quête:conti

I turned the page and will never forget what I then saw.

The fountain pen scratched against the paper, whistling like fur on an abandoned tire in the
middle of the night at the centre of the universe in the core of whatever it is I’m trying to believe.
I am a patient human and I live and breathe. I know this for sure.

I read about a whispering stillness of the Stadsnacht as my blood levels gradually even out again. Beneath the ink, the words take shape. This is a secret correspondence with the Book of Change – a dialogue not meant for eyes or ears, but for the soul. Are you still with me?

The Snake Rope tightens, its Coils Dive into the deep well of patience, where waiting is an art, a
dance with the unseen. The Scientists Say we should measure, predict, contain—but here, in
the shadow of the deepest of nights, the only truth is the Celebration of Ignorance. Love is the
force that binds as it untangles the invisible thread that refuses to sever. The next page quotes the mystical figure Daim: “Never Dissever Us.”

There, in the dawning light, the Dageraad reveals the Icequeen in her frigid throne, the Topiary Man standing guard in his sculpted silence. In this quiet landscape, I wait. I continue to wait, for I have good fortune on my very hands.

If You Won’t, I Will.

Can we exhibit the power to possess conformity? Can we redeem the benefits of crossing the water? Yes. The choice, the act of breaking through the barrier of convenience, is both a burden and a liberation.The words swirl, abstract and concrete, like action and inaction. The Book of Change is a paradox to puzzle over.

The evening cool rests its shoulders on my fluffy neck. I inhale as my pen lifts itself from the
paper once more, shedding ink as though it were tears of joy. I know that I have touched the
edge of something vast, something that moves beyond the grasp of reason into the heart of the
I Ching, the ever-turning wheel of change. This is the correct orientation. This is the vivid
imagery of clouds falling from the heavens and into our laps. This was never meant for your
ears. This was meant for you to feast on as the seasons bestow upon us

Black Truffle is thrilled to announce Spilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear this year. Founded by the Australian drummer/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah (Black Truffle, 2020), the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (Black Truffle, 2022). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie’s long-time musical hero and occasional collaborator Roscoe Mitchell.

The two short pieces that open the record could almost be the two sides of a wild 7” selected to show off what the Ensemble can do. On opener ‘Gerak Maju’, intricately skittering open-snare patterns bounce over clanging metal, chiming bell-like tones and deep gong hits, adapting the rhythm-register connections heard in traditional Gamelan musics—where the lowest pitched sounds are heard least frequently—to a cut-up breakbeat straight off Feed Me Weird Things. ‘Strollabout’ then moves into an entirely different realm of meditative repeating patterns, performed entirely on Chinese, Javanese and Vietnamese gongs. The remaining seven pieces, ranging from three to twelve minutes, offer up a wealth of different percussive, compositional and arrangement possibilities. On ‘Ghostly Klang’, two drumkits mirror each other’s moves, bouncing hats and snares across the stereo field in a way that recalls On the Corner and the jittering hi hat patterns of trap, while slow moving melodies on the tuned instruments add a sense of majesty contrasted by scurrying details in resonant wood. The epic closing track presents a take on Roscoe Mitchell’s ‘Uncle’, performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell’s dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal.

Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois’ drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.

BPitch präsentiert die nächste Ausgabe ihrer WE ARE NOT ALONE Compilation-Reihe - ein vielfältiges Paket mit Sounds, die den Geist der WE ARE NOT ALONE-Partys widerspiegeln und einen Einblick in eine Szene von Künstlern geben, die sich dem Underground verschrieben haben. WE ARE NOT ALONE pt. 8 bietet zwölf unverzichtbare Tracks für DJs, Raver und Musikfans, die eine breite Palette an Genres abdecken und dabei nie den Dancefloor aus den Augen verlieren. Die neue Compilation spannt die Fäden zwischen den Genres und dokumentiert mit der gewohnten Qualität des Berliner Labels das nächste Kapitel in seinem stetig wachsenden Beitrag zur Kultur.

WE ARE NOT ALONE pt. 8 zeigt, dass das Label keine Pläne hat, die Hitze zu drosseln, mit einer weiteren Runde reinstem Hedonismus für die Ewigkeit.

BPitch present the next iteration of their WE ARE NOT ALONE compilation series - a diverse package of sounds reflecting the spirit of the WE ARE NOT ALONE parties, and offering a glimpse into a community of artists that have committed themselves to the underground.

Touching on a wide range of genres whilst never losing sight of the dancefloor, WE ARE NOT ALONE pt.8 offers twelve essential cuts for DJs, ravers, and music heads alike. Tying the threads between genres, and with the mark of quality expected from the Berlin label, this new compilation documents the next chapter in its ever-growing contribution to the culture.
Returning to the label appearances on both BPitch and its accompanying label UFO Inc. - Turin-based duo Boston 168 open the club doors with a masterful fusion of trance build-ups and stripped back pointillism on ‘Feeling You’. Another member of the BPitch roster having just released an EP on the label, Tigerhead steps up with heavy kickdrums and uncanny pads on the aptly-titled ‘Alice Through The Looking Glass’. Stepping into more minimal territory, Sina XX - founding member of the Paris rave collective Subtyl - offers a warm, bouncing cut that teeters between the dark and euphoric with a masterful balance. Taking a swift 180 into the darkest industrial spaces, Endlec serves up a gritty percussive workout on the formidable ‘Panther’.

Theo Nasa - a South London-based purveyor of weird, melodramatic techno - moves into hazier spaces on ‘Sex and Acid Pleasure’, an eccentric dose of acid for the senses. Shaleen - a resident of the WE ARE NOT ALONE event series - continues into the warmth with a headspin of analogue sounds and modular experimentalism with ‘Vernalagnia’. Öspiel, the French-Korean producer and label head known for his cinematic sounds weaves together angular rhythms underpinned by a strong sense of minimalism. In hot pursuit, Puglia’s Raho comes through with a cyclone of bouncing kicks and harsh leads.

