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Macho Diva is the anarchic queer electro-wave project of Mima and Spacemaker. After five years of live gigs, doubt, activism, sadness, and revolt, the comrades of Macho Diva release their much-anticipated mini album Fetishista Kommunista.

A musical troika supported the creation of this great release: Vive la Fete remixed two tracks with great results, Rude 66 was also on remix duty and delivered a smashing electro-disco punk mix. All other tracks are produced by Venderstrooik. Let's dance on the ruins of capitalism, solidarity, and equality for everyone!

Global pointing Brazilian jazz trio releases their new album Agôra, that sparkles with electric funk and Herbie-esque eclecticism. It features a myriad of guest vocalists and musicians including Brazilians Xênia França and Zé Leônidas, Jembaa Groove's Ghanaian singer Eric Owusu and South African artists Bongani Givethanks & Mpho Nkuzo

Re-wiring the concept of 'fusion' for 2023, Agôra is Brazilian trio Caixa Cubo's resurgent new record with the title referring to 'now', based upon the intuitive and fluid nature of the trio's method, and this inspired recording. With shoots to black music culture, from Brazil to Brooklyn, Ghana and South Africa, Agôra is the group's ninth album yet is their first where they've invited guests, mainly singers, onto each track and follows their last, Angela from 2020, released on Heavenly Records, which won a BBC 6 Music Album of the Year (Huey Morgan's selection) granting them much deserved international recognition.

The core musical elements of Caixa Cubo are Henrique Gomide (keys), João Fideles (drums) and Noa Stroeter (bass), all from São Paulo, Brazil and where they met as teenagers and would continue their friendship and musical bond at the Royal Conservatory in The Hague, Netherlands. Now all in their mid thirties, João and Noa live back in the city where it all started but Henrique has settled in Cologne, Germany where the recording of Agôra took place, over the course of 3 days, at the home cum studio of Chris 'Dusty' Doepke, their friend and owner of the label they signed to, Jazz & Milk.

In line with all their creations where flow and energy provide the magic, allowing what the moment provides, the album shines not only for its virtuosity but for its minimalism, the depth of space, and for the first time, the ability to figure in and outside of the jazz fold, as the trio decided, for the first time, to bring in singers and add a new aesthetic to their sound.

"Agôra is a wake-up call to reality, a reminder that the infinite possibilities of technological progress should not disconnect us from the earth, from eye-to-eye relationships, and from moments lived in person" the band are keen to point out. "And that we must not be consumed by greed, for all we truly possess.... is the NOW."

Turning hope and metaphor into music, the debut single Sábado, an electrified future- jazz-fizz reflects perfectly the spontaneity that permeated the entire recording of the album. "When we got to the studio, we had no idea what we were going to record. We started playing a groove, kind of inspired by Gilberto Gil's 80s albums, and our drummer João started singing this funny song 'Sábado Barrigudão' (Big Belly Saturday) alongside the bass groove and that was that". Inspired by their city of birth, São Paulo, it features long time collaborator and vocalist Zé Leônidas, with cuicas, tamborim, agogo and shakers providing the most obvious Brazilian affect from the album.

Dreams is the band's first foray into R'n'B melding the group's simple and sporadic instrumentation of drums, keys and bass into a Jill Scott inspired song that could have been born in Brooklyn yet sung by Brazilian singer and Grammy nominated Xênia França and Zé Leônidas in both English and Portuguese. Xênia recently performed online for hip-to-it website Colors and it's her latest collaboration with Caixa Cubo, having first met in 2009 for a series of live performances.

South African artists Bongani Givethanks & Mpho Nkuzo come to the record with a wholly different approach on Ndiyakhangela, providing spoken word and vocal refrains on top of an Afro-Brazilian percussion jam with a delivery and verse in Xhosa, Zula and Ndebele. Asase is the album opener and features vocals of Eric Owusu who is part of highlife pioneer Pat Thomas's live band and most recently, co-leader of Jembaa Groove, an Afro-soul band from Berlin. It's a synth wig out with djembe grooves and offers a brand new take on Afro-soul-jazz.

Other contributions come from Cologne based jazz singer Rebekka Ziegler (Oblique Sunshine), São Paulo based guitarist Eduardo Camargo (Caio & Eric) and trumpet player Matthias Schriefl on Kismeti, a gorgeous and rolling number that ebbs and flows, exemplifying the group's effortless ability to craft a sound energised by a belief in one-self and the idea of having faith without the need to look at each other for verification.

As drummer and percussionist João Fideles perfectly surmised upon arriving for the recording session, "What drums do you have? Whatever you have, I'll use it". Agôra is testament to nearly 20 years of camaraderie, friendship and most importantly, trust.

2023 Repress

It's always a huge pleasure to have him back. Lewis Fautzi's astronomic ascension is well known and we are delighted that he decided to 'play home' one more time.

