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The Populists—the alias of Yan Wagner—are about to unleash their latest assault on the dancefloor with the hotly anticipated EP, Extrême Intensité. This drops on Deadbeat Records in July and comes equipped with a dark, dusty, electro-infused remix from Mr. Ho.

When these demos landed in our inbox, we instantly knew that we needed to release it. This couldn’t be more Deadbeat if it tried; ravey, playful, banging. Expect this to be on heavy rotation throughout summer.

Produced in the vibrant heart of Marseilles, France, Extrême Intensité is a raw, unapologetic salute to UK rave, early dubstep, electro, and acid - the sounds that make your head spin and your jaw shake. Yan describes the project as “probably the most heavy and ‘brainless’ (in the best way) bunch of tracks I’ve ever created; the most UK sounding too.”

This new EP was produced in Yan’s home studio in Marseilles in March 2025, amidst a fierce USBJ digging craze and emerged as a most welcome breath of fresh air as he was immersed in the production process of another, more sombre, project. It’s packing hallmark breakbeats, gritty samples, and vintage Roland synths, all wrapped up in a playful, confident package designed to obliterate the dancefloor.

And to cap things off, Mr Ho, one of the current scene’s biggest producers and close friend of the label, has delivered a dark and warehousey remix that’s guaranteed to keep dance floors ablaze. As a big fan of his, we’re buzzing to finally land him on Deadbeat.



c B1. Extrême Intensité vinyl only

sued in January 2015, dedicated to the late Amy Winehouse and featuring the smash hit ‘Uptown
Funk’, Uptown Special was Ronson’s first UK number one album, also going top five on the US
Billboard 200.
Talented collaborators abound, with Stevie Wonder, Kevin Parker, Jeff Bhasker, Mystikal and of course
Bruno Mars making significant contributions to an accomplished blend of pop, R&B and funk.
As Q Magazine put it: "It's quite a feat to produce music that works for the mind and the hips, but
Ronson has pulled it off magnificently, with virtually every track sounding like a single“

Mainstays of the D.C. DIY scene, Pretty Bitter live up to their name. Masters of all kinds of dissonance, they juxtapose stories of haunting and heartbreak with dazzling pop-rock arrangements. Pretty Bitter makes music that gets the emo kids dancing. They’re unafraid to infuse their blistering breakdowns with hits of disco and synthpop—and that’s exactly what they’ve done on Pleaser, their sophomore album, co-produced by Evan Weiss (Into It. Over It., Pet Symmetry) and Simon Small (Strawberry Boy) and out July 25th, 2025 via cult favorite indie label Tiny Engines. Following a string of ethereal singles, their 2022 debut Hinges formally introduced Pretty Bitter and their dreampunk to a rapidly growing audience. Fearlessly led by Mel Bleker and sharing studio and touring members with D.C. punk all-stars Ekko Astral, Pretty Bitter has been embraced by DIY fans far and wide. On Pleaser, Pretty Bitter have amped up the drama of their lush arrangements—a match made in heaven for the emotional ferocity of Bleker’s lyricism. “If everything is out there, nothing’s embarrassing,” they sigh on “I Hope You Do,” expertly toeing the line between the personal and the universal over bright, bubbling synths. On the arresting closer “Outer Heaven,” Bleker sings “Time isn’t a lover in the way it likes to play / I’m getting older, every due I pay / Time isn’t a bandage in the way you always say / I won’t be abandoned by myself again this way.” Their observational, heart-on-sleeve songwriting is as effortless as their flittering between the jangly, dreamy inclinations of rock, pop, and folk. Pleaser is a triumph, an instantly lovable record that reveals just how bright Pretty Bitter’s future is.

Car Button Cloth' is an extraordinary affair of musical and emotional extremes, a soundscape spanning “the most beautiful piano-led mourning in the history of the broken heart” that switches into perky jangle-pop for fleeting moments and contains the ultimate self-deprecating classic ‘The Outdoor Type’, penned by Smudge cohort Tom Morgan, as well as a cover of the bluegrass standard ‘Knoxville Girl’ and ‘If I Could Talk I’d Tell You’ co-written with The Vaselines’ Eugene Kelly. All bases are covered. “One of the most distinctive voices of the ‘90s” The New York Times. To further unravel where Evan’s head was at during the period of its creation, this deluxe double album comes with a record of exquisite and typically eclectic scene setting covers that occupied B-sides and alternative format versions, plus other super rare offcuts, live takes and remixes. A diet of Volcano Suns, Glen Campbell, The Jacobites, The Sir Douglas Quintet and Whitney Houston influenced Evan’s thinking and added further colour to an album that remains something of a Dorian Gray-style masterpiece. The first side of extras is rounded off with the never before released ‘Arise’, originally set for the remake of Great Expectations and later realised as Rancho Santa Fe on solo album ‘Baby I’m Bored’.

2025 Repress

Kim Anh follows up her highly acclaimed After Dark EP with an eclectic remix package.
Kim Anh’s Can U Not Talk Records launched at the beginning of 2022 with the ‘After Dark EP’, its strong statement of intent receiving high accolades across the world and gaining the support of artists such as
Jennifer Cardini, Josh Caffe, Terr & many more. She now recruits a star-studded cast built around her Panorama Bar Family to remix the EP, showcasing community and connection whilst preserving queer
underground music.
Massimiliano Pagliara kicks things off by drenching the title track in acid, its resonant squelches gliding across the original’s infectious bassline. Alinka’s remix of ‘Recovering’ from the original release features next before Kim Anh remixes her own ‘House of Virgo’, incorporating a catchy organ bass to accompany her soulful, emotive vocals. Spotlight party founder Chris Cruse also provides a version of the track, turning it into a driving & hypnotic acid work-out, warming things up before Chrissy’s D&B flip of ‘Giving’ closes out the release with ripping bass and rolling breaks.

Known for his ability to create captivating, emotionally charged techno, Jonathan Kaspar eventually returns to Cocoon Recordings with his third contribution Twofold Split. One, yet simultaneously two releases that once again showcase his extraordinary talent through condensed techno with a pinch of trance, weaving together driving rhythms and atmospheric textures in a way that feels innovatively progressive.

