Cerca:the true spirit

2026 Repress

Following on from the super-fast stock sell-outs of the 2LP of joyous Alfredo selections, Rebirth follow up with the second of the sample EPs of rare, cherished and formerly unreleased gems.

Kicking off with Dubtribe (Sound System) - Sunshine’s Theme which goes for big money on discogs if you can find a copy, next up Max Berlin – Elle Et Moi Really simple, minimal disco à la Giorgio Moroder or Cerrone, actually Max Berlin (Jean-Pierre Cerrone) IS Cerrone’s brother!

On the Flip we have The Woodleigh Research Facility – Borderland (Andrew Weatherall Mix) Borderland is a beautiful collaboration between Woodleigh Research Facility’s Nina Walsh and viola virtuoso, Sarah Sarhandi. Andrew Weatherall set Sarah’s strings to an energetic electro glam stomp. A cracking kosmische, motorik “Pomp & Circumstance” march, with something of the Depeche Modes / New Orders about it. Finishing off the EP with some 90s UK deep house bliss from Acupressure – We Are the Future (Instrumental Mix) again this goes for big money on the Cogs.

Rebirth deliver another fantastic selection.
Limited Press, act fast.

Following on from the super-fast stock sell-outs of the 2LP of joyous Alfredo selections, Rebirth follow up with the first of the sample EPs of rare, cherished and formerly unreleased gems. Deep Joy of Brainiak (and Mo Wax) fame had their stunning “Fall” track remixed by lord Sabre, Andrew Weatherall himself; an often-missed indie-chug delight from the early 90’s. The Thrashing Doves and their scene stamping classic Je$u$ on the Payroll, needs very little introduction, but this Unreleased Instrumental Version, like it states, has never been on vinyl before. Flip over for another hip hop/club hybrid of a track with KC Flightt’s “Lets get Jazzy”, and its iconic sound which was remixed by the legendary Blaze; then finishing up with sunrise/sunset jamm, “Blinky Blue Eyed Sunrise”, by The Metaluna Mutant. A must for any lover of the white isle and it’s heritage.

2025 Repress

In 2022, Daniele “Shield” Contrini of Rebirth Records proposed Paraíso to the great man himself, a compilation honouring Alfredo’s legacy. After Alfredo’s passing in December 2024, the project was final; with artists rallying to honour his vision and memory.

Before becoming a global clubbing hotspot, Ibiza embodied freedom—a place where sunrises blurred into sunsets and music became a way of life. In the 1950s and '60s, the island drew artists, hippies, and outsiders seeking escape and creative liberty.

In 1976, Alfredo Fiorito, fleeing political repression in Argentina, arrived in Ibiza and stayed. A former music journalist, he soon began DJing at Amnesia, a farmhouse-turned-club where time bent and boundaries dissolved. With eclectic, genre-defying sets, Alfredo blended reggae, flamenco, soul, rock, and early house, crafting a hypnotic energy that captivated a generation.

British DJs like Trevor Fung, Paul Oakenfold and Danny Rampling brought this “Balearic Beat” back home. But Balearic wasn’t a style it was a mindset. As DJ Leo Mas said, it was “a state of mind,” where rhythm, spirit, and psychedelia merged.

Other clubs like KU, Es Paradis, Pacha, and Lola’s amplified the movement. Visual artists such as Yves Uro gave it a striking identity, and DJs like César de Melero, DJ Pippi, and Jon Sa Trinxa carried the sound into a new era. José Padilla’s sunset sessions at Café del Mar birthed chill-out music as breath, not just beat.

But the 1990s brought change. Laws requiring roofs on clubs altered the open-air magic. Commercialisation followed; freedom became luxury, and many pioneers left.

Still, the Balearic spirit lives—raw and untamed. It pulses in hidden parties, intimate venues like Pikes and Hostal La Torre, and sacred places like Benirrás and Las Dalias.

Featuring 16 tracks of classic and true Balearic sound; alongside House & proto-House tracks that Mr Fiorito spun, the album also includes an unreleased Alfredo track and stands as a tribute to the man, the music, and the enduring spirit of true Ibiza.

2024 Reissue

After 16 years this album will be released the first time on vinyl at Gusstaff Records in limited edition of 500 copies.

It was the 9th album of Hugo Race & The True Spirit, one of the most important in his very long history of solo activity.

Hugo Race, formerly of The Wreckery and Nick Cave and the Bad Seeds and now an internationally based producer, composer, performer and author, delivers intense sonic soundscapes that merge folk, experimentalism, electronica and rock. Originally from the 1980's Melbourne post-punk music scene, Hugo's ever-expanding network of collaborations, bands and multimedia projects are spread over several continents.