Diana May, a Berlin-staple and resident at KitKat offers us a welcoming spiral on ‘Just Shut The F*** Up’. Plunging into deep industrial caverns, KRTM ’s ‘Küss Mich Jetzt’ is a pounding glitch of hardcore techno for the biggest speakers. VUUDUU’s ‘SNAXX’ shifts the speed up a gear with an expansive gothic rave banger. Rounding things off is madwoman’s ‘Chaos Theory’, a sparse but unrelenting cut of atmospheric techno from deep inside a warehouse.

WE ARE NOT ALONE pt.8 shows the label have no plans on lowering the heat in 2024, with another round of pure hedonism for the ages.










j d1 | KRTM - Küss Mich Jetzt (04 05)

XTRICTLY ELEKTRO returns with Volume 2, further establishing its vision of innovative and forward-thinking Electro. Featuring six producers with razor-sharp sound design and solid trajectories across the international circuit, this collective work reinforces Cosmic Tribe’s commitment to rhythmic synthesis, harmonic tension, and the structural discipline of the genre — unafraid to step outside orthodoxy.

EC13 opens the release with another chapter of his retro-futurist signature, marked by strong conceptual intent and cinematic pulse.
Spectrums Data Forces, a side project of C-System, brings the most technical edge from southern Spain, blending depth, precision, and modular design.
Atix, hailing from Lyon, contributes decades of refined energy and craftsmanship, always with a club-oriented focus.

On the B-side, Calagad 13 returns with a deep, introspective electro bass cut, reaffirming his role as a central sonic pillar of the series.
Final Dream, one of Phil Klein’s aliases, delivers a powerful piece built on heavy low-end and epic atmospheres, in line with his legacy as a key figure in UK Electro.
Elektrotechnik, a German producer, closes the release with an industrial-leaning, bold, and uncompromising statement.

Six exclusive tracks showcasing the genre’s vitality and the diversity of creative visions driving its continuous evolution.
Limited to 150 copies.

Fantastic Friends continues to vibrate with a 100% vinyl release, bringing together four major electronic music artists. A cutting-edge selection on various artists, for connoisseurs.

Nicolas Duvoisin - A unique signature sound, between subtle grooves and hypnotic bass.

Cesare vs Disorder - A captivating blend of organic rhythms and avant-garde sounds.

Unus Emre - Refined textures and a deep minimal approach.

Octave - Powerful basslines and haunting atmospheres.

INDEPENDENT RECORD SHOP AND LABEL KLANG TONE RECORDS RE-ISSUE DEBUT ALBUM BY 8 PIECE INSTRUMENTAL EHTIOPIAN JAZZ/AFRO-BEAT/PROG COLLECTIVE;
TEZETA

“Absolutley gorgeous from start to finish…”
- Deb Grant, BBC 6 Music

“An instant obsession. Impeccable rhythms and hypnotic melodies—Tezeta crafts a spellbinding fusion of Addis and Avon that takes you on a journey."
- Don Leisure

“Gorgeous mood music with more than a nod to Addis. Lovely tapestries and textures”
- Matt Temple, Matsuli Music


'Formed in Bristol back in2014 Tezeta were an experimental 8 piece instrumental group effortlessly combining Ethiopian jazz, Afrobeat, prog and improvisation. The band spawned out of the much loved Bloom Collective - a collective of musicians and friends from an experimental corner of the city’s buzzing music scene.

Led by composer, pianist and bandleader Daniel Inzani (Spindle Ensemble, Cosmo Sheldrake) the band also featured tenor saxophonists Andrew Neil Hayes (Run Logan Run) and Lorenzo Prati (Count Bobo, the Evil Usses, Itchigo Evil), Harriet Riley (Spindle Ensemble, Paraorchestra) on Marimba, vibraphone and percussion, Pete Gibbs (Count Bobo) on bass, Conrad Singh (Alabaster dePlume, the Evil Usses) on electric guitar and finally two(!) drummers Matthew Jones (The Brackish, Slate Trio) and Daniel Truen (Yama Warashi, The Evil Usses, Rozi Plain, Count Bobo).

They initially got together to play music from ‘The Ethiopiques Volumes’, in particular, the work of Mulatu Astatke, hence the name Tezeta (Ethiopian for nostalgia) but quickly evolved into their own style with all original material, incorporating many other influences along the way. Their much loved, debut album 'Seventh Place' was released in Sept 2016.

“We at Klang Tone have been admirers of Daniel Inzani’s work with Spindle Ensemble and I was fortunate to catch Tezeta perform before they disbanded. I bought one of the last available copies of their home released cdr at their gig at local Stroud venue The Prince Albert. It became a firm favourite - a recording I keep playing and never got tired of. It’s such a beguiling mix of styles - always evolving and resolving in different ways to what you might expect - some thrilling ensemble playing rhythmically propelled by two drummers and a percussionist with Daniel’s evocative melodies at the centre. I was convinced this was a recording that deserved a bigger audience and felt it needed to be heard on vinyl so I started a conversation with Daniel about releasing it on Klang Tone as it perfectly encapsulated the raison d'être of the shop and label. We didn’t want this recording to languish online barely listened to - I felt it was in danger of becoming a lost classic. I hope that this vinyl release is a worthy testament to this great band and helps draw attention to the creative genius of composer Daniel Inzani and the talented ensemble of players featured on the recording.” - Sean Roe, Klang Tone Records

Tezeta had a cult following among other musicians and were known for their wild group solo wig outs, virtuoso musicianship and creative use of unusual rhythm, harmony and melody. They toured across the UK at various venues and festivals including Glastonbury, Shambala and Green Man, and subsequently released an EP named ‘Curious Bubble’ in 2020.

