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The album comes at a time when connection is needed more than ever. A generative connector and community leader Allison Russell, alongside production team Dim Star, cast a creative circle of collaborators to bring the songs to life, emerging from honest, raw dialogues between friends, lovers, chosen family, humans. The new record features Norah Jones, Joy Oladokun, Kara Jackson, Denitia, Ruby Amanfu, Devon Gilfillian, Kashus Culpepper, Brittney Spencer, Sara Watkins, Kyshona, Julie Williams, Chibueze Ihuoma and Ahya Simone. Available on "sea foam" coloured vinyl and digipak CD editions

Riff-driven and immediate, MALIST's style is rooted in the best Atmospheric Black Metal imprint, although experimenting with Post-Metal passages and modern-oriented melodic approaches Often epic and fierce, "Eternal Echo of the Fall" allows the listener to experience the perfect balance between anger and melancholy, as well as a raw, suggestive quality, thanks to mutable sections that float between slow, magical atmospheres and more fiery, aggressive ones. A particular attention to arrangements and a certain amount of ideas seal this album as an intriguing musical journey, in which each song has distinctive traits when compared to the others.

Lance Ferguson (The Bamboos, Menagerie, Rare Groove Spectrum) presents his lush Exotica inspired 2016 album on LP for the first time in a limited edition deluxe gatefold sunset swirl coloured vinyl edition, with each pressing having a unique pattern.

For fans of Air, Martin Denny & DJ Shadow.

'The Double Sunrise' is a re-imagining of Exotica seen through Ferguson’s own lens, which includes Pop and Hip Hop elements plus samplers, synths and drum machines thrown into the mix. That combination of beats and lush cinematics owes as much to Exotica pioneer Martin Denny as it does to Air and DJ Shadow.

Guest vocalists include Melanie Pain (Nouvelle Vague), who brings a sweet Francoise Hardy and Jane Birkin influence to her songs, and Australian singer Meg Washington. As well as her own successful career, Bamboos fans would know Washington from her vocals from “The Wilhelm Scream” and “King Of The Rodeo”, as well as “Beautiful Trash” from the 2011 Lanu album ‘Her 12 Faces’.

Ferguson's own instrumentals are also gems of lush, nostalgic delight.

Reviews for ‘The Double Sunrise’

“Even with the clear influence of South Pacific exotica, this second LP is still typical Ferguson: tight, snappy and doused in retro airs.” - Rolling Stone Magazine

“Bamboos supremo Lance Ferguson uses South Seas exotica as a jumping-off point for a record that deftly crosses datelines. Giddy effervescent soundscapes such as “Tiny Dots” sit back to back with breakbeat grooves like “Nightmarchers””. The Age

“This is one of those summer albums you will return to every year. Stunning.” The Daily Telegraph

“The concept for The Double Sunrise is very specific, but it's executed brilliantly...It's one of those records that evokes a place and a feeling that most of us only ever dream about.” - Double J Radio (Feature Album)

In his most self-aware and sonically refined work to date, JORDY returns with In Retrospect—an 11-track journey through the clarity of hindsight. Transitioning from a breakup record into a manifesto on healing, the album captures the "push-and-pull" of turning 30 and finding power in the wreckage of the past.

Known for his unmistakable blend of "pop precision" and vulnerable storytelling, JORDY moves past the guilt of time wasted to celebrate the person he has become. This is an album about finding yourself again after the noise fades.

In Retrospect is a love letter to the music that shaped a generation. Sonically, JORDY pays homage to his roots, blending the infectious energy of early 2000s pop-punk and Hilary Duff-era bubblegum with the high-gloss production of modern synth-pop.
JORDY commented, “In Retrospect started as a breakup record, but it quickly became something much bigger. It turned into an album about healing. About growing. I think when people find themselves stuck in bad relationships, they often blame themselves for not leaving sooner. They carry guilt over the time they feel they’ve wasted. But writing this album helped me see it differently. The moment I chose to leave the toxicity behind, I felt like I found myself again. I got healthier, mentally and physically. I gave myself permission to mourn the life I thought I’d be living at 30, the future I imagined as a kid. I found peace in remembering that nothing is ever as serious as it feels. I found my power again. In retrospect, the pain and suffering may have been the very thing that saved me.

“Sonically, this album pays homage to my roots - to my younger self blasting Hilary Duff and pop punk bands alone in his room. It’s nostalgic. It’s the kind of music I love to listen to. It feels more like me than anything I’ve made in a long time. It’s funny and catchy, vulnerably heartbreaking, and beautifully hopeful all at the same time. It’s exactly where I am right now,” he added.

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

repress !

'Multiverse' is a word used to describe an infinite group of disparate universes including the ones currently inhabited by humans. A myriad of realms that sit side by side, undetected by our senses, surround us at any given moment. The multiverse theory was first confirmed by tracking leakage of electromagnetic waves filtering from one dimension into the next. When these waves were transposed to fit into frequencies audible by the human ear, the recordings were studied by a team of scientists, who found that they contained rhythmic elements that resembled a speech pattern of an alien language.

After years of research and manipulation the audio was found to be a looping recording of an alien voice speaking the words: 'IDWT005; coming soon to a universe near you.'