Rooted in a minimalist rhythmic structure, ‘Power’ takes us in a new direction, steadily building momentum as its energy billows upwards, with the intensity never wavering throughout. A large, dented, tinny tuba sounds imposingly as Jonathan blows louder and louder into the old thing, its raw, metallic tone instantly commanding attention. What an explosion in the break, leading us into a wild, almost chaotic energy, before Kaspar’s meticulous attention to detail ensures that the shimmering synths feel perfectly placed, guiding us to the absolute freak-out moment. After all the insanity, Jonathan Kaspar takes us by the hand and leads us into a melodic, trancy after-hours mood with “1993,” bringing a sense of release after the wild ride of the previous tracks. What a successful closing track to this outstanding release. With its melodic trance influences, it offers a soothing, almost nostalgic atmosphere, bringing a sense of calm and closure, a perfect moment of introspection and euphoria as
the EP winds down

For the first time ever, Casey Veggies’ breakthrough album Life Changes is coming to vinyl! PNCINTL is proud to bring this iconic project to collectors and fans worldwide with an exclusive limited-edition pressing.

Originally released in 2013, Life Changes marked a defining moment in Casey Veggies’ career, blending sharp lyricism, smooth West Coast vibes, and unique storytelling. From anthems like Faces and She In My Car to deep cuts that still resonate today, this album became an underground staple and a must-have!

‘Tomorrow Held’ is the visionary new album bytwenty-something mould-breakers andconservatoire-trained virtuosos, fiddle player OwenSpafford and guitarist Louis Campbell.
Eight largely instrumental tracks that hold space,resolve into mystery, that fold in elements of jazz,post-rock and chamber classical music whileraiding the folk music toolbox.
Call it what you want: post-folk; trad-noir; folknihilism. Then know that Spafford Campbell areblazing a trail that erases genre and finds gold inthe embers. Forget about tomorrow, they say.Welcome to the now.
LP includes printed inner sleeve.

After roughly 15 years out of the game, Marc Kushin makes a highly anticipated return with his Ely Muff project - a label favourite since its inception - debuting proper on Love Love with 4 tracker 'Human Nature'. Kushin's proto-tekno take on the early breakcore sound was a stand-out of a particularly noisy strain of hardcore which emerged in the UK in the late 90s and early 00s, releasing on the likes of Headfuk, One Inch Punch, Deathchant, as well as Kushin's own labels Kinky Stump and Dead Pig, run alongside longtime collaborator Tantrum.



Unpretentious, unserious and completely unapologetic, 'Human Nature' features four tracks of brutal hardcore spiral tekno, distorted and mangled but retaining groove and swagger. The EP features two re-released classics from Kushin's back catalogue: the pumped-up pirate radio pastiche of 'Hold Tite The P, No Need For London' and the feedback-laden blunt lobotomy of 'Automatic Predator', two decades on from their original releases in 2005 on Capsule Core and One Inch Punch. Complementing them are tracks 'Human Nature' and 'Cycle Dirty', previously unreleased spasmoid gems from the same era, unearthed and seeing the light of day for the first time.



All four tracks have been lovingly (re)mastered by Love Love's own Ben Pest for a maximal sonic experience, shining a light on this criminally overlooked corner of UK rave heritage.

Alanis Morissette Delivers the Equivalent of a Spiritual Awakening on Supposed Former Infatuation Junkie:
Introspective Themes and Compassionate Emotions on Eastern-Tinged Album Have Grown More Relevant
1998 Smash Plays with Enhanced Detail, Rich Textures, and Sharp Focus on Mobile Fidelity’s 180g 33RPM 2LP Set:
First-Ever Audiophile Edition Strictly Limited to 3,000 Numbered Copies
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe

Alanis Morissette refuses to adhere to convention on Supposed Former Infatuation Junkie. While most artists follow-up their breakthrough with an album that closely parallels the approaches that helped make them famous, the maverick singer-songwriter stayed true to herself and drew inspiration from travel to India before she began the recording sessions. As much as the preceding Jagged Little Pill put her on the global radar, Supposed Former Infatuation Junkie confirmed her role as a vital generational voice — and proved her blockbuster success was no fluke. Having set a mark for most sales of an LP in its debut week by a female artist, the 1998 smash remains a pop-rock staple.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s 180g 33RPM 2LP set of Supposed Former Infatuation Junkie presents the triple-platinum LP in audiophile sound for the first time. Benefitting from defined grooves that befit the album’s nearly 72-minute length, this pressing plays with enhanced detail, refined clarity, sharper focus, and broader dynamics than prior versions.

Those traits are key given Morissette’s use of more textured and atmospheric soundscapes, not to mention her evolution into a more nuanced and controlled singer. Similarly, the scale and reach of David Campbell’s string arrangements come across as orchestrations should. Ditto the synth-based architecture shaped by producer and principal Morissette collaborator Glen Ballard. All in all, Mobile Fidelity’s collectible edition simply delivers more information via transparent means.

Notable for its balance, sophistication, and richness, Supposed Former Infatuation Junkie at heart finds Morissette pausing, taking a breath, and learning how to navigate life in a healthy manner after enduring one of the most exhausting and rocket-to-fame stretches any musician ever experienced. It’s the sonic equivalent of a spiritual awakening, a call to betterment, a brave assessment of the self and humanity as a whole. As such, the tunes on her second international (and fourth Canadian) release teem with gratitude, compassion, love, empathy — emotions that lend themselves to the largely mellow, contoured scope and Eastern-tinged melodies of the songs themselves.

“How ‘bout how good it feels to finally forgive you,” Morissette sings on the lead single “Thank U.” “How ‘bout grieving it all one at a time.” Those sentiments, and the vocalist’s embrace of concepts such as divinity and acceptance, not only provide a foundation on which Supposed Former Infatuation Junkie rests. They also reflect the personal maturation she gained from her embrace of Buddhist culture in India and a mindset bent toward notions of reconciliation, peace, and sensuality that were nearly absent in popular music in the late ‘90s.

Those themes continue on “That I Would Be Good,” a confident reflection that takes stock of one’s mental, physical, and emotional state in the face of both changing and unpleasant circumstances — and concludes with Morissette performing a flute solo, further exposing the raw intimacy of the introspective tune. She channels relatable simplicity and joy on “So Pure,” with her invocations of “dance” and “freestyle” speaking to the freedom of expression that courses throughout Supposed Former Infatuation Junkie. And perhaps no song finds Morissette showcasing her refreshed attitude toward life and opening up more than the relationship-themed “Unsent,” whose unconventional structures and lack of a chorus only add to its directness.