Although the years are passing by, Lewis is faithful to his principles. His personal style is almost a trademark and impossible not to recognize. Techno scene has evolved and he has evolved with it but always in a straight line, adapting himself perfectly to the new tendencies and keeping his touch and his vision.

This new ep is full of trippy pads and powerful bass lines. Mesmerizeng techno as its finest and with a small cherry on top of the cake: a remix by Rødhåd. His first time with us and there is no greater feeling, specially knowing the huge artist he is. Established nowadays as a techno force, the german producer combines the hypnotic with different theatrical approaches and came a long way demonstranting the uncontainable nature of his brand of shadowy dance creations, as someone once described his work. We couldn't be happier with the result.

In summary, the first ep by Lewis Fautzi on his own imprint with a remix by Rødhåd.

Lewis, welcome back home!! And thank you for bringing such an illustrious guest.

Italian DJ and producer Francis De Simone debuts on Lee Foss and Jamie Jones' label Hot Creations with London Bass. Having built a solid back catalogue in recent years, his first Hot Creations release embodies the dynamic sound of the Palermo-born artist, channelling chunky tech house and disco-flavoured melodies.

De Simone explains his creative thinking behind the EP. "These tracks fully express my devotion to music. I ranged a lot, trying to remember an 80's sound up to a more raw and synthetic groove with Latin vocals to embrace the different ethnic groups." Reflecting his thoughts to a tee, the title track rumbles with a massive bassline and chopped-up vocals that add an instant burst of energy. Things get weird on Saludos A Todos, as thumping kickdrums collide with a trippy melody and even trippier vocals, creating a wavey atmosphere. The ideal club curveball. On Off White, De Simone delivers a pacey number packed with burbling beats and clicky percussion, complemented by dreamy vocals. The hint is in the name on closing track, This Is Undergound. A big room delight, De Simone drops a stripped-back banger, where the lyrics do the talking in tandem with a driving bassline. An excellent addition to the Hot Creations discography.

Based in Palermo, Italy, Francis De Simone stems from a family of musicians. Having played the drums from age two, the versatile artist can make anything from rock, pop and jazz, but these days, De Simone pens electronic music. His father worked as a bouncer for various local discos and exposed De Simone to dance music from a young age, later inspiring him to produce house and techno with an uplifting tint. Releases on Glasgow Underground, LW Recordings and REALM Records have helped shape the profile of this flourishing artist, with plenty more to come further down the line.

An artist with a rich history within modern house music and longstanding ties to Hot Creations, Ali Love makes his solo debut on the label with collaborator and Brazilian rapper Prince Andre. Ali takes on production duties here, and the result is a pretty unique slice of Brazilian hip house. ‘Da Da On’ brings a driving bassline, samba inspired percussion, whistles, and Prince Andre’s effervescent rhymes. This is an explosion of energy built for Carnaval. The dub highlights the track’s rolling drums and Carnaval atmosphere. Remixes are to follow on Hot Creations.

One of the premier songwriters of contemporary UK dance music, Ali Love has released material via Crosstown Rebels, Keinemusik, and Defected in recent times, and collaborated with The Chemical Brothers, Justice, Camelphat and Róisín Murphy, amongst many others. It was, of course, on Hot Creations, where Ali collaborated with Jamie Jones, Lee Foss and Luca C as Hot Natured, and whose ‘Benediction’ has now become a contemporary dance music classic. This is Ali Love’s long-awaited return to the imprint.

Meiosistosis is a unique and creative descriptive innerstanding created by DemoDc taken from the scientific terminology of Mitosis - a splitting of one cell to create 2 identical cells and Meiosis - a splitting of 1 cell to create 4 very unique cells. Combining these 2 findings to create its own unique expression of what Demo feels earth herself is potentially going through in what most humans refer to as 'crazy mad' times.

‘Call me mad or crazy yet my artistic take on all this madness of change, coming from a more spiritual aware perspective, I feel its very possible and plausible that earth herself is shifting from an energetical vibrational frequency resonance, shifting from a lower to a higher frequency that has souls who inhabit at this present time on Earth, have choices made available to either shift to these higher frequencies of perception or to chose to remain in the lower frequencies of perception’

….says Demo when explaining the meaning of the titles chosen for his brand new releases. Hence, from this perspective it would give more purpose and meaning with the Earth splitting itself from 1 earth into 2 with the merging of it being identical and unique all at once.

True or not, through creative expression can we all individually make sense in our own rights, which then gives more power to the inner-standing of what co-creating with any greater power outside of ourselves, is. Each track holds its own unique expression to what has been described here and of course gives each listener a chance to give meaning to what is embraced in their own connection made when absorbed in the creations these ep's offer.