180g black vinyl Star Birth and downloadcode for "Star Birth" and "Star Death". Gatefold.

'Star Birth' is a flung fisherman's net, mighty in scope, irrevocable as looking up from the stone floor of a cathedral – there is space, yet there is profound intimacy from the immediacy of the lyrics, our thoughts rattling around like panicky goldfish. Race has taken aspects of areas
previously explored, and made a quantum leap into the unknowable. With opening track Can't Make This Up, the gauntlet is flung down – 'what is need, what is greed / it's a new crush, the brain trust/ hive mind rewrite rewind/ falsehood streaming'

'Star Birth' is international maverick and music icon Hugo Race's 15th album with his band of True Spirits. It's a double album and the twin album's name is 'Star Death'. Star Birth was recorded during Australia's bushfire summer apocalypse of 2019 and mixed as the 2020 covid-19 pandemic hit. When the stars align it all makes sense, Hugo explains, adding that one oceanic evening while writing the album a bright star exploded right before his eyes, the sign of a sudden end and a new beginning...

Hugo's writes of trials, tribulations, hopes, fears, heartaches, loves, losses, highs and lows – 'everyday I die a little bit more, in a thousand ways I fight my little wars – and he sings with exquisite pathos and depth, like he's singing just for you about the times in which we live –
political disasters, our planet, the absence and the presence of spiritual values, broken promises, cracked hearts and if any of it really matters anyway. With hell raising lyrics like,Expendable, you'd have to wonder if anyone of us will make it through alive – 'hey sister, are
we all expendable? nobody wins, but so many of you think they do / don't try to fool yourself people, deep down you know the truth - everybody gets their one hot shot but no one's bullet proof'. But then The Rapture reminds us that there will always be stars dying in the glory of
new life – 'give us this day comfort and bread / implant in us the living word / empower us with divine love and deliver us from evil / for you are the one true light / the power and the glory / forever /amen'

Hugo's True Spirit deliver a lush, sonic love letter of rock, electronica and dramatic orchestration, based in blues, hypnotic repetition and sonic exhilaration. Michelangelo Russo is a huge part of this atmosphere; his approach to music is that of an artist with a palette of
mysterious implements and machinery, but the entire band and production is incredible from start to finish. Star Birth is 48 minutes of mind expanding, mind blowing, heel tapping tunes, with its sister album 'Star Death', a dub version of remixes that will send you searching for
your own exploding star somewhere in the sky…

Fresh from the critically embraced full-length LP/CD, Downward Staircase now arrives in a special remix release - answering the persistent calls from supporters of Joaquin "Joe" Claussell who have been demanding a 12" single. The wait is over.

Downward Staircase is an Afro-Jazz House composition crafted in a way only Joaquin himself can manifest. Layered with masterful percussion from a host of renowned players, the groove is both infectious and deeply rooted. The rhythm section drives with purpose, creating the perfect foundation for the stunning piano work of Joaquin's longtime production partner and favored pianist. The result is a powerful Afro-dance journey - spiritual, percussive, and built to ignite dance floors wherever it's played.

But that's not all.

Also featured on this EP is another Joaquin Joe Claussell remix titled Kwelo, featuring Afro-dance originator Mr. Jephte Guillaume. A collaboration rich in heritage and forward motion, it further expands the sonic landscape of this release.

This project has been over a year in the making - a true labor of dedication and persistence. We're incredibly excited for its release, and we know our loyal following shares that excitement. In many ways, it was your continued support that helped bring this record into existence.

Don't sleep.
.
Enjoy the Journey

To mark 15 years of Butter Side Up, the label presents a special 2×vinyl compilation featuring eight brand-new cuts from artists who have been part of the BSU story over the years - a true family affair.

Contributions from Ron Obvious, Garrett David, DJ Pipe and a host of newer collaborators reflect the breadth of the label’s community. Each artist bringing their own flavour but all carrying the BSU spirit.

The first record leans into club‑focused cuts, while the second drifts deeper into housier, after‑hours territory. Something for everyone.

Featuring original illustrations and artwork by Yideah.