Akin to many albums that were ahead of their time, and despite the critical and commercial accolades afforded it upon release, Supposed Former Infatuation Junkie attracted new appreciation and perspective as it got older. Issued during an era where its ideas of serenity, absolution, tranquility, and contentment seemed largely alien, the record — akin to the ways its predecessor foreshadowed a movement — now functions as a visionary beacon that foretells of way to maintain sanity, dignity, and goodness amid a contemporary landscape filled with constant distractions, polarizing views, and incessant calls to purchase, promote, and produce without questioning the what-for purpose.

Supposed Former Infatuation Junkie dares to ask the questions and, at its best, supplies meaningful answers and alternatives that lead to longed-for enlightenment, healing, and laughter. For these reasons alone, it’s a record that never goes out of style.

This USB key bring the Dysbiosis Album as Wave & MP3. A 1 hour long hard break/drum crazyness collection of tunes chained as alive-set.
Then comes 2 folders with the tunes as WAVE and MP3 one-by-one.
One folder countains the Trailer Video.
One folder brings a collection of 80 Flyers images.
One folder with Radio Bomb cultissims' logos declinaisons.

NOTICE it's also possible to ask RADIO BOMB in person to get 2 tunes as dubplate for 30 euros Shipment included !!!



a 1. Better in Hell [Dysbiosis]
[b] 2. World Control [Dysbiosis]
[c] 3. War Against the Machines [Dysbiosis]
[d] 4. Cut Me Up - 2020 mix [Dysbiosis]
[e] 5. Sold my Soul to the Devil [Dysbiosis]
[f] 6. New Tek 2020 [Dysbiosis]
[g] 7. Maybe he Sold himself to the Devil [Dysbiosis]
[h] 8. Lazy-arse Soundboy - Tormented Souls mix [Dysbiosis]
[i] 9. Back in the Day [Dysbiosis]
[j] 10. 195 Hardcore Beats [Dysbiosis]
[k] 11. Crossbreed 2020 [Dysbiosis]
[l] 12. Metal Connection 1 - InFlames Remix [Dysbiosis]
[m] 13. Metal Connection 2 - Slipknot Remix [Dysbiosis]

[a] 1. Better in Hell [Dysbiosis]
[b] 2. World Control [Dysbiosis]
[c] 3. War Against the Machines [Dysbiosis]
[d] 4. Cut Me Up - 2020 mix [Dysbiosis]
[e] 5. Sold my Soul to the Devil [Dysbiosis]
[f] 6. New Tek 2020 [Dysbiosis]
[g] 7. Maybe he Sold himself to the Devil [Dysbiosis]
[h] 8. Lazy-arse Soundboy - Tormented Souls mix [Dysbiosis]
[i] 9. Back in the Day [Dysbiosis]
[j] 10. 195 Hardcore Beats [Dysbiosis]
[k] 11. Crossbreed 2020 [Dysbiosis]
[l] 12. Metal Connection 1 - InFlames Remix [Dysbiosis]
[m] 13. Metal Connection 2 - Slipknot Remix [Dysbiosis]

Shuffle Valley kicks off its vinyl journey with a debut EP from label head Donnie Cosmo, presenting three original cuts that move through groove, breaks, and deeper sonic moods—plus a refined remix by Christopher Ledger.

The A1 sets the tone with a warm, groove-driven track aimed squarely at the dancefloor. Elastic basslines and shimmering percussion give it a rolling energy, while subtle psychedelic flourishes invite a kind of movement that’s both physical and inward.

Let Yourself Go ventures into the breakbeat territory, playing with loose, broken rhythms before smoothly transitioning into a steady 4/4 pulse. It’s a shape-shifter—fluid, unpredictable, and full of momentum.

The third original dives deeper. Hypnotic and introspective, it leans into a more mental space—spacey yet grounded, contemplative yet still groovy.

Closing the EP, talented Christopher Ledger offers a sleek rework of A2, adding space, clarity, and emotional weight. His remix floats with precision, enhancing the atmosphere while staying true to the original’s mood—a fitting final note for Shuffle Valley’s first vinyl chapter.

Madlib’s WLIB AM: King of the Wigflip Returns on Double Vinyl via BBE Music BBE Music is thrilled to announce the long-awaited rerelease of WLIB AM: King of the Wigflip, the final installment in the legendary Beat Generation series from none other than Madlib. Originally released in 2008, this masterful collage of dusty loops, raw beats, and left-field soundscapes remains a high-water mark in the Stones Throw producer’s sprawling discography.

Now, for the first time in years, fans can experience the album in all its analog glory with this deluxe double vinyl edition, carefully remastered to preserve Madlib’s signature warmth and grit. A tribute to pirate radio culture and late-night airwaves, WLIB AM weaves together a rich tapestry of hip-hop, jazz, and soul, featuring an all-star cas t of collaborators, including Talib Kweli, Guilty Simpson, MED, and Oh No. Each track showcases Madlib’s uncanny ability to blur the lines between genres, effortlessly flipping obscure samples into hypnotic, off-kilter rhythms. From the hypnotic bounce of “Blow the Horns on ‘Em” to the smoked-out groove of “The Plan Pt. 1,” this is Madlib at his most playful, unpredictable, and inspired.

This special double vinyl edition, released exclusively via BBE Music, brings one of the Beat Generation series’ most celebrated albums back into circulation for crate-diggers and collectors alike. With original artwork and a high-quality pressing, this rerelease is a must-have for Madlib aficionados and vinyl lovers who appreciate raw, unfiltered beat craftsmanship. Don’t miss your chance to own a piece of hip-hop history—WLIB AM: King of the Wigflip is back and sounding better than ever.

Seguim Records, a Barcelona-based label rooted in retro-futuristic electronic music, continues its pursuit with the release of its third EP: “The Rabbit Hole V.A.”. This marks their inaugural venture into the realm of original productions, following their first two acclaimed edit releases.

As their first EP distributed via Subwax, it solidifies their commitment to maintaining an underground stance while delivering authentic, unfiltered sounds. The tracks weave a diverse tapestry of house, techno, breaks, and trance, all meticulously crafted to energize the club scene and keep the momentum alive.

On the A side, the EP features three compelling tracks from Vince Void and Alex Garcia, highlighting their eclectic influences and forward-thinking approach.