Rising star SOSA collaborates with established producer and DJ duo Prok | Fitch. Together, they weave their distinct sound of groove-based tech house, releasing a club-driven creation suitable for transient and peak-time moments on the dancefloor.

The title tune opens with a minimal vibe before a sultry vocal slip into the soundscape, evoking a sunrise-at-the-rave mood. Stripped-back percussion allows the lyrics to breathe, while a robust kickdrum conveys a clubby feel. Like the title suggests, Sweat is a pacier tune that ripples with a low-slung bassline and sizzling vocals with a touch of reverb—the perfect late-night groover. Final tune Footsteps In The Dark unfurls with a stabby synthline and snappy percussion, offering a peak-time production primed for a club soundsystem.

Since breaking through with groundbreaking releases on Sola, Hottrax and Cuttin Headz, Liverpool-born SOSA has gained support from leading names in house music such as Jamie Jones, Michael Bibi, The Martinez Brothers, Chris Lake and East End Dubs to name a few. Having launched and established his imprint and event series COCO in Liverpool, SOSA now plays across the UK, counting gigs at Printworks, Motion, Mint and beyond into America and across Europe. Brighton-based producer and DJ outfit Prok | Fitch remain two of the most alluring producers on the house circuit, with their music gaining strong support across a spectrum of the biggest names in the industry from Marco Carola, Michael Bibi, Hot Since 82 to Carl Cox, Adam Beyer and Fatboy Slim.

The parisian DJ and producer duo Esoteric Circle are back on Future Romance and take us on the eighth journey of our young label history.
With "Hana Bi" the two brothers give us three brandnew creations named "Nowhere", "Hana Bi" and "Hidden Life" full of euphoric moments and glittering melodies made for the deeper melodic dancefloors. Early DJ support by Mind Against, Innellea, Einmusik, Magdalena, Alfa Romero, Markus Kavka, Miss Melera, Raphael Mader and many more...

Dieses Produkt wurde ursprünglich als Teil von „Forces Of The Northern Night“ veröffentlicht Die Band beschloss, ein Konzert mit dem Orchester von Offical Norwegian (NRK) zu spielen und aufzunehmen Es war ein großer Erfolg. Rund ein Jahr später spielte die Band mit der gleichen Running Order und dem Wacken Festival das Tschechische Nationalorchester. Dieses Vinyl ist die Aufnahme dieser Show.

Brazilian artist Bruno Furlan is the next to make his mark on the famed Hot Creations imprint. The two-track release, The Speakers Pump Like This, is set to bring the heat and make serious waves on dancefloors this year.

Title track The Speakers Pump Like This transports you straight to the club, with its peak-time pace, sonic synth stabs and prominent vocal cuts. On the flip, Moving gets to work with a sharp kick-drum and infectious vocals, as subtle builds and drops move throughout the track, whilst retaining the solid, rolling groove.

Hailing from the diverse and electric city of Sao Paulo in Brazil, Bruno Furlan started his DJ career while still a teenager and quickly became a highlight in the Brazilian electronic music scene, capturing the attention of artists such as Claude VonStroke, Chris Lake, Solardo, Green Velvet and Amine Edge & Dance. Always driven by a great love for his art, Bruno has created his own unique way of approaching music production, resulting in a standout discography and performances throughout the world. In addition to his own record label Whistle Records, Bruno has released on labels such as Dirytbird, Relief, , Sony Music, SOLA, Nervous, and more.

30 years since their creation, the unreleased Frankie Knuckles remixes of Electribe 101’s deep cut ‘Heading for The Night’ are finally unvaulted, available on 12“ vinyl

UK based electronic group Electribe 101 and their one album, Electribal Memories hold a legendary place in the annals of house and dance music. The band met after vocalist and writer Billie Ray Martin had placed an ad in Melody Maker in 1988: “Soul rebel seeks musicians – genius only”. Billie headed to meet the four responding musicians (Brian Nordhoff, Joe Stevens, Les Fleming, and Roberto Cimarosti) at their studio in Birmingham.
“I took three songs with me, one of which was the lyrics and melodies to (Electribe 101’s first single) ‘Talking with Myself’, as well as a copy of Julian Jonah’s ‘Jealousy and Lies’,” says Billie. “I told the guys: “I’ve heard the future, and this is what I want to do.” I had heard Julian’s track at the WAG Club and I still remember the moment I stopped my shimmying and just stood there, staring, then turning on my heels and going straight to the DJ to ask what this record was. The guys had already experimented with some more dance orientated tracks and were instantly sold on the idea.”
Originally self-released on white label and championed by pirate radio, ‘Talking with Myself’ caught the imagination of the UK club scene and saw the band sign to Phonogram Records. With the re-issue and its follow up, ‘Tell Me When the Fever Ended’, becoming bona fide pop chart hits, with daytime radio play, Top Of The Pops appearances, and magazine covers from Melody Maker to MixMag, i-D, the label were keen to galvanise the band’s success and for them to deliver an album quickly.
“Because we weren’t yet used to writing together, we tried different approaches,” explains Billie.” I brought along a few songs I’d already written with others. Other songs we wrote from scratch. ‘Heading for The Night’ is one of those songs. The guys had developed the music and I wrote and sang the melody and lyrics straight onto the track, without making any arrangement changes.”
The band had also found ardent fans in the US, with chart-topping success on the US club charts and mixes from some of the most in-demand remixers of the day, including Chicago House doyennes Frankie Knuckles and Larry Heard.
“Frankie had already done such an incredible job with ‘Talking with Myself’ and he was smitten with ‘Heading for The Night’”, recals Billie. “He enjoyed mixing it so much that he did six mixes, each one brilliant and soulful in its own way. His effortless and perfect vocal production while creating a more danceable version makes this another Knuckles masterpiece.”

