Suche:what so not

p:m is delighted to welcome Kumarachi to the fold - a Nottingham-based artist with a deep catalogue steadily built over the past 11+ years. For the label’s first 10” vinyl cut, Kumarachi teams up with his old friend, the wonderful Liam Bailey, for some rudeboy pressure on the a side, while flying solo for the b.

Tracklist:
A. On Sight: snappy snares, snarling bass, and shifting percussion meet the dulcet tones of Liam Bailey, who turns in a different kind of original dancehall style vocal that gets people skanking and swaying.

B. Cast No Shadow: a heavy-hitting track of pummelling breaks and beats, heavy bass, dub fx, and synth stabs, reminiscent of Star Wars’ X-wings in space.

In Kumarachi’s own words: “On Sight was just a loop when I sent it to Liam, then arranged and built around his vocals. I played it to a couple of people for feedback and to test out, it luckily found its way to DJ Flight via Sweetpea, so a big thanks to her too. Both myself and Liam felt play:musik is the perfect label for On Sight, with what Flight stands for musically and culturally, there’s a definite alignment within the lyrical content aswell. It’s a perfect fit. Cast No Shadow was written later and specifically for this release to contrast and complement the flip. It actually came together quite quickly - referencing classic combinations, whilst hopefully sounding fresh for 2026.”

Youth (original Italian title La Giovinezza) is a 2015 comedy-drama film written and directed by Paolo Sorrentino, starring Michael Caine and Harvey Keitel. Set in a luxurious Swiss Alps hotel, the story follows two lifelong friends: Fred Ballinger, a retired composer who has turned his back on performance, and Mick Boyle, an aging film director determined to finish what he hopes will be his final screenplay. While navigating the quirks of hotel life and revisiting the milestones of their own pasts, the film explores themes of nostalgia, personal legacy, affection, and mortality.

The soundtrack of Youth is a blend of original score by David Lang, and a selection of other carefully chosen pieces, ranging from classical works to contemporary songs. The centerpiece, “Simple Song #3,” performed by soprano Sumi Jo, captures the film’s themes of beauty, loss, and reflection. Alongside Lang’s compositions, the music features “Can’t Rely on You” by Paloma Faith, the classical piece Debussy’s “Préludes: Des pas sur la neige”, and “Third and Seneca” by Sun Kil Moon, amongst others, creating a rich, genre-spanning soundtrack that blends contemporary, classical, and indie influences.

The soundtrack of Youth is available as a limited edition on transparent vinyl and includes a 4-page booklet with liner notes.

2026 Repress

For all those who relate “maybe to the wind, because they can feel it, or dirt, because they can touch it. But nothing else.” Like Bobby Cornett (aka Shane), we are all trying to find where we belong.

Belong To The Wind marks Forager Records’ debut release: A lovingly curated collection of crooning psychedelic folk and soul songs gathered from American 45s of the 1970s. The compilation features 10 songs from 10 different acts, each with an indelible story of love, loss, loneliness, and an unrelenting desire to shed the confines of routine existence.

Meet a man named Denny Fast, perched behind a tobacco stained piano in a smokey Michigan lounge. He’s singing of the faded memory of distant hope and better times past. Listen to a portrait of the heartless Texan, told in arrestingly angelic prose by Connie Mims of St. Elmo’s Fire. Contemplate with Snuffy, the honest musings of a failed and misunderstood outsider, daring to hope for change.

Belong To The Wind aims to shed light on the more opaque cuts of these brooding artists. Many of these songs were recorded at the early stages of a career, at a time when experimenting and searching are pursued with reckless abandon. As a result, these songs are aggressively honest and uncompromising. Many have a distinct sense of the lo-fi DIY variety. Others are polished in production. Some are minimal, tentative and vulnerable. What all of these songs share, is a transportive quality. An uncanny ability to take a captive listener on a search for the soul, and a journey into the bellowing fields of easy reflection.

Sit back and enjoy a soft trip through the hazy milieu of a loner’s mind.

Promised Land is the long-awaited debut album from contemporary showstopper Vintage Culture. Enlisting the help of peers NomBe, Maverick Sabre, The Temper Trap, and Elderbrook, the album marks the producer and DJ's seguing from progressive house to electro, evincing a globetrotting, jetsetting sound that hardly ever fails to hold back on emotion. Including prior single 'Come Come' alongside newer, angelic progressive cuts like 'Weak' with Sabre, this is a stark debut from the Brazilian creative force.

Double LP in matt-laminate gatefold sleeve with silver detail. We mark a decade since we first released COIL's landmark album 'Backwards', with a special 10 year anniversary vinyl reissue. After the ground-breaking release of 1990's "Love's Secret Domain" album, Coil were not dormant; the main project was "Backwards", which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), "Backwards" contains the original versions of Coil's much-loved tracks; 'A Cold Cell' and 'Fire Of The Mind', which have appeared on various compilations over the years, and are now presented as originally intended. his album is the essential bridge between "LSD" and the later "Musick To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. It was to be released... it should have been released... but because of issues with grey men it wasn't. It is now, so enjoy. (Danny Hyde).

It’s 5 AM, the world is still quiet as dawn begins to rise. While most are asleep, a few of us are in the final stretch, finishing last edits or easing into the day, surrounded by scattered notes in the living room with a sleepy cat nearby.

5 AM Study Session is a tribute to the early risers and the night owls. This collection of 34 tracks carries early-morning focus and momentum, guiding you through the quiet and setting the tone for the day ahead. Sunlight slowly peeks in as the melodies play, creating a soundtrack for productivity and peace.

The physical edition captures the warmth of a fresh cup of coffee: pressed on double "Morning Latte" marble vinyl, the swirling beige and brown tones mirror the cozy, studious atmosphere of the artwork. A tangible reminder that the best work often happens when the world is still.

Slip on your headphones, pour a hot drink, and let the sunrise guide your workflow.

Lush in strings and pedal steel, the nine-track 'How I Became A Wave' album features contributions from some of Ireland's most accomplished musicians, headed up by Pat Carey, and featuring string and piano arrangements by Cormac McCarthy (RT Concert Orchestra). 'How I Became A Wave' will be available as a limited edition 12" gatefold vinyl that brings together music and visual art, featuring cover artwork based on the original oil painting 'Towards Pabaigh' by Scottish artist Ellis O'Connor, design by West Cork creative Megan Clancy, insert image by Cork- based artist Leslie Allen Spillane, and handwritten liner notes and lyrics from Pat Carey, who steers How I Became A Wave as a collaborative, multidisciplinary project. Pat Carey says: "At the heart of How I Became A Wave is a sense of collaboration - of connection between artists. Inviting artists of different disciplines into the creative process has been key to the journey. Understanding how other people see, hear and feel my work has been enlightening, affirming and vital, making sure that what we have created is a living body of work that I hope will continue to be expressed in changing ways."

It’s been 12 years since Karizma’s last album, and in that time the world has changed beyond recognition.
What has remained constant is Karizma’s commitment to constantly pushing the boundaries of his sound and defying categorization, effortlessly moving from down-tempo soul, hip-hop, house and electronic dance, and connecting it all with his emotive production and his ear for moving a dance- floor.
“Can’t Call !t” is a double album that sees Karizma craft 17 tracks to take his music in ever new directions. As always, he pours his heart into every cut, always with a message and purpose of intent.
Like all of us, Karizma’s wondering what comes next, which way things will go. Can you call it?