In 2023 Tezeta performed a sold out final show at Strange Brew, Bristol as Inzani decided to pursue solo releases, notably his critically acclaimed triple vinyl album ‘Selected Worlds’ released on Hidden Notes Records which landed in the Guardian Top 10 Contemporary Albums of the Year in 20204. The third disc ‘Play’ was a clear continuation and development of the music Inzani had developed with Tezeta and featured many of the same musicians.'

The cover image is from ‘Project Rewind’, a double exposure photography collaboration between Karen Dews and Paul Blakemore.
Graphic design by Adam Hinks.

There’s a particular magic that happens when seasoned producers with global roots come together under a shared ethos - not for hype, but for connection. That’s precisely what MISINGO represents. A cross-continental studio experiment born out of Covid-era isolation, the group spans hemispheres and histories: Yorkshire's Doorly, L.A. legend Gary Richards (aka Destructo), and Australian duo Colour Castle. Their debut offering, Give You Love, lands via UK House Music institution Hard Times Records, and it’s as emotionally resonant as it is built for the floor.

Anchored by a slow-burning acid line and moody, immersive synthwork, 'Give You Love' carries the DNA of classic house without feeling like pastiche. DJ Rae’s smokey vocal, recorded in Doorly’s Ibiza studio, sets the tone - raw, intimate, immediate. Gene Farris enters with a gravelly, magnetic counterpoint, flipping the call-and-response into something spiritual. It’s a record that feels both new and deeply lived-in, a jam session from afar that somehow lands with unity and purpose.

For the remix suite, Hard Times dig into family ties and deliver a heavyweight lineup that spans generations of dance music lineage.

First up, DJ Pierre, the Phuture pioneer himself, brings a Wild Pitch revision that is pure summer sleaze and shimmer. Glistening keys, kinetic snares, and a syrup-thick bassline collide in a mix that’s tailor-made for golden-hour sets and open-air systems.

DJ Romain brings that New York swing. All velvet chords, stabbing pianos, and organ swells that spiral skyward. It’s gospel-house energy that doesn’t need to shout to be heard, a reminder that soul still moves the dancefloor.

Closing out the package is Charles Lavine of Soul Clap fame, whose Boston-bred funk sensibility steers things into new territory. He strips back the mix, lets Rae’s vocal ride the groove, and injects a subtle bounce that turns heads and hips in equal measure.

With 'Give You Love', MISINGO and Hard Times haven’t just released a single, they’ve bottled a moment: one born of distance, stitched together with soul, and destined for collective release on dancefloors worldwide.

* Limited edition 2 x LP vinyl with full colour outer sleeve and printed inners.

* The sound of a D&B original. Carlito's debut LP blends timeless vibes with fresh energy and presents a masterclass in liquid funk.

* A long-awaited debut from one of liquid drum & bass's true pioneers, Fiesta En La Playa sees Carlito step out solo on Liquid V with a full-length that's been years in the making. Known for his work with DJ Addiction and iconic releases on labels like Moving Shadow, Creative Source, Hospital Records and Defunked, Carlito helped shape the early sound of soulful D&B, and here he refines it with maturity, depth and a forward-thinking touch.

* Includes the standout singles Fiesta En La Playa, Wide World, Savanna Rain and Take Me Down, plus a host of new tracks exclusive to the LP.

* An album that brings Carlito's classic touch into the present — deep, melodic and musical, with the weight and clarity to hold its own in any modern DJ set. Also featuring vocal contributions from V regular MC T.R.A.C.

* "I've always loved the more musical side of things," says Carlito, "and with this album I really wanted to stay true to my sound but bring it into the now."

* A personal and creative milestone, marking Carlito's return to the scene and celebrating the spirit of D&B culture past, present and future.

* Full support from Bryan Gee, DJ Marky, LTJ Bukem, Jumpin Jack Frost and the V family, with roots that run deep and a sound that continues to inspire across generations.

* Built around standout singles and brand new material, the LP is as much about feel as it is finesse, lush, rolling and warm, but with weight where it matters. From start to finish, it's the sound of a producer reconnecting with the craft: "I still get the same buzz turning the kit on, not knowing where a session might go."

* With a legacy that spans decades, Carlito delivers a record that speaks to both long-time heads and the new wave alike — soulful, confident and packed full of funk.



c A3. Sing It Now Swerve Mix

e B1. Fiesta En La Playa VIP

gyrofield is 22-year-old, Utrecht-via-Hong-Kong producer Kiana Li, who has put out several albums and over a dozen EPs since 2018, from self-released productions to projects on Metalheadz, XL Recordings and FABRICLIVE among many others.

Their next EP is Suspension of Belief, and it arrives on Objekt's label, Kapsela. (Following last year's Ganzfeld and Chicken Garaage, it's Kapsela's first record by an artist other than Objekt himself.) In keeping with her recent releases, it shows Li continuing a creative renaissance, moving beyond the outer fringes of drum & bass to present what they call "a set of deeper, shapeshifting tracks, cross-pollinating ideas from house, free jazz and techno."

Suspension of Belief was written between June and October of 2024, inspired by a summer spent in nature and encapsulating Li's lived experiences and personal reflections in this time. "Thoughts about the boundaries between civilisation and nature began to take on a charged meaning," she says. "How can we, as people, live on the backs of others’ suffering, and see emotionally vacant newscasting on the desecration of the world around us? We ought to be angry, but we also ought to find healing and love somewhere. A representation of this thinking exists in the record."

