic and funk moods with percussive, jazzy textures. A must-have gem for every groove-loving DJ.


Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment: this is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals), and Valerio Pompei (drums, percussion, vocals). Individually active for over twenty years on both national and international scenes, the three musicians came together in 2023 to create a project that merges experience, experimentation, and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.


Atabasca's sound moves through jazz-funk, world, and cinematic territories, weaving together afrobeat, desert, and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture, and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


Fans of Khruangbin, Surprise Chef, and instrumental psych-funk, take note!

Swiss sound artist Zimoun returns two long-form works sculpted entirely from the Wind Dynamic Organ (Prototype III) in Bern. Built by Daniel Glaus and his team at the Bern Academy of the Arts, this one-of-a-kind instrument transforms air into something palpable and tactile - wind pressure, airflow and tone are all fluid while shaping sound that shimmers between breath and vibration. Zimoun spent years recording and experimenting with it, coaxing warm, resonant tones, and what results is immersive and uncanny. His vast reverberations and slow-moving harmonics seem to breathe and explore a new frontier in acoustic minimalism.

Autosimilar presents its second VA on vinyl - a deep exploration of the mind through four hypnotic techno cuts from leading artists Kaiser, A4, Pulso, and Vibrations of Gravity.

A great mixture of jazz, funk, afrobeat and house on new album by Italian outfit Asakaira for Quattro Bambole. "Asakaira is the name of a place that does not exist, an "invisible city" that is the backdrop to the meeting of four musicians. Michele Vassallo (sax and efx), Giuseppe Desiderio (bass), Francesco Fasanaro (percussion) and Giuseppe Limpido (drums) who together have already gone through various experiences to immerse themselves in an imaginary space, of the border! So, they exploit this nature to transcend the limit, throwing caution to the wind with carefree abandon, but not before carefully noting the history and legacy of jazz, hip-hop and afrobeat. Asakaira' s sound is psychedelic, fluid, constantly evolving: afrobeat & jazz punk alternate with funk, electronic music of Mediterranean culture. An absolutely "stateless" sound, while maintaining its own timbre and stylistic coherence to make it recognizable. The choice of not having a harmonic instrument present in the lineup gives ample space to electronic effects and the groove, creating a sort of modern ritual. The eponymous debut album, released by Quattro Bambole Records, consists of seven tracks, in which the ability to reinterpret their native sounds with polysemic rhythms emerges in a work where layered drums and percussions intertwine with effected saxophones and psychedelic bass lines. A path that moves between songs with a more "ethereal" ancestry, such as the opening track "Night Tales", an acoustic groove that rests on the use of the handpan, an idiophone instrument that gives the song a psychedelic vibration and like "Chatting With You" where a soft and extended overlapping of multiple musical meters emerges, between neo soul, jazz and hip-hop."