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From the visionary minds of Snarky Puppy’s Robert “Sput” Searight and Nate Werth, Ghost-Note’s explosive debut "Fortified" finally arrives on vinyl. This percussive tour de force seamlessly fuses funk, hip-hop, jazz and world rhythms into a captivating journey of rhythm and groove.
Featuring an all-star lineup of iconic players—including Shaun Martin, Mark Lettieri, and the legendary MonoNeon—this album is packed with tight grooves, deep tribal pulses, searing horn lines, and fearless synth wizardry.
More than just an album, Ghost-Note’s debut "Fortified" bridges classic funk traditions with cutting-edge jazz innovation. It’s a celebration of rhythm, culture, and community. Whether you drop the needle to ignite the dance floor or to get lost in its rich, layered textures, this LP is destined to become a crate-digger’s gem and a cornerstone for fans of modern funk-jazz.

Berlin-based Swedish dynamic duo of sax man Otis Sandsjö and bassist/producer Petter Eldh return with new music on We Jazz Records. Remember the hard hitting banger "Tremendoce" from Otis Sandsjö's "Y-OTIS 2"? Well, the saga continues, and the new directions are surprising to say the least, just as we like it!!! Some proper late night / early morning out there vibes on this one, and the flip is yet another step forward, bringing in Kathrin Pechlof on harp. Things are liquid, just as you would guess, but the whole consistency of the substance has flipped and evolved. A new sound. A new idea. Another new day in Mauerpark, Berlin.

The journey through French-speaking pop archives continues with this fifth volume, packed with fuzz, gimmicks, and dissent. Far from the charts, the selected tracks display a great creative freedom, often backed by corrosive humor. Welcome to the surprising, kaleidoscopic, and colorful world of the late sixties and early seventies, Wizzz!
Born in Montauban, Robert Pico stumbled into music by chance when he met René Vaneste, then artistic director at Pathé-Marconi. René brought him to Paris to record his first 45 RPM EP in 1964. A year later, Pierre Perret introduced him to Vogue, where he recorded his second album with Claude Nougaro’s orchestra. Sylvie Vartan then introduced him to RCA, where he recorded four singles, including the astonishing "Chien Fidèle," a track backed by a hair-rising fuzz guitar. Alongside his solo career, he also composed for other artists like Alain Delon (the song was recorded but remains unreleased), Magali Noël, Bourvil, and Georges Guétary. In the Paris of the sixties, he mingled with Mireille Darc, Elsa Martinelli, Marie Laforêt, France Gall, Françoise Hardy, Petula Clark, Régine, Dani, Serge Gainsbourg, Joe Dassin, Franck Fernandel, Charles Level, and Roland Vincent. Despite his efforts and winning a Grand Prix Sacem for his final record, Robert Pico didn’t achieve the expected success in show business and decided to leave Paris and return to the Southwest, where he devoted himself to writing. He is the author of 23 books (including Delon et Compagnie, Jean-Marc Savary Editions 2025, a memoir about his youth and his many encounters). Today, he is relieved to never have become a celebrity and devotes himself to his work with passion.
In 1969, the Franco-Italian movie Erotissimo was released, directed by Gérard Pirès (who later directed Taxi in 1998, written and produced by Luc Besson). This pop comedy features Annie Girardot, Jean Yanne, Francis Blanche, Serge Gainsbourg, Nicole Croisille, Jacques Martin, and Patrick Topaloff. The soundtrack was written by Michel Polnareff and William Sheller, with lyrics by Jean-Lou Dabadie. "La Femme Faux-cils," performed by Annie Girardot. It recounts the feelings of a rich CEO's wife who seeks to develop her sex appeal under the influence of advertisement and magazines. Groovy, sparkling and light, this track, with ITS lush arrangements humorously critiques consumer society and feminine beauty standards.
“Je suis l’Etat” (1967) is the flagship track of the first EP by singer-songwriter Spauv Georges, aka Georges Larriaga, better known as Jim Larriaga (1941-2022). Born into a family of bakers, the young man was initially planning to become a hairdresser when he discovered English-speaking music through Elvis Presley and the Beatles. After this revelation, he decided he would become a songwriter and gave himself five years to succeed. He recorded his first two EP’s independently for RCA under the pseudonym Spauv Georges; meaning “that poor George”, a nickname given to him by the mother of her friend Jean-Pierre Prévotat (future drummer of the Players, Triangle, or Johnny Hallyday). Portraying a depressed and eccentric young man, Spauv Georges created corrosive and amusing songs that didn’t reach a wide audience, despite a TV appearance with Jean-Christophe Averty.
Supported by his loyal friend and fellow songwriter Jean-Max Rivière, Georges Larriaga met the future singer Carlos in the early '70s, then Sylvie Vartan’s assistant. He wrote songs for Carlos, including the popular "La vie est belle," "Y’a des indiens partout," and "La cantine", which went onto become a huge hit in 1972. He also composed for Claude François (“Anne-Marie”, 1971), Charlotte Julian (“Fleur de province”, 1972), helped launch child singer Roméo (who sold 4 million records), and later wrote the hit "Pas besoin d’éducation sexuelle" (1975) for the young Julie Bataille. In 1971, Jim recorded an album for Disc'Az: “L’univers étrange et fou de Jim Larriaga”, which featured pop gems like “La maison de mon père”.
The story of the song "Zoé" began when Pierre Dorsay, artistic director at Vogue Records, asked Swiss singer and musician Pierre Alain to write a song for a new female singer. The inspiration came when he realized that Zoé (the artist's name) was also the name of France's first atomic battery, created in 1948, which consisted of uranium oxide immersed in heavy water! The lyrics reflect a bubbling energy that must be handled with caution, while the instrumentation echoes this atomic theme, notably with the use of a theremin.
Zoé’s career lasted only as long as a single 45 RPM, but it seems Christine Fontane was the vocalist behind this pseudonym, who is known for several EPs, a good "popcorn" album in 1964, and a handful of children’s singles in the '70s. Regardless, the photograph on the cover is of a different girl entirely.
Later, Pierre Alain continued his career, writing songs for himself, Marie Laforêt, Danièle Licari, Alice Dona, Arlette Zola (3rd place in Eurovision 1982), and achieving multiple gold and platinum records in Canada. Also an inventor with several patents, president of the Romande Academy, and head of the French Alliance in Geneva, he now composes atonal music, books, and poetry. Moreover, he is also the host of "Les Mardis de Pierre Alain" at "Le P'tit Music'Hohl" in Geneva.
Filled with oriental choruses and fuzz guitar, "Fou" is from Jacques Da Sylva's only EP released by Vogue in 1967. Despite the quality of this recording, all traces of this singer disappear after this first effort.
Valentin is a baroque pop singer born in Belgium. He is the songwriter and composer of most of the tracks on his three singles released in the late 60s in Canada. A legend says that he reincarnated himself as Jacky Valentin during the 1970s for a rock'n'roll revival career in Belgium, but his older brother sadly debunked this story. Valentin's first two singles were arranged by Claude Rogen, a Parisian session pianist who had come to Canada to promote the song “Mister A Gogo”, a cover of David Bowie’s “Laughing Gnome”, adapted by singer Delphine, his wife at the time. Far from his usual network, Claude Rogen arranged music for Polydor, including the arrangements for “Je suis un vagabond” in 1969, a jerk tune with string arrangements and a furious optimism.
Jacques Malia wrote, composed, and recorded his only 45 EP for Festival in 1966. “Histoire de gitan” is an incredible beat track with bohemian scat that tells the story of a gypsy musician who came to Paris to make it in the Music-Hall, to no avail. The hero of the song and its author probably shared a similar fate, as Jacques Malia faded into anonymity after this remarkable attempt.
Bernard Jamet recorded two EPs for Barclay in the late sixties and co-wrote several songs with Christine Pilzer, Pascal Danel, and prolific songwriters Michel Delancray and Mya Simile. The track “Raison Légale” (1968), his masterpiece, immerses the listener in a courtroom right when a murderer is being judged, with jerk rhythm and free arrangements. A unique, paranoid, judicial, and psychedelic oddity.
Jean-Pierre Lebrot-Millers started his career in show business in 1967 as a singer and songwriter for the Philips label. After three singles, he wrote several songs of a new kind with his friend Pierre Halioche, in the midst of the sexual liberation movement and the democratization of drugs. With provocative lyrics, “Les filles du hasard” and “Barbara au Chapeau Rose” were released on a Philips singles in 1968. The character of Barbara was inspired by a queen of Parisian nightlife during the psychedelic years: model Charlotte Martin, who dated Eric Clapton from 1965 to 1968, then Jimmy Page from 1970 to 1983. Jean-Claude Petit’s arrangements, with a table-filled intro, soul brass, and Hendrixian guitar, emphasize the flamboyance of a hedonistic and sexy character, whose dog is named Junkie because “Junkie est un nom exquis”! The track was recorded live in three takes with a full orchestra.
Upon its release, the record was censored by Europe 1 and RTL due to its references to drug use. Jean-Pierre Lebrot was then banned from the airwaves and later dismissed by his record label. He changed his artist name to Jean-Pierre Millers, while his companion Pierre Halioche became D. Dolby for a new dreamy composition, “Chilla”, which Jean-Pierre produced himself with arrangements by Jean Musy. Once again, the song was immediately censored everywhere. After this setback, he decided to stop singing and started taking on odd jobs to support his Swedish wife and their son until the day he met Jean-Pierre Martin, then production manager at Decca, who had worked with Manu Dibango. Martin offered Jean-Pierre Lebrot-Millers, then employed at Rank Xerox, the position of artistic director at Decca. He accepted and became, a year later, promotion director (radio, press, TV). He worked on Julio Iglesias’s first album for Decca, which became a massive hit and allowed him to meet Claude Carrère. The latter asked him to write new songs and find their performers, much like a “talent scout.” It’s through him that Jean-Pierre discovered Julie Pietri and Corinne Hermès. He composed “Ma Pompadour” for Ringo, Sheila’s husband, and took the microphone again for the syncope hit “Rendez-Vous” in 1982.
That same year, Jean-Pierre Lebrot-Millers tried to release a track for which he had heavily gone into debt: “Si la vie est un cadeau”. Having recorded it in London, he presented it to numerous professionals, all of whom refused to get involved. The same thing happened with Antenne 2 and the Sacem when he proposed the song as France’s entry for Eurovision. He then met Haïm Saban, who was producing cartoon soundtracks and had just launched the Goldorak theme song. Saban, having listened to the song, declared it had the potential to become a hit. He sent Jean-Pierre and Corinne Hermès to meet the CEO of the Luxembourg radio and television network. The latter received them, asked to hear a verse and chorus a cappella in his office, and immediately hired them to represent Luxembourg at Eurovision 1983. They reworked the arrangements and recorded a new version with Haïm Saban as co-producer. The song ended up winning Eurovision 1983, a great comeback for our hero. He continued producing and hung out with the band Nacash in Belgium when a couple came to introduce their daughter for an impromptu audition in a hotel room. The girl sang “Les démons de minuit” while dancing to a radio cassette. Impressed, he had her take singing lessons for a year and composed a song for her (for which he had the melody and title, but no lyrics). This required him to go on the hunt for a lyricist, who ended up being Guy Carlier. They recorded the song, which was initially a ballad, at Bernard Estardy’s CBE studio, and gave the singer a new name: Melody. They showed the song around their industry network without success. Later, Estardy called Jean-Pierre to suggest changing the rhythm and making it pop-rock. Orlando, Dalida’s brother, liked the result and decided to co-produce the track. “Y’a pas que les grands qui rêvent » became a classic hit. The song has since been covered by Juliette Armanet (as a ballad, like the original) and Valentina.