Far Out Recordings proudly presents Ladeiras De Santa Teresa, the debut collaboration between Rio-jazz maverick Antonio Neves and carioca percussion master Thiaguinho Silva. In what could well be the first ever Brazilian jazz album centered around two drummers, Ladeiras De Santa Teresa is an uncompromisingly groove-rich recording, steeped in trad-samba roots and brass power.

Since his acclaimed 2021 album A Pegada Agora E Esssa Antonio Neves has remained a mainstay of the international facing Brazilian scene, performing both as a trombonist and drummer. His instrumental contributions to contemporary classics like Ana Frango Eletrico’s Little Electric Chicken Heart, Bruno Berle’s No Reino Dos Afetos 2, and Bala Desejo’s Sim Sim Sim will be marveled upon by future generations. His partner in crime Thiaguinho Silva happens to be the son of percussion icon Robertinho Silva, who has played on more or less every canonical Brazilian record, Arthur Verocai (1972), Clube Da Esquina (Milton Nascimento and Lo Borges, 1972), and India (Gal Costa, 1973) to name barely a few. Thiaguinho himself has worked with Marcelo D2, Gal Costa, Liniker and Alice Caymmi, and upon listening to Ladeiras De Santa Teresa, it’s clear that Thiaguinho is more than a worthy successor to carry the Silva family torch.

Some listeners may already be familiar with “Das Neves,” which appeared on Mr Bongo’s Rio De Janeiro-focused Hidden Waters compilation in 2023. The track showcases the profoundly skilled Neves brothers brass section (Antonio alongside brother Edu, who has performed with Hermeto Pascoal), the fiery elegance of pianist Luiz Otávio (Dora Morelenbaum), and Thiaguinho’s pulsating samba breaks. This synergised combo continues across the album, notably on “Fendas Vocais” with Neves doubling up on drums, exhibiting his inventive and fearless skill as an arranger. The album also features street-artist, musician and rapper Joca, adding vocalised dynamism and swagger to an otherwise entirely instrumental record on “Viagem de Trem”.

The album’s title Ladeiras De Santa Teresa (The hills of Santa Teresa) is named in tribute to Rio De Janeiro’s famed Santa Teresa neighborhood, a bohemian enclave with scenic views of the iconic cityscape. The spirit of Santa Teresa with its expansive city views and bustling energy is embodied in the album which encapsulates the jazz and samba histories felt within the neighborhood’s windy alleyways and cobbled streets.

Ladeiras De Santa Teresa by Neves E Silva is out on vinyl, CD and digital on Friday 20th March 2026.

Introducing the 4th instalment of the Pacific Coast House rebirth. We bring back another much sought-after 12” from The Coastal Commission & Jesse Outlaw. “Bring down the Walls” was a nod to Raze’s “Break for Love”, Robert Owens “Bring Down the Walls” and Ritchie Hawtin’s use of the Roland 606 throughout “Sheet One”. Long out of reach and fetching $100+ on Discogs, Atjazz’s freshly remastered editions are finally available .. “Let it Go” was never mastered & only ever cut to dub-plate. It has now been mastered & available in all it’s glory.

Coastal Commission “Bring Down the Walls” “Bring down the Walls” was a nod to Raze’s “Break for Love”, Robert Owens “Bring Down the Walls” and Ritchie Hawtin’s use of the Roland 606 throughout “Sheet One.” We gave the tune a Californian psychedelic twist with conga laden drums, a moody synth, low pulsing 303 patterns + Benjamin Zephaniahs patois call to “Move the Body Rhythmwize!” The first PCH releases had dropped Worldwide to International acclaim from DJ’s far and wide across the Globe with support in London, Paris & New York. However the local scene here in L.A that preached “Love, inclusion & Unity” was anything but that. L.A at that time was very tribal & divided up into 3 camps. If you weren’t affiliated with any of them (aka independent) then you were pretty much locked out of getting any kind of gig support or the Dj’s from those camps actually playing the music. The local feedback from Dj’s was that what we were making wasn’t “house,” but “Techno” which was absurd to me. “Bring Down the Walls” was a mantra to “move the bod”y and in doing so “bring down the walls” of separation not just in L.A but throughout society in general. Thank goodness for support from people like Terry Francis, Eddie Richards, DJ Deep & Philly Stalwart King Britt. After years of copies going for upward of $100+ on Discogs the now freshly remastered copies by At Jazz’s Martin Iveson are finally hitting the platters this Spring.

Jesse Outlaw “Let it Go” I met Jesse at Beatnonstop Records on Melrose Ave with Miguel Placencia in the late 90’s. Miguel (RIP) was a mainstay in the Underground scene and had always been very supportive of my endeavors. He had had success with a huge release on Yellow Orange and was working with Jesse under the moniker “When Worlds Collide.” I signed “Brighter Days” & “Set you Free” from them and released the tracks on my Seductive imprint. They told me that they were making the tracks on a Sony Playstation “Music Now” program and I was like FFS “What.s more Underground than that!?” Later Jesse gave me some of his solo work. The track “Let it Go” was never mastered & only ever cut to Dub-plate and featured on my 1st PCH mix “Pacific Coast House Sounds.” It has now been mastered by Martin Iveson and is available in all it’s glory. The dreamy vocal “You need to let it go” beckons over the top of driving percussive Latin beats and church organ which is a great compliment to the flip side of “Bring down the Walls.” All in all two West Coast stompers now finally available remastered on PCH in Orange vinyl.

NUTRIA Sounds proudly welcomes Leo Kal to the family with his debut EP, The Roots EP (NUTRIA 004). Across five tracks, Leo Kal delivers a deeply musical statement—grounded, expressive, and rich with intention—perfectly aligning with what NUTRIA Sounds continues to cultivate: organic sound, essential rhythm, and soulful movement.

The Roots EP showcases Leo Kal’s true musicianship, blending groove, harmony, and texture into a body of work that feels both timeless and forward-thinking. Each track is driven by feel and craft, emphasizing connection over excess and allowing the music to breathe naturally on the dancefloor and beyond.
Celba opens the EP with an uplifting, bouncy groove—light on its feet yet firmly rooted, setting a joyful and inviting tone.

Station Verlaine soars effortlessly, carried by smooth, flowing keys that glide across a warm, rhythmic foundation. Roots, the EP’s title track, shines with warm piano lines and earthy percussion, embodying the spirit and intention behind the project.

Round 50 delivers the EP’s most club-friendly moment, channeling a spacey, late-’90s feel with a modern, refined touch.

Second Eyes closes the EP on a downtempo, junglesque note, wrapping the listener in texture and atmosphere while leaving them wanting more.

With this release, NUTRIA Sounds continues its mission to highlight nutrient sounds for the soul and the feet—music that is honest, rooted, and deeply connected. Leo Kal’s debut stands as a confident and inspired entry into the catalog, reinforcing the label’s commitment to artistry, balance, and musical integrity.