While 'Heading for The Night' had been considered for single release, these legendary remixes never saw the light of day. Finally, Frankie’s work on this song finds its rightful place in both his and Electribe 101’s legacy.
This EP of remixes precedes the release of Electribe 101’s fabled second, never before released album Electronic Soul, later this year.

Repress

Just a continuation of things that have been done before and that will be done in the future. The plan is that there is no plan and the story goes on! 18 tracks about distinct moods, patterns and the pure joy of creation itself.

Mastered by the Zenker Brothers & Klaus Arnold.
Artwork photos by Lara Köcke.

In the fight against Alzheimer’s, epilepsy, schizophrenia and other diseases characterized by an imbalance in neuronal activity, there are chemical weapons, such as those that try to prevent the protein fragments known as beta-amyloid plaques from developing in the
cerebral cortex , and physical, such as electrical stimulation that allow to restore the functionality of brain cells. This last resort, which has already been shown to be effective in modifying the activity of the cerebral cortex, is today a weapon of general intervention.

Converting it to precision requires the development of individualized and predictive brain models that allow identifying where and how much to stimulate each patient. To achieve this, an international European team is working on the creation of virtual replicas of the
most unknown organ in the body: the Neurotwin project.
According to recent research, the decrease in power in the neuronal oscillations of the gamma band of the cerebral cortex (a pattern whose frequency ranges between 20 and 50 Hertz) favors the development of protein fragments related to Alzheimer’s.
Transcranial application of weak electrical currents has proven to be an effective and painless way to modulate brain activity without side effects.

The objective is to create complete computational models of the brain with real data of living beings (human patients) and that allow to anticipate and specify the effects of noninvasive stimulation techniques on neurological mechanisms.

“Never turn your back on a friend.”
Alfred Hitchcock

Mastering – Eternal Midnight Mastering Studio
Cover Art – Nitasha Singh Brett
Visuals - Dietriamgle, Espii Studios, Irene Avellanal

…»Welcome to another polymeter dance! Feel free to express yourself, subordinate to any measures and cycles you prefer, there are plenty for everyone and any purpose.
Every track represents a variety of rhythmic possibilities for any part of the body to communicate with. This allows you to resonate with the universe, but please always care for the environment!
The dunning voice of today will introduce to you the core issues of tomorrow. As if a paralyzed mankind would not be able anymore to speak out the inevitable, a posthuman being has taken over. This entity is the master of ceremony who conducts an array of machines that will take further action to communicate, supported by complex
polymeters. The repetition of measures and cycles of different lengths reflect the repeatedly pronounced statements of a narrative of awareness.
Where music visionaries once celebrated the transfer of human creation into machines, Chris Korda’s machines are creators themselves – creators of a safer dance into the future. The machines speak to you with a sparkling, funky tone to gain your confidence. Here are the rules of interaction: 1) Humans may not injure these
machines or, through inaction, allow a machine to come to harm. 2) Humans must obey the orders given by the machines except where such orders would conflict with the engagement in environmental issues. 3) Machines must protect their own existence as long as such protection does not conflict with the engagement in environmental issues. Take care and enjoy the future!

HøRD is the solo project of Bordeaux-based synthwave producer Sebastien Carl. Started in 2014, Sebastien has proven himself to be able to gather a cult fan-base around his creation in a short time, collaborating with artists as Hante, Winter Severity Index and Black Bug and performing live in most European countries.

Debuted by Antoni Maiovvi and Vercetti Technicolor’s Giallo Disco, an EP on SNTS’ Sacred Court and a second full-length on Avant! have followed. Bodies is his third album and it shows eight new passages that take HøRD’s distinguishing features one step further once more.

Ethereal synths matching deep analogue beats, veiled vocals speaking of visions, memories, meaning and failing. Synthwave sounds like a soundtrack from the 80’s meet electro and techno mechanical rhythms along a stream of tracks that almost have no name so that the listener can just let them flow and flow with them, taking a journey away from the present time and into an abstract, dream-like modern dimension where the misty and the solid are one.