The result is an elegant paradox. From the warm upright bass on "Vegetation Grows Thick" to the rattling, "Spastik”-esque snare rolls of “Bolete”, the record is at once steely and organic, with dreamlike states giving way to depth and intensity. It’s functional enough for rituals of escapism but determined to confront the world as it really is. As Li puts it:

"Suspension of Belief is a play on the suspension of disbelief, the common convention for us to immerse ourselves in fictional worlds. In turn, the record’s title suggests the idea of immersing in the real world, an antifiction, facing reality.”



Mastered by Beau at Ten Eight Seven

Artwork and design by Brodie Kaman

Vinyl distributed by Rubadub

Bringing raw club energy into your living room, KI/KI continues to merge worlds as she likes. On her latest release via her self-founded label slash, she fuses hard-hitting trance synths with Storm Mollison's silky vocals, classic hard house elements with her forward-thinking take on club music, and everyday life with the adrenaline of a big night ahead. With its infectious melody, driving bassline, and a touch of pop allure, 'Getting Ready For The Party' channels the rush of pre-party anticipation and has quickly become a fan favourite since its first play.

Celebrating its 20th anniversary this June, Jamiroquai’s ‘Dynamite’ is to be released as a double-LP set on Dynamite Smoke vinyl featuring the original album alongside a bonus CD of the original promo album sampler which features different pre-release track versions.

‘Dynamite’ was the hotly anticipated sixth album from the band. It followed the release of their 2001 album ‘A Funk Odyssey’ that had garnered critical and commercial success globally. Also in the intervening period between the two albums, the band were exposed to rafts of new fans when their 1999 track ‘Canned Heat’ became the focal point of cult-turned-smash-hit movie Napoleon Dynamite (2004) when the movie's namesake lead performed his now infamous dance.

Originally released in the UK on 20 June 2005, its lead signal and first track on the record ‘Feels Just Like It Should’ became the bands fourth number-one on the US Dance Chart that also broke into the UK Top 10 Singles Chart and was accompanied with a Grammy Award nominated video that features Jay Kay going from nerd to himself and also adopt the role of the Candyman - all of who adopt Jay’s unique style and moves.

‘Dynamite’, like all of their previous albums, continued their great album chart success, this time entering at number three. The second single, ‘Seven Days in Sunny June’ entered the top 15 and in 2006 saw the band’s relationship with smash hit movies continue, appearing in The Devil Wears Prada. ‘(Don't) Give Hate A Chance’ was released as the third single, once again featuring a hugely captivating video this time with an animation of the band’s infamous ‘Buffaloman’ logo throwing some signature Jay dance moves .

Hailed as the “Godfather of electronic music,” Paul Oakenfold is one of the most successful electronic artists of all time, counting more than 110M streams, 5M albums sold worldwide and three GRAMMY nominations.
Oakenfold’s discography includes three full-length studio albums, countless live/compilation albums, singles and remixes, and over 20 DJ mix albums. He has written and produced for major stars like Cher, The Happy Mondays, U2 and Madonna and also counts more than 100 remixes, including ones for The Rolling Stones, Justin Timberlake, Michael Jackson, Britney Spears and Elvis Presley.

He continues to push the envelope via his game-changing projects, including a once-in-a-lifetime DJ set in April 2017 at the top of the base camp of Mt. Everest, commemorating the set with the release ‘Mount Everest: The Base Camp Mix.’ In September 2018, he became the first-ever artist to perform at Stonehenge, a UNESCO World Heritage site, followed by his ‘Sunset at Stonehenge’ mix album (February 2019) capturing the historic DJ set. In March 2019, he performed at the 2019 Special Olympics World Games opening ceremony in Abu Dhabi, in addition to remixing the Games’ official theme song.

This release is a reissue of his classic soundtrack album for the 2001 Joel Silver produced Swordfish starring Hugh Jackman, John Travolta, Halle Berry & Don Chedle. It contains tracks specially commissioned for the film written by Paul & film composer Christopher Young, plus his remix versions of N*E*R*D – Lapdance, Afrika Bambaataa - Planet Rock, Muse - New Born, plus tracks from Lemon Jelly + Dope Smugglerz, Jan Johnston.

The original release has sold over 100k units to date & the vinyl is now selling upwards of £300 on Discogs. This 2025 triple vinyl reissue has been remastered at Metropolis Studios + will be pressed on green coloured vinyl & coincides with the 4k UHD limited edition 25th anniversary Blu Ray release.

At A Glance Records is thrilled to unveil its second release, AAG002 by the incomparable UC Beatz. Known for seamlessly weaving lush, emotive textures with irresistibly groovy disco-house rhythms, UC Beatz once again delivers an enthralling journey into the essence of house music.

Following the success of AAG001, this release showcases UC Beatz's masterful ability to shape deep, soulful soundscapes and intricate beats, striking the perfect balance between immersive storytelling and dancefloor energy.

As the younger sibling of Small Great Things., At A Glance continues to champion innovative, boundary-pushing sounds. With a keen ear for blending timeless influences with modern flair, this release promises to resonate with dedicated listeners and discerning DJs alike.

The first new Electro Clash tracks from Break 3000 since 2003! After a string of re-issues of old gems on Italy's "Mondo Phase", the Argentinian label "Calypso's Dream" and his own "Electron Feel" last year, Break 3000 is finally back with some new original cuts!

The A-side "Electronique" has all the ingredients you would want from a hard-hitting Electro Clash track. EBM style drums and a powerful raw bass line topped with soaring rave leads and pads and added original (Vocoder) vocals by Break 3000 himself. This one is road tested already on dance floors and big systems and a guaranteed crowd pleaser! Second up is the driving "Continua", leaning more towards Break 3000 Techno classics like "Flash" and "Fix" this filtered rave lead will make a wild crowd go even wilder. Dark and twisted Electro Techno at its best.