Collecting Orders For 2025 Repress

Backing it up can mean so many things. According to the urban dictionary, it means to carry on drinking the next day in spite of a rather large one the night before. According to Apple, it means to take your I-phone and attach it to an I-pad or Apple Mac - and copy the information to the cloud. Or the device. But in music.....what we mean is basically this....."Damn......that was a big hit......how the hell are they going to emulate that success on the next one."And it's hard for so many reasons. Was it luck Timing That one in a million sample With all the pressure, soon the artist can start second guessing themselves........and that's when backing it up becomes a real problem.But not for our boy PURPLE DISCO MACHINE. If BODY FUNK, his last outing on CLUB SWEAT, wasn't one of THE biggest songs of last year, from Ibiza to Miami and back again.....played by every single DJ under the sun, from BLACK MADONNA to JAMIE JONES to your mama......then I'm not sitting at my lap top writing this shpeel....which I'm very sure I am. AND I'm going to back myself (see what I did there) - and say that DISHED (MALE STRIPPER) is the best way to back up a hit ever. With another hit. Doesn't sound the same....doesn't worry about what the last one did...just does what it does.....which to be honest - is GO OFF!!!! It builds and builds and builds and......In the same way that BODY FUNK masterly made the sum of 2 disco songs bigger than their parts had ever been, this time PDM takes some Italo Disco from MAN TO MAN MEET MAN PARRISH's MALE STRIPPER and mashes it with the aptly named ELLIS D's DISHAPELLA to create a 12/10. Back it up PDM - you are a legend!!!!

This release is an act of breaking out of conventional categories for Seismic records. Established boundaries of genres are completely dissolved into an unpredictable flow of sonic associations. It’s an unexpected collaboration, yet it makes perfect sense from the first kick. Two artists from seemingly opposite ends of the musical universe come together to create a project which fearlessly embarks on the synthesis of hypnotic trance-techno and utter sonic chaos. This project is anything but predictable.

The duality is noticeable from the very first moment. One side brings relentless movement forward in the project: a raw, hypnotic pulse based on rhythm and precision, locking the listener in the present moment and not letting go. Unpredictable textures and psychedelic ornaments are constantly weaving through the rhythmic framework.

A dedicated listener may recognize that the whole EP carries the legacy of David Lynch’s work. The sense of peculiar uneasiness and indecipherability, overridden by the desire to find out what comes next, are exactly what the artists manage to capture and what is so characteristic of Lynch himself. At one point, the EP even reveals a moment as if a red curtain parts in the depths of the track and the listener momentarily catches echoes from the town where owls are not what they seem. Hidden within is a playful nod to the iconic Twin Peaks soundtrack.

DOODSESKADER clearly haven’t had enough of redefining boundaries – they’ve only just gotten started. Tim De Gieter and Sigfried Burroughs return on April 3rd, 2026 with their third full-length album, The Change Is Me, a rollercoaster that can only be described as the unstable lovechild between witch house, hip-hop, industrial dream pop, and stadium rock that can’t decide if it wants to watch the world burn or shout from the rooftops that we need to save it. Their combination of grungy 90s melodies with distorted synths, sludgy bass, hard tuned vocals, rapping, singing, and explosions of undiluted rage at the current state of the world leave you wondering just exactly what it was you smoked last night, and if it was too much or not enough. The Change Is Me is an album that grabs you by the arm and asks if you’re ready to go on a grand adventure, then pulls you into its chaos before you can say “yes” or “no.”

Tim and Sigfried aren’t just breaking the boundaries between genres; they’re breaking out of their own Year cycle, a path they had laid out for themselves at the band’s inception in 2020. Up until now, the duo had set out to document their “journey to getting better” through writing one album each year: Year Zero (2020), Year One (2022), and most recently Year Two (2024). After spending eight months throughout 2024 and 2025 writing, recording, producing and mixing Year Three, the band scrapped the finished record entirely. Playing shows while simultaneously navigating the process of mixing Year Three created a sort of disconnect – the people that they were when they wrote that record and the people that playing shows made them become were no longer one and the same. “We’re people with faults and strengths, and we realized we needed to accept it. That’s equal parts bleak and liberating. If you’re so focused on self-improvement, you can’t even applaud yourself for how far you’ve come,” the band explains. “This project is meant to be a document of us and of the human condition, not a self-improvement handbook designed to keep us all stuck on what may or may not have happened to us or because of us in the past.”

DOODSESKADER chose instead to embark anew on a week-long creative journey in Tim’s own Much Luv Studio with one goal in mind: to make an album that captures who they are right now. Finally writing everything together in the same room for the first time in years, the process of bringing "The Change Is Me" to life was captured by Diana Lungu in their latest documentary, "Now I Know You See Me", out December 2nd, 2025.

"The Change Is Me" marks the beginning of DOODSESKADER’s shift into a more positive era, both musically and conceptually. Over the course of the 40-minute record we hear the two friends unite in a fight against a world that grows more and more disappointing, a concept made crystal clear in tracks like “Celebrity Culture Simp Farm,” “It Keeps On Stinging,” and of course the album’s epic closer “Suffering In Technicolor.” While their previous albums saw them trying to outrun their pasts and arrive at a better version of themselves, here the search for some external or internal revelation that will “make them better” is no more. It’s been replaced by the realization that change isn’t something we force: it’s gradual, and more importantly, it’s something that’s already there – we just need to reach out and accept it.

The band’s live appearances over the last several years have been instrumental in shaping their ideology. On stage is where the duo find connection; not only with the audience, but also with each other. Their sold-out release shows at Ancienne Belgique (2022) and VierNulVier (2024) have proven that they are one of Belgium’s must-see acts. Abroad, their energy has translated into a month-long EU/UK tour with French band Alcest in 2024, as well as appearances at festivals such as Roadburn Festival (NL), Eurosonic (NL), Hellfest (FR), Mystic Fest (PL), Jera On Air (NL), ArcTanGent (UK), Fluff Fest (CZ) and more.

"The Change Is Me" is out April 3rd, 2026 on DOODSESKADER’s own label, 45 Records.

From his roots in House, Alex Finkin is a renowned producer and creative director. Working in his Paris studio he has developed numerous projects, notably his own (Roseaux), as well as commissions for radio and television. Meanwhile, with 30 years of production and DJing under his belt, Rocco Rodamaal belongs to the elite circle of House innovators who continue to influence the scene. He's played alongside some of the best in the industry showcasing his versatility and deep understanding of the genre, and remixed artists including Marshall Jefferson, Kerri Chandler, Louie Vega & Moodymann, Todd Terry, Barbara Tucker and Robert Owens to name just a few. Alex Finkin befriended Rocco Rodamaal, who he met via the soulful Parisian club Djoon, where Alex was resident from 2006 to 2014. They have since collaborated on a number of projects together, including "In Da Hood" released on COD3 QR in 2023. Kenny Dope's "O'Gutta" remixes are a series of house and club-focused reworks characterized by raw, gritty and often stripped-back percussion, which he now brings to "In Da Hood".