LaMenaceRecords is a french parisian independant label.

Pressing of the first vinyl which brings together 4 tracks from various artists, speaking on the 20th district of Paris.

Influenced by all styles of music possible and imaginable, we tried to offer something very varied, exploring house from several angles : from old school refreshed with groovy sounds and lines to hip-hop jams, through much more minimalists atmospheres.

This first EP is the first part of a musical creation project around Paris : this first disc is made, among other things, with various recordings made in the streets and metros of the XXth district.

On the first side, house in the rules with the Groove Boys Project : a deep track based on the 909/303 combo.

Next, Max's track, in a more electro house register, will transport you directly to Belleville with its captivating cadence.

On the other side, you will find 2 pieces that go further from the current definition of house.

First, Pasta Mool's track, in a more minimalist style, sort of progressive and atmospheric minimal-tech house, will enchant the more perched among you.

Finally, as many samples used in house are also in boom bap, Soufflé Caramel, who does not only strip tease, has concocted you a hip hop track resolutely focused on samples, kind of a bonus track that we all wanted.

After the creation of his own label and four EPs (Intuitive, Blend, Exil, Singles), here is Thylacine with a first album called Transsiberian, named after a recent trip to the other side of the world.

In the spring of 2015, William left for Russia with a video crew. The goal: to get carried away by the famous Trans-Siberian, which connects Moscow to Vladivostok, and stop at the option of fixed and impromptu meetings with local personalities. Time is divided between intense encounters and long train journeys where William locks himself in his cabin to compose. At the option of these stops which, over the days, nourish William's inspiration, he has the right to a concert offered as a welcome by the old ladies of the native village of the graffiti artist Artemiy, polyphonies in Irkutsk, a bell ringer of bells, a traditional musical trio in Kazan, surfers in Vladivostok. A shaman welcomes him in his yurt on the shores of Lake Baikal, with his two little daughters, Aikhai and Mandukhaï. All can be found on Transsiberian, a concept album that places the taste for travel and his curiosity about others at the heart of his contemplative songs. Evolving in the world of contemporary art, for which he composes regularly, William sees an album as a work where performance counts but also emotion and, above all, manner of doing things. "The process of creation matters as much as the end," he says.

From playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals' trajectory has been remarkable. They've earned critical acclaim (NME and Q Award wins, plus Mercury Prize, Ivor Novello and BRIT Award nominations) and fan devotion (1.7 million sales of their four Gold-certified albums) in equal measure. And while the majority of contemporaries have fallen by the wayside, Foals continue to hit new peaks.

After more than a decade in the game, Foals again embrace that love for the unconventional with the bravest and most ambitious project of their career: not one, but two astonishing new albums: 'Everything Not Saved Will Be Lost'. A pair of releases, separate but related, they share a title, themes and artwork. 'Part 1' will be released on March 8th, with 'Part 2' following later in the year.

'They're two halves of the same locket,' frontman Yannis Philippakis explains. 'They can be listened to and appreciated individually, but fundamentally, they are companion pieces.

Fundamentally tethered but possessing their own personalities, the two bodies capture the most compelling, ambitious and cohesive creations they've ever produced. Eager to break the traditional pop song structure which they felt they were becoming increasingly tapered to, the 20 tracks defy expectation. There are exploratory, progressive-tinged tracks alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band's renowned ability to wield relentless grooves with striking power and skyscraper hooks also reaches new heights.

The album's lead single 'Exits' is a case in point, featuring Philippakis conjuring the image of a disorienting world via a contagious vocal melody. It's a fresh anthem for Foals' formidable arsenal, but also an ominous forecast.

'There's a definite idea about the world being no longer habitable in the way that it was,' says Yannis. 'A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What's the response And what's the purpose of any response that one individual can have'

'Exits' signposts what to expect thematically from both instalments of 'Everything Not Saved Will Be Lost'. The title is a warning that anything - from the tiniest fleeting moment of inspiration through to the planet's own biological diversity - can be under threat of being irrevocably erased.

It's a theme that permeates throughout the album's material, as Foal mirror the public neuroses that have been provoked by our current cultural climate. Paranoia of state surveillance Fear of environmental collapse Anxiety over Trump's next potentially cataclysmic move It's all there in these apocalyptic songs.

'Lyrically, there are resonances with what's going on in the world at the moment,' summarises Yannis. 'I just feel like, what's the utility of being a musician these days, if you can't engage with at least some of this stuff These songs are white flags, or they're SOSs, or they're cries for help... each in a different way.'

The new albums' journeys began as the 'What Went Down' era ended. Founding bassist Walter Gervers departed on amicable terms after playing the Festival Paredes de Coura in Portugal in August 2017. Foals felt that he couldn't be replaced - a decision that ushered in a period of recalibration, reorganisation and, ultimately, rejuvenation.