The B-side opens with another aspect of the Break 3000 sound spectrum. We look back to the early years here and to songs like "The Wait" and "Spacemaschinenreise" that were produced in 1999. In a Detroit meets Rotterdam styled Electro setting this song uses a lot of the old sounds from 26 years ago, mostly coming from his original EMU sampler used at the time and a great 80s vocal sample gives this track it's title. We are transported back to the golden era of Cold Wave here. Closing out this new EP is the wonderful Marcello Giordani from Parma, Italy who build a strong reputation with his "Italo Deviance" label over the years. He gives the original "Electronique" a great funky "Proto House" bass line in best "Bobby Orlando" manner, what a brilliant crossover track this one is! With the Vermona drum sounds his - Dark Disco meets Early House - jam will certainly be on many DJ's want list.

We hope you enjoy these new tracks! There is more to come… stay tuned!


All tracks are mastered by Salz Mastering in Cologne. Music, Photography & Art by Break 3000.

here may still be electronic music artists in this age of overflow and convenience who follow their own artistic vision regardless of what attention it might bring, if any. With an output that shows individualism, ideas and a signature sound. An ongoing creative process, uncompromising and adventurous, even eccentric, with results of consistent quality and determination. Dennis Busch aka James Din A4 is an archetypical example for this type of artist. He flooded the scene with releases in the 00s with numerous monikers, mostly on his own Esel imprint, and they were all great. On the outside you had his singular artworks (he is also a very accomplished collage artist) and quirkily humorous titles, and on the inside you had his music, also seemingly informed by a collage approach (only with samples), managing to sound focussed and out of focus, often at the same time. If you listen to a James Din A4 track it probably is simultaneously playful and disciplined. Anything can happen, and a lot if it actually does.

For quite some years, music releases by James Din A 4 were scarce. Jan Jelinek, an ardent fan, re-interpreted some of his favourites from the vast back catalogue as an album in 2014, then ten years later the album „Ins Licht“ appeared, and it quite nonchalantly continued what seemed to have stopped, right on the same level of greatness. And now we know that it still continues, as the label Live At Robert Johnson releases the new album „Never Look Back“. Its title should not be taken too literally, as all the trademarks of his musical legacy are perfectly intact. You will find the light and air that seems to seep through the sounds, the frisky structural details, the jolly melodies, the subtle deepness, the minimalistic yet not too strict grooves.

But do not be mistaken, this album is not looking back too much, of course. After all, this is music that is still evolving. Let’s hope for more glimpses of James Din A4‘s special and spacious world, they are ever
needed.

Four years after Algorhythms EP, the journey continues. This new vinyl EP from Tim Jackiw Manifests a high-energy fusion of fast-paced rhythms, melodic textures, and deep acid grooves—crafted for the dancefloor, designed for the underground. A relentless pulse of movement and emotion, pushing forward while staying true to the roots. Limited pressing. Just pure analogue energy. Coming soon on Baldo's Physical Education label.

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of thebest crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers aroundto curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both hisown and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything havingto sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

Bruce returns blistered and ablaze, with three flame-licked, windswept and deadly dancefloor deities on 12” vinyl, for the second edition of Poorly Knit.

Following on from it’s daft and fisty older brothers on The Price / Mimicry, the raw power of wind and fire takes over on Belly / Burned Alive, as we are plunged into devastating sonic worlds, adorned in UK sound-system badness and Mother Nature’s vengeance.

Providing elemental catastrophe catharsis, through sound exploration, Belly’s steppas storm of wailing wind and clattering thunder is backed by Burned Alive’s soaring and demented UK garage inferno, to finally subside to the smoldering, dubbed-out vocal remains from Hot One (Chapped Lips Version).

With a continued emphasis on the importance of physical medium within dance music, the digitals are an abridged edit of the full release; Hot One is vinyl only and only on the vinyl can you hear the full mixes of Belly and Burned Alive. Pressed on eco-friendly “Eco-Mix” reground PVC and sleeved in DIY lino printed sleeves, each record is a unique shade of marbled storm grey. Cut loud at 45rpm, not only does this sustainable slice of dance floor mayhem come at an attractive price tag, you can rest assured that sound quality has not at all been sacrificed.

Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. “Garra” was originally released in 1971 and brought us Valle’s classics such as ‘Com Mais De 30’, ‘O Cafona’, ‘Vinte E Seis Anos De Vida Normal’ and the rare groove classic ‘Wanda Vidal.’ Remastered from the original tapes and pressed on 180g vinyl. This release is part of our new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon... By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d’état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. “Garra” was originally released in 1971 and maintains the same socially conscious content as in his previous album while also combining diverse musical styles and influences. Recorded amongst sessions for a steady stream of popular TV soap opera soundtracks, it brought us Valle’s classics such as ‘Com Mais De 30’, ‘O Cafona’, ‘Vinte E Seis Anos De Vida Normal’ and the rare groove classic ‘Wanda Vidal.’

Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. His much sought-after and stunning self-titled album from 1970 includes ‘Ele E Ela’, as sampled on Jay-Z’s ‘Thank You’, as well as some of his most popular songs like ‘Freio Aerodinamico’ and ‘Os Grilos’, swinging between sophistication and groove… Remastered from the original tapes and pressed on 180g vinyl. This release is part of our new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon... Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d’état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. “Marcos Valle” was originally released in 1970 and features a dynamic musical backing from some of Brazil’s most gifted players. Hip-hop fans may even recognize the opening horn blasts of ‘Ele E Ela,’ sampled to great effect on Jay-Z’s “Thank You.” It includes some of his most popular songs like ‘Freio Aerodinamico’ and ‘Os Grilos’, swinging between sophistication and groove…

wiggle room is the long-overdue Blip Discs debut from pq - founding member of Nihiloxica (Nyege Nyege Tapes, Crammed Discs) and long-time label affiliate.