Ross McMillan, known professionally as Carlos Nilmmns, is a Scottish electronic music producer, DJ and composer originally from Glasgow. Over the years he has collaborated with a range of notable artists, including Grammy-nominated and Grammy-winning figures, including Kenny Dope, Carl Craig, Kevin Saunderson and Davina Bussey, plus respected artists like Niko Marks, Rolando, Laurent Garnier, Santiago Salazar, Hardrock Striker, Karl The Voice, Zadig, Ben Sims, Andrés (who worked with Jay Dilla and Moodymann), and YouANDme. His music has been released on Planet E, Trax, Cocoon, Ornaments, Circus, Virgin, Skylax/Universal Music France and more. His style draws from house, techno and jazz influences, often combining analogue and digital production methods. A returning regular and COD3 QR favourite, he's back with another stunner in "Latin Quarter".

K' Alexi Shelby is a prominent figure in electronic music and with a career spanning decades, he's established a significant influence on House and Techno. Throughout his career he's worked with many well-known artists and remixed tracks that are now key pieces. The cultivation of his massive musical catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists such as The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Maurice Joshua, Terry Hunter, Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson, Will Smith and countless others. Already respected around the world as a true underground House legend, he delivered "Flame" in 2025 for COD3 QR. Now he's back with "When I", another deep and sexy cut.

Benny Rodrigues a.k.a. ROD unveiled his new moniker, The Lost Souldancer when he dropped "No More Voices" for COD3 QR last year. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He continues this ethos with the delicate and melodic closing track "Life and Death".

Salix is a bold new departure for modular synthesist Loula Yorke, seen here using an antique reed organ to explore the ancient roots of willow trees in magic, myth and medicine, as well as inviting another musician into her recording studio for the first time, clarinettist Charlotte Jolly.

The EP forms a sonic archive of a singular instrument: an antique free reed organ left behind by a previous encumbent of Asylum Studios, (the artists' co-operative in Suffolk where Yorke's Truxalis labelmate and life collaborator, Seiche, has a studio space). The organ is in poor condition and fascinatingly, painfully detuned. Yorke's recordings bring out its host of unusual quirks exacerbated by age and neglect: the powerful rhythmic creaking of the wooden treadles; the bone-shaking resonance emanating from its body at specific pitches; unexpected exclamations of harmonic collision from within the carcass redolent of a human voice; the piercing, shrieking whistles of broken reeds, and the powerful timbres unlocked via Yorke's experiments with various combinations of stops.

The three tracks that form Salix are inspired by a local weeping willow tree, a constant companion photographed over the course of a year. Boughs caught in a gyre. A maiden in mourning. Branches that gesture in the wrong direction. A tree turned upside down. A hand-woven willow basket, an old technology to gather and store. The journey of a lovelorn bard through the underworld, a bundle of willow under one arm for protection.

For the opening track, The Carrier Bag Theory of Fiction, Yorke recorded herself playing a simple unaccompanied improvisation on the organ, the only ornamentation being the processed sounds of the keys being struck and returning to their positions.

For Bundle of Styx, a spell of protection is cast and then broken. Yorke invited virtuoso clarinettist Charlotte Jolly into the studio to test combining the breathy textures of both brass and natural reeds, the instruments uniting and obsuring each other in turn during this one-take improvisation. The organ's unpredictable sharpened tunings take centre stage here, with Jolly using them as a point of departure to conjure a set of peerless harmonic improvisations live in the moment. Throughout the improvisation, Yorke, a self-taught musician, unpracticed on the organ, supports and challenges, freely admitting that she's not always sure what effect her decisions to move up and down the keyboard or pull out certain stops will have. Jolly's genius lies in her ability to meet and build on every uncertain pitch thrown her way, saying of the experience, "I love that Loula isn't classically trained, I can't predict at all what she's about to do."

For the final track, With the Red Dawn, Yorke has come up with another unique combination of textures, this time bringing her own specialism in modular synthesis to the fore. A ten-minute reed organ drone characterised with ever-shifting bass swells and overtones is layered with tuned sines, often shudderingly wave-folded, that ebb and flow both in intensity and harmonic colour according to the duty cycles of eight interrelated LFOs. These recordings are collaged with Yorke's singing voice and a langorous, ascending sequence across two octaves on Jolly's clarinet, all arranged to form a cohesive whole far greater than the sum of its parts. Smatterings of untuned percussion and a fragment of a conversation between the duo left in the final mix cements Yorke's unprecious DIY aesthetic into the release.

At its heart, Salix is like watching the wind in the willows; hundreds of thousands of identical tiny leaves moving in confluence on its branches; at once one thing and many things; moment-to-moment our perception makes out different individuals parts within this expanse of texture, before sinking back into the whole.

"After being praised as one of the best releases of 2025 by multiple platforms, the highly praised debut album from Obeka lands on vinyl via YUKU.

The rhythmic dynamics and emotive attitudes of A World No More captures the density of soundsystem culture in Obeka's ancestral roots. YUKU presents the Bermudians debut album capturing a Neo-Colonial dystopia, protest and Afro-Futurism hyperextended through decaying sonic structures of a dark past and its grievances which very much exist today.

Growing into adulthood within the walls of British and European Colonial systems meant the disconnection and lostness in a new country hid me from the world at a young age. Unlike London's vast and culturally engaging migrant communities, the industrial milling town of Stockport introduced a coldness towards people from other countries I experienced in my first year after relocating from Bermuda. I couldn't understand why. Whether cold words thrown towards me or actions upon other people who look like me, it has shown to be a dooming societal virus with no cure. The most comfort was found through what was familiar - drums and rhythmic spirituality of my homeland. It was a safe-haven, a place to empty the anger and confusion. It's been 15 years since relocating and as my sound evolved, it seems classism, racism, oppression and civil control of ethnic peoples has become worse - even now more legalised and normalised. Ogun (a powerful Yoruba deity associated with anger, justice and war) acts as the opening sequence of the record and its symbolism. Using distorted bass frequencies and dissected Regga-Dub immersed in live-sampled ghostly voices of the lost ones. This sonic exercising is also applied in Drillaman - a stampede of industrial framework and metallic instruments wielded over moody Dancehall MC'ing, magnifying two parallel worlds in cocooned evolution. The resurrection of Transatlantic African cultures and identity have never been silenced, rather carried elsewhere through trade routes of enslavement, which was pivotal when composing and completing the album upon returning home to the Caribbean for the first time ever. After reconnecting with my heritage my blurred vision of what's wrong in the world became so clear. Guidance in empty plains seek truth throughout the pain - A statement of finding oneself expressed on the poetic closing track A World No More.

On Fawohodie (A West African Adinkra symbol that represents independence, freedom, and emancipation stamped on the album cover) the motive and atmosphere begins to change. Afro-Caribbean idealism which refers to the philosophical concept that emphasizes the interconnectedness of individuals and the importance of community, often contrasting with Western individualism, begins to take shape in a new universe. We can co-exist. The track framework uses machine-led software forming frequencies we have no control over, then manipulated through decomposing soundscapes, scattered hand-drums and human-made weapons of control - exposing the hidden disparity that's been carried over generations whilst balancing hopeful and musical foundations towards equality and peace. On Pressure and Kuduro! the writing direction attempts to wake people up. Not settling for a composed approach like in past projects, quite the opposite. A call for native sonic awareness, dismantled vocals of protests, eroded percussion using chains, gears and motorised harmonies sculpted in challenging abstract behaviors far outside my comfort zone. A direct abrasiveness and weight I want people to feel, whilst finding hope and solace through enchanting choirs and hypnotic basslines in complete synchrony.