2026 Repress

Initially conceived as a short-run cassette for Altered States Tapes, YL Hooi's nameless collection of textural apparitions oscillate between icy DIY minimalism, FX-drenched atmospherics and nang chamber dub. A ghost-like transmission, Hooi's voice serves to anchor an array of sonic abstractions and impressionistic melodic motifs as a sense of purgatorial ambience dominates throughout. Co-produced with alleged fellow Kallista Kult member Tarquin Manek (LST, M. Quake), Untitled's ultimate sensation is its halfway state, as if caught between worlds.

The album's final form speaks of its origins, recorded intermittently over a two year period (2017-2019). The extended time passage seeps into the song structures, spiralling and mutating from the same centre - the elegiac pulse of opener 'Title' presages the hymnal lilt of 'Straight Thru', before birthing the inverted bossa nova of 'W/O Love'. The result is a constantly shifting tableaux of shared liminal spaces. These songs seemingly emerge in plumes of smoke, magician's tricks conjured from the ether. It's a vision that ossifies at Untitled's midpoint with a cover of Love Joys' 'Stranger', the lovers rock original morphed into the transportive intimacy of Hooi's own hazy inner space, a totem of the LP's amorphous and ultimately sensuous qualities.

The sound from both down under and way out there in subspace, Untitled is an inspired masterstroke of experimental mystics. This 2021 Efficient Space edition is remastered and robed in new artwork that honours the Melbourne-based earth dragon's Chinese and Russian heritage.

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

Seit etwas mehr als einem Jahrzehnt hat sich EXEK ganz leise zu einer der faszinierendsten Bands der Welt entwickelt, die sich von Album zu Album verändert und weiterentwickelt und sich nach und nach geöffnet hat, ohne jemals diese seltsame, unergründliche und insgesamt essentielle Eigenschaft zu verlieren, die sie so großartig gemacht hat - so EXEK-mäßig. Nun bringt die Post-Punk-Band aus Melbourne - Sänger und Chefarchitekt Albert Wolski, Gitarrist Jai Morris-Smith, Schlagzeuger Chris Stephenson, Synthesizer-Spezialist Andrew Brocchi, Trompeterin und Sängerin Valya YL Hooi und Bassist Ben Hepworth - ihr siebtes Album und erstes für DFA raus: ,Prove The Mountains Move". Es ist, wie Wolski sagt, ,ein bisschen epischer" als alles, was er bisher aufgenommen hat, ein üppiges und unverhohlen melodisches Set surrealistischer Popmusik, das sich in Widersprüchen suhlt. ,Dieses Album ist in seiner Machart experimentell", sagt Wolski, ,aber es klingt nicht unbedingt experimentell." Dafür gibt es einen guten Grund. Die Arbeit begann an einem kalten Nachmittag im Juni 2023, als Wolski und Stephenson sich in den Pelican Refill Studios in Melbourne trafen, um die Drums aufzunehmen - das erste, was sie immer machen. Danach ging Wolski alleine nach Hause und fing an, die aufgenommenen Beats und Breaks durchzugehen, wobei er sich von den Drum-Sounds zu Melodien und Basslines leiten ließ, Loops und Layers erstellte und so die Grundlage für ,Prove The Mountains Move" schuf. ,Ich fühle mich wohl dabei, alleine wie ein verrückter Wissenschaftler herumzutüfteln", sagt er. ,Ich habe es auch genossen, ohne klare Absicht auf Aufnahme zu drücken. Meistens führte mich das in eine interessante Richtung, die mein Bewusstsein wahrscheinlich nicht gesucht hätte." Und doch gelangte Wolski irgendwie zu seinem direktesten Werk seit Beginn des Projekts, neu inspiriert von der Klarheit und Prägnanz des Mainstream-Pop, der starken und unbestreitbaren Anziehungskraft einer einfachen Gesangsmelodie. Nachdem die berühmt-berüchtigten strengen COVID-Lockdowns in Melbourne beendet waren, wollte er einfach draußen bleiben. ,Die Arbeit an neuer Musik trat gegenüber dem Feiern mit Freunden in den Hintergrund", sagt er. ,Und diese Partys waren voller großer Hits als Soundtrack - Sachen, die ich selbst nicht wirklich hörte, Sachen, denen ich seit meiner Jugend nicht mehr begegnet war. Aber in den frühen Morgenstunden des Sonntags klingt ,Alive" von Pearl Jam, als würde man mit Gott sprechen. Genauso wie ,All I Wanna Do" von Sheryl Crow und ,Feel" von Robbie Williams. Krautrock und Dub waren immer noch in meiner DNA, aber die Musik, die ich zu machen begann, war vielleicht etwas unbeschwerter und vielleicht auch etwas emotionaler." Das heißt nicht, dass man hier Spuren von Eddie Vedder in Wolskis Gesang erwarten sollte, aber die Einsätze fühlen sich auf ihre eigene Weise ähnlich an - so klingt es, wenn EXEK wirklich alles geben. Nimm zum Beispiel die schwebenden Synthesizer des Openers ,Sidestepping" oder die gewaltigen Gitarren von ,Arriverderci Back Pain", die pyrotechnischen Klavierklänge von ,Don't Answer (When They Call)" oder die Bowie-artige Melancholie von ,You Have Been Blessed". Die Arrangements wirken offener, der Sound fokussierter. Es fällt nicht schwer, Wolski zu glauben, wenn er sagt, dass er viel Zeit damit verbracht hat, seine Mixe von ,Prove The Mountains Move" mit einigen der wichtigsten Alben, die je aufgenommen wurden, darunter ,Abbey Road", zu vergleichen. Aber alles ist relativ. Und textlich bleibt Wolski weiterhin verschlüsselt. ,Jeder Song ist eine Vignette in einem abstrakten Milieu, sei es ein experimentelles Chiropraktik-Geschäft am Flughafen oder spärlich bekleidete Kreaturen aus Staub in einem Food Court. Egal wie verrückt das auch sein mag, es gibt Themen und Motive auf dem gesamten Album, sowohl textlich als auch musikalisch, die sich in verschiedenen Songs widerspiegeln und aufeinander Bezug nehmen." Diese Dissonanz zwischen direkt und indirekt, glatt und strukturiert, schattig und glühend, verrückt und ausdruckslos ist die treibende Kraft im Herzen dieser Songs, seiner bisher besten.