After taking a little time out, Foals - completed by Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys) reconvened - with Yannis on production duties, who, together with Edwin, also covered the bass parts. They began by writing in a rehearsal space before exporting those sketches into the recording phase at 123 Studios, Peckham, with the assistance of engineer Brett Shaw. They'd repeat the cycle between the two spaces, effectively creating an ongoing feedback loop as they sought to push every new idea to the finish line.

1 x 12" black vinyl 180gsm
- label 4/c
- discobag on reverse board with matt varnish
- gatefold on reverse board with matt varnish
- shrinkwrap

Three Supple Creations Mark The Start Of The Znr Series By Long-established Lisbon Producer And Dj, Zenner. The Walking Bass And Whimsical Accents On "solstice" And "nightingale Symphony" Recall Golden Age Losoul Or Ben Nevile, While "god Disturbs" Provides Daring Finale: A Hyped-up Broken Beat Formed Of A Whole Cupboards Worth Of Percussion, Around Which Jazzy Bass And Sharp Pads Do A Nimble Dance. Expect The Unexpected As The Znr Series Continues To Unfold.

Efficient Space is honoured to share the little-heard recordings of three Yolngu songmen from Northeast Arnhem Land - Bobby Bunnungurr, Jimmy Djamunba and Peter Milaynga (d. 2007) - working in collaboration with Victorian musician Peter Mumme. Yolngu are the indigenous peoples of Arnhem Land in Northern Territory, Australia; their clans are the Marangu and Malabirr, the languages Djinang and Gannalbingu. Their songs are of instruction, story and ceremony.

A connection first initiated by Yolngu actor David Gulpilil, Waak Waak Djungi's mid-90s recordings were preceded by years of respectful sharing of culture. Mumme explains that 'the aim was to produce something that is new, not in the sense of a breakthrough, but what emerges from the combining of existing ideas'. What developed was sonically unique - sprawling vocal/electronic soundscapes and field recordings that reimagine the traditional songs of black crows and white cockatoos, sharing, creation spirits and of leaving and returning home to country. Spacious and patiently durational, the songs resound in a big land with a big story to tell.

On the 1997 Waak Waak Djungi album Crow Fire Music, these interpretations were assembled with traditional recordings and additional material from Sebastian Jörgensen and Sally Grice. Falling short of generating public interest, it became well known in the Yolngu homeland. Nearly two decades later, a CD copy filed away in the 3RRR FM library would prompt a three year investigation to meet the people behind the music.

Waak Waak ga Min Min (Black Crow, White Cockatoo) combines the previously unreleased Gandi Bawong with five contemporary versions from the original album, with a new cover painting by Bobby Bunnungurr. Tracing 1997 back to many millennia ago, this is a captivating window into the richness of Aboriginal culture and collaboration.

tested 'Then After' EP by New York duo Wild Dark.
'...Stemming from a partnership with two decades of experience behind them, Wild Dark takes on contemporary song-writing and gives it a unique, thoughtful, modern-take using a wide spectrum of electronic music to tell a story. The duo, comprised of brothers Corey & Ryan Negrin, stray from cold digital samples in favour of a warmer approach to writing music. This allows them to merge house, techno and natural vocal work into a cohesive concept that uses soulful yet charming songwriting to nurture a sophisticated palate of contemporary work...'
Then After EP includes two tracks featuring Alex Who 'When we first met Alex there was chemistry off the bat. With inspiration of being young and free, the lyrics and vibe to "Why Not"came together with ease. As the production progressed, the darker tribal elements came to life.
We wanted this track to resonate with the free spirited. This track tends to be a favorite of night.
"Born By The River", A Happy Mistake. The vocals, the elements, the soul, all stemmed from animpromptu recording and this beauty was born. With a list of organic household recordings,accompanied by a warm low end, we aimed to create a track that defied all genres.
"Talky Talkie" is the most club oriented track of the EP, with a persistent groove and synth elements that work perfectly on the dancefloor.
"I'll Wait" brings our bohemian flavour to shine, a track that's comfortable being played anywherefrom Burning Man, lost in the desert to the deep warehouses of Brooklyn's underground.
The digital release will include a special remix by Superlounge, a German duo known for their smooth house vibes. This is a must have release, available first on the label's shop online;

t r u e C o l o r s
A Brooklyn / London based record label that channels artist's most honest version of their
creations and shares it with the world through vinyl and digital platforms.