The B side offers a taste from Eyes of Goa and Santacreu, further showcasing the label’s dedication to blending vintage sounds with modern sensibilities.

After impressions of Unguja and Borneo islands, Discrepant's chieftain Gonçalo F. Cardoso continues his sonic travelogue on insularity with 'Impressões de Várias Ilhas’.

Literally translated as "impressions from various islands", this third tome dwells on recordings and inspirations from three archipelagos of Macaronésia. Soaking in the sounds and recollections from Azores, Cape Verde and Canary Islands these diaristic endeavours spread throughout a number of real environments, from water caves and black stone beaches and lagoons to small harbours and everyday life scenarios, to project them into this not quite imaginary but not quite real memory haze that goes from a deeply personal impression to a resonating one.

Melding raw field recordings with processed ones and synthesized landscapes, Cardoso never falters into sonic tourism, conjuring small-ish takes both vivid and dreamy, infused with a sense of wonder that feels both bewildering, comforting and escapist. The breaking waves of 'Bufadeiros de São Vicente' soothing in their irregular pattern, mingling with the lone echoing tones not completely removed from Black Dice's 'Beaches & Canyon's most pensive passages, flow into the underwater ambience and suspended pads of 'La Cueva Scuba Livre', as reflections of the same sea crashing in on different lands, nature’s psychogeography. Further on, the queasy warm chord and scraping murmurs of 'Noite em Rabo de Peixe' mirror their nighttime framing while 'Rãs em Xoxo' veers closer to pure musique concréte, crossed by a subdued feeling of unease that lingers in the nostalgia of 'Cozido da Caldeira Velha', brimming within the haze of a Boards of Canada vignette. Summoning the past lives and future hauntings of its scenery, 'Salinas de Pedra Lume' is like the quiet epic of the album, meandering into the unknown among crackling field recordings, decaying synths and flute-like howls - or is it howl-like flutes? - recurring as glimpses from foregone existences, not necessarily Gonçalo’s own. Maybe ours?

Music & Photography by Gonçalo F. Cardoso
Artwork layout by Jeroen Wille
Master by Rashad Becker

Discrepant 2025
Pressed in Spain

Hip-hop legend Ice Cube finally returns with his latest studio album “Man Down” – a hard-hitting statement that once again proves why he remains one of the most vital voices in rap today. With “Man Down”, Ice Cube delivers a powerful project that dives deep into today’s social realities, both musically and lyrically. Fans can expect raw lyrics, strong production, and real stories from one of the most inflfluential MCs of all time.

Exclusively for collectors and true fans: “Man Down” is available in several formats: Black Double Vinyl, Limited Marbled Double Vinyl, Music Cassette

Hip-hop legend Ice Cube finally returns with his latest studio album “Man Down” – a hard-hitting statement that once again proves why he remains one of the most vital voices in rap today. With “Man Down”, Ice Cube delivers a powerful project that dives deep into today’s social realities, both musically and lyrically. Fans can expect raw lyrics, strong production, and real stories from one of the most inflfluential MCs of all time.

Exclusively for collectors and true fans: “Man Down” is available in several formats: Black Double Vinyl, Limited Marbled Double Vinyl, Music Cassette

KYOTO JAZZ SEXTET's new work is a folk song cover!
KYOTO JAZZ SEXTET, which will celebrate its 10th anniversary in 2025, has released an emergency 12-inch. It is a cover of "DOSOJIN NO UTA",
a folk song handed down in Nozawa Onsen Village, Nagano Prefecture, with a spiritual and danceable jazz arrangement.
In 2022, the demo version was used for the video distribution of the Dosojin Festival and secretly attracted attention, and was completed in 2025
with new recordings of drums and bass.
It was also selected as the commercial song for "THE GIN SODA", which uses gin from Nozawa Onsen Village Distillery and will be released at Lawson stores
nationwide in March 2025, and has attracted a lot of attention.
The coupling is Extra Freedom, which has been played more than 1 million times on Spotify and became KYOTO JAZZ SEXTET's biggest hit. In addition, the album includes a new jazz version of Still In Love, a cover of Shuya Okino's global anthem, featuring Navasha Daya and Tomoki Sanders.

This is a supreme album that breaks new ground for KYOTO JAZZ SEXTET and features their strongest songs.
This is also the first release from KJCC (Kyoto Jazzy Creative Council), a voluntary organization that Shuya Okino founded with Yukari BB (Jazz Sport Kyoto) and Masaki Tamura (DoitJAZZ!). Shuya Okino himself wrote the Japanese title on the front cover.

Brand new Paul Sitter’s heavy breaks edits. Side A is a dance rework of 60s Los Bravos — Bring a Little Lovin’ and the B side is a mashup of Jane Birkin’s beautiful voice and Big L’s raps

Blues-rock titan Joe Bonamassa is back with Breakthrough, his powerful new studio album dropping July 18th.

Produced by longtime collaborator Kevin Shirley (Iron Maiden, The Black Crowes, Journey) and co-written with Grammy-winner Tom Hambridge (Buddy Guy, ZZ Top, Lynyrd Skynyrd), Breakthrough captures Bonamassa at the height of his creative powers. Expanding his signature sound while staying true to the deep blues roots that launched his storied career, the album promises raw emotion, blistering guitar work, and fresh sonic twists.

With over 50 albums to his name and an unprecedented 28 #1 Billboard Blues Albums, Bonamassa proves yet again that he's not just keeping the blues alive--he's driving it into the future.

* In April the European tour starts.
* Joe Bonamassa has sold well over 4 million records worldwide and has had 20+ #1 Billboard Blues Albums
* Joe Bonamassa has been featured on the cover of virtually every guitar magazine multiple times. His name is notorious among guitarists not only for being a virtuoso, but also for his incredible collection of vintage guitars, gear and memorabilia.

Tracks: Breakthrough / Trigger Finger / I'll Take The Blame / Drive By The Exit Sign / Broken Record / Shake This Ground / Still Walking With Me / Life After Dark / You Don't Own Me / Pain's On Me

“My hero’s back,” Madeline Kenney sings on the second track of her newest effort, Kiss from the Balcony. In a sense, she means herself; made with friends Ben Sloan and Stephen Patota across just a few in-person studio sessions in Oakland, these tracks represent a culmination of Madeline’s musings on growth and resilience reaching back years, brought to life through this generative and vibrant collaboration. Close listeners can hear the breadth of stylistic elements and themes carried through from various eras of her work, which all come together in a cohesive and timeless record.