Some words from Nat about the music – “For this recording I composed some songs using more “exotic” (for want of a better word) modes,
which I have always meant to explore in more depth but never really got around to very much. The first song for instance, Red, Gold & Green, uses an Ethiopian scale.
The title comes from the colours of the Ethiopian flag, which is also symbolic in Rastafari so has a kind of double meaning, like a lot of my songs.The title track, Path of Enlightenment, uses several modes,
starting in a major key then moving to the Phrygian mode, then to a minor key. The piano solo is in a 28 bar minor blues form. Menat is based on a mode of the Byzantine scale,
I’m not sure if it has a particular name or not. Amenhotep was the name of several Egyptian pharaohs,
Amenhotep IV being the original given name of Akhenaten.When I was writing this song it put me in mind of my song, Akhenaten, simply because they are both in 5/4 time,
so I decided to give this one a pharaonic name too. Spheshile is a Zulu word (and sometimes name) that means “beautiful gift”, the title was suggested by a friend from South Africa.
All this means nothing of course if the music doesn’t tell a story, I think the unfamiliar modes allowed us to speak of interesting things that may not have come to us otherwise.
Finally, I chose to use the quartet format for this recording because it occurred to me that it tends to make for a more cohesive group sound, and it had been a while since we recorded this way.”

Ruriko Ogami’s “Typhoon Lady” is set to be released on colored vinyl!
This reissue also includes “ONE LAST LOVE”, a track originally featured as the B side of a single and not included on the album.
The latest remastered audio comes from the album and single, archived in 2018 from the original analog master tapes at 96k/24bit.
Boosted by the popularity of Japanese grooves and further propelled when Japanese creators sampled “Sexy Woman”, the album’s reputation skyrocketed,
driving original vinyl prices to unprecedented highs. Beyond that, tracks like “Typhoon Lady”, which opens with a drum break that exudes funk, and the mellow
“Fuwari Fuwafuwa”, with its tight performance and floating vibe, remain timeless masterpieces even 40 years after their original release.

New York-based Patrick Sullivan AKA P-Sol has long proven his credentials when it comes to editing hip-hop joints, mashing together classics, and generally pulling apart favourite jams and rebuilding them with a different perspective. Most of them come on the PS7, as does this new long player, which is a top-shelf example of how to sample properly. Tittle tracks make subtle hints at inspirations if not source material as the works through loopy, sketchy jams that are short but sweet, more club-ready rollers and loved-up beats that drip with sexuality and jazzy sophistication. A great accompaniment to a long journey or lazy afternoon.

Wet is the fifth full length album by Black Meteoric Star and the 10th release. Black Meteoric Star is a project Rayna started in 2006 when she was living in Berlin that brought together her life long love of dance music culture with spiritual themes, drag, and her formative experiences of S/M culture Black Meteoric Star has always had an avenger quality in Rayna's life and creative work, and this iteration plays that role in response to the current political landscape. Wet celebrates the long standing shared history of electronic music and queer leather/SM culture and imagines a future where these two cultural expressions are re-connected.

Electronic music and leather/SM are both ways that queer people have historically built community, created and shared knowledge, and kept each other safe. The current administration demonizes and villainizes queer people on the basis of a false moral framework of respectability, and its a trick. No amount of acting "respectable" will humanize queer people in the eyes of this administration and get us the rights we deserve. Revitalizing the connection between electronic music and queer leather/SM is a way to affirm the cultural power of both during a time when it has never been clearer that we keep each other safe. Rayna, a transgender woman with a deep commitment to all of these cultural forms, has a strong message to deliver with this album. She has been a DJ and producer of electronic music for over thirty years and has been producing community cultural events for as long. She has also been involved in kink and bdsm for decades and is a well-known and respected DJ in the New York leatherdyke scene. Rayna made international headlines in 2017 when she came out as transgender while touring with LCD Soundsystem. In 2018 she left the Grammy winning band to pursue projects that were more connected with her queer experience, including founding Voluminous Arts a cultural organization that supports trans artists. Black Meteoric Star is a continuation of a thread in Rayna's work that runs through her Paper Eyes project and her role in Black Leotard Front. This thread has a comic book or x rated graphic novel component based around her experiences of being a sad lonely lesbian trans girl who got bullied a lot and found escape and the possibility of being avenged through X men comics and Dungeons and Dragons books.

Straight from the weedy fields of swampville Bruxelles we bring you 8 ‘tranches de vie’ of deep zone-hall by weirdtronic bass veteran Michael Crabbé’s best fitting sound costume to date: the mighty Rudi J! You might know him from earlier outfits but that’s not the main issue here. Rudi J is!