"Purity in sound manifests when you least expect it. The smallest memory or feeling grows from a seed into a sonic language that you, and only you can interpret and release back into the world." "

At the core of the creative process behind “HPC” and “Bor3d” lies meta-irony, a quality that permeates much of today’s digital content landscape.

Both tracks are a deliberate attempt to push the sound toward a barely perceptible absurdity and ironic unseriousness in their interpretation of well-familiar styles of dance club music. It is a play with form, expectation, and recognizability — balancing sincerity with sarcastic exaggeration.

Okay
Okay is built around interruption. Voices, fragments of dialogue, yawns, irritation — people seem to step inside the track uninvited. Someone is bored, someone is annoyed, someone tries to stop the flow entirely. Just like in real life, the process is constantly disrupted. The track reflects the experience of being surrounded by opinions, noise, and skepticism — especially the kind that will never be convinced, no matter what you do. “Okay” becomes a quiet, ironic response to this pressure: not agreement, not approval, but endurance. The track continues anyway.

Tripatura
Tripatura is a fictional creature — a warped echo of cryptid mythology. In this narrative, Tripatura doesn’t simply exist, it hunts. Once it finds you, it drags you into an endless trip with no exit point. Time stretches, perception blurs, and the track itself becomes the trap. Its prolonged, unresolved ending mirrors the experience of being stuck inside a loop that refuses closure. Tripatura doesn’t rush. It lingers, slowly pulling you deeper, until the trip no longer feels temporary.

In the spring of 1971, somewhere between Brussels, Paris and a collective pop fever dream, Le Monde Fabuleux Des Yamasuki landed on vinyl. It sounded like nothing else then and it still does not today. More than half a century later, Sdban Records proudly presents a reissue of this singular cult album, available from April 3, 2026 on vinyl.

The album was produced by Jean Kluger and written both by Jean and Daniel Vangarde (aka Bangalter, later the father of Thomas Bangalter of Daft Punk), who were alreadywell ahead of their time, long before electronic music rewrote the rules of pop culture.

Released under the name Yamasuki, also referred to as The Yamasuki Singers, or The Yamasuki's, the project was never intended as a conventional band. It was a studio-born fantasy, a concept album disguised as a pop record. What began as a standalone single quickly expanded into a full-blown pan-cultural pop opera that ignored genres and common sense with joyful abandon.

Musically, the album sits at a delirious crossroads. Psychedelic pop collides with funk rhythms, samba and bubblegum melodies, full of chants and choruses in a phonetic pseudo-Japanese, written with the help of a dictionary. Kluger and Vangarde famously recruited a children's choir to perform the vocals, and for added spectacle, they brought in a Japanese judo grandmaster, whose ritualistic shouts and battle cries erupt throughout the record.

Several singles were released. One of them, Yamasuki, with accompanying dance move, appeared in the United Kingdom and France on John Peel's Dandelion label, a fitting home for a record that thrived on the margins of pop culture. Its B-side, Aieaoa, proved even more potent. In 1975, the song was reborn as A.I.E. (A Mwana) by Black Blood, an African group recording in Belgium, this time sung in Swahili. That melody would travel even further. Aie a Mwana became the debut single of English pop group Bananarama, and in 2010 it resurfaced once more as Helele, an official song of the FIFA World Cup, recorded by South African singer Velile Mchunu with Danish percussion duo Safri Duo. That version became the most widely known incarnation of the song. With Jean Kluger directly involved, it was less a cover than a continuation of the original idea.

The album's afterlife did not stop there. Over the years, Yamasuki has been quietly sampled, covered, and featured across media far beyond the realm of novelty pop. Kono Samourai was sampled in The Healer by Erykah Badu (2007), produced by Madlib, while Yama Yama has found its way into recent pop culture as well: appearing in the television series Fargo, on Angus Stone's project Dope Lemon, and on the 2008 Late Night Tales compilation curated by Arctic Monkeys drummer Matt Helders. Proof, if any were needed, that this strange little record carries a deeper musical DNA than its playful exterior might suggest.

This new reissue of Le Monde Fabuleux Des Yamasuki proves the renewed interest and respect for this cult album, faithful to the original spirit while finally giving it back the physical presence it deserves. In an era obsessed with genres and algorithmic neatness, Yamasuki still laughs, dances and karate-kicks its way past definitions. It reminds us that pop music can be playful without being disposable, strange without being cynical and joyfulwithout explanation. The world of Yamasuki was always fabulous, we are just lucky it found its way back to us!

REPRESS ON SILVER VINYL . COMES WITH 24”x24” POSTER + DOWNLOAD CARD + GATEFOLD JACKET.


On The Beths’ album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships – platonic, familial, romantic – and more importantly, their aftermaths. The shapes and ghosts left in absences. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. With Expert, The Beths wanted to make an album meant to be experienced live, for both the listeners and themselves. They wanted it to be fun -- to hear, to play -- in spite of the prickling anxiety throughout the lyrics, the fear of change and struggle to cope.

Most of Expert was recorded at guitarist Jonathan Pearce’s studio on Karangahape Road in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) -- and sometimes in the building's cavernous stairwell at 1am -- toward the end of 2021, until they were interrupted by a four-month national lockdown. They traded notes remotely for months, songwriting from afar and fleshing out the arrangements alone, the first time they’d written together in such a way. The following February, The Beths left the country for the first time in more than two years to tour across the US, and simultaneously finish mixing the album on the road. That latter half felt more collaborative, with everyone on-hand to trade notes in real time, until it all culminated in a chaotic three-day studio mad-dash in Los Angeles. There, Expert finally became the record they were hearing in their heads.

Expert is an extension of the same skuzzy palette the band has built across their catalog, pop hooks embedded in incisive indie rock. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

The rest is a capsule of The Beths’ most electrifying and exciting output, a sonic spectrum: “Your Side” is a forlorn and sincere love song, emotive; while “Silence is Golden,” with its propulsive drum line and stop-start staccato of a guitar line winding up and down, is one of the band’s sharpest and most driving. “When You Know You Know” skews a bit groovier, pure pop and a natural addition to the band’s live set. “Knees Deep” was written last minute, but yields one of the best guitar lines on Expert. There’s a certain chaos across the 12 tracks, the palpable joy of playing music with long-time friends colliding with the raw nerves of pain.

Stokes strings it all together through her singular songwriting lens, earnest and self-effacing, zeroing in on the granules of doubt and how they snowball. Did I do the wrong thing? Or did you? And are we still good people at the end of it? She isn’t interested in villains, but instead interested in just telling the story. That insecurity and thoughtfulness, translated into universality and understanding, has been the guiding light of The Beths’ output since 2016. In the face of pain, there’s no dwelling on internal anguish - instead, through The Beths’ music, our shortcomings are met with acceptance. And Expert In A Dying Field is the most tactile that tenderness has been.