On the A-side, “igglewiggle” and “aliens!” augment UK styles to deliver two bassy heavy hitters. The more experimental B-side starts off very B2 with “ketty stepper anthem” and its wonked-out polyrhythm, before a stripped-back VIP of “aliens” closes the record.

Having made his mark as a core force behind Nihiloxica — the Bugandan-techno outfit whose explosive live shows earned global acclaim — pq now hones a functional club sensibility he first showed on Lapsus Records and his own label Spooky Shit.

wiggle room balances an adventurous energy with serious bass-weight, never stopping to stroke its proverbial chin even once. A definitive, forward facing statement that expands the peripheries of the dancefloor in an ever evolving UK bass-music continuum.

SAISEI founder Junki Inoue continues his vital archival work uncovering the riches of Japan’s distinctive electronic music scene and bringing them to new audiences around the world.

HERO U.D.A. aka Hiroyoshi Udaka is not someone you can easily google, but he’s sure lived a life worth retelling. His story starts back in the late 80s when, inspired by the acid house emanating from the UK — during what was fondly christened the Second Summer of Love — he picked up DJing and made the move from Japan to London. Throughout the 90s he DJed at underground techno institutions like London’s The End, CLUB UK and Silver Fish, as well as at the infamous Tribal Gathering raves, periodically returning to Japan to support techno greats like Colin Dale, Mad Mike, Suburban Knight and D. Wynn on tour.

The tracks on this EP, previously unreleased except for one, were all recorded after Udaka moved back from London to Tokyo, between 2002 and 2005. Yet they sound strikingly modern, drawing on a rich range of sounds that have come back round again two decades later: broken beat, acid jazz, dub and breaks. Deceptively simple grooves are given depth by layers of textures and micro samples, for example the surface noise on ‘On The Way’ that glues together an otherwise sparse skeleton of dubby pads and body popping drums. ‘Mature Missile’, ‘So Good’ and ‘Night Driver’ employ raw broken beat templates with acid accents, whimsical melodies and vocal interjections for a playful mood. ‘Sin City’ takes a darker turn, off-key piano hits and plunging bass adding to the wonkiness. The EP closes with a wiggly vignette, ‘222AM’, reminiscent of early 00s contemporaries like Mouse On Mars. Now these hidden treasures from Udaka’s archive gain a new life on SAISEI.

———

SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Junki Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan.


b A2. So Good Acid Funk

Phunk Returns – Remastered & Stronger Than Ever! A deep, electrifying banger in Phunk—a groovy, hard-hitting stabber packed with pulsating energy, hypnotic rhythms and unstoppable momentum that keeps you locked in, rocking and craving for more!

In 2005, Innersphere aka Shinedoe dropped Phunk on Intacto Records, a track that became a classic anthem, setting dancefloors on fire across festivals, clubs, and radio stations worldwide. With iconic remixes by Steve Angello, Ricardo Villalobos, and Mark Broom, it secured its place as a true techno classic.

Now, 20 years later, Phunk and Astrophunk are making a powerful comeback—remastered, re-energized, and re-released on MTM (Music That Moves), the label founded by Shinedoe. A deep, electrifying banger in Phunk—a groovy, hard-hitting stabber packed with pulsating energy, hypnotic rhythms and unstoppable momentum that keeps you locked in, rocking and craving for more!

On the flipside, Astrophunk (2004) makes a powerful return, hitting with full force. This relentless, hard-hitting dancefloor weapon is built to ignite the crowd and keep them in a euphoric frenzy with its raw, pounding groove—stronger than ever!

Shinedoe is a driving force in the global techno scene for nearly three decades, known for her hypnotic grooves and uncompromising vision. Through MTM, she continues to push the boundaries of electronic music, releasing tracks that ignite dancefloors and evolve the genre. Phunk and Astrophunk (Remastered 2025) embodies this spirit, delivering a fresh take on a timeless classic. The legend returns—ready to move a new generation!

When Omar J Neri sent us the DAT with a white sticker marked with the date “26 January 1996” and some psychedelic drawings, we were quite astonished. Even more so when we listened to the incredible material inside the tape.

In 1996, Roby J was probably at his best, playing constantly in clubs like Insomnia, Imperiale, and Ashram, as well as Alex Piacciafuochi, the mind and owner of one of the studios (Alex Midi Studio) that defined the Tuscan progressive sound.

At that time, Omar J was a young talent building his reputation around the best clubs in the region. It was a fertile period for him, leading to his first release: "Primitive Pulsar".

Roby and Omar’s distinctive leftfield touch can be heard in these two long, slow-evolving, and structure-changing tracks. Truly two steps ahead and forward-thinking!

Unfortunately, Roby left us too soon in 2014. With Omar’s help, we are extremely honored to continue his important legacy and lucky enough to open their archives. More is yet to come… in loving memory of Roby J.

After the success of our first release, UR2wo’s Move Me (including Blame’s legendary Shadow Mix on vinyl) and continued support from big names in clubs and socials, Break-The-Future returns with a new signing: Nathan Cable. A veteran of progressive house, Nathan gained recognition as part of Tenth Chapter, with tracks like Wired on William Orbit’s Guerilla Records in the 90s, supported by DJs like Sasha, Pete Tong, and Dave Seaman. Now back under his own name, Nathan offers a modern blend of intelligent breaks, with a rich, emotional sound that fits alongside Ninja Tune's style. His new tracks are already getting support from John Digweed on Transitions Radio Show.

The release kicks off with Nathan's Innocence featuring the All Tribes Mix, which blends lush pads, whispering arps, and gated vocals. Nathan’s Gyroscope Mix follows with a deeper take, built on rubber bass and rich keys.