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

LIMITED TO 150 COPIES! 2 x 12" Black Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

UK producer Tom Carruthers delivers another masterclass for Skylax, diving deeper into the DNA of house music with Deepline, a 5-track journey that connects the raw futurism of the late ’80s to the deep innovations of the early ’90s. Known for his MPC-driven grooves on L.I.E.S., Clone Jack For Daze and Craigie Knowes, Carruthers has become a true guardian of machine funk — always stripped down, always pure. The title track Deepline captures the very essence of house, hypnotic and driving, right at the crossroads of 80s machine funk and early 90s deepness, a timeless groove that feels like the missing link. Dream 12 unfolds as lush and atmospheric, with pads that instantly recall the golden era of early 90s deep house, a reverie made for afterhours and smoke-filled basements. Experience stands as a raw reminder of the four pillars of house — drum machines, bass, minimalism and repetition — metallic, stripped, relentless, pure underground. On the flip, Fantasy explodes with wild energy, channeling the raw spirit of Trax Records and Armando, dirty and direct, a weapon for uncompromising dancefloors. Finally, Folx closes the record with a cosmic edge, its tough jackin’ drums colliding with spacey synth touches to create a bridge between Chicago basements and interstellar dancefloors. Once again, the visual identity is entrusted to the iconic H5 studio (Daft Punk, YSL, Logorama), whose bold modernist artwork perfectly mirrors Carruthers’ stripped yet futuristic vision. Vinyl only. No digital. No compromise.

A few words for the album
Moment’s Aeternity:
a 12/8 composition celebrating the raw power of the “moment”, marked by whirling improvised moments between drums, bass clarinet and Harris P’s Armenian duduk.

Pajko, fire in the forest on the mountain:
in Sokratis own words: “I have a really vivid memory as a child. I was staring at the Djena mountain from my window in Archangellos which sits on the Pajko mountain. A little beam of light shone far in the horizon; it was a fire that in my little eyes looked as if the giants of Almopia were trying to communicate with each other using phryktoria (a way of contacting through fire in Ancient Greece).”

Footprints of some Giant Steps:
While the classic compositions of two true Jazz Giants- Wayne Shorter and John Coltrane- are certainly different, they do both connect in a mystical way. Rearranged in 5/8 combining half of each melody and half of each one’s chord progression, keeping the form of the piece for improvisation, still in 5.

Oson Zeis Fainou (Seikilo’s Epitaph):
found in a tomb stone in the Northeast of Greece, this is the only melody saved from the ancient times. It is accompanied by lyrics contemplating the meaning of life:
Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ πρὸς ὀλίγον ἐστὶ τὸ ζῆν τὸ τέλος ὁ xρόνος ἀπαιτεῖ.
‘’While you live, shine
don’t feel blue for anything because our life is short and time demands an end.’’

Here is to Oghene K:
’’Hey man, where is the groove?’’, he would say, just to trigger another wave of inspiration for Sokratis. Oghene was a true force of nature, a well of kindness, a masterful artist that left this world too early. This one is for him.

Balkan Riff (for Milcho Leviev):
Milcho Leviev (1936-2019), was a long-time friend and collaborator and a true inspiration for expression, creativity and colorfulness. Expressing the deep sentiments evoked by the Balkan sound and history, this is a sorrowful dialogue between bass clarinet and contrabass.

Spirits of Djena:
one of the most esoteric and personal moments of the album. Composed and recorded during the challenging times of the COVID-era, you can hear the baritone and tenor saxophone firmly grounded on a crispy, hypnotizing contrabass groove.

Sokratis Votskos Quartet
Kostas Anastasiadis / Giorgos Klountzos - Chrysidis: Drums
Leandros Pasias: Piano
Vaggelis Vrachnos: Contrabass
Sokratis Votskos: Soprano Saxophone, Bass Clarinet and Compositions


Sokratis Votskos is a jazz saxophonist, clarinetist, composer, educator, and bandleader from Greece. Deeply invested in unearthing the folk sounds and heritage music of Greece and Eastern Europe, he weaves these into modern jazz compositions though the use of melodies, polyrhythms, and his reedy, timeless tone. He leads the Sokratis Votskos Quartet, he is one half of Kolida Babo and member of the Reggetiko Project. A highly regarded sideman and ensemble player, he has worked extensively with renowned jazz musicians with several highly acclaimed releases (MiC, Jazzman, Walt Disney and now Fair Weather Friends Records).

He has performed his music in numerous venues and festivals worldwide from Vinterjazz in Copenhagen, to the EFG London Jazz Festival where he performed at the legendary Ronnie Scott’s alongside Greg Foat.

He is also an archaeoacoustics researcher and enthusiast, having completed his Master studies on the field of ancient ritualistic caves of Greece research.