When this swamp thing touches the pads, it’s off-road after three seconds, even if you’re in the middle of Europe’s capital. Mixing analog dirt and digital sound bits in a very loose and personal take on dancehall, we’re pretty far away from the dance floor but definitely swinging. It’s a trippy affair wandering around concrete flowers with a deep ambient flavor, but it’s edgy.

A hot summer fever dream following his own lusty path, full of life and wonder but with something sinister hiding around every corner. Often reaching for the stars, a deeper shade of bass keeps things nicely grounded. These sounds are built with a sound system in mind and bass culture at heart. Even if you can definitely surf on it from your couch, picking out all of its ear-pricking details, it will very much come alive on a big sound.

A layered affair with almost jazzy and orchestral elements peeping through the stereo-field, spectral and dissonant but also playful. Like early dubstep, some of these tunes can destroy a clubsound, keeping you skunking out in pedestrian mode and snorting up the atmospherics, finally forgetting about that damn phone.

The perfect challenge for Saved My Life aka Siggatunez (Gooey) and Constantin Sankathi (The Healing Company). As a studio team, the two have spent the last decade transforming Italo disco, Brazilian samba, and French chanson into highly distinctive edits and remixes that stay etched in your memory.

For Crystal Grooves 803, the pair have refreshed Sharon Stoned's heartbreak anthem "Down" into an almost unbelievable track, a hybrid of garage and trance, anchored by Senpolya’s vocals, which capture the mood of the original with intense yet subtle precision: "Your favourite shirt I'll wear it everywhere." "Beauty & Thug" showcases another core strength of Saved My Life: reduce to the max. An R&B bootleg from the early 2000s is stripped of its slightly-too-mainstream choruses and rebuilt with string overdubs and studio craft into an hypnotic late-night jam. Soulful vocals always hit hardest when you least expect them: "So burgundy, the window to his soul." True to the spirit of SML's own imprint Downtown Romeo Records, the record comes complete with a sticker and an 8-page booklet including all lyrics. This release is dedicated to all people believing that music is more than just music: substance and meaning.

Ovatow made quite a stir when he first started dropping deep dubs on his mysterious MySpace page (the main social media at the time). The tracks on the little crappy audio player got hunted down by a flock of DJ's and label heads. From behind a curtain of anonymity he soon started releasing his material on various labels, becoming cult classics in the dub-techno world. It was 2007 when X-dub first appeared on the Dutch imprint SD Records, followed up by his classic release on Frantic Flowers and a string of other projects while keeping his identity secret to everyone. Years later, the rumors proved true... the artist behind these mysterious projects was non other than the Frantic Flowers / Frustrated Funk label head himself. Just testing the waters around him, receiving release offers from close friends and colleagues while he kept his anonymity up. A fun little joke for himself, though the tracks are still relevant and sought after classics today. Both X-dub versions re-appear now, for the first time after almost 20 years, fully retouched and remastered, together with an unknown unreleased jam called Autistic Navigational Spectrum. This is the first in a series of Ovatow work, revived for the heads that appreciate the foggy deep of the Undacurrnt.

After the dissolution of his wave-making duo project Ameli Paul, Berlin based musician and producer Paul Valentin aims to venture down new roads and finds help from illustrious folks like Liv Lisa Fries, DJ Koze, Thomass Jackson and Philipp Fein along the way. Valentin’s debut EP on Feines Tier marks his first solo release in 10 years and is a colourful journey through sonic worlds and emotions in the continuous search for his own sound.

Opener ELVAU is a collaboration with actor Liv Lisa Fries built around their intimate voice recordings which are woven delicately into a dreamy web of shimmering synths atop pulsating break beats that would make Bicep proud. For his remix, His Kosiness, the Tripsitter Himself also known as DJ Koze follows the breakbeat path further down, gleefully taking all sorts of wonky and fun diversions on the way, which makes one hope that the ride never ends.

Follow-up tune MALFUNCTION is a more straightforward affair with its rolling synth arps and is - in Valentin’s own words - “about personal failure, dissolution, and the distortion of the self“. Equally dark under- and overtones are throwing shades over WHATTHE!, dealing with anger and transformations, resulting in a banger for the heavier moments on the dancefloor or the mind between your headphones. The EP closes on a more hopeful note with LISTEN, which stands for „everything that could be, if we listened to each other“. And it’s never a bad idea to listen to chirping 303 basslines, especially when paired with melancholic synth pads and weird vocal samples, as is the case here. The rework of Thomass Jackson and FT-head honcho Philipp Fein feels beautifully anachronistic with its reduced tempo and could have been something Andrew Weatherall would have played when he was still playing our earthly dancefloors.

A superb Jazz Flavoured Latin Funk Soul album recorded in 1977 by Grammy Award Winning Carlos Franzetti when he was a struggling musician trying to get his first breaks in a tough New York Jazz scene. With a Top Notch grouping including Percussionist Ray Mantilla, Victor Venegas on Bass and Dick Meza from the Tito Puente Orchestra Carlos played all the Keyboards, wrote the numbers and was also responsible for all the arrangements.

Released by Guiness Records (No relation to the Drink) and swiftly forgotten Stateside it was picked up by the DJ's in London's early Jazz Dance scene where "Cocoa Funk" became a must have cut, eventually appearing on Soul Jazz Records seminal re-issue series "London Jazz Classics". It also became a hit in Germany after being re-issued on a double vinyl by leading label Sonorama Records.