Born into an aristocratic Breton family, Hervé Mettais-Cartier worked as a DJ at Queen Kiss, a nightclub in Poitiers, where he formed the band Les Concentrés with Michel (an actor) and Christian (a radio technician). Together, they created a repertoire of whimsical songs (“Ma bique est morte”, “J’suis un salaud”, “Fils de dégénéré”...) that they performed on stage dressed in white (in homage to “concentrated milk”). They performed at Bliboquet and Olympia in 1968 for the 10th edition of the “Relais de la chanson Française” organized by L’Humanité-Dimanche and Nous les Garçons et les Filles, sponsored by Pepsi Cola. Winners in the author-composer category, alongside Danish singer Dorte, their visibility allowed them to record a 45, and appear on television in Jean-Christophe Averty’s show. The A-side of the disc features Bruno le ravageur, a casatchok dedicated to Bruno Caquatrix, the director of Olympia, nicknamed in the song “Coq Atroce” or “croque-actrices”. The B-side is dedicated to “Fils de dégénéré”, a quirky tribute to Hervé's aristocratic roots, mixing absurdity with sophisticated vocal harmonies.
After Les Concentrés, Hervé Mettais-Cartier formed the duo La Paire et sa Bêtise with his friend Olivier Robert. They performed in Parisian cabarets and toured with Pierre Vassiliu. In the late 1970s, Hervé began a solo career. He recorded two albums for the Motors label in 1978 and 1979, which did not achieve their anticipated success due to lack of promotion. In 1980, he met Bernadette, with whom he started a family and created a “Chansons à voir” (songs to see) show that he performed until his death at the end of 2024.