Chalybeate documents a month long stay by Tokyo based producer aus in Ikaho, one of Japan's most established Onsen (hot spring) towns, during autumn 2024.

Working from field-recordings captured inside multiple ryokan baths, aus synthesized the subterranean movement of the onsen's with local details: the bubbling of source water, the hoozuki lantern plants and wind chimes placed at each inn, and the surrounding insects and birds. Rather than portraying Ikaho as a landscape, the recordings trace the town's respiration.

The material was first presented on site as an installation unfolding across eight different baths, where visitors listened while soaking in roten-buro (open air hot baths). The project drew wide attention for proposing listening as a bodily act, inseparable from heat, moisture, and duration.

Chalybeate re constructs that installation as an album. The recordings were left to sit for a year within Ikaho's air and humidity, allowing the sound itself to slowly change. The title refers to Ikaho's iron rich mineral water, known as "Golden Water," which oxidizes upon contact with air and leaves rust colored traces in its baths. Following this process, the album's sound was repeatedly re submerged and re worked, gradually absorbing a corroded texture.

Tape hiss, gentle distortion, and subtle fluctuations rise quietly, like steam.
What remains is not documentation but residue.

Mixing was handed over to Manchester based producer The Humble Bee by Craig Tattersall, known for his work with The Boats and The Remote Viewer, after aus exhausted himself traversing Ikaho's steep stone steps. The exchange mirrors the work itself: from bathtub to hot spring, from sound to something that surrounds the body.

Woodwind like tape noise and the movement of water dissolve into one another.
The music does not arrive all at once. It settles slowly, as if lowering into warm water.

2026 black vinyl, 2022 Abbey Road remaster, original 2012 artwork! When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album 'World Music' - there was, and there still isn't, anyone else on earth quite like them. With their enticing mythology, music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. 'World Music', received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe. 'World Music' is brimming with tracks now seen as 'classic' Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of 'Disco Fever', the fuzz abuse of 'Goathead', the post-punk groove of 'Let it Bleed', the sing-along repetitive pop of 'Run to your Mama'... From the first note to the last, 'World Music' oozes with a sonic confidence rarely seen on a debut album. What Goat have is unique - they've managed to create a sound unrestrained by genre or any other boundaries. So if you haven't done so already, then it is now time you joined the Goat commune.

For the first time in more than a decade, Paul St. Hilaire (AKA Tikiman) presents a solo album – 100% Tiki.

Over his 30-plus year career, St. Hilaire has become one of dance music’s quietly legendary figures. Born and raised in Dominica, he moved to Berlin in 1994 and has lent both his voice and his musicianship to some of the most iconic electronic music from the German capital – and beyond. Renowned for his collaborations with Moritz von Oswald and Mark Ernestus (AKA Rhythm & Sound), he has also appeared on records with Deadbeat, Rhauder, Larry Heard aka Mr. Fingers and Stereotyp (G-Stone Recordings), amongst others.

However, few know the extent of St. Hilaire’s compositional and technical mastery. From his home studio in Kreuzberg, which includes an extensive collection of vintage hardware, self-built instruments and notebooks scribbled with endless lyrics, he has created a vast archive of material spanning ambient dub, avant-jazz, lush techno and lovers rock.

Tikiman Vol. 1 is a heady, downtempo tour de force of patois metaphors on education, displacement and personal vs. global histories, as is evident on slippy album opener “Bedroom in My Bag”: Mister, mister / Where are you going? / I’m heading for a faraway land / What are you having in the bag in your hand? / Help us to understand / He said, I’ve got my bedroom in my bag.

Overall, the album’s lyrics reflect on life between Berlin and Dominica, specifically St. Hilaire’s hometown of Grand Bay, where he has worked with various musicians famous for the island’s different genres of carnival music. St. Hilaire himself always favoured the island’s more “discrete” music, developing a sonic synergy between two different geographical strains of groove and minimalism, and combining them with foundational Caribbean mixing techniques, which provide the basis for his songwriting and distinct
baritone.

Tikiman Vol.1 offers a rare insight into St. Hilaire’s complex artistry, from the eyes-down grooves of “Little Way” and the guitar-heavy digi dancehall experiment “Keep Safe,” to the subtle hypnosis of “Ten to One” and the softly crashing synth waves of closer “Three And A Half”, evoking not only beaches but also coasts and borders. It’s a fitting expression of both the breadth of St. Hilaire’s work, as well as his history as one of the few black, Berlin-based artists who, despite remaining largely overlooked, has influenced the city’s electronic music culture since its beginnings.


Credits
Written & Produced by Paul St. Hilaire
Mastered by Stefan Betke
Artwork by Grant Gibson

Kynant Records was founded in 2015 by Richard Akingbehin, a British-Nigerian radio programmer (Refuge Worldwide), music writer and DJ. Originally specialising in deep techno and featuring artists such as Cio D’Or, Terrence Dixon and Donato Dozzy, Kynant has since launched a sub-label Kynant EX which focuses on ambient, dub and experimental electronics.

WRWTFWW Records is very happy to announce the release of Interwoven, the deeply moving collaborative album from Ken-ichiro Isoda and aus (Yasuhiko Fukuzono) — now available on limited edition transparent sea green colored vinyl LP housed in a heavyweight sleeve with selective-varnish 3D print, as well as in digipack CD and digital formats.
Recorded between Hachijo Island and Tokyo, Interwoven distills two visionary voices of Japanese ambient and electronic music into a single breath of feather-light and quietly luminous meditative sound.

Isoda is a revered figure of New-age and environmental music whose work on Oscilation Circuit – Série Réflexion 1 (originally released on famed label Sound Process) has long attained mythic status. He composes, notably with harp and wind instruments, produces contemporary music and video game scores, and crafts his very own brand of ambient music from the volcanic island of Hachijo-jima. Tokyo-based electronic composer and synth master aus is known for tender, melody-driven soundscapes. From the two artists comes a dialogue suspended between land and sea, bridging the generation gap and the physical distance between them.

What began as a series of sketches — impressions of water, islands, and shifting light — gradually evolved into an exchange without explanation, a correspondence of sound that dissolved boundaries. In that anonymity, both artists discovered an uncommon freedom: a place where each could move lightly and intuitively, without expectation. The music drifts with a gentle, intuitive grace: lingering piano, soft cinematic synths, and field recordings that unfold like whispered recollections, while flute and saxophone lines pass through like occasional breezes — a human presence felt as warmth more than form.

Interwoven is music for those who cherish stillness and the delicate beauty of the everyday. It’s music for admirers of Satoshi Ashikawa, Midori Takada, Satsuki Shibano, Hiroshi Yoshimura, Takashi Kokubo, Brian Eno, and all who seek a quiet refuge in sound.

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

The Greek artist comes back with a fully realized EP this time, that goes deeper into his personal world. This is not pointless or flashy music. It has soul and character.

It is music that you can listen the personality of the artist beneath the layers and sound design.
Another strong statement from a producer who is quietly building his own language.