Now available again in its original single album format and sounding as fresh as if recorded yesterday from the opening bars of the jazz inflected cut "Beatriz" via the Worldwide sounds of "Sweet And Low" to the Funky Latin Jazz of the title track "Graffiti".

Still changing hands for eye watering sums on collectors sites and now available again for a reasonable sum courtesy of Jazz Room Records.

Crave Tapes is thrilled to announce the first vinyl release on the label which will be the second album from Frankfurt's underground post-punk/dark wave band Babes of Enola Grey, Krieg und Wohlstand.
Krieg und Wohlstand sees Babes of Enola Grey follow the path of their 2021 debut, Anfang vom Ende, and take a step further into the realm of melancholic and disillusioned soundscapes. While keeping a certain retro character to the songs, Deborah Vision, Salvador Islero and Fabian van Castorp focus on quite contemporary themes, which some might call the most German obsessions:
War and prosperity.
But this is not the only reference to the band's heritage. Sometimes more, sometimes less, there are musical allusions to various German influences and contributions to (modern) music and music history. While Doppelt Frei is a nod to EBM and bands like DAF or the early Die Krupps and Wie auf Schienen as well as Die Heuschrecken pay homage to German düster punk bands like Fliehende Stürme or EA80, Panik and the title track Krieg und Wohlstand refer to the romantic German art song tradition of the 19th century (not to mention the obvious hint at a certain successful German Schlager in Die Kugeln und das Herz).
This makes Krieg und Wohlstand not only a worthy epigone of the band's debut, but also takes the album and the artistic approach to another level.
Commenting on the chosen format (12" vinyl), the band members said: "It was clear to us that we wanted to release this album on vinyl. When you look atGerman history, war and prosperity have to be seen as two sides of the same medal, or in this case of a record".

Crave Tapes is thrilled to announce the first vinyl release on the label which will be the second album from Frankfurt's underground post-punk/dark wave band Babes of Enola Grey, Krieg und Wohlstand.
Krieg und Wohlstand sees Babes of Enola Grey follow the path of their 2021 debut, Anfang vom Ende, and take a step further into the realm of melancholic and disillusioned soundscapes. While keeping a certain retro character to the songs, Deborah Vision, Salvador Islero and Fabian van Castorp focus on quite contemporary themes, which some might call the most German obsessions:
War and prosperity.
But this is not the only reference to the band's heritage. Sometimes more, sometimes less, there are musical allusions to various German influences and contributions to (modern) music and music history. While Doppelt Frei is a nod to EBM and bands like DAF or the early Die Krupps and Wie auf Schienen as well as Die Heuschrecken pay homage to German düster punk bands like Fliehende Stürme or EA80, Panik and the title track Krieg und Wohlstand refer to the romantic German art song tradition of the 19th century (not to mention the obvious hint at a certain successful German Schlager in Die Kugeln und das Herz).
This makes Krieg und Wohlstand not only a worthy epigone of the band's debut, but also takes the album and the artistic approach to another level.
Commenting on the chosen format (12" vinyl), the band members said: "It was clear to us that we wanted to release this album on vinyl. When you look atGerman history, war and prosperity have to be seen as two sides of the same medal, or in this case of a record".

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

Double LP pressed on Pearl Dawn vinyl. Akupara Games, Videocult and Black Screen Records are beyond stoked to release the soundtrack to Rain World: The Watcher, a DLC of the massively successful game hit Rain World. The music was crafted by year-long companions of the game James Primate and Lydia Esrig but it's also featuring works by Serpanoy, Pinpoint, snoodle, Intikus and Kaeporo. This collection of hugely talented artists makes the score an eclectic journey that at the same time follows a coherent concept that reflects on the atmosphere of the game. The wilds that await will be unlike all that's come before. The double LP on stunning Pearl Dawn vinyl, that is featuring a total of 54 tracks, presents exclusive gatefold artwork by Kelocitta with UV spot varnish. This set is not only a true beauty but also perfectly in line with the vinyl releases for Rain World and Rain World: Downpour - don't miss out to complete your collection! Rain World: The Watcher is a DLC expansion of Rain World. Journey beyond to something, somewhere only ever glimpsed. Unknown creatures stalk and climb and dive and hunt. New breeds rip and pluck and burrow and hide. Predator and prey redefined. And through the middle of it all, a lonely lost slugcat trying their best to outlast the ravages of a warped world. When the world beneath your feet cracks and crumbles, will you hold on to all you once knew? Or dive into the unknown?

Whilst scrolling through the dusty corners of the internet, the legendary producer, DJ and musical bon viveur Chris Bangs stumbled across some demo recordings of an obscure organist ‘Mose Dillon’ - intrigued but also thoroughly charmed by their obvious lack of audio fidelity, and after finding they were previously unreleased, hatched a plan to bring them to the attention of jazz, blues and soulful sound aficionados.. Recruiting Simon Ward, as a fellow multi-talented musical mind known as and for his work as Dr Rubberfunk (Jalapeno Records) / Mr Güder they combined their renowned skills to add a new sheen to the original music.

The end result is the pairing of these two newly re-invigorated jazzy Hammond B-3 tunes - a version of Rejoice In Righteousness - Bukky Leo’s spiritual tinged, jazz dance anthem of the late 80’s, and with the flip - Mighty Righteous - it’s clear whilst his story remains unknown, Mose Dillon had a thoroughly righteous mind set when he recorded that Reuben Wilson inspired groove.