Publicité comes from the final EP by the Missiles (Ducretet Thomson, 1966), a disc that also includes “La (nouvelle) guerre de cent ans”, featured on Volume 4 of our Wizzz! series. Please refer to the booklet for the story of the band.

“He’s 1.82 meters tall, 28 years old, weighs 135 kg, is black and Belgian”: this is the description of singer Hegesippe on the back of his sole single (Decca, 1967). He appears on the album cover wearing a Greek toga, like a hippie gag – we are at the end of the year 1967. In “Le crédo d’Hegesippe”, this former bodyguard of Antoine and the Charlots plays the delightful card of the thick brute converted to Flower-Power and non-violence, with arrangements by Jean-Daniel Mercier, aka Paul Mille.
“Ethéro-disco” was released on a promotional record for clients of the Maréchal company (Liège, Belgium) for the New Year 1979. Over a funky rhythm, celebrity impersonations (Brigitte Bardot, Jacques Dutronc, Fernandel…) deliver an enigmatic text about pharmaceutical products like ether, bismuth, and aspartate. The track was composed by Dan Sarravah (responsible for Joanna's “Hold-up inusité” featured on Wizzz! Volume 3) and Tony Talado, who was also a singer (one 45 in 1967), songwriter (with over a dozen credits between 1964 and 1985 in various styles from surf music to disco), author (Devenez Végétarien, Dricot Editions, 1985), ad designer, and psychologist.

Décollez-les is on the A-side of Mamlouk's only single, a pseudonym for Marsel Hurten, who is known for his work on several EPs in the late sixties, as well as composing music for Hervé Vilard’s “Capri, c’est fini”, Claude Channes' “La Haine”, Annie Philippe’s “On m’a toujours dit”, and Nancy Holloway’s “Panne de Cœur”.
This strange song, with Afrobeat horns and absurd dialogues between a chef and his kitchen staff, is the result of a collaboration between Marsel Hurten and one of his neighbors, a photographer from Pavillon-sous-Bois (93), where the musician settled after returning from the Algerian War. A music video was shot to promote the record.
Marsel Hurten was born in Tourcoing (59) into a musical family. At a young age, he joined the brass band founded by his grandfather, playing the piston before studying trumpet at the conservatory, as well as teaching himself how to play the guitar. As an orchestra musician, he toured in France, Belgium, Germany, and England. He released a series of solo 45’s between 1965 and 1968 for the DMF and Az labels before stopping recording to focus on working for other artists (Gilles Olivier, Noëlle Cordier…).
“L’amour nu” (Vogue, 1971) is the work of the short-lived Belgian band Mozaïque. The track, written by singer Jacques Albin, closely resembles another of his compositions, “Carré Blanc”, which he recorded in 1969 for Disc’AZ.
Represented by the Lumi Son micro-label based in Marignane (Côte d'Azur), Jean-Marc Garrigues released two 45 RPMs in the late sixties, defending the French jerk sound. The song “Je dis Non” is a short, joyful ode to youth, pop music, and rebellion.
Songwriter and performer Jacques Penuel released three singles. The first one, “Astronef 328” (Fontana, 1969), features a dizzying series of chords punctuated by sound effects, a sci-fi story, and arrangements by Jean-Claude Vannier.

We would like to sincerely thank Pierre Alain, Moon Blaha, Marsel Hurten, Bastien Larriaga, Jean-Pierre Lebrot-Millers, Bernadette Mettais-Cartier, Robert Pico, Olivier Robert, Claude Rogen, Micky Segura.

Since their formation, The Hirsch Effekt have carved out a unique niche in the German-speaking music scene. Yet, despite—or perhaps because of—their elusiveness, the band has captivated a devoted audience. Musically, The Hirsch Effekt have always embraced limitless possibilities. Acoustic, introspective moments—where bassist Ilja John Lappin brings out his cello or guitarist Nils Wittrock returns to his classical roots—sit naturally alongside massive progressive metal onslaughts. The band is equally at home on intimate club stages as they are at international festivals, evidenced by repeated appearances at Euroblast and numerous events across the UK. Recently, they toured Germany alongside scene giants like Leprous, Tesseract and traversed Europe with Caligula’s Horse. Yet between these extremes, The Hirsch Effekt continually create songs that flirt with radio accessibility—almost—because the band steadfastly resists any form of standardization. With their seventh album, Der Brauch, they continue this course uncompromisingly. While earlier works, despite their diversity, were still labeled “metal albums,” this new record explores paths first hinted at on the multilayered second album, Holon : Anamnesis—the same album that fans of VISIONS magazine voted the only German-language entry among the 20 best albums of all time. Der Brauch can be seen as a return to that pivotal point—and simultaneously as a bold step forward. Drummer Moritz Schmidt doesn’t entirely forgot blast beats, but the record demands a new heading. In the end, though, there is only one truth: it unmistakably sounds like The Hirsch Effekt.

Not of This Earth is the first studio album by guitarist Joe Satriani. Originally released in 1986, this all-instrumental album was making ripples in the guitar-playing community not long after it was issued. It’s easy to see why: superior compositions, a signature style, a unique tone, and playing that’s out of this world. The fiery sound of “Not of This Earth” and “Hordes of Locusts” is tempered by the cool, dark tone of “Driving at Night”. There isn’t a weak track on this disc, even though the world’s most commercially successful solo guitar performer was still maturing when he released it.

Available as a limited edition of 1500 numbered copies on transparent blue vinyl.

Focusing on their craft, staying out of the fray and
holding fast their faith to find new ways to express the
discord and delight of being alive, to turn the duality of
existence into hymns we can share, Low present ‘HEY
WHAT’.
These ten pieces - each built around their own
instantaneous, undeniable hook - are turbocharged by
the vivid textures that surround them. The ineffable,
familiar harmonies of Alan Sparhawk and Mimi Parker
break through the chaos like a life raft.
Layers of distorted sound accrete with each new verse
- building, breaking, colossal then restrained, a solemn
vow only whispered. There will be time to unravel and
attribute meaning to the music and art of these times
but the creative moment looks forward, with teeth.
‘HEY WHAT’ is Low's thirteenth full-length release in
twenty-seven years, and their third with producer BJ
Burton.
Low’s 2018 album ‘Double Negative’ was a critical and
commercial success (including 8.7 / Best New Music
at Pitchfork), introducing new noise / experimentalbased textures and pop elements to their sound and
revitalizing their fanbase.
Founded in 1993, Low are influential pioneers of
minimalist, artful indie-rock.
Low’s track ‘Congregation’ was recently featured in an
episode of FX’s Devs.