Daybreakers keep it rolling in 2026 after two essential Vick Lavender samplers, this time back east with some DATs from the Jersey boys “Raw Tunes” Little to nothing is known about those two. We will keep it that way and let the music do the talking.

Medlar sends us a less anonymous remix straight from the Cayman Islands too... Hard hitting deep house perfect for the peak time, What more do you expect from us at DAYBREAKERS?

Buy or cry.

With their upcoming album Waves, Moonchild enters a bold new chapter. A deeply personal and emotionally raw project, Waves explores themes of grief, healing, resilience, and self-worth, eschewing the love songs that once dominated their catalog. "This album is about processing loss and stepping into your power," says Amber. "It's a lyrical departure, but it reflects what I've been going through these past few years."

The project also marks a return to in-person collaboration and a new embrace of sampling and sonic experimentation. The result is an album that feels more vulnerable and grounded than ever, while still pushing the boundaries of their signature sound.






f 06: Fear (Hey Friend) feat. PJ Morton






[f] 06: Fear (Hey Friend) [feat. PJ Morton]






[f] 06: Fear (Hey Friend) [feat. PJ Morton]

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

With their upcoming album Waves, Moonchild enters a bold new chapter. A deeply personal and emotionally raw project, Waves explores themes of grief, healing, resilience, and self-worth, eschewing the love songs that once dominated their catalog. "This album is about processing loss and stepping into your power," says Amber. "It's a lyrical departure, but it reflects what I've been going through these past few years."

The project also marks a return to in-person collaboration and a new embrace of sampling and sonic experimentation. The result is an album that feels more vulnerable and grounded than ever, while still pushing the boundaries of their signature sound.






f 06: Fear (Hey Friend) feat. PJ Morton






[f] 06: Fear (Hey Friend) [feat. PJ Morton]






[f] 06: Fear (Hey Friend) [feat. PJ Morton]

Stacey Kent is an American jazz singer in the mould of the greats, with a legion of fans, a host of honors and awards including a Grammy nomination, album sales in excess of 2 million and more than one billion streams, and Platinum, Double-Gold and Gold-selling albums that have reached a series of chart-topping positions.

Stacey, a comparative literature graduate with a passion for music, travelled to Europe to further her studies after receiving her degree from Sarah Lawrence College in NY. Through a series of twists of fate, she found herself in London where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson.

Kent's musical journey began with childhood piano lessons. A keen ear and true voice lead her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the one that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 13 studio albums, including the Platinum selling, Grammy-nominated Breakfast On The Morning Tram (Blue Note/EMI 2007) and an impressive list of collaborations, Stacey has graced the stages of nearly 60 countries over the course of her career.

Her worldwide fan base is testimony to her ability to express the emotional heart of her songs with delicately nuanced interpretations that transcend borders and defy categorization. Her unique multi-lingual repertoire includes standards, chanson, Bossa Nova, and originals written by Jim Tomlinson, her saxophonist/producer/composer/arranger husband in collaboration with the Nobel Prize-winning author, Kazuo Ishiguro with whom they have worked since 2006. She has also recorded with Brazilian legends, Marcos Valle, Roberto Menescal and Danilo Caymmi, and the celebrated French string quartet, the Quatuor Ébène.

Stacey's last studio album, Summer Me, Winter Me, was released in November 2023 on Naïve Records. A collection of fans' requests from her as yet unrecorded concert repertoire, Summer Me, Winter Me entered the French jazz charts at number 1 and has quickly established itself as a new highlight in her discography. She now returns with A Time For Love.

16 years after debuting, Coyote's hush-hush Magic Wand imprint continues to be one of the most reliable sources of Balearic-minded re-edits and reworks. Their latest is suitably mysterious - a single-sided missive released with no information about either the uncredited scalpel fiend behind it or the source material. What we can tell you is that 'Suntrip' is undeniably ace, with our shadowy editor delivering an extended, lightly dubbed-out take on what sounds like a mid-1980s big studio number: the kind of off-beat pop-not-pop record that Balearic heads love. Think synth marimba lines, fretless bass, effects-laden drums, glassy-eyed male lead vocals, glistening guitars, nods to dub and lashings

So… what are we actually supposed to tell you about HCL? Honestly, it’s a pretty nice story. A collaboration the way it’s meant to be.

HCL stands for Horkheimer, Consti aka Zeitstill, and Delenz — not hydrochloric acid, but liquid music. One shared idea of sound, without a fully mastered plan. Most of the tracks were born during long studio sessions — long nights, extended jams, ideas taking shape naturally. No big concept, just working it out together and seeing where things go (or not).

After the first two HCL tracks found their way onto various samplers — including the 25 Years of Live at Robert Johnson compilation and Freeride Millennium’s own Queer Base Vol. 2 — it felt like the right moment to take the next step and release the first pattern. Not as a conclusion, but more as a checkpoint. This is far from the end. There are more patterns, more sessions, more ideas already waiting to be published.

Describing the genre is, as always, not that easy. It drifts somewhere between techno and all the other things orbiting around it. Purely electronic music, rooted in the club, but not obsessed with functionality. In a way, it reminds us of the early 2000s — deep, slightly twisted, hypnotic, driving but never aggressive. Music that takes its time, creates space, and pulls you in rather than pushing you forward.

For moments that are meant to last — tracks you don’t want to hear mixed out. For getting lost on the dancefloor, for forgetting the noise and madness outside for a while, for drifting into yourself and letting time fly. Honest club music, built for immersion.

Enjoy the music. Enjoy yourself. Love.

Yours, HCL

2026 Repress

A gift to the overthinkers and overworked. Those who are over-concerned and always preoccupied. This is an invitation to hang up the bootstraps, take a load off, and visit a place in the mind where the sun is shining, the breeze is soft and the waves lap softly at your feet. Vacation From My Mind is a sonic realignment of melancholic soul, breezy soft rock, & mellow jazz-funk.

This album is a thoughtfully curated collection of 12 rare and obscure tracks from 1973 to 1981. From Jeanette Baker’s hypnotic 70’s soul title track “Vacation From My Mind” to the Latin rhythms of David Buckland’s jazz-funk “Celia”, this compilation was lovingly crafted to ease the stresses and worries of modern life. The Care Package’s song “The Storm” is a larger-than-life production of dreamy harmonies not often found on privately released 45s. Utopia’s “Lejos De Mi” is a slow-burning slice of Bolivian psych that will have you searching for similar sounds. Whatever your preference, we hope that this album will give you a vacation from your mind.

Red Motorbike hits the road in '26 with an original production from Berlin's master of boogie funk LJ Simon!

Givin' Up is a soulful modern funk 7" steeped in warm '80s analogue production and classic groove.
The OG version blends vintage synth textures with a deep, understated rhythm section. Known for his love of fat-sounding vintage gear, LJ Simon begins every song with no blueprint, working purely from sound, instinct, and feel, tuning in to receive what the moment brings. The influences are unmistakable, yet the result feels fresh, intuitive and alive.