Wherever Mose went - or is - we are confident he approves!”

Parisian label Chuwanaga announces the upcoming release of Inner Circle Vol. 1, the first installment in a series of house music releases bringing together artists from the label’s close circle. Available on limited 12" vinyl (300 copies) and digital.

The VA opens with “We All Got To Feel” by Argentine producer J. Koen (Nervous Records / Nite Grooves), a track that encapsulates the essence of deep house. Classy, colorful stabs, refined melodies, and a warm, funky bassline come together in a club-ready cut. It's exactly what you expect when you need a track that delivers — just drop it.

It is followed by “Sunny California” from French producer Kaffe Crème (Floors Records), an ode to the sun — both a celebration and a form of incantation recalling the spiritual energy of Ron Trent and Joe Claussell. The track builds toward a break filled with deep, jazz-inflected harmonies before returning with an electrifying melody carried by layered percussion, leading to an emotional climax.

On the flip side, “It’s A Feeling (House Music)” by the French duo Milk & Honey (Chuwanaga) draws clear inspiration from the Chicago lineage, in the vein of Boo Williams. A looping bassline, deep silky chords, and steady drums create a hypnotic, flowing texture with a myriad of ear candy. It's a feeling, it's a vibe!

The record closes with “The Gatekeeper” by French producers Saint-James (Chuwanaga) & KX9000 (Pont-Neuf Records), a track influenced by the London boogie sound and its broken beat scene. Fans of Dego and Kaidi Tatham will recognize its syncopated grooves and percussive depth, bridging house and broken beat aesthetics.

Sixty-four years after John Coltrane recorded the groundbreaking Africa/ Brass for Impulse!, Tenderlonious honours the original recording while pushing it forward with a Coltrane-like fervour of his own

Africa/Brass Live was recorded at the Melbourne International Jazz Festival in October 2025, as part of Pique- nique's Take Two series. Each Take Two event begins with an uninterrupted, high-fidelity playback of a seminal album, heard as it was originally intended, followed by a live reinterpretation with full artistic freedom. It's an experiment into what happens when serious musicians immerse themselves in a work long enough to discover their own path through it.

For this performance, Tenderlonious assembled a quartet of trusted collaborators. Tim Carnegie , his longtime Ruby Rushton drummer, flew in from London. Horatio Luna on bass and On- Ly on piano completed the group, two Melbourne musicians Tenderlonious describes as "seriously underrated." The melodies, he said, would be the foundation. After that, the search would begin. And the search was fierce!

That's what you're hearing on this record. One beautiful note, Tenderlonious will tell you, means more than a thousand. Coltrane knew it. And on a Monday night in Melbourne, they proved it.

Limited edition available on classic black vinyl and digisleeve CD.

A document of singular rarity. Issued by United Dairies in 2026 in a hand-made, heavy-gauge black vinyl edition limited to 300 copies, 1984 - A Happening recovers the second ever public performance of Nurse With Wound, captured on tape in 1984 and held in Steven Stapleton's archive across the four decades since.The history is nearly mythological. Across the years 1984 to 1986, NWW operated briefly and reluctantly as a live band, performing on stage exactly eight times, of which five were public. Stapleton has called these events "shambolic, chaotic and uneven affairs, sometimes as boring for the performers as the non-plussed audiences but at other times reaching an amazing intensity". The first of them, an Amsterdam show on the 8th of December 1984 at the NL Centrum, has surfaced over the decades in fragmentary form; the second has remained, until now, almost entirely unheard. It belongs to a moment when Stapleton, working alongside collaborators including David Tibet, Andrew McKenzie of The Hafler Trio, and a rotating cast of percussionists and string players, was carrying NWW briefly out of the studio and into a series of confrontations with audiences who often had no idea what they were watching.The recording itself is described, accurately, as raw but beautifully captured. The performance moves through the territory NWW had been mapping across Homotopy to Marie and Nature Unveiled: long passages of pre-recorded tape collage assembled by Stapleton and McKenzie, ridden over by live electronics, voice, percussion, and the surreal theatrical instinct that has run through every gesture the project has ever made. There is a sense of a collective groping its way through unstable material in real time, an ear turned simultaneously to dada and to musique concrète, to the British post-punk underground and to the krautrock heritage that has always shadowed Stapleton's work. The chaotic edges are intact. So is the intensity Stapleton has spoken of.

Formed by Marius Vold & Steinar Sverd Johnsen in 1989, Mortem was one of the first black metal bands to crawl out of the woodwork in Norway, releasing the highly coveted & brutal 'Slow Death' demo, with Euronymous & Dead of Mayhem acting as producer & cover artist respectively (whilst also featuring Hellhammer on session drums). After the release of 'Slow Death', the band was laid to rest, with members going on to form & feature in acclaimed titans such as Arcturus & Thorns, both of which would become mainstays in the black metal scene & beyond. It wasn't until 2019, when Mortem's studio debut 'Ravnsvart' was released, & the magic of old undoubtedly returned with that same spirit & brutality of the original incarnation, whilst injecting new elements to form an opus of ferocious yet atmospheric horror. This was followed soon after by the fully re-recorded & re-worked 'Slow Death' tracks.