Noctourniquet And then everything went black, at least for a while, at least for The Mars Volta. In the months and years following their fifth full-length, Octahedron, Omar kept on at his usual fearsome creative pace. In fact, he ramped up his output considerably, starting up his own Rodriguez Lopez Productions label and releasing a slew of solo albums. It was a practice he’d begun shortly after De-Loused’s release, with his solo debut A Manual Dexterity: Soundtrack Volume One, but as the decade reached its close, Omar grew to rely upon his solo recordings as an outlet for his prolific creativity, these albums often exploring musical pastures far beyond even The Mars Volta’s wide-ranging parameters. Before choosing to release music under his own name, Omar would always play it to Cedric first, to see if the frontman thought it had potential to become Mars Volta music. Shortly after Octahedron’s completion, Cedric flagged one batch of tracks Omar had cut with Deantoni Parks, a brilliant drummer and composer who’d briefly occupied the Mars Volta drumstool in-between Jon Theodore and Thomas Pridgen’s tenures, and whose volcanic creativity and unique, unpredictable approach to rhythm and composition had quickly made him one of Omar’s favourite artistic foils.

As with the music that made up Octahedron, the new tracks Cedric had optioned for The Mars Volta often veered far from the riotous, Grand Guignol visions of their earlier releases. It possessed the punchy, song-based focus of Octahedron, though this was a considerably darker, more menacing strain of pop, with synthesisers figuring heavily in the productions. Cedric took the tracks in 2009 and set about writing songs to the music. But no more new Mars Volta music would be heard until 2012. The years that passed in-between were nonetheless momentous, and busy, witnessing an unexpected reunion of the members of At The Drive-In, and Cedric joining his own side-project, Anywhere. But there wasn’t any sign of life within the Mars Volta until Omar, Cedric and their bandmates took to the road for a series of live shows in the spring of 2011, billed as The Omar Rodriguez-Lopez Group, debuting the songs that would become Noctourniquet. The album followed the next year, and it remains one of The Mars Volta’s finest, its electronic textures staking out unfamiliar but fertile new ground.

An unsettling, subtly turbulent listen, Noctourniquet found Cedric sketching out a story about “some sort of device that stops the darkness from bleeding”, drawing influence variously from the nursery rhyme Solomon Grundy, the Greek myth of Hyacinthus and the song Birth, School, Work, Death by British underground rockers The Godfathers. It was an album of dystopian futurism, signalled by the paranoid cyber-rock of opener The Whip Hand and its unnerving chorus, “That’s when I disconnect from you”. But it was also an album of inspired, unexpected moves and uncanny invention, like how Dyslexicon seemed to eerily evoke Blondie’s Rapture, before rushing headlong into its bruising chorus, tempos shifting restlessly throughout like quaking earth beneath the listener’s feet, or how Aegis put a brave new spin on The Mars Volta’s trademark rewiring of salsa’s overdriven passions, or how Cedric had never sounded as scary as he did on The Malkin Jewel’s mutant burlesque shuffle. Tracks like Molochwalker were sleek and concise in a way The Mars Volta had never really attempted before – which was all part of Omar’s plan.

“It had all been guitar, guitar, guitar, overdubs, everything fighting for space in the same frequency,” he explains. “So for Noctourniquet, it was all about subtracting elements, of sticking to how I made demos.” Deantoni’s presence helped revivify the group, playing against cliché and expectation, and taking each song in unexpected directions. “I’d beatbox a rhythm for him to play, to go with my guitar part, and he’d come back with three or four alternate options. It was so great.” Similarly, Cedric had never sung better than on Noctourniquet, staking out a fearsome spectrum from the chilling Tom Waitsian growl of The Malkin Jewel to the keening, beautiful vocalisation on Vedamalady, rising to match some of Omar’s most deft, most immediately effective and melodic songs yet. Indeed, Noctourniquet is the sound of a band discovering new ways to do familiar things, renewing their commitment to their mission, finding fresh inspiration a decade in, and shaking off any complacency that might have come with ten years of acclaim and success.

Following our first LP of Tom Jones’s finest soulful performances on the radio, “Soul Man”, we present a second album of soul songs that we think he should have released but never did. This time we concentrate on his TV performances, the bulk of which come from 1969 and reflect his personal preference for covering Stax, Atlantic and Motown material. So put aside your preconceptions if you have any and listen to his collaborations with Aretha, Smokey, Janis, Cher, Dusty and don’t forget that Wicked Wicked Pickett. With a tight, funky band led by Herbie Flowers, this is Big Band Soul at its very best.

CAY unveils his personal side on Another Life, a debut album rich in melancholic euphoria

The expressive, multi-faceted 10 tracker comes on Mind Against's HABITAT label in January 2026

Cologne-born producer CAY explores beyond the dancefloor with Another Life, a debut album that trades peak-time pressure for an ambitious and artful exploration of self. Far from being rooted in one genre, the record weaves his own honest vocals with a wide range of powerful rhythms that pull from progressive, broken beat, techno and trance.

For CAY, making music has always offered refuge and a place to calm his mind, process life’s chaos and channel personal experiences into sound. His journey started in the clubs of Cologne, in illegal forest raves and with trips to Berlin to soak up big room techno. His search for more purpose, away from mental demons and the darker side of the party lifestyle, led him to production. DJing followed after a push from his brother turned Manager, and while those experiences around Europe shaped his understanding of dance floor dynamics, he was never in a rush to release his early experiments.

Instead, CAY took private time to evolve into an accomplished artist with his own musical voice. Label heads Mind Against were so impressed when they heard what he sent to their demo inbox, they both reached out to collaborate, and he has since released on their label HABITAT.

With Another Life, he is making music that is multilayered and rich in narrative, rather than defined purely by big moments. It is drawn from years of writing, with more than 60 tracks whittled down to one concise, impactful statement. "There wasn't one big concept,” says CAY “but there was direction. It's a big risk for me, but I wanted to introduce people who like club music to something deeper. I want the music to say something real.”

Because of that, Another Life introduces CAY the vocalist. For the first time, he sings on several tracks. The subjects are real, whether that's an important friend, a moment with his girlfriend or, on 'Runaway', the thought of giving up and escaping everything. The lyrics are honest but often slightly oblique, so they invite your own readings rather than spelling everything out.

Sonically, the album moves between optimistic grandeur and introspective reality. It's cinematic but personal and bridges the gap between dancefloor drive and vulnerable storytelling. There is a grand scale to many of the tracks, with arching synths reaching and heavyhearted drums anchoring a groove: you'll dance, you'll cry, maybe both at the same time.

Another Life is the sound of a producer granting himself permission to sing, turn inwards and risk audience expectations. It’s intimate without being insular, club-capable without being confined, and a compelling first chapter for an artist who has spent years building toward this moment of truth.