For the remixes, we bring Northern Ireland's Richie Blacker, who ramps up the BPMs for the club with a spacey, synth-driven journey.

Last but not least, we have legendary rave innovator Nookie, who offers two remixes: the nostalgic Speed Remix, channeling 90s rave, and the darker Not So Innocent Remix, reminiscent of London’s Rage. Essential!

Amulanga continues its journey of sonic exploration with its highly anticipated 6th Vinyl Release, featuring a stellar lineup of visionary artists. This VA collection brings together a compelling blend of deep, emotive, and hypnotic soundscapes, with outstanding contributions from Dulus, Acrobat, Illias Katalenos & Plecta (collab), Taleman, and Shri & Alej (collab).

Each track in this release embodies the essence of Amulanga—where organic textures meet refined production, and deep melodic elements intertwine with driving grooves.

As always, Amulanga curates an experience beyond just music—it’s a narrative woven through sound, designed to transport and transform. This release is a testament to the label’s commitment to pushing sonic boundaries, offering a refined yet deeply evocative selection of tracks destined to resonate on dancefloors worldwide.

Minority Retort returns with My Kicks, their second EP, following a well-received debut last year. Part of a new wave of Brazilian artists, the duo continues to develop their sound with this release. It also marks the launch of Sinapse Records, a label founded by one of the duo’s members to share their music and support emerging talents.

Planet E looks to the heart of Detroit’s club culture for the debut appearance on the label from Motor City mainstay, Mister Joshooa. A DJ and sound engineer closely intertwined with the city’s music scene, regularly found behind the decks at clubs like TV Lounge and Lincoln Factory and having previously appeared on Carl Craig’s celebrated Detroit Love compilation, ‘Settle Down’ introduces four tracks that cement Mister Joshooa’s lucid, far-out take on house.

Lead track ‘Settle Down’ distills the energies and influence of the scene into a rubber-jointed, rolling introduction that vibrates with energy and anticipation, nailing a bassline that could run for hours and injecting trippy effects, live percussion and out-there vocals drawing in dancers. ‘Snake Oil’ meanwhile strips things way back, squeezing plenty of juice for the floor from a tunnelling, lightly psychedelic arrangement, offering bang-for-buck deepness that’s no scam.

‘Stop Me’ continues to drive Mister Joshooa’s productions in even wonkier, even mysterious directions, its oscillating crawl and hypnotic melody primed to create a heady atmosphere, giving surreal or even sinister, depending on each dancer’s perspective. Finally, ‘Step Up’ offers the roughest, readiest ride to close, where classic drum machine programming reverberates against throbbing sonics and all manner of analogue weirdness, transforming into an outsider techno stepper from the darker side.

Repress!

This is the fourth release in the critically acclaimed Environments series and continues where the third left off. It is a fourteen track journey from the river's delta to no-man's land where murmurations lead across supercontinents and back to the clear light of reality. Strings meet choirs - cascading down to the glass valleys of synthesised biophany.
'Murmurations' was the track featured on an exclusive vinyl 10' release for Record Store Day in 2012, it coincided with the CD version of this album's release that year. The album also has collaborations with Riz Maslen (Neotropic) and Ivor Novello award winning composer Daniel Pemberton.

Large Music is proud to announce the highly anticipated re-release of Jazz Ascension from the legendary artist duo 95 North. Originally released in 1997, Jazz Ascension has long been celebrated as one of the defining tracks in the label’s illustrious catalog. Now, over two decades later, this jazz-infused spoken word house masterpiece returns, remastered and reissued for a new generation of listeners, while retaining all of its original soul and energy.

With its stunning blend of deep, soulful house rhythms and sophisticated jazz elements, Jazz Ascension quickly became a fan favorite upon its first release in clubs across the globe, further cementing 95 North’s place in the pantheon of house music innovators. Its intricate production, smooth piano lines, and poetic spoken vocal from Baba Lukas swells continue to captivate dancers, DJs, and jazz lovers alike.

The re-release on Large Music marks the continuation of the label’s commitment to preserving and expanding its rich musical legacy. As with many of the label’s timeless offerings, Jazz Ascension is a track that transcends time and genre boundaries, a perfect example of Large Music’s dedication to crafting sounds that stand the test of time.

Private View is distinctly Blancmange while also expanding into new sonic terrain. There’s a deft marriage of futuristic electronic sounds, Neil Arthur’s unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange’s debut album Happy Families. This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallisation of four decades of creativity.

On Private View Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant), and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982’s Happy Families (as well as several other Blancmange albums).

Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years’ worth of knowledge, experience, and built-in intuition. “I'm really lucky to be able make the music completely on my own terms,” Arthur says. “Being able to just continue being creative...that's when I'm happiest.” As he said before: “within myself there are no limits.”

Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange “probably the most underrated electronic act of all time.”; while John Grant continues to profess his love for Arthur’s music, old and new, and has invited Blancmange to perform as part of Grace Jones’ Meltdown festival.

Capodopere continues to etch its mark with a masterful eight release, this time from the enigmatic Vid, delivering two distinct sonic journeys tailored for devoted genre explorers.

Side A opens with Transpose, a captivating odyssey defined by a groovy dub bassline that anchors the track in a hypnotic rhythm. Layers of intricate percussion ripple through the soundscape, each element carefully placed to lead the listener into a state of fluid motion. Vid’s signature touch unfolds subtly yet confidently, with warm, immersive textures that evoke a sense of endless exploration. Perfect for the rominimal connoisseur, Transpose is both a dancefloor weapon and a cerebral voyage.