Formed by Marius Vold & Steinar Sverd Johnsen in 1989, Mortem was one of the first black metal bands to crawl out of the woodwork in Norway, releasing the highly coveted & brutal 'Slow Death' demo, with Euronymous & Dead of Mayhem acting as producer & cover artist respectively (whilst also featuring Hellhammer on session drums). After the release of 'Slow Death', the band was laid to rest, with members going on to form & feature in acclaimed titans such as Arcturus & Thorns, both of which would become mainstays in the black metal scene & beyond. It wasn't until 2019, when Mortem's studio debut 'Ravnsvart' was released, & the magic of old undoubtedly returned with that same spirit & brutality of the original incarnation, whilst injecting new elements to form an opus of ferocious yet atmospheric horror. This was followed soon after by the fully re-recorded & re-worked 'Slow Death' tracks.

Santana III is an album of 'lasts'. It was the last album recorded with the original Woodstock-line up and the last to hit #1 in the Billboard charts until 1999's Supernatural. But there are also a number of important 'firsts' on this album; Coke Escovedo joins in for the first time on percussion, as does Neal Schon (Journey) - who was a mere 17 of age when they recorded the album - on guitar. Santana III is viewed by many as the band's commercial and creative highpoint. The band sounds darker, rawer, and more eager with the doubling up on guitar of Schon's Rock 'n' Roll sensibilities and Santana's ecstatic high notes and soulful fills. Escovedo and Chepito's percussion are as fast as it is furious, and the minimal production adds greatly to the timeless appeal of this album. Santana III is available as a limited edition of 1500 individually numbered copies on translucent yellow coloured vinyl, housed in a deluxe heavyweight gatefold sleeve.

Filled with 45 minutes of previously unreleased music, Hey Arnold! The Music, Volume 1 has been remastered from the original audio files by Emmy Award-winning sound engineer Dave Marino in conjunction with show composer Jim Lang. Housed in a gatefold jacket with original exclusive artwork by show creator Craig Bartlett, as well as a locket shaped center label for the A Side and a fisheye view of Gerald and Arnold for the B Side, this is a release you don't want to miss out on!

Limited edition 10th anniversary 2LP Picture Disc!

When Dope Lemon – the moniker of acclaimed Australia artist Angus Stone – released Honey Bones in 2016, it didn’t arrive with the noise of a blockbuster debut - it drifted in effortlessly, all hazy grooves and sun-faded introspection, and in doing so laid the foundation for something far more enduring. Over the past decade, the album has grown into a cult touchstone, defining a signature sound that fans have come to associate with escapism, nostalgia, and emotional ease.

For listeners, Honey Bones has become more than a record, it’s a feeling they return to, a constant companion through road trips, long summers, and reflective moments. But just as importantly, it was the catalyst that transformed Dope Lemon from a side project into a fully realised creative force. The album established a distinct identity and unlocked a new global audience, driving consistent streaming growth, and creating the platform for sold-out tours and subsequent releases that could confidently build on its world. In essence, Honey Bones didn’t just resonate—it set the trajectory, turning Dope Lemon into a lasting brand with both cultural credibility and commercial momentum.

As long as she can remember, Jane Remover has practiced her own autonomy as much as possible. The nineteen year old songwriter is an omnivorous listener that produces everything herself. She has been lauded by fans and writers alike, for accidentally creating entire genres in the wake of her prolific two-year run.

The new album is more conceptually abstract than its predecessor as Jane sheds linear narrative writing. However, it takes place beginning at sundown and through the night, up until the next morningʼs earliest crack of dawn. Its winding songs are obtuse but carefully composed, and intimately follow Jane's train of thought.

Dynamic production is at the forefront. Noisy highs gleam, and are juxtaposed by dusky Post-Rock lullabies within the same songʼs runtime. Census Designated is a staggering display of maturation in every aspect when compared to her previous presentation, to a degree that makes it few and far between in the world of albums.

Despite the darker palette, Jane steps into a technicolor clarity for the first time. The album was made in both studios and at home—with recordings from Studio North (Kensington in Philadelphia), mixes from Kayla Reagan and mastered by Hector Vega.

A photo of her standing bareback while facing away towards the high plains, serves as the cover art for an album where she manages to simultaneously divulge her most confessional moments yet, and captivate the listener with unanswerable questions.

Chunkers 010 – Running Hot – Hot Tracks Vol 1. EP

For the tenth release on Chunkers, Running Hot brings the heat. Hot Tracks Vol. 1 channels a range of peak-time energies from day to night across four insatiable house tracks: all killer, no filler. Those already familiar will know that Running Hot has practically developed his own subgenre at this stage: a classic, finely honed sound that draws from every corner of the house music archive while remaining contemporary, fresh, and 100% playable. This release is no different.

‘Feel The Rhythm’ is a peak-time tribal affair, irresistibly percussive with a sickening New York feel. This is the kind of track that turns a dancefloor feral when dropped at the right moment, its vocal pizazz and hammering toms providing just the right amount of tension and release to flip a room upside down.

Veering into warehouse territory, ‘Trip’ is a stripped-back stomper that nods to the anthemic sound of London club Trade in the ’90s. Expertly tuned stabs, vocals, and shifting percussion keep the energy locked in from start to finish without ever becoming too much.
On the B-side, ‘Bumpin’ brings the sunshine and once again demonstrates that if something isn’t broken, there’s no need to fix it. Running Hot’s winning formula is employed to its fullest here: a well-rounded house groove layered with vibrant chords, lush strings, and smouldering vocal hooks that evoke golden beaches and open fields, perfect for daytime dancefloor moments.