Mathias Kaden returns to Rekids with the 'Circulate' EP, featuring a William Kiss Remix.

Mathias Kaden is back on Rekids after 2022’s ‘Blackbird’ EP, this time with the four-track ‘Circulate’ EP featuring a remix from the hotly tipped William Kiss. Kaden’s ‘Freedom’ kicks things off with stripped-back machine rhythm, tasteful stab melodies and a deeply satisfying low-end groove before an iconic gospel vocal joins in. Title track ‘Circulate’ is another infectious low-slung crawler with crunchy synth hits and a hypnotic and classy vibe that will get the dancefloor moving.

On the flip, William Kiss remixes Mathias Kaden’s ‘Freedom’ following his recent EP on Rekids' sibling label RSPX and the release of his collaborative project, Not Without Friends, with Luke Alessi and Jordan Brando on RÜFÜS DU SOL’s Rose Avenue. Kiss turns the track into a pumping peak-time cut with additional percussion and plenty of his signature Jackin’
flavour. Closing out the record, Kaden’s ‘Twisting Shadows’ introduces an acidic bassline and warped, dubbed-out vocals before dropping into an energetic trip.

Active since the mid-90s, Mathias Kaden appeared on Radio Slave’s Rekids for the first time in 2019 for ‘Liberate Drums’. He now returns to the label with the ‘Circulate’ EP, adding to his versatile discography on labels like Dyinamic and Vakant while also remixing work by Matthias Tanzmann, Onur Özer, Anja Schneider, and Trentemöller.

4 Techno Electro tracks for dancers and analog club enthusiasts created and recorded by artist 616 in his 616 LAB studio

2025 Repress

heaven smile. raised from the dead. versions. outtakes. accidents. staalman studio circa '23. play it loud.

" A very limited 7” for the tropical heads, beat travellers and cosmic cumbia astronauts on the new imprint Sun Of A Beach — the free-spirited daughter of Editions de Lux, who skipped town, fell in love somewhere between Kingston and Cartagena, and came back glowing, barefoot, and heavy on the bass.

At home in the steaming rainforest as much as the urban jungle of the Chapinero district of Bogotá, Colombia’s psychedelic groove pilots Ácido Pantera deliver a double-sided tropical weapon aimed straight at late-night sweatboxes, boat parties, and sun-soaked terraces.

"Te quiero, te amo” is a declaration of love at 132 bpm, bouncing along like a low-rider over cobblestones while neon synths float in the humid air.

Flip it for “Pájaro cantor”, a sound system destroyer that will lock the floor in an acid trance that feels both ancestral and futuristic in the same breath. This one’s featured on the FC26 soundtrack and will have you shimmying like Luis Díaz right before he bangs one into the top corner!

You know what to do!"

"Only a clarinet sings – minimal, quivering, wavering. Breathing mad notes in the cracks between notes, weaving a dazed, fuzzy kind of magic. The latest recordings by Museum of No Art are tripping – floating in suspense, somewhere out in the irrational corners of the world inhabited by the haunted elegance of Ben Bertrand or Bernhard Herrmann. But still, entirely her own – a quiet revolt of classical clichés in search of a new dawn for lunatic woodwinds. She sings through her instrument and it sings to her. It carries her, and she lets it. A distinctive timbre tumbling through tonal fog. Four freely formed compositions for dispari. One petite and tempting. Two mid-length wanderers – teetering, wobbling. And one epic piercer. All drifting in inspiring airs. Ephemeral, nebulous, fragile, like the desolate candy snowman, melting on a warm tongue, threatened with complete dissolution. Fleeting like a stolen glimpse of the intimate curve of an anonymous stranger’s neck."

CRO ist ein Phänomen und hat es geschafft dabei ein Phantom zu bleiben. Deutschlands erfolgreichster
Raopper ist ein „Superstar Inkognito“. Obwohl inzwischen jeder etwas über ihn zu berichten hat, weiß
man relativ wenig über den Ausnahmekünstler. Vom Beginn an seiner Karriere trägt er eine Maske um
unerkannt zu bleiben. Seine Kunst soll im Vordergrund stehen, nicht seine Person.
Für sein drittes Studioalbum hat sich CRO zurückgezogen und eine Auszeit gegönnt. Er hat alles was
seit der Veröffentlichung von EASY passiert ist versucht zu verarbeiten. CRO geht ins Studio und stellt
sich der Herausforderung seiner selbst gerecht zu werden. Er macht aus der Not eine Tugend und arbeitet
mit dieser neuen Energie. Er beschäftigt sich mit der Vergänglichkeit und stellt sich die Frage worauf es
im Leben wirklich ankommt und was am Ende bleibt. Während diesem Prozess entsteht die Single “Unendlichkeit” und ist tiefer als alles was er bisher produziert hat. Die Songs auf tru. fügen sich zu CROs
coming of Age Album zusammen: Sein eigenes, kleines „808s and heartbreak“ und der erste offzielle Blick
hinter die Maske.
Im Anschluss an die CRONICLES Tour 2025 ist „tru.“ jetzt endlich wieder auf weißem Vinyl erhältlich!

Aedis, hailing from Barcelona and currently based in Amsterdam, presents his debut EP on Animalia. In his unique interpretation of the label, we find the artist diving deeper into a sound he's been shaping over time, refining its identity through subtle evolution and focus. The EP leans into an off-centre dance sound -- deep, dub-tinged, and anchored in groove and movement. It builds on techno's pulse and minimal structure, keeping the rhythm upfront while letting small shifts and textures do the talking.

In 2016, a year after the 50th entry in the long-running series, none other but the iconic Detroit artist, DJ and producer Moodymann stepped up to helm the next landmark edition of DJ-Kicks, his first ever multi-artist DJ mix compilation. Following !K7's 40 th anniversary, this classic DJ-Kicks mix is now being repressed on coke bottle clear vinyl.
Born Kenny Dixon Jr., Moodymann is a one-of-a-kind electronic music icon, hailing from, and wholly synonymous with the Motor City. He is an outspoken, impossibly charismatic artist who has been putting a distinctive and soulful stamp on house and techno since the early 90s. Melting together jazz, funk, soul, blues and rock in captivating ways, he is responsible for some of electronic music’s most definitive tracks, EPs and LPs on labels like Planet E, Peacefrog and his own KDJ and Mahogani Music imprints. As able to serve up the sweetest and most sensual sounds as he is the darkest and most depraved grooves, his own unique voice and stream of conscious musings infuse expertly sought-out samples for music that is decisively alive and authentic.