In two week-long intensive sessions, the three collaborators grew these nine songs from fragments, sketches, and seeds. With a background in experimental percussion and sound design, Ben Sloan brings an electronic sound to Kenney’s writing; Stephen Patota provides ingenious guitar melodies throughout and grounds the project in acoustic elements. Kiss from the Balcony was originally intended to be an EP, but the sessions brought forth such fruitful ideation and play that the project was expanded to a full length album. It sits in Madeline’s discography as a thematic and musical progression that sees her iterate on ideas about love and explore new sonic motifs through her work with Patota and Sloan.

Much of Kiss from the Balcony is a meditation on modern relationships, a feminist and utterly human contemplation of power and who holds it. “Hereditary backward leaning,” she describes in ‘Slap,’ of the female condition; “But no-one ever likes to see the girls break down / So they keep it to the bathroom floor” she sings in the rapturous opener, ‘Scoop.’ While the songs are shrouded in metaphor, the ubiquity of heartbreak and resilience decode much of the internal conflict Kenney depicts. The album sees her recognize the precarity and peculiarity of life and take it by the horns, realizing she controls her own narrative:


She explores the relationships between joy and suffering, choosing to see them as inseparable, two sides of a single coin. “It’s never over / When will they love me?” Kenney asks on ‘They Go Wide,’ describing her positionality both as a woman in relationship and as an indie artist in the modern music industry.

A playful hopefulness pervades the record, providing a sense of revelation in the journey throughout, Kenney’s radical acceptance of life as it is like a lyrical tongue out at the absurd.

Rachika Nayar und Nina Keith veröffentlichen am 18. Juli unter ihrem neuen Projekt Disiniblud ein selbstbetiteltes Album!

Rachika Nayar und Nina Keith, aka Disiniblud, treffen sich in Brooklyn, in einem Park, der so klein ist, dass man nicht aneinander vorbeigehen kann, ohne sich zu bemerken. Sie reden. Erst über Musik, dann über alles. Über das, was war, über das, was nicht mehr sein wird. Post-Lockdown-Liebe auf Distanz, als würde man sich an jemandem festhalten, den es nie ganz gab. Buddhismus, Hinduismus, ein Soundtrack, den sie beide als Teenager geliebt haben. Ein Gespräch ohne Worte. Eine Verbindung, die sich anfühlt wie eine längst vergessene Kindheitserinnerung. "Disiniblud", das selbstbetitetelte Album, das am 18.07.2025 via Smugglers Way erscheint, ist das Echo davon. Rachika Nayar und Nina Keith verfolgen unterschiedliche musikalische Ansätze, die sie im gemeinsamen Projekt Disiniblud zusammenführen. Rachika veränderte mit ihrer 2022er LP "Heaven Come Crashing" ihr Repertoire: Statt Ambient-Gitarren setzt sie nun auf maximalistische Synthesizer, tiefe Sub-Bässe und Amen Breaks. Diese Fusion aus Post-Rock und Elektronika wurde von Pitchfork als Best New Music ausgezeichnet und fand Anerkennung in Medien wie The New York Times, Stereogum, Fader und GQ - zudem eröffnete sie Tourneen mit M83. Nina Keith ist bekannt für ihren autodidaktischen Kompositionsstil. Ihr Debüt "MARANASATI 19111" präsentierte sie mit Instrumenten wie Cello, Klavier, Klarinette und Flöte, um persönliche Erfahrungen und Erlebnisse im Zusammenhang mit Gemeinschaftstraumata und paranormalen Ereignissen musikalisch zu verarbeiten. Mit neuen Veröffentlichungen wie "Come Back Different" featuring Julie Byrne erweitert sie ihr Spektrum durch den Einsatz modularer Synthesizer und komplexer Vokalarrangements.





e a5. [it could happen]




[j] b5. [as is most (bimbo it out)]





[e] a5. [it could happen]




[j] b5. [as is most (bimbo it out)]

Few Jamaican music makers have demonstrated greater versatility or proficiency than Lloyd Charmers, who first made his name on the Jamaican music scene as a youthful singer- songwriter in the early 60s.

His output as both a performer and producer included multiple major reggae hits.
After his international break through, he produced work for keyboard maestro Harold Butler.

Butler’s widely sought-after ‘Gold Connection’ album, an instrumental collection from
1976 features nine superior reggae and soul instrumentals, including popular versions of ‘That’s The Way I Like It’ and the title track.
This album is an essential acquisition for both completists and all those who prefer their reggae with a little bit of soul.

Gold Connection is available as a limited edition of 500 individually numbered copies on orange coloured vinyl.

Five tracks of future electro-funk from Spanish DJ and producer Lefrenk, who makes his Gated debut.

Across five expertly warped tracks, the EP pulls from 80s Balearic sunsets, fried breakbeats, warehouse-scented house music, and electro that’s been lightly basted in funk and grilled over a lovely DAW.


‘Brainstorm’ kicks off with pummelling beats then goes widescreen, like a sci-fi epic barging into your set uninvited but winning you over immediately. It’s bold, abstractly beautiful, and absolutely means business.

‘Clocks’ loops squelchy bass and a twinkling melody that develops masterfully, intent on living in your head proudly — like a tenant who pays rent on time and doesn’t play the saxophone.

‘Funk Awake’ could soundtrack a very stylish chase scene between two people in vintage tracksuits.

‘Ocaso’ slows it down a little — warm and woozy, but with snappy, electrified beats holding it up like a drunk at a bar vying for the bartender’s attention.

Rounding things off, ‘Relative Point’ floats somewhere between VHS nostalgia and late-night contemplation, where the insistent beat and bass hold steady and the synths do the wandering.

2025 Repress!

South London favourites Chaos in the CBD come back to Rhythm Section International one year after their breakthrough EP 'Midnight in Peckham'. The original EP captured a moment in time in a way few songs can manage. It was hailed as a masterpiece, capturing the attention of all who listened, as evidenced by the unquenchable demand for the 12'.
This follow up EP is an equally sublime collection of tracks that revel in the late night soulful feel that Chaos in The CBD have been honing over the past two years. The music's strength lies in it's subtlety - the tracks demand your attention in an effortless fashion and hold it, right 'till the last beat. Another unbelievably powerful record from RS INTL, who are proving to be unstoppable of late. BUY ON SIGHT!