Finally! The long-awaited Raffaele Attanasio's label , " Letters From Jerusalem " , is born - Jerusalem represents the spiritual and physical center of the Earth, hence that comes to life the metaphor that locates in it ourselves center. Music as a means of exploration, as a descriptive source ofdeepest and hidden feelings and emotions in the center of man. Music as creation and destruction of feelings and perceptions, as act that turns into potency.The first release includes four tracks of which two recorded live , particular attention is drawn to the title track : " Credible Threat " , which has a special partnership with Douglas J. McCarthy , leader of legendary EBM band " Nitzer Ebb ". There is no time, we'll all die ! LFJ001 early Feedbacks and Supports: Slam : Thanks Raffaele these are all destroyers:)
Philippe Petite : Thanks for sharing your new EP. My favourites are A1 and B2: super Ben Sims : Eutanasia is the track for me, thx! Gary Beck: the 2 live cuts are wild and brilliant! Really look forward to playing them in my upcoming sets, love it!
Dustin Zahn :The production on the promo is really high! thanks
Rebekah : cool tracks, thanks! Ancient Methods : That is a great start what you have for your label! thanks for the promo

Hobo (Minus, Hot Creations, Tronic) launches his new imprint, Soundz, by finally releasing his highly acclaimed hit 'Mind Games'. After tearing up Ibiza and the world over this season, Mind Games is finally clawing its way out of select record boxes and into record stores everywhere. Joining Mind Games is its evil twin, 'Public Lies'. Equally epic, Public Lies builds to a fever pitch with familiar but not quite normal synth tones soaring wildly overhead. Two monster jams to kick off Soundz in that familiar Hobo style.

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

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

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

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

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

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

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

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

The process of making this mini-album “anaiis & Grupo Cosmo” was truly life-altering for me. It changed my approach to making music and really brought me back to the roots of what creation is about. I went to Salvador for a month-long artist residency in February 2020 and during that time, I not only fell in love with Brasil’s culture and music, but I also wrote “Toda Cor” with the wonderful Luedji Luna. A few years later, I reached out Biel who’d co-produced “Estrela Acesa” with Sessa to see if they’d be interested in re-developing “Toda Cor” with me. They were enthusiastic and we fully reproduced the record in December, remotely. The connection between us all was electric and it felt like there was a collective enthusiasm for creating more together so I flew out to Brasil in April 2023 to continue this exploration. The beauty behind this record really lies in the experience of making it. We all stayed together in Biel’s house in Ilhabela for a week with Cabral, who co-produced the record with us and plays bass. We would go to the beach, eat communally, share stories, be around the kids, but then spend most of the days creating and jamming together. Each day we would record our songs live to tape, not a computer in the room. By the end of the week we had this album. It was refreshing to make music in this way. The music and approach really held us in that moment and gave us a chance to create freely, in a big moment of transition in our lives in a way that truly embraces imperfection, spontaneity, just very human.

Released in the winter of 1995, Dah Shinin’ introduced Smif-N-Wessun as torchbearers of the gritty, sample-driven East Coast sound that defined a generation. Backed by Da Beatminerz’ haunting, jazz-laced production and supported by their Boot Camp Clik brethren, Tek and Steele delivered a debut that was as raw as it was revolutionary — capturing the essence of mid-90s Brooklyn.
Now, 30 years later, Dah Shinin’ returns in its most complete form. The 30th Anniversary Definitive Deluxe Edition brings together for the first time in one place, the full original album, two essential remixes "Wrekonize" and "Sound Bwoy Bureill" and rare material, including the long-unreleased “Nuttin’ Move But Da Money,” finally available officially after years on white label.
Pressed across three LPs and housed in a premium tri-fold jacket featuring original artwork, newly commissioned liner notes, period photography, and archival content, this expanded edition stands as a tribute to the album’s creation and legacy. From the underground anthem “Bucktown” to the crew showcase “Cession At Da Doghillee,” every track celebrates the timeless sound that made Dah Shinin’ a classic.

Emotional Response presents the first of 2 EPs by Laura Sparrow aka LNS, the Calgary raised, Berlin based producer and DJ with 8 acid-tinged cuts that are equally expansive and inspiring, personal and inventive.

After her debut Malinge Range (cassette) on fellow native Canadian 1080p label in 2016, LNS moved to Berlin and has released a steady stream of 12”s, exploring ambient, dub, electro and techno. Initially appearing on Vancouver émigré’s Jayda G’s (alongside Fett Burger) Freakout Cult label before settling at DJ Sotofett’s cult WANIA label and more recently on the legendary and ‘original’ German techno label, Tresor.

A love of the Roland TR-303, alongside deep diving into breakbeat creation, manipulation, mutation and production, plus some intrepid mixing and post-production assistance, development and support with DJ Sofofett, have led to a collection of some of her favourite music to date.

LNS-ID 1 and LNS ID 2 are the result. Recorded during a burst of creativity through dedication, new studio equipment and learning techniques, as well the necessity of artistic expression in the moment.

Two sets of four tracks based on the acid tradition in the more restless corners of 90s and early 00s Braindance. Acid lines drive the melodies, while drums move between sliced break fragments and the familiar sounds of the Rolant TR-606 and TR-808.