Leandros Pasias was born in Thessaloniki, Greece. At age 10 was introduced to piano, continuing his studies at the Modern Conservatory of Thessaloniki and later at the Conservatorium van Amsterdam in the department of jazz piano.Ηe holds a classical harmony diploma and a BA at the Department of Music Studies at the Aristotle University of Thessaloniki. In 2020 he received jazz improvisation lessons from Aaron Parks.

With a series of appearances in multiple international jazz festivals, Leandros has collaborated with a wide range of musicians from Nicolas Masson and James Wylie to Marina Osk, Ivo Papasov and Haris Lambrakis, among others.

A member of the Yako Trio, he released “OdesSea” on Fair Weather Friends Records (2021).

Vangelis Vrachnos was born in Thessaloniki, Greece, in 1989. While he started playing the bass at the age of 12, alongside his brother, his studies would commence a few years later. Introduced to double bass at the age of 23, he undertook jazz double bass studies at the Codarts Αcademy of Rotterdam. He has participated in several festivals such as the Technopolis and Odessa international jazz festivals. Since returning to his hometown, in 2015, he has been a founding member of Mordana and Yako Trio and has collaborated with a series of musicians like James Wyllie, Sokrates Votskos and Dimitis Agelakis, among others.

Kostas Anastasiadis is a tireless researcher, that has been diligently studying Tradition and its evolution, creating a fresh amalgam of sound moods. His mature improvisational virtuosity highlights a uniquely individual artistic expression and was recognized with the ̈Unique Individual Stylist" award by the PIT (Percussion Institute of Technology) in Los Angeles, California. He has been associated with various ensembles that have garnered significant interest in the global music scene. As an educator, he is the founder of "The Harmony of Rhythm" musical method, which aims to explore and establish the elements that constitute the concept of rhythm.

Giorgos Klountzos-Chrysidis was born in Thessaloniki in 1991. Following studies at the Modern Conservatory of Thessaloniki, he moved to France and the Conservatoire de Nice. With performances at well-known festivals like Nice Jazz Festival, Nuits du Sud and Jazz à Vienne, he had the opportunity to meet the American drummer Leon Parker, who encouraged him to move to Paris, where he spent the next two years under his tutoring and guidance.

In 2016, came a defining moment in his career as he traveled to New York for the first time. He participated in the quartet of saxophonist Diego Rivera for a series of performances and attended lessons by Rodney Whitaker and Randy "Uncle G" Gelispie at Michigan's State University.

Collaborations include Xavier Davis, Ricky Ford, Nicolas Masson, Diego Rivera, Craig Bailey, Baptiste Herbin, Marc Abrams, Pantelis Stoikos, Antonis Anissegos, David Lynch, Ziad Rajab and Ivo Papasov, among others.

Instant House returns with their long-awaited second 7-inch release, from one of the most respected and underground names of the 1990s deep house era. This essential edition features the out-of-print yet highly sought-after remix of “Hat Hat”, reimagined by the legendary Joe Claussell, a deep, spiritual reconstruction that stands as a true collector’s gem. On the flip side lies the timeless Instant House classic “Mellow Out,” a defining deep house cut that captures the pure essence of the early ’90s movement. Pressed in limited quantities, this 7-inch is a must-have for true deep house collectors and admirers of Instant House and the golden era of late ’80s / early ’90s underground house.

180g Heavy double vinyl LP with liner notes by Tyran Grillo. Limited Japanese Obi for the first pressing. Original artwork by Russell Mills and photography by Jean-Baptiste Mondino.

The third Time Capsule is a body of dub reinterpretations by celebrated producer Bill Laswell of Ethiopian singer Gigi. Curated by Tokyo record collector, music researcher and seasoned reissue supervisor Ken Hidaka, it is the first time Illuminated Audio is pressed to vinyl after its CD release in 2003.

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell.

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.”

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”.

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents.

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’.

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell's music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.

LIMITED TO 350 COPIES! 2 x 12" Gold Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

Gnod's now twenty year journey through spiritual and audial exploration has been driven by relentless curiosity, magpie irreverence and a fierce countercultural imperative, their project has always refused to acknowledge all or any rules and boundaries, internal or external. The latest adventure of this band may never have been intended to celebrate their two-decade anniversary, but in true Gnod fashion by, what began as a trip into a residential studio setup in Hellfire Studios with producer John `Spud' Murphy (Lankum, Black MIDI, Caroline) for six days, resulted in more potent material than anyone bargained for. The end result has been three studio albums to be released over the next year. "This trilogy revealed itself to us in the studio" says Paddy. "We were hoping to get a good album out of the session and lo and behold we got three of the fuckers. It's interesting that we did pretty much capture the full spectrum of the Gnod sound across all three". In fact, this intrepid first instalment of the `Chronicles Of Gnowt' trilogy covers an alarming amount of sonic territory all on its own. Driven as always by the power of repetition as well as Gnod's alchemical marriage of the maximal and the minimal, this album is imbued with a vivid focus that's testimony to the chemistry of the sessions, coupled with a detailed and spacious production from Murphy that brings out the psychedelic sound worlds of the band in vivid colour. This is a travelogue which delves into pastoral tranquillity (as on `Three Trees Parts 1&2') just as adeptly as expansive Earth-tinged riff monoliths (`All Tunnel No Light') and just as formidably as the closing epic `Ekstasis' - a hallucinatory vista where kraut-tinged experimentalism meets Swans-style intensity. Yet all the while, truly sounding like no one but Gnod.