Across 75 minutes and 30 tracks, Moodymann does not disappoint: despite being a notorious vinyl fetishist, Dixon’s aim is to present music of quality, not to one-up fellow collectors. Rather than serving up ridiculously rare or hard- to-find records, he instead focuses on creating a libidinous, blues-drenched mood that takes in heart-breaking soul, gorgeous hip-hop and love-fuelled house.

In addition to cuts from his own creative circle, the mix features 11 exclusive Moodymann edits. Like everything Kenny Dixon Jr. touches, his DJ-Kicks showcases the taste, skill, and soul of a dance music original.

‘Let’s take a trip’ – with major names on the psytrance scene Avalon and GMS releasing on KNTXT for the first time, combining forces for a full-on attack, 4-track EP ‘The Underground’, out December 11th. Their joint mission? ‘Combining two worlds where psytrance meets techno, a fusion which will take you on a mind-expanding journey! Welcome to The Underground…you have arrived!

London DJ/Producer Avalon was recently awarded the number 1 top-selling psytrance artist on Beatport with over 30+ psytrance chart #1s and 5 top-selling LPs to his name, and performs at the likes of Tomorrowland, Boom, EDC Las Vegas, Glastonbury, Exit, Burning Man, Ultra, ASOT, Ministry Of Sound,... GMS (Growling Mad Scientists) was founded by Dutch Ibiza-based DJ/Producer Riktam with the sadly late Bansi, to establish pioneering psytrance label Spun Records and to have director Tony Scott no less, using GMS tracks on three of his films. A prolific producer with over 300K album copies sold, GMS holds the most psytrance records released overall.

‘I'm beyond honoured to release this stunning four tracker from psytrance legends Avalon and GMS. With this release, friendships were formed and worlds truly started colliding. I have massive respect for both these artists and their long standing impact on electronic music. This release feels like a bridge between generations and genres. It carries an energy that deserves to be heard, experienced, and felt on dancefloors around the world.’ Charlotte de Witte

Title track ‘The Underground’: hyperspeed trance beats support a wild variety of acid-dripping pulsations, spacey arps, otherworldly swoops, mind-teasing stabs, it’s like a lightshow in sound. That transports its listeners into another dimension. On ‘Horizen’, psytrance thrives, while ethereal vocals call, with intricate sound design painting a mythical soundscape. On ‘Machines’, it’s driven by hypnotic acid lines, pulsating Kick & Bass with sprinkles of techno infused percussion! Its choral notes and alien-like spoken lyrics, both gripping and disorientating as builds & breaks come thick and fast. ‘Rave to the Grave’: constant pulsing high synth and vocals with twanging acid together with frantic percussion create a sustained, agonizing build, build, build – until ‘On the 7th day, the Lord said ‘Let the beat drop!’’ Phew!

‘We are very excited about our debut release on KNTXT ‘The Underground’ and can’t wait to share this 4 track EP with you all. We hope you enjoy it as much as we did creating it. This fusion of techno/psytrance is brought together by all of our mutual love for acid & driving hypnotic dance music! Enjoy… Play it loud! Welcome to The Underground… You have arrived!’- Avalon & GMS

A mind-bending EP, with racing beats that give the ‘trance’ in psytrance a huge adrenalin shot. This is high energy reaching new altitudes; hold on to your brain cells, they’re going for a ride!

5-track EP of aquatic, dubbed, and acid-infused electro from the Stockholm legend.

A vinyl soundtrack for GQuuuuuuX (Geku Axe) is now available!

"Mobile Suit Gundam GQuuuuuuX" is a new Gundam series, a collaboration between Studio Khara, the creators of the "Evangelion" series,
and Sunrise, the creators of the Gundam series. The pre-release theatrical version was released in January of this year, becoming a huge hit,
grossing approximately 3.4 billion yen and attracting over 2.06 million viewers.
The TV broadcast began in April, and it became one of the most talked-about anime titles of the spring.
A vinyl record featuring a selection of the soundtrack from "Mobile Suit Gundam GQuuuuuuX," including the music used in the pre-release theatrical
version, is now available. The music was co-produced by Junsei Terui, known as a member of the bands "Haisui no Nasa" and "siraph" and
Masayuki Hasuo, also a member of "siraph," and composer of the anime "Jujutsu Kaisen" series and the live-action film "Showtime Seven"
The music, which includes pop, electronica, and minimal music that fits the worldview of the work, will allow you to experience a new "Gundam"
sound. The LP label side is colored vinyl (splatter disc) and it is a set of two discs!

Yesterday it started to rain…

The smell of damp tarmac rising up through open windows, a smell which is uniquely evocative for us all depending on our individual histories: a suburban pavement, a school playground, a basketball court.
The rain cut through a band of low pressure that had been lying over the city for days, pinging rhythmically off metal, causing rolling tyres to hiss and spit.

The music that soundtracked this meteorological shift was the debut full length from Rain Text (Giuseppe Ielasi & Giovanni Civitenga), simply titled III. Scattered throughout the nameless eight tracks there are moments of low-end pressure relieved by the fizz and clatter of metallic rhythms; there is static, there is discord, there is release.

The individuals comprising Rain Text have a long history of manipulating sounds for evocative ends, Giuseppe Ielasi has been making music as one half of Bellows for many years, each album stretching and destroying their sound in beautiful increments. He has also released reliably inspirational music either solo or in collaboration for the likes of Editions Mego, Shelter Press and Faitiche. His sensitive ears are also in high demand as a mastering engineer. It is worth perusing the 800+ releases he has technical credits for on Discogs: from classics of the avant-garde to the freshest faces of the Swedish underground, the chances are some of your favourite albums are included.

Giovanni Civitenga helms the SKYAPNEA long-running NTS show. Joining him, you can enjoy the fruits of a lifetime of deep listening through shows that flit between the industrial and the devotional, a space that is fully explored on III.

The album was recorded quickly over three fertile days in Ielasi’s studio in Monza, but of course results like this can only be achieved at such a pace by spending a lifetime obsessing over the mechanics and possibilities of sound.

Those who are enamoured by the rain—who are returned by it to the surfaces, smells and sounds of a lost and idealised youth; who feel themselves restored—are known as ‘pluviophiles’. Their response to rain may well have a biological explanation: when rain hits tarmac negative ions are released into the air, which are thought to result in feelings of wellbeing and positivity. All the more reason, then, to return to the vivid ecosystem that Rain Text has so carefully cultivated for III."