Flipping to Side B, Stereochord takes a darker turn. The track begins with sequenced elements that unravel like clockwork, building a foreboding atmosphere. A deep, groovy bassline carries the weight, providing a sturdy backbone as flashes of industrial textures and otherworldly echoes weave in and out. With its relentless energy and shadowy mystique, Stereochord invites listeners into a realm of nocturnal intensity, rounding out a release that balances light and dark, groove and grit.

Flabaire, a seasoned French DJ and producer, has been a mainstay in the electronic music scene for years. As the head of the renowned D.KO Records for a decade and a multi-instrumentalist with the ability to play classics from The Band and Fleetwood Mac, Flabaire's artistry knows no bounds. We're thrilled to welcome him back to our label (his talent previously shone on the « Skylax House Explosion » compilation, curated by DJ Sprinkles and Hardrock Striker). With this latest release, we genuinely believe Flabaire has reached a new height of maturity in his production, delivering what we consider some of the finest deep house we've heard in years. This EP is steeped in the timeless essence of deep house, aligning with the legacy of Black Jazz Consortium (aka Fred P), the late, great Mike Huckaby, and the silky elegance of Soul Capsule. Every track feels meticulously crafted within the same creative framework, creating a cohesive listening experience that's as suited to at-home sessions as it is to the dancefloor. This isn't music designed for quick attention or fleeting trends—it's a powerful moment of deep house reclaiming its voice in a landscape crowded with Instagram “DJs” and shallow hype. The EP opens with A1.Echoes, an evocative track that draws listeners into its lush, immersive soundscape, immediately setting the tone for the record. A2.Eventually continues the journey, layered with smooth textures and a subtle groove that feels both intimate and expansive. On the flip side, B1.Lip Them explores deeper, jazz-infused rhythms, each note purposefully placed, creating a rich, hypnotic atmosphere. Finally, B2.La Haye rounds out the release, offering a dreamy, ambient house vibe that seems to float effortlessly—a testament to Flabaire's refined touch and sophisticated style. Each track flows seamlessly into the next, much like the movement of a jazz record, with even the titles evoking a Pink Floyd-esque sense of introspection. This is ambient house at its finest: real club music made for dancing, socializing, and deep listening. Beyond a simple EP, this record is a statement—a testament to the artistry and authenticity of true deep house.

Planet Orange Records are back with their fifth release. This time with a full 4 track EP from the legendary folks behind Alien Recordings. Get ready to dive deep into our next sonic journey with these four previously unreleased tracks. This EP showcases an evolution of sound with raw, emotional storytelling and intricate production from the very first note. Beyonders EP takes listeners on a nostalgic trip, with each track offering something fresh yet familiar. Alien Recordings sound continues to break boundaries, blending genres to create something truly unique, A true reflection of the incredible journey of the collective.

To continue the around the globe VA series “Untitled III” is here. As per usual 8 different artists with different musical backgrounds, inspired by different melodious influences which has resulted in this VA to take shape. All of the tracks featured on this double are in line with the label’s vision and demonstrate a vast range of sounds that can be used in many different settings. The art theme as always done by the legendary bad boy graffiti artist Gkoner, this time takes a theme of garden and its mysteries where he drew an inspiration from. The plants are overtaking giving their roots and even sometimes can absolutely capture and possess the host while trying to look so innocent. We know what you are up to plants and you cannot fool us.

Presenting a massive EP from a rising talent in our thriving scene: Mtty makes a powerful debut on ABS with three original club-ready weapons, tried and tested on the dance floor.

Adding to the excitement, the highly acclaimed Tiago Walter delivers a fresh twist on Mtty’s A1 track, The Jammed Elevator, with a high-energy UKG-inspired remix.

Sydney-based Mtty brings his distinct sound to this release, cementing his promise to be at the very core of our wonderful music scene.

At Addition by Subtraction, our mission remains unwavering: to spotlight the finest artists from across the globe. While our signature sound continues to evolve with the times, one thing stays constant - our relentless passion for discovering and supporting groundbreaking talent.

“Less than a month after one of the most violent fire events in the history of the continent, new shoots had burst through the scorched hardpan, nourished by the still-vital roots of those flayed and blackened trees.” John Vaillant, Fire Weather.

Loscil (aka Scott Morgan) returns to kranky with Lake Fire, a nine-track offering of ash-laden sonics that mine the tension within the cycle of destruction and rejuvenation.

Lake Fire is the result of a disjointed creative process. Originally conceived as a suite for electronics and ensemble, most of the original compositions were deserted, save for Ash Clouds, featuring James Meager on double bass. The remaining tracks were reshaped and remixed, built anew out of the remnants of the abandoned work. The result is a phoenix, an album burnt to the ground only to be reassembled out of its cinders. Fragments of the original lurk beneath a densely overpainted canvas of sound.

Infused into the resulting rearrangements are impressions from a road trip into the mountains marking a personal half-century milestone, surrounded by the ominous proximity of wildfires and dense smoke; celebrating life while the world burns. The album’s title comes from the striking irony that forest fires are often named after regional lakes - perhaps subconsciously referencing ancient lore. The cover photos were taken from this same trip, while sitting in a rowboat staring into the grey abyss of an opposing mountainside outside of Revelstoke, BC, obfuscated by smoke from a nearby lake fire.

Press quotes for previous solo release “Clara”:

"The sound sculptor Scott Morgan continues to astound.” Pop Matters

"A beautifully nuanced work, Clara is both revealing and mysterious -- and loscil fans wouldn't expect anything less.” Allmusic

press quotes for previous collaboration release with Lawrence English “Colours of Air”:

"As you might expect from the steady hands at the tiller, this is a cortex-hugging drone record of beauty and depth.” The Quietus

"One of the thrills of listening to this record is how its initially predictable veneer fades on subsequent listens to reveal layers of mischief underneath.” Resident Advisor