Over a decade has passed since this 12" was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of cv313 mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape masters while focusing on enriching every finite detail. While listening to these remasters you can feel the analog warmth of the original tape recordings, with a low end rumble in a way only POLE could pull off! On the A side we have cv313's classic "Lost Sequence" culled from the celebrated Japan exclusive "live" double CD album released back in 2009. On the B side there's a rare live version performed by intrusion at a loft event put on by the good folks over @ Little White Earbuds. This rare recording was reduced and stripped down, core traces of the original swim inside oceanic bass and modulated high end frequencies creating an atmosphere all of its own. This is one for the heads and a true lesson in space and bass!

Peki Momés took hearts and ears by storm with her first 45 (Göç Mevsimi b/w Rüya) last autumn. Her dope outernational grooves and fresh singing style made it as far as Iggy Pop's show on BBC. Time for another double-sided single!

Yıldız is a Turkish cover of the beloved Marcos Valle tune Estrelar. Staying true to the spirit of the original, this version draws its energy from the bright stars, dreaming of meeting the stars up in the sky alongside the sun and moon. The production has been meticulously crafted, blending key elements of the original instrumentation with Peki Momés' distinct vocals in Turkish language.

Bahar is a psychedelic disco groove about longing for sunny days — both literally and metaphorically. It captures the exhaustion of waiting for brighter days in our homelands, our world, and our inner selves. As Peki Momés puts it, the wait for spring can be so long, it even wears down our pullovers. This track mirrors the duality of our reality and invites the audience to dance during this wait.

Crying Outcast returns with its third release, landing close to home with legendary dub innovator The Rootsman. Bradford’s own and a true pioneering force in experimental dub since the 90s, The Rootsman’s influence runs quietly but deeply through the underground. Roots Return gathers three essential works from his catalogue, including collaborations with Celtarabia and Russ (The Disciples) as Pachakuti, alongside a light-headed reinterpretation from label head Miles J Paralysis. Spiritual and subtly psychedelic, yet deeply rooted in dub tradition throughout, drawing on influences from Pakistani devotional hymns and Celtic folk traditions. An essential modern day EP, displaying a meeting point between the heritage and the future sound of dub music.

Ataxia return to Planet E with two club-optimized cuts that capture their rolling, characterful approach to the authentic roots of Detroit's electronic culture. Marking the duo's return to Planet E following 2020's Oblivion EP, both tracks deliver energy tapped from a fundamental understanding of house and techno, equally charged with their punk and DIY background.

Immediately establishing a deep, hypnotic beat, 'The Whistles' expands into a collage of unruly samples that tour the club, the street and the true characters between. Playfully hinting at the tension between Detroit's party people and those who would like the music turned down, the track is a steamrolling club cut that finds Ataxia going wild with their most psychedelic studio trickery.

'Hocus On Pocus' is a tightly wound, punchy psychedelic wormhole of analogue FX and rubbery basslines, adding layers of pressure and surprising sonic twists. The result is an offbeat banger in the spirit of Planet E's wildest moments; primed for the dancefloor but with personality to spare.

With Neolithic Neon, Appleblim creates a kaleidoscopic reflection of the spirituality inherent within electronic music — the ineffable frequencies and communal traditions that spring from exploratory synthesis, deep-rooted rhythms and myriad other sonic codes.

Throughout his third album for Sneaker Social Club, Laurie Osborne continues to express a fascination with the ancient resonance held within modern rave as he guides his own studio practice towards more purposefully analogue processes. It's reflective of his desire to let go and trust his instincts within the more chaotic realm of voltages and signals, not to mention turning to a wider spread of instrumentation and opening up to noisier avenues. This direction defines the character of Neolithic Neon, which bristles with the living imperfections of the gear in the context of incisive and wide-ranging cuts touching on jungle, dubstep, techno, electro, acid and experimental electronic music of all stripes.