Purple vinyl, limited to 150 copies. Born from the murky industrial depths of Birmingham, UK, Margarita Witch Cult's self-titled debut studio album is a tour-de-force in classic metal, hard rock, doom, and mind-melting psych. A thunderous drum fill propels you into opener 'Diabolical Influence'- a lurching behemoth of a tune that makes easy bedfellows of crushing stoner riffs, Latin incantations, and a simply humongous chorus. The pace quickens with the frantic 'Death Lurks at Every Turn'- a hair-raising thrasher of breakneck snare rolls and unruly guitar solos. 'The Witchfinder Comes' only furthers the sense of foreboding, as tales of torture and pleas for exile fall on the ever-deafening ears of the listener. 'Be My Witch' comes in hot and heavy as a grungy ode to the forbidden, and the blistering 'Annihilation' concludes side A with speed-freak ferocity. The more adventurous and immersive side B is kick-started with 'Theme From Cyclops' - the deft chops of all 3 members being undeniable as we gallop into the ambitious, face-melting journey that is 'Lord Of The Flies'-a belting doom groover that culminates in a classic guitar & bass dual to rival even the most virtuosic of axe-wielders. As we near the end of our perilous sonic expedition, 'Aradia' serves up an instrumental serving of pure downtuned filth, with sleazy swagger and tasteful shredding that give extra provenance to its author's deep bag of tricks. The killer blow comes in the shape of the simply savage 'Sacrifice'- an unholy exhibition of undeniable force. The duality of the track makes for an experience that leaves our sweet listener reeling- the bludgeoning weight of its monstrous main-riff giving way to razor-sharp verses and a tripped-out, mind-bending psych jam- only to come crashing back to crushing reality as the final, fatal notes ring out. With their debut LP, Margarita Witch Cult have crafted a timeless, merciless beast- one that will chew you up and spit you out, yet somehow keep you crawling back for more.

Transversales Disques proudly presents the first official reissue of Michel Colombier's cult 1973 soundtrack "L'héritier". The man behind "Psyche Rock" and "Requiem pour un con" delivers an incredibly intense downtempo spacey-prog-funk score with outstanding drums, wah-wah guitars, deep Rhodes chords and superb bass performed by a legendary rhythm section (Jannick Top, Jean Schultheis, Claude Engel). The soundtrack of "L’héritier" is linked with the score of "Tarot", an improbable Spanish giallo that Colombier composed the same year, featuring Nanette Workman on the main theme. It perfectly captures the essence of this thriller with deep drama grooves and electronic experimentations. This 2025 deluxe edition contains 5 unreleased tracks from the '"Tarot" score.

AUDIO RESTORED & REMASTERED
EXCLUSIVE & EXTENSIVE LINER NOTES

A true royal rebel without a cause joins the Step Ball Chain chosen family. Berlin psy-con Yazzus presents a sexy sweatfest; a four track original EP featuring DJ Fuckoff of tech-trodden club stompers that will shake and break you. Operating in a lane of her own, she draws on her UK roots with bass laden bounce and never forgets to add that sapphic touch crucial to SBC. “Rebel Royale” is keeping techno freaky, cheeky and ahead of the curve.

Quintessentially out of control, elements of tension and release are toyed with throughout all the tracks, the building and driving addictive synth work in Venom & Vision; Serpent’s Rising sending even the most sane into a spiral. Basslines come thick and heavy, chunky by nature and particularly prevalent in Delicately Mad and My Lipgloss My Rules, they are the backbone of the record. Don’t get it twisted, this isn’t some run of the mill techno; the modular bleeps and freakouts, FX and vocals are wired and inspired; the glue showcasing Yazzus’s fully sick technical abilities. Last but not least, she entails the help of friend DJ Fuckoff; haunted slippery vocals are a match made in heaven for the percussive psy workout Erotica.

Scavenger tones and scrambled cassette residue drift across the surface of Compressed Knowledge, a quietly astonishing new work by Philadelphia-based sound artist Tyler Games, operating here as Radio Species. Following releases on Regional Bears, Irrational Tentent, and his own now-defunct Born Physical Form imprint, Games works in a space between musique concrète, tape collage, and microsound, using an economy of gesture to create a suite of fundamentally elusive compositions. Harmonic loops stutter and fold in on themselves, hazy rhythms break free from their clocks, snatches of speech cut out mid-thought as a layer of room tone and tape gunk holds everything in suspension. There’s a sense of broadcast without a source, flickering across half-tuned frequencies––hinting at formal structures while continually slipping away from them. The result is not archival in the traditional sense, but archaeological: these tracks are partial objects, pulled from the noise floor of memory. In its refusal to resolve into stable meaning or musical form, this is work that draws from traditions of sound ethnography, experimental documentation, and concrète montage––where listening itself becomes a mode of speculative reconstruction.

Itchy-O is an experiential performance ensemble that has mesmerized audiences across the U.S. and beyond since 2009. The beating heart of this fifty-plus-strong performance troupe is a batterie of percussionists accompanied by an orchestral arsenal of avant-instrumentation. Weaving a synergistic spell, the ensemble dismantles assumptions of traditional performance models to break down the barriers between audience and performer, administering a bombast of ceremonial chaos; baptizing the audience—body, mind, and collective spirit—in an elaborate, pan-sensorial ocean of music, mystery, and transcendental spectacle.
Itchy-O has shared the stage with legends such as David Byrne & St. Vincent, while luminaries like JG Thirwell and Dan Deacon have opened for the humbled brigade. Over the years, they have energized crowds as the opening act for a slew of iconic artists including DEVO, Beats Antique, and Wooden Wisdom (Elijah Wood). Their unforgettable private engagements include a legendary performance at Maynard Keenan’s Merkin Vineyards while delighting festival audiences at Riot Fest, Biennial of the Americas, the Underground Music Showcase, and Tasmania’s world-renowned Dark MOFO with enveloping processionals, pop-up performances, and staged spectacles.
In 2024, itchy-O debuted Söm Sâptâlahn, a sold-out collaboration with the Fiske Planetarium. Named for an epic set of custom-crafted gongs cast from six hundred pounds of reclaimed brass at the School of Mines and tuned to a bespoke seven-tone scale, this project birthed this latest double album. Accessible, mysterious, and meditative, it is a bold addition to the itchy-O catalogue, sure to appeal to connoisseurs of the experimental, the contemplative, and the avant-garde.