Words by The Dengie Hundred – August 2024

ATA Records proudly present the latest release from The Flying Hats, Blender 7” Following the buzz surrounding their debut LP and the soft limited pre-release of Blender, anticipation for this single has been huge - and with good reason.
“I've never heard something so perfectly combine funk and reggae and do it in a way that is dancefloor gold”. - Monkeyboxing.
The Flying Hats - the Leeds quartet responsible for one of the standout albums of the year - return in phenomenal form with two previously unreleased cuts of the highest calibre. Both tracks strike hard somewhere between Kingston and New Orleans, as if The Meters were channelling Jackie Mittoo or Sound Dimension were jamming with Jimmy Smith.
Thick, funky-reggae organ leads the charge with killer breakbeats, bass pressure, and rhythm-section fire designed to light up any dancefloor worth its salt. Both sides are built for selectors, collectors and dance DJs alike.

Was ist Krautrock? Genre, Provokation oder Mythos? Diese Compilation liefert keine endgültige Antwort - aber zwölf ausgewählte Tracks aus fünf Jahrzehnten musikalischer Grenzüberschreitung. In Zusammenarbeit mit Bureau B entstanden, versammelt diese Platte Highlights aus einer größeren, kommentierten Diskografie. Kein Kanon, sondern ein Impuls: zum Wiederhören, Weiterdenken, Diskutieren. Krautrock bleibt Streitfall - und genau das macht ihn lebendig. Jetzt auf transparentem Vinyl - limitiert und unverzichtbar.

A1 + A2 ARTIST - Sis NyaB1 +B2 ARTIST - Chiney Kiki
Recorded and Mixed - Jamtone Studio by Darren Mathers
2022PRODUCED - CHANNEL ONE SOUND SYSTEM

Hot Creations Winter 2025 Vinyl Sampler featuring four of the Hottest recent releases on Hot Creations.

First up Jamie Jones marks Hot Creations’ 15th Anniversary with solo return with this year’s anthem: “Murder Mystery. His first solo release on Hot Creations since 2022’s ‘Bionic Boy’ EP, it’s a track designed to move, mesmerize, and captivate with every listen. Rolling basslines, intricate percussion, and a subtle tension pulse beneath the playful surface, making it a record built for late nights, festival main stages, and intimate spaces alike. It’s a statement of intent, and a reminder of why Jamie’s groove-driven productions continue to set the standard for house music worldwide. Next up Darius Syrossian returns to Hot Creations with ‘Bass In Ya Face’, featuring Cortez Walls is a driving, bass-fuelled floor-filler that combines weighty low-end grooves with hooky vocals.

On the flip, Joe Rolét makes his Hot Creations debut with this summer’s underground anthem. Enter: ‘No Hesitating’, the definition of a bassline mover. Stacked with rave-ready pressure and designed for full dancefloor impact, it’s a cut that has already been road-tested to devastating effect by Rolét himself alongside names such as Chris Stussy, Max Dean, and the Hot Creations head honcho himself, quickly becoming one of the most sought-after IDs of the year. Finally Manchester’s AJ Christou is back on Hot Creations with the incredibly infectious: ‘Bang Bang’, which leads with crisp percussion, slinky grooves, and a hook that’s been igniting AJ’s sets worldwide.

Alan Vegas selbstbetiteltes Debüt-Soloalbum kam 1980 raus, zur gleichen Zeit, als Suicide ihr zweites Album "Suicide: Alan Vega and Martin Rev" veröffentlichten. Während Suicides Plattenlabel ZE Records das Duo in Richtung eines synthetischen Disco-Sounds drängen wollte, der von Moroders Produktion von Donna Summers "I Feel Love" inspiriert war, zog es Vega in eine andere Richtung. Er wollte tiefer in die Wurzeln seiner eigenen musikalischen Identität eintauchen, die von Blues, Rockabilly, frühem Rock ,n' Roll und seiner anhaltenden Liebe zu Elvis Presley geprägt war. Vega nutzte die Zeit zwischen den Aufnahmen mit Suicide, um seine selbst geschriebenen Songs auszuarbeiten, begann mit der Produktion seines ersten Albums und trat live auf, um diesen Sound weiterzuentwickeln. Wie auch in seiner bildenden Kunst schichtete Vega Klänge auf minimalistische, dynamische und bewusste Weise. Das Ergebnis war ein einzigartiges Album, das aus rohen Materialien entstand und tief in Vegas künstlerischer Vision verwurzelt war. Tracks wie die klassische Hymne "Jukebox Babe" mit ihrem schwungvollen Rhythmus und ihrer minimalistischen Selbstsicherheit fingen diesen Ansatz perfekt ein und wurden in Frankreich zu einem Hit. "Kung Foo Cowboy" hat einen südstaatlichen Touch und lehnt sich stark an den Blues an, während der goldene Pop-Glanz von "Ice Drummer" mit melodischem, aber klagendem Gesang, marschierenden Trommeln und einem geschmackvollen Mundharmonika-Solo überzeugt. "Bye Bye Bayou" ist ein eindringlicher Mutant-Rockabilly-Song, der den Rock der 50er Jahre mit Vegas exzentrischem Performance-Stil verbindet und später in der Coverversion von LCD Soundsystem aus dem Jahr 2009 neu interpretiert wurde, wodurch Vegas Solowerk einer neuen Generation vorgestellt wurde. In ähnlicher Weise würdigte die Coverversion von "Ice Drummer" durch The Flaming Lips Vegas Außenseitergeist. Jetzt von Josh Bonati anhand der Originalbänder neu gemastert und erstmals auf Streaming-Diensten verfügbar, wurde Alan Vega von Sacred Bones Records originalgetreu neu aufgelegt, wobei die rohe Intensität von Vegas Originalaufnahmen erhalten blieb und sie gleichzeitig für Hörer auf der ganzen Welt neu zugänglich gemacht wurden. "Alan Vega" ist mehr als ein Solo-Debüt, es ist eine Erklärung der künstlerischen Unabhängigkeit und Freiheit eines der einflussreichsten und kompromisslosesten Künstler New Yorks. Ohne die intensive Elektronik von Suicide, aber mit Vegas Außenseiter-Energie und Schärfe, übersetzt das Album den frühen Rock 'n' Roll durch einen Art-Punk-Filter, der sich als eigenständiges Kult-Meisterwerk bewährt hat.