Across Osborne's solo output from 2018's Life In A Laser to 2021 tape Infinite Hieroglyphics, a strong melodic sensibility spills out of the richly layered production. It's equally audible in his Wrecked Lightship collaboration with Adam Winchester, and it charges Neolithic Neon with its star-gazing, contemplative streak. From the knotty plucks and licks weaving through opener 'Moorland' to the vaporous synths darting across the top of hardcore conductor 'Thunderstorm', a dreamlike evocation takes the sound off terra firma, musing on cosmic events and our connection to the enormity of the universe.

Eternally in thrall to the maverick vocabulary of pioneering beat scientists and fuelled by the inspiration of great thinkers dwelling on our purpose and place, Neolithic Neon unfurls big ideas without heavy-handed messaging. Instead, it trusts in the universal and time-honoured language of experimentation and rhythm to present its ideas, true to Appleblim's legacy to date while opening a new chapter in his ongoing sonic quest.

Inexplicably, yet true, Lexx returns to International Feel with a record that lives exactly where his music feels most at home. In Between State is a gentle navigation between memory and motion, between what has passed and what is still quietly unfolding. It is reflective without nostalgia, uplifting without force. A record that trusts the listener to drift.
Another Beach opens as a meditation on time and possibility. It looks back with warmth but keeps its gaze fixed on the horizon. A reminder that nothing is fixed, everything moves, and somewhere ahead there is always another sunset waiting on another shore.
Unison follows as a celebration of togetherness. Open-hearted and weightless, it captures the simple magic of shared moments with friends, music traveling across a room, and the quiet certainty that joy multiplies when experienced collectively.
The title track In Between State settles into that suspended hour where day dissolves into night. Inspired by early 90s electronica yet unmistakably Balearic in spirit, it drifts forward with a subtle psychedelic glow, neither arriving nor
departing, just perfectly hovering in place.
Closing the journey, Durchs Hinterland rolls steadily outward into open space. Born from long rides through backwoods and side roads, it moves with hypnotic momentum and the calm rhythm of forward motion. Endorphins rise, thoughts loosen, and the landscape begins to breathe with you.
Four tracks, quietly luminous. Music for transition, companionship, and the spaces in between. Lexx remains exactly where he should be.

Neon Electronics presents “Liberation”, the final chapter of the project born as the successor to The Neon Judgement—an essential vehicle for Dirk Da Davo, an artist who helped lay the foundations of EBM and post-punk. As co-founder of The Neon Judgement, he forged a sonic language that continues to resonate across generations. With “Liberation”, he brings Neon Electronics to a close, marking the end of this era with clarity and intent.

Joined by longtime collaborators Glenn Keteleer (Radical G) and Pieter-Jan Theunis, this release captures the essence of his most vital years. It distills the spirit of the ’80s and early ’90s into a sequence of tracks that unfold like a collection of undeniable hits—direct, timeless, and uncompromising.

The record reaches its final form with remixes by Ancient Methods, a leading force in industrial techno, and Patrick Codenys of Front 242—one of the few acts whose legacy stands alongside Dirk’s own.

For the label, presenting this final work is both a privilege and a responsibility: a closing statement from one of the true architects of the sound itself, and the definitive work of Neon Electronics as a project.

We are heartbroken to announce this very special release — a tribute to the genius of Keith McIvor aka JD Twitch (Optimo), who sadly left us on September 19, 2025. Over 20 years ago, when Skylax had no money and was just starting out, Keith was among the very first to believe in us. He delivered four unforgettable remixes of Denise Motto – I M N X T C, sharp, uncompromising cuts that defined the true spirit of underground dance music. At the time, due to limited means, only one made it to vinyl. Now, for the first time, we are proud to present the complete set: four remixes — the unreleased acid mix, blackrabbit whorehouse mix, industrial mix, and alternative mix , all cut loud and mastered with love. This release is more than a record; it is a homage to Twitch, a true pioneer and tastemaker, our generation’s John Peel. His art of digging, his fearless intelligence in music choices, his no-compromise vision — all of it stands in stark contrast to the disposable culture of today’s Instagram DJs. What we celebrate here is the real thing: edgy, sharp, timeless. A piece of history, pressed in vinyl forever. Featuring a stunning artwork by H5 (Daft Punk, Air, Logorama), specially designed to pay homage to the legend. Ultra-limited, no repress.