Token presents the 6th chapter of the Fuga series. Challenging new faces to complete the label's sound, Fuga VI is another focused compilation that balances spatial detail and rhythmic bite.

Skipping any introduction to dive straight into the essence of the compilation, Skjöld portrays 'Forbidden City' as a tense aquatic exploration. With pressure in the low end, he keeps the record alive by conjuring obscure pads to give dimension and intrigue to an already nervous track. This persistence is quickly met with weight; Tapefeed's 'Residual Memory' follows up to tap into the label's more aggressive side. Riddled with mechanical sound design bordering on the industrial, the Tapefeed duo creates dancefloor dominating energy that sets them apart with an all-out approach. The density of this second track feeds smoothly into Stephen Disario's 'Out Of Tune' - a drum-forward record with dispersed texture. The LA based producer puts his hi hats brutally forward to cut through the space, finding a remarkable balance between its two sides and exploiting its confrontation. Returning to the label's recognizable resonance, Merino steps in with 'Memoria' - a manic 5 minute synth loop with minimal percussion. Dealing in restraint and dissonance, Merino naturally finds a home in Fuga VI with this track before heading back into the peak time paranoia of JSPRV35 in 'Question'. Pushing up the intensity and flicking through vintage percussion lines, 'Question' is an extraverted homage to the origins of techno that embodies flair. The track drives through the middle of Fuga with ease, bouncing rhythm off a sharp bassline with thundering claps and snares. 'Catch 22' by Terminus restores balance with minimalism but pace. A hypnotic break in the second half is sure to mesmerize dancers and home listeners alike. Stuttering hats shake throughout 'Catch 22' to push the track along, keeping the harmony low and maintaining focus on the movement. With a similar tempo, Sanna Mun follows up with 'Binary Systems'. A speedrun through an acid-like bassline, the track's rhythm is obsessive and persistent as we reach the conclusion of the compilation. Fuga VI comes full circle with a ghostly track by Mode_1 called 'Lifespan', stretching time and tunneling through with booming toms and shuffled hats. Keeping the pressure high and maintaining that never ending energy is the only way to wrap up such a high energy release and Mode_1 does just that.

Black Vinyl LP. The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsible beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll.

Jugoton Funk is back with a second instalment gone funkier and crazier than before - now capturing even the early 80s disco and folk decadence occurring after Tito’s death. Jugoton, the Yugoslavian discography leader by all standards, still incites our inspiration and keeps our fingers dusty for more beats, soul and jazz presented here in equal proportion. From unreleased Jugoton associated numbers by Spektar and breakbeat bombshell classics like Zlatokosa to early Yugoslavian Soul Finger renditions and groovy jazz infusions from Josipa Lisac - this compilation rounds it all up. Enjoy it while we take another 5 years to get to Vol.3.

The undisputed king of Disco House Purple Disco Machine returns to his club roots with retro-inspired release ‘Ghost Town’ ft. Rertosonix. Fresh off reworking the Hurts classic ‘Wonderful Life’ and delivering a huge remix for ‘Born Again’ (Lisa ft. Doja Cat & RAYE), the Dresden-born producer is once again ready to conquer the dancefloor with his signature sound. Tailor-made for that insatiable desire to dance, it’s a release engineered for movement, locking straight into the pulse of late-night energy and crowd euphoria. As such, the track is unsurprisingly becoming a favourite in Purple Disco Machine’s sets already, where dates in Mexico, the USA, and Spain have left the dancefloors anything but a ‘Ghost Town’. Armed with a dancefloor weapon, Purple Disco Machine drops the release early for DJs on Beatport.

A master of channelling the nostalgia of dance music’s beginnings and blending it with a modern-day flair, Purple Disco Machine has expertly crafted a record reminiscent of throwback disco cuts. The soulful vocals come courtesy of Retrosonix, successful songwriters who have come together to specialise in retro disco vocals that ingeniously feel straight from the archives. You’ll be sonically transported back to a time when disco was heard on every corner. Tactfully letting the powerful hooks and provocative lyricism lead the rhythm for the tune, Purple Disco Machine’s iconic groove-driven beats and mesmerising synths lay the foundation for a dancefloor classic. Crafting breakdowns dripping with funk, the disco maestro builds to a crescendo that will undoubtedly be a crowd pleaser for his many shows in 2025.

On the release, Purple Disco Machine said: “While a number of my recent records have referenced the more electronic 80s disco sound, I never lost the love for the classic funky disco of the 70s - which in many ways was the original blueprint - and so it has been equally inspiring and enjoyable to work with this palette again. I'm hoping that the listeners are as haunted (in a good way…) by Ghost Town as I am !”

Transitioning from the successful 2 Years EP (O Sótão Records, 2023), Tiago Fonseca became an up and coming Producer and DJ based between Lisbon and Porto. On the back of gigs at some of the best clubs in the country, he also transitions from Tiago A.F. to TGZ (sounding Tigz) as his moniker for what’s to come ahead. Long Shape, his latest project, is O Sótão’s first vinyl release, and the first to be delivered with higher standards of professionalism. Learning the trade, the processes, the timeframes, the costs, and having just completed 10 years of existence. A good time to go a bit deeper.

In the summer, Tiago sent me a golden playlist of unfinished projects for a second opinion. The idea for a new record started there, and from the bunch we handpicked a selection that ended up making really a lot of sense for us. We were looking for wet deepness and eternal warm ups, pulling up the fader slowly. An invitation to leave our mental capsules and divert attention towards a seductive bassline cliff-hanging a dream. Progressiveness and jazz. Long shapes and melodies in the last frontier between nostalgia and hope.

To help, we invited Miguel Tenreiro (a.k.a. Gazpa) to master the tracks, with him adding a smooth-extra-delicious pump on the beautiful original elements. Miguel also picked up the title-track for a remix treatment, breaking up the tempo with a hip-hop-electronica finale, sprinkled by a guitar solo from Zé Nuno - another great musician stemming from Mr. Bean’s bar, where we held a residency for the past year.