Pads drift in with a warm glow or at times, quiet ghostly tension. The results are music that leans towards atmosphere and memory, something almost nostalgic that was built for those of us who still chase the more expressive edges of acid.

There are two versions of the vinyl edition: classic 140g black record or limited (Universe Edition) 140g black + 7" black vinyl with two bonus tracks.


WE ARE THE BIOBOTS is an album by Michal Baj (DJ Eprom), who has ties to Silesia. It will be released on 21th January 2026, by the legendary Polish label JuNouMi Records (est. 2002). WE ARE THE BIOBOTS is an album that not only talks about technological progress, but also touches on the digitization of human consciousness in the 21st century. Although it discusses the dangers of AI development, no artificial intelligence was used in its creation.

The album features legendary hip hop DJs, including the art of scratching. The album will feature the most outstanding DJs from Poland, England, the USA, and Japan. Thanks to this, the album has a chance to gain a broader, international context. Eprom's professional experience to date has allowed him to bring together such a wide range of artists and bring them together on the album, including:

DJ D-Styles – a legend of scratching from the USA. A pioneer of the genre. Member of groups such as The Beat Junkies and Invisibl Skratch Piklz, creator of many scratching techniques still used today.
DJ Prime Cuts – founder of the legendary Scratch Perverts from London, multiple world champion and creator of unique scratching techniques.
DJ Flip Flop, Prolifix – representatives of the DJ community from the US coast.
DJ Tigerstyle – a leading representative of the DJ community in England, multiple world champion in scratching.
DJ IQ – the most successful scratching champion in the world.
DJ Miyajima – the unrivaled master and creator of the Japanese school of scratching.
DJ Melo-d – co-founder of The Beat Junkies collective, multiple DJ champion hosting a legendary show on Radio HOT 97 in the US.
DJ Ben, Krootki – co-founders of the Modulators group from Poland, World Champions in scratching.
Daniel Drumz – Polish DJ and music producer known worldwide.
Mr Krime – pioneer of DJing and turntablism in Poland.


Michal Baj is a multi-talented musician, artist, and music producer born in Jastrzebie-Zdroj, as well as the owner of the analog Eprom Sounds Studio, where tracks based on mixing and mastering are produced and gain worldwide recognition.

The inspiration for the album is Eprom's connection to Silesia. His work at the KWK Borynia mine, surrounded by heavy equipment and mining technology, became a direct inspiration for creating a musical story about people, machines, as well as the directions of technological development and the impact they have on society.

The album is released by JuNouMi Records, a label specializing in vinyl records, founded in 2002. Your wax supplier.

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats.
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
Following on from the compilation Slutet began work on their next offering entitled Jihad. While the departure of J.P. left them temporarily without a guitarist, a chance meeting with Fjalar at a rave ushered in a new era for the band. “I met the drummer and the bass player at a psytrance rave in the forest. I didn’t have any band and I wanted to play music and I saw this fucking weirdo with long dreads and a Hellhammer shirt and I just went up to talk to him”.
After Fjalar joined the rather chaotic fray, songwriting duties were spread out more broadly and Jihad was rehearsed and recorded in a haze. First released as a cassette by Manifest Of Hate Creations, and later on vinyl in an edition of 100 by Goatowarex the release quickly sold out and became as legendary, and as incredibly difficult to obtain as the previous releases. “It has got some psychedelic improvs, some very unorthodox and quite genius vocal work, some electronic undertones, some noisy ambience, a message of existentialism; all this wrapped up in some sloppy but very authentic and intense black metal-ish music.”
“After the vinyl compilation was out (early 2015) we felt probably a bit directionless, and, having parted ways with a befriended and talented guitar player, we felt maybe a bit morally weakened to continue. First, for a year almost, we toiled on without the 6-strings and rehearsed quite lengthy material for a proposed upcoming LP. However, that material never surfaced. Then we got a new guitar player (Fjalar) and created and recorded this mess”.
It is with great pride that we make these albums available to a general audience and in a wider pressing without need for bloodshed.

ANORAX lives up to its #eatsleepcollect mantra with this limited edition one side only plays special 7”.

Making a cover version of Mezzoforte’s Icelandic jazz funk classic GARDEN PARTY is not a task for the feint hearted.

Phil Hooton and fellow producer Mark Gambe pull it off with aplomb.

The duo are enjoying success with their single GARDEN OF EDEN by Phil Hooton Featuring Pete Simpson. That involved a new song being written and sung over their instrumental remake of GARDEN PARTY.

The original idea was to only release the new vocal creation but the instrumental version - featuring virtuoso playing by some of the UK’s top session musicans - was simply too good to be left on the shelf.

Only 200 copies of this one sided 7” have been manufactured.