Jolene Cuts delivers a stunning 5-track vinyl-only release that reinvents the spirit of 90s French Touch for today’s dancefloors. No edits here—these are 100% original productions crafted by Danny & Mike, masters of filtered house grooves. From the funk-drenched “Without,” a Kool & The Gang-inspired house monster, to “Fall,” a euphoric blast reminiscent of the best Daft Punk moments, every cut is designed for maximum floor impact. “Mon ami Julien” dives deeper with a warm and hypnotic Scott Grooves vibe, while “Ready for Love” feels like Cerrone remixed by early Bob Sinclar at his peak—pure disco magic reimagined. The record closes with “Burning,” a banging, feel-good anthem built to ignite any set. This is a true celebration of filtered house, disco energy, and feel-good music—strictly vinyl, strictly limited, and packed with five undeniable club weapons. Perfect for DJs who want to tear the club apart, vinyl purists, and anyone who knows that real French Touch doesn’t need gimmicks—just groove, soul, and timeless dancefloor power. Once it’s gone, it’s gone.

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took usfrom the industrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 1.

DeepLabs opens 2026 with an exciting new release, “Förvandling,” from Tarik Hensen—the collaborative project of two exceptional producers, Martinou & Ben Kaczor.
This release completes a full-circle journey: rooted in Detroit techno, traveling through Malmö, and landing in Basel, where these influences converge into a singular, immersive statement.
Longtime admirer of both artists’ solo works, Luke Hess joins the project with his own interpretation of Förvandling, bringing his distinct Detroit-informed perspective to the release.
Förvandling is the Swedish word for “transformation,” describing the metamorphosis of a caterpillar into a butterfly.
The title reflects the evolution of techno itself—how it shifts and reshapes across cities, communities, and eras while retaining its core spirit.
Varp refers to the vertical warp threads in woven fabric—essential structural lines that hold everything together.
The track mirrors this concept: hypnotic percussion and immersive ambience interlace with melodic tones, unified through Tarik’s live dub mixing approach, creating a rich, fluid tapestry of sound.
Malm translates to raw ore, the unrefined material that, when forged with alloys, becomes durable metal.
True to its name, the track channels a deep, raw warehouse energy—refined into a functional gem through harmonious stabs, textured layers, and driving momentum.
Closing the EP, Luke Hess’s remix of Förvandling draws from elements across the original works while incorporating new audio stems from the DeepLabs studio.
The result is a seamless transformation of Tarik Hensen’s aesthetic into Luke’s unmistakable Detroit sound—an adventurous, atmospheric journey crafted for extended DJ sets and immersive dancefloor moments.
Tarik Hensen and Luke Hess invite you to weave these tracks into your curated selections and allow them to transform the dancefloor in unexpected ways.

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

2026 Repress

The ongoing importance of this album is indisputable, essential both to techno and to Tresor. It is a history intertwined. This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact.
Originally released in 1994, 'Internal Empire' marks a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come.

One of the true, undisputed pioneers of Dutch techno, Steve Rachmad appears on Dekmantel for an EP of peerless machine music. On the 3-6-9 EP, the artist also known as Sterac, Parallel 9 and many other names plies a powerful trade in funked up, gritty and soulful techno made the proper way.

The connection between Rachmad and Dekmantel reaches back many years via his frequent appearances at the Dekmantel Festival — he has two performances at the 2026 edition as well as sets at Dekmantel Selectors lined up later in the summer. The 3-6-9 EP lands ahead of an album and world tour that marks 45 years in service to electronic music, nodding to Rachmad's earliest roots in electro funk through to his day-one embrace of house and techno as it made its way across the Atlantic from Chicago and Detroit.

There's a rowdy, rave-spirited energy to the synth hook bucking its way through the centre of '3 Creation Energy', coming on in brassy tones laced with artful distortion while the drums dutifully jack the way they ought to. There's a more linear, pressure cooker quality to the tidal filter work guiding '6 Physical Manifestation' to its own energetic peaks, while '9 Completion and Delivery' surfs on coursing waves of arpeggiated lead lines before breaking through to the oceanic calm of grandiose pad tones.

There's no mystery to unpick here — this is quite simply techno perfection made with the instinct and experience of a master of the form, whose life is synonymous with every inch of the culture.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

2026 Repress
Twenty five years after its initial release, and accompanying the re-release of 'Internal Empire' Tresor Records is proud to present a new cut and pressing (180gm) of Robert Hood's essential 'Master Builder'.
The ongoing importance of this single and its adjacent album is indisputable, essential both to techno and to Tresor. It is a history intertwined.

This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact.
Originally released in 1994, 'Internal Empire' marks a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come.