Vocals are delivered by Denice Brooks, a formidable singer from Austin, Texas, now based in Berlin. Denice built her solo career while performing with an exceptional list of artists including Tina Turner, Roy Ayers, David Bowie, Nancy Wilson, Natalie Cole, and many others. She is notably the only singer to receive Prince's blessing to record an official cover of 'Purple Rain' - a distinction that speaks volumes about her artistry.
Her career has taken her across Germany, Europe, the Middle East, and South Africa, where she even once performed for Nelson Mandela. Her continued experience across stage, studio, television, and musical theatre shines through in a vocal performance rich in depth and soul.

Label head Eddie C offers up his Disko Mix and reframes the track through a '90s street soul lens; stripped-back, dusty, and perfectly tuned for late-night selectors and heads-down dancefloors.

Detroit original, Terrence Dixon, returns to Tresor Records to kick off 2026 with ‘When Stars Remember’. Despite his thirty-year career, Terrence has always managed to keep a lower profile than his peers; he has given few interviews, preferring instead to speak through his music, with cryptic song titles hinting at the thoughts swirling around their creation.
However, ‘When Stars Remember’ finds him stepping forward. “I wanted to get closer to the dancefloor. I consciously made this one feel louder…made with Tresor specifically in mind.” And the EP does just that: whilst many of the hall marks of a Terrence Dixon production are present, the drums are more forward; the synth arpeggios so bold that ‘monumental’ seems a better descriptor than ‘minimal’.
“I put three or four sounds together on the same track, layering to make something bigger”, he says of opening track ‘Mono Collapse’, though the statement could apply to any of the music appearing on the release as all four pieces fold in sonics to create something hypnotic; more than the individual parts: “If you stick with the same layered tones, and repeat it over, after a while your brain changes it on its own; you hear a lot of things: things that you didn’t notice at first, things that maybe aren’t even there.”
The absence of things is another main theme of the EP, especially what Dixon sees as ‘The Forgotten’, a group of fundamental principles like common sense, trust, loyalty, honesty and respect that are missing from modern life. “This world is different…the love is gone. But I love everybody, man. I think, secretly, everybody love everybody, but they just don’t know it.”

Bristol experimental band SUGAR HORSE are delighted to announce that their third album, Not A Sound In Heaven, will be released on 10th April 2026 via Fat Dracula Records.

To celebrate the news, the band are sharing the bruising lead single ‘Secret Speech’, available to stream on all good digital service providers from 12th February 2026.

Also announced today are a run of April 2026 UK album headline tour dates and an appearance at StrangeForms Festival 2026, with tickets on sale now (see below for full listings).

“We are fortunate enough to live in what is generally known as ‘The West’,” says front man Ash Tubb of the lyrical themes behind the new track. “I say fortunate with gritted teeth, because I know—as I’m sure the reader knows—that living in the West isn’t always rosy. The vast majority of people struggle everyday to feed, clothe and house themselves. Let alone receive adequate healthcare, schooling and workers’ rights.”

“We are, however, where all the world’s wealth is hoarded. We are at the centre of Empire. The people outside of this empire—those of the Global South—have had their resources extracted and their populations exploited by our own governments, with very little given back in return. This won’t go on forever. It will inevitably end, as all great empires do.”

“We in The West have a choice to make in the meantime; either help create a new, fairer world, or let the greed of our ruling classes become the undoing of all of us.”

The first glimpse of new material from the quartet, ‘Secret Speech’ starts as Not A Sound In Heaven means to go on—a politically-charged wrecking ball of a song that smashes its way through the often unbelievable chaos and brutality of the 21st century with vitriolic malice.

How do you capture the machinations of the geo-political industrial war machine—and all the horrors that go with it—in the studio, without seeming trite or crass? That’s the question that Sugar Horse have posed themselves on their forthcoming third album Not A Sound In Heaven, and they must surely be one of the only bands in existence capable of delivering on just that premise with both musical substance and cutting philosophical insight.

“Ever since I was born I can remember visions of war, famine, and death being beamed directly into my living room via the magic of television,” says Tubb of the record. “These visions were accompanied by newsreader narratives designed to either humanise or dehumanise the people involved. We humanise our government’s allies and dehumanise their enemies. This is taken as common sense, or even wisdom to some degree. People watch the news and accept it as fact, simple and true.”

“As a person gets older they move in one of three different directions with this acceptance of reality; They embrace what they’re being told, they fall into a kind of trust free nihilism or they learn that there are deeper narratives at play.”

“Not A Sound In Heaven is an aged acceptance of the latter. An acceptance of sitting at the centre of a global empire of both military and economic dimensions. An acceptance that the stories we’re told as a nation, or what’s generally in the zeitgeist, isn’t necessarily reality itself.”

“How does a person cope with the weight—and, frankly, the guilt—of a society that perpetuates such distinct inequalities? A society that thinks a bit of killing abroad is fine, as long as it improves the lives of people at home. You can see why so many choose to embrace it. Hell, nihilism seems pretty sensible. Once a person decides upon pursuing a degree of truth however, things get a bit depressing. Beyond depressing...maddening.”

“This album explores this kind of breezy, frivolous subject matter in a manner that will no doubt be uplifting to the listener and massively financially rewarding for the artist.”

The new album follows on from their standalone AA single ‘What’s Your ETA? Let’s Have A Tear Up’/‘Would You Like Me To Be The Cat?’ which was released late last year as a surprise double drop.

White vinyl. Signed Print Edition. When Jack Tatum began work on Life of Pause, his third full-length to date, he had lofty ambitions: Don't just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. "I desperately wanted for this to be the kind of record that would displace me," he says. "I'm terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn't need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before." What came before: a rightfully acclaimed, much beloved display of singular pop craftsmanship. Tatum's dreamy, unexpected 2010 debut, Gemini, was written while he was still a student at Virginia Tech University. Its equally disarming follow-up, 2012's Nocturne, marked the first time he'd been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between_each hinting at new directions and punctuating previous ideas_but with Life of Pause, Tatum delivers what he describes as his most "honest" and "mature" work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. "I allowed myself to go down every route I could imagine even if it ended up not working for me," he says. "I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything." After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan's home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of "Reichpop" to the sugary howl of "Japanese Alice" to the hallucinogenic R&B of "A Woman's Wisdom," the result is a complete, fully immersive listening environment. "I just kept things really simple, writing as ideas came to me," he says. "There's definitely a different kind of `self' in the picture this time around. There's no real love lost, it's much more a record of coming to terms and defining what it is that you have_your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new."

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."

Brighton four-piece Lime Garden return with their self-reckoning second album 'Maybe Not Tonight' So Young Records (the record label launched by So Young Magazine).

'Maybe Not Tonight' unfolds as a full night out, charting the pleasures and perils of partying and impulsive decisions.

Vocalist and guitarist Chloe Howard says: “The album is about a night out, from start to finish. As the night progresses, you’re having a great time, until your ex walks in with someone else. You hate the way you look but rather than going home, you press the big red button and get even more drunk. Eventually, you take yourself home full of melancholy, chaos and anger.”

Following their critically acclaimed 2024 debut 'One More Thing', which captured the raw live energy that earned them slots at festivals including Glastonbury and Green Man, Maybe Not Tonight sees Lime Garden expand their signature “wonk-pop” sound upwards and outwards. The result is their most intoxicating and luminous material to date.