Rounding off the EP in classy fashion, ‘Amor’ fuses UK hard house tropes with lush synths, a boisterous bassline, earworm vocals, and unrelenting grooves, creating a track that feels equally at home at a daytime do or deep into late-night territory.

Hot Tracks Vol. 1, Running Hot and Chunkers: a pairing that does not miss.

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special.

Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too.

Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet.

We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word.

Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths.

Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work.

There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

Sasha & Franky Wah reunite for second collaborative single, 'Get On My Level'.

The club-ready cut blends marries inviting darkness with meticulous synth craft.

Seasoned electronic favourite Sasha and contemporary trailblazer Franky Wah have shown great creative chemistry in both the studio and the DJ booth: their fi rst hook-up was on Last Night On Earth back in 2020 when they dropped the huge four-track 'Haunted EP.' Since then, they’ve reunited for multiple b2b sets across the globe - from Sydney to Ibiza. Now they have once more combined their respective nous into a new track destined to become an Ibiza anthem this summer.

'Get On My Level' is primed and ready to shake up the dance fl oor. It's powered by a warped, dark bassline that throbs underneath subtle percussion. Plenty of open space lets a moody atmosphere draw you in, while skeletal drums and percussion keep things moving before a big drop, and wispy synths inject future energy as a grainy, ominous voice lurks in the shadows. Dub and instrumental versions are also included to cover all bases.

riginally released during the peak of Busta Rhymes' breakthrough era, "Dangerous (Soul Society Remix)" is one of the most sought-after alternative versions of the classic hit taken from the platinum-selling album When Disaster Strikes.... The remix delivers a heavier, club-oriented production while preserving the explosive energy, rapid-fire flow, and unmistakable charisma that established Busta Rhymes as one of hip-hop's most innovative artists of the late 1990s.

The Soul Society Remix became particularly popular among DJs and collectors thanks to its powerful bassline, built around the officially licensed sample of Queen's "Another One Bites the Dust", its undeniable dancefloor appeal, and its distinctive reinterpretation of the original track. Combining hard-hitting beats, a strong soulful chorus performed by Lalomie Washburn, and Busta's commanding vocal delivery, the remix perfectly captures the crossover sound that dominated urban clubs and radio playlists throughout the late '90s. With this newly remastered version, the track sounds fresher and more relevant than ever, proving its timeless appeal for both longtime fans and a new generation of listeners. A standout example of hip-hop remix culture, "Dangerous (Soul Society Remix)" remains a favorite among fans of classic East Coast rap, golden-era club remixes, and collectors of rare Busta Rhymes releases. The track showcases the creative remix approach that helped extend the success of the original single and further cemented Busta Rhymes' reputation as one of hip-hop's most dynamic and influential performers. Exclusive first time release on 7“/45 vinyl.

A journey made of shared glances and chance encounters, born over glasses of passito wine and memories of a summer that tasted like the sea.
“You Only You” is Alex Farolfi’s latest sonic vision—a musical story dedicated to whoever lives in our "happy place", that safe haven we always return to when we need to find ourselves.
A true pillar of Italy’s “Radio Deejay” Alex Farolfi is a household name in the Italian radio and dance music scene. His career is packed with international hits and major collaborations: The Tamperer feat. Maya: Hit No. 1 in the UK and across Europe with the global smash "Feel It", followed by the Top 10 hits "If You Buy This Record" and "Hammer To The Heart", following his recent singles "Time Won’t Wait" and "Loving This New Feeling,"
Alex Farolfi is back with his unmistakable signature sound in "You Only You."

Odysee’s vinyl release schedule for 2026 kicks off with this superb 3-track E.P. from none other than the labels founder, T-Mirage. Following up from his 2024 release Dark Rhodes, this E.P. is an embodiment of the raw Mirage sound; a melting pot of Atmospheric D&B with hard hitting dance-floor sensibilities, where 70's OST & Film Noire sounds are blended with deep Techno and electronica elements.

From the blistering amens and deep textures of 'Expressive Thoughts', to the dreamy atmosphere of 'Dawnbreaker' and the dystopian menace of the breakbeat-driven 'Machines Of London', this E.P. is an absolute must for all true Odysee fans!

In 1994, Tilla was just 17 years old, and an integral part of the original St Albans collective that comprised Jim Baker & Phil Aslett (Source Direct) and Rupert Parkes (Photek), when he set up the Odysee imprint and released the first Source Direct record (Future London/Shimmer). With a follow-up release from Photek (Phaze 1/Try A Style) and a second from Source Direct, the profile of the label began to grow exponentially.

It was the 3 Mirage releases however that really put the label on the map. These tracks were engineered by Jim Baker but heavily co-produced by Tilla himself with a major focus on his keen ear for dark 70’s Noire samples and eerie abstract electronica pitted against soulful R&B vocals. In hindsight, the impact of this rather different soundscape on the Source Direct material that followed is unmistakable.

The story that underlines on the deep levels of the artist cannot be said & done with a few words. It has to be discussed and aknowleged by the the most intricate ways of human wholesomeness and the connection of the art that we call sound. Human Collapse has been created with love for a human life but at the same time understanding that we are collapsing as a society in one way or another, whenever we chasing the material things or feeling absolute content and secure with minumum the world is giving us. Humanity Collapse is all about experiencing it together wrapped in an idea that we’ll be able to understand. The final track of the B side is taken by truly incredible artistic force called Charlou. The deep mind from France has taken his view on the subject with an insatiable musical acknowlegedment.