"25 years ago, I was faced with the challenge of following up on 'Minimal Nation'. I cancelled all my tour dates for that summer, setup my studio in the living room and began to work on 'Internal Empire'. My intention was to create something distinctively di erent. Looking out my living room window in Detroit watching people go by gave me a new perspective. It made me look at the world within myself. 25 years later I am still discovering.' - Robert Hood

Soul Stage lands another essential chapter with Soulstage 002, a seriously classy and deeply authentic statement from the one and only Orlando Voorn. Carried by the unmistakable spirit of Detroit, this release is the kind of record that reminds you why true house music never loses its power, timeless, soulful, effortlessly cool and full of authority.

Dublin meets Rotterdam.
Following the highly acclaimed Combination 2 EP featuring Pineal Navigation & Stanislav Tolkachev, Dublin-based label Awareness System returns with its boldest statement yet. Combination 3 EP unites the rising label head Pineal Navigation with Rotterdam’s prolific techno force Charlton for a powerful six-track split release. This third instalment in the Combination series delivers a deep dive into raw, machine-driven Techno and Electro, embodying the spirit and authenticity of the true underground. Each artist contributes three tracks, creating a dynamic and immersive listening experience designed for peak dance-floor impact.

Charlton opens the record with relentless grooves in “Whats The Answer” and “Relentless Pressure”, setting the tone with punchy Detroit tinged poly rhythmic driving energy. Pineal Navigation answers on Side B with “Forward Ever” and “Datafried”— two tracks of mechanical funk layered with cerebral textures that push the listener into a state of sonic bliss.

The journey continues as Charlton closes Side 1 with “Feeling Cloudy” an emotive track that blends his signature gritty, rhythmic percussion sound with dub-inflected techno elements. On Side 2, Pineal Navigation finishes the EP with “Purpose” exploring his electro influences through hypnotic synth lines and wandering vocal fragments that propels and image of a futuristic terrain.

Combination 3 EP stands as a testament to both artists’ commitment to crafting forward-thinking electronic music while honouring the underground ethos that defines Awareness System

Tim Maia’s self-titled 1973 album is one of those records that hits you from the very first groove and doesn’t let go. Originally released on Polydor Brazil, this was the fourth in a series of Tim’s self-titled albums and many fans and critics still consider it the crown jewel. Packed with irresistible hooks, lush arrangements, and that unmistakable Tim Maia swagger, the album captures the singer at the peak of his creative powers.If you’re new to Tim Maia, here’s the quick story: born in Rio de Janeiro, Tim was a larger-than-life icon whose music married American soul and funk with Brazilian samba and pop long before “fusion” was a buzzword. A true musical polymath, he absorbed everything from Curtis Mayfield to Motown and translated it into a sound entirely his own, gritty, passionate, and full of groove.



He didn’t just introduce soul to Brazil; he made it Brazilian.On this 1973 release, Tim pushes everything up a notch. The arrangements are bigger, slicker, and surprisingly majestic, without losing the raw spirit that earned him a devoted following. From the moment ‘Réu Confesso’ opens the album, you know you’re in for something special—smooth, funky, and heartfelt in all the right ways. The bittersweet ‘Gostava Tanto de Você’ remains one of his most beloved classics, while ‘O Balanço’ bursts with Brazilian flavor that practically dares you not to move. And with tracks like ‘Do Your Thing, Behave Yourself’ and ‘Over Again,’ Tim shows just how naturally the soul idiom fit him, even when he switched to English.This record has everything: deep grooves, soaring strings, magnetic vocals, and that unmistakable sense of joy that Tim Maia carried into every session. It’s a front-to-back winner—one of those albums that deserves a spot not just in Brazilian music history, but in any collection that celebrates great soul, funk, and timeless grooves.If you’re a longtime fan, it’s a reminder of why Tim Maia is legendary. If you’re discovering him for the first time, this is the perfect place to start. Either way: press play, turn it up, and let Tim do his thing.

In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantel's UFO series.

French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive.

Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as "a playful prophecy about the triggers of a new global revolution." Cell considers the title, Dying is the internet, to be a mantra about "how the internet lost its soul," becoming "less about sharing ideas and more about surviving in a digital business ecosystem." Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels.

Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental 'clubbiness' of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawy's laconic trumpet looming through low-slung 'Reels in 360' and 'Travelling In BCC' to the persistent handclaps that bring 'Living Emojis' to life. Miniawy's poetry explores the power of insistent, repeated phrases in a break from his more typically structured form.

Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener 'I See The Stadium', but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cell's incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced 'Tear Chime' comes loaded with physicality — a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory.

Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.

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.