Long Shape will drop on March 21st. Vinyls might be only available a bit later. It will be a landmark moment for us, being Tiago’s most complete work to date, and a better representation of his rich musical influences, expanding it, as we speak, to another level. It’s also been 10 years for O Sótão, so there’s that too. To sum up, I’m just very glad that Long Shape sounds exactly where we would like to be after all this time, with a quick image of a nite-lit skyscraper cutting into a couple of rocks being dropped in the coolest whiskey glass, and the people warming up to a dream.

Edition of 100 Vinyl 12’’, Cover 3mm spine

Released in 2018, the Original Blunted Breaks Vol.1 compilation was a landmark release in the future jungle revival, collating the sounds of the rapidly emerging underground in long player format and extending the reach of the modern productions beyond the clubs and hardcore vinyl enthusiasts, to the likes of BBC Radio 6, with guest Dead Man’s Chest mix and album feature on Tom Ravenscroft’s show.

In the ensuing years, contemporary jungle music has continued to gain in popularity with a rapidly expanding global influence and reaching younger audiences who’ve adopted it as the sound of now.

In 2025, Western Lore continues its role as a modern tastemaker in both jungle music and the wider electronica scene with Blunted Breaks Vol.3, a 12 track long player featuring a selection of deep and textural future jungle workouts from the freshest rising talent & now established stalwarts of jungle music.

Released on triple heavyweight (180g) black vinyl, shrink-wrapped in full art sleeves & digital.

2025 Repress

Forest Drive West returns to Livity Sound with the 'Dualism' EP, a tour de force of stripped dub aesthetics and swirling psychedelic rhythms.

One of the finest breakthrough UK producers of recent years, in a short space of time Forest Drive West has created an enviable catalogue across labels such as Livity Sound, Rupture, Echocord, Whities and Mantis. This new EP marks some of his best work to date.

The final track on the EP, 'Scorpion', features Melbourne based percussionist Lucky Pereira whose frenetic but tightly locked drums add a fizzing energy to Forest Drive West's deep atmospheric rhythm track.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

ETNOBOTANIKA - remember them? Well, now it's KOSMOBOTANIKA!

But rest assured - it's still the same excellent band from Ruda ?l?ska, only this time instead of a forest full of ghosts or a land of fairy tale creatures like a Fruwajacy Przestepca the duo of producers takes us on an interstellar journey!

The artists' third album, just titled KOSMOBOTANIKA, is an over forty-minute work skillfully composed from a multitude of various samples, and genre-wise presenting the sounds of deep house, trip-hop, breakbeat, ambient and even jazz. This is electronic music with a very cinematic, visual and imaginative character, something at which ETNOBOTANIKA has undoubtedly achieved mastery confirmed by their first two very well-received albums. This cinematic style (electronic concept album?) is reminiscent of the classic albums of the genre's progenitors from the UK like The Orb (first releases) or The KLF (the iconic "Chillout" album), but also the French Motorbass.

The Silesian duo does it their own way, of course, with a local twist. Thus, in the cosmic journey our guides will be in-sampled familiar voices from Polish television, cinema, radio and dusty vinyls (yes - samples from Mr. Kleks in Space had to be on the album, of course :) ).
There is no shortage of atmosphere-building instrumental fragments here, but also quite song-like tracks with catchy melodies and vocals. Fans of the band will certainly be satisfied.

What is there to say - ETNOBOTANIKA has created another classic, which simply must be on the shelf :) Trust them and let yourself be taken on a cosmic journey - satisfaction guaranteed!

Hardcore Rap music is still here! Mike Redman is considered a cult legend known for his unorthodox music production in various genres. He's well known as an artist in the Jungle and Hardcore scene, as a renowned movie score composer and made a name for himself as organiser of the infamous 'Redrum Hip-Hop' events since the 90's which hosted international artists from Guru to Cannibal Ox, Public Enemy, Beatnuts and many more. He also set up Redrum Recordz, a pioneering independent record label focusing merely on anything musically unpolished. Even though Mike Redman (which is his name of birth by the way) was often linked to many Hip-Hop success stories and produced records for artists such as Public Enemy and Big Daddy Kane, Mike has just recently, after many years, decided to produce a solo record featuring the Rap artists he admires and form the foundation of his legacy. With great respect towards his mentors, in a non-profit manner, Mike now releases 'Redrum Relics' featuring Rap icons such as Kool Keith, Chuck D, Schoolly D, Sticky Fingaz, Young Zee, Chino XL, O.C. and many more. This album is truly exceptional and is not made with the intention to be commercially successful, but is a love-letter to a period in time where passion was the motivation. 'Redrum Relics' brings Rap music back to the golden era with a contemporary touch and keeps it unpolished and unyielding as ever. People that tend to say that Hip-Hop is dead might want to reconsider.

The latest EP from Drab Majesty marks the start of a stirring new chapter in the band's majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demure leaned into the neo-psychedelic resonance of a uniquely bowl-shaped 12-string Ovation acoustic/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into "flow states," letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell (Slowdive), Justin Meldal-Johnson (Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motion is true to its title, capturing the chrysalis moment of an artist evolving, reborn and untethered, silhouetted against an open horizon."Cape Perpetua" kicks off the collection's divergent palette: sparkling acoustic finger-picking refracted through delay, equal parts raga and reverie. Melodies and moods congeal and dissipate, at the threshold of rustic American primitivism, brooding neo-folk, and pastoral melancholia. "The Skin And The Glove" deploys jangle to different effect - baggy, soaring, grey-skied kaleidoscopic pop in the spirit of Stone Roses, Primal Scream, and The Glove. Rachel Goswell lends her iconic freefall voice to The Cure-esque ballad, "Vanity," infusing poetic gravity to the doomed refrain: "If the valve breaks / then the earth quakes / and history finds a way / to put you in your place.""Yield To Force", the closing track of the EP, may be the most anomalous offering of the set. A 15-minute instrumental odyssey of cyclical strings, ominous slide guitar, and simmering synthesizer, the piece sways and spirals like a long zoom into distant storm clouds. Demure finesses the guitar with a restless but regal grandeur, unfolding a panorama of peaks, shadows, and plateaus. It's music both intuitive and prophetic, tracing the slow swing of pendulums across an endless plain. Taken as a whole, An Object In Motion presents a showcase of potential futures from Drab's evolving domain, their sound poised to bloom at the precipice of transformation.