Mit Secret Love legt die Londoner Band Dry Cleaning ihr bislang reifstes Werk vor. Das dritte Studioalbum, produziert von Cate Le Bon, ist eine konzentrierte Momentaufnahme der besonderen Chemie zwischen Florence Shaw, Tom Dowse, Nick Buxton und Lewis Maynard. Aus intensiven Sessions in Peckham, Chicago, Dublin und schließlich im Black Box Studio in Frankreich entstand ein Werk, das Vertrauen und Verletzlichkeit ins Zentrum stellt - die Bande zwischen den vier Musiker*innen ebenso wie das fragile Verhältnis zwischen Nähe und Manipulation in der Gesellschaft. Musikalisch schlägt Secret Love eine Brücke zwischen den paranoiden Untertönen des frühen US-Punks, dem coolen Strut der Stones, Stoner-Rock, No-Wave-Experimenten und zarten, fast pastoralen Gitarrenfiguren. Die Stücke atmen gleichermaßen Schärfe und Verspieltheit, immer getragen von Shaws unverwechselbarem Sprechgesang, der präzise auf die dynamischen Soundlandschaften ihrer Band reagiert. Damit knüpft sie an eine Tradition von Spoken-Word-Künstlerinnen wie Laurie Anderson an, erweitert sie aber um eine ganz eigene Mischung aus Absurdität, Empfindsamkeit und lakonischem Humor. Die erste Single "Hit My Head All Day" zeigt exemplarisch, wie Secret Love gesellschaftliche Themen - etwa Desinformation und Einflussnahme - mit persönlicher Unsicherheit und existenzieller Fragilität verknüpft. Doch trotz aller Schwere bleibt das Album von einer spielerischen Offenheit geprägt: Ideen wurden ausprobiert, verworfen, neu zusammengesetzt - bis ein Sound entstand, der gleichzeitig roh, elegant und unerwartet warm klingt. Secret Love ist ein Album über das Vertrauen - in Freundschaften, in Musik, in sich selbst - und über die Risiken, die damit verbunden sind. Es markiert für Dry Cleaning den Schritt zu einer Band, die ihre avantgardistische Energie zu einem unverwechselbaren Ausdruck verdichtet hat.

On the 25th August, Burna Boy will release his brand-new album ‘I Told Them…’. It will be available to stream everywhere as well as on CD & Vinyl. The Pre-order will go live alongside the album announce on the 28th July. ‘I Told Them…’ features Burna’s newest hit singles ‘Sittin’ On Top Of The World (feat. 21 Savage)’, ‘Talibans II’ & ‘Big 7’ as well as a whole host of album features.



Burna Boy was born Damini Ogulu in Port Harcourt, Rivers State, Nigeria, in 1991 and began making music at just ten years old. As a teenager he honed his craft on Nigeria’s southern coast, delving into dancehall, reggae and Afrobeat’s. In the early 2010s Burna Boy emerged as one of Nigeria’s fastest-rising stars, combining influences from his Nigerian heritage with hook-filled pop stylings to create unforgettable tracks. His 2012 single ‘Like to Party’ broke into the global mainstream and paved the way for his full-length debut L.I.F.E, a year later.



Over the next five years, Burna Boy released two more albums and collaborated with a long list of high-profile artists including J Hus, Skales, Fall Out Boy and Lily Allen. African Giant was released in 2019 followed by his fifth album Twice as Tall in 2020 (which featured collabs with Chris Martin and Youssou N'Dour), both charted in several countries across the globe andgarnered worldwide acclamation, with the latter winning a Grammy Award for ‘Best Global Music Album’. Breaking cultural boundaries, he became the first Nigerian to headline a show at New York’s Madison Square Garden, he released his sixth album, Love, Damini, last year (featuring collabs with the likes of Ed Sheeran and Khalid). It deservedly became the highest-charting Nigerian album in history and currently holds the record for the only African artist to earn a no. 1 on iTunes in 16 countries worldwide.

Following his debut EP God Iz Enough, South London artist Tomi Ahmedeus unveils “Sereniti Praya” a striking new chapter that deepens his sonic identity. Once again collaborating with Grammy Award-winning engineer IRKO, Ahmedeus crafts an immersive soundscape where brutalist textures, cinematic layers, and visceral rhythms converge. At it's core, Sereniti Praya is both dance driven and emotionally resonant: intricate sampling and percussive detail form the cadence of a project that speaks to love, loss, and self-discovery.

It is a record that moves between the personal and the ephemeral, designed as much for reflective listening as for the energy of the dance floor.

Repress!

Undoubtedly one of the most addictive records of 2017, CamelPhat & Elderbrook's 'Cola' has been a defining musical moment of the year. Growing exponentially since its release, the track has captivated tastemakers, DJs and clubbers alike, topping charts and blowing up worldwide to become a true modern anthem. Leading on from the success of the original and some heavyweight remixes, three of which hit the Beatport top ten - for the first time on vinyl, comes a remix package set to continue 'Cola's' dance floor domination.
Rising superstar Franky Rizardo's suitably heavyweight remix comes correct with a club-friendly update that elevates the unmissable vocal hook and bottoms out the breakdown. Dario D'Attis' vinyl exclusive mix continues the club feel with rolling grooves, teasing breakdowns and shuffling hi-hats in a remix which packs a punch, guaranteed to get people moving from the get-go. Mousse T. flips the track completely, bringing those Glitterbox vibes to Defected, taking 'Cola' to the next level and going straight to Traxsource #1 in the process.

Back in stock soon!

Dan Piu wrote this album during the "dark, dystopian times" of the last year. The record's themes take in nature, human life, sci-fi, cyborgs and plenty in between with opener 'Tru Confession' being a robust house track stacked with throwback breaks, futuristic synths and old school vocals. There is a real warmth and soul to the machine sounds of 'Un-X-Plored Exodus' while a certain sense of 90s New York house colours 'Upgrade System M59'. 'System Of Ethics' shows off a fine mastery of synth craft that brims with emotion and 'Asteroid Blues' is like a lost Kerri Chandler cut. Essential.

Pacific Northwester Drew Sullivan is the man behind the Slow Dancing Society and on his latest album, he interrogates nostalgia with clearer eyes while sculpting analogue glow, treated guitar and patient ambience into scenes that breathe. Tracks drift like headlights through snow - hums, howls, bass rumbles, rain-veiled keys all feature, each motion subtle, deliberate and devastating. The record's power lies in restraint: chord changes feel meteorological, melodies arrive as messages, then vanish. It's ambient music with a spine, grief without spectacle. By the time 'Blue Suburban Skies' lifts into Twin Peaks-levels of ache, Sullivan has rebuilt a world you want to hide away in forever.

Marco Funari’s Music Institute Records make’s a return with it’s first ever release from 1993, remastered and re-released. Another lost house classic !

Schneeweißes Vinyl. Zum ersten Mal seit seinem viralen Weihnachtsalbum ,A Joyful Sound", das 2020 rausgekommen ist, ist Kelly Finnigan (Monophonics) mit zwei neuen Original-Weihnachtsliedern zurück. ,I Can't Wait (For Christmas Time)" ist ein schwerer, aber entspannter Song mit einem geradlinigen Pop-Arrangement. Es ist dieser Rust-Belt-Soul-Sound mit den Harmonien, die südkalifornische Cruiser beflügeln: tief und emotional, mit genau der richtigen Instrumentierung, um Finnigans zarte Stimme in den Vordergrund zu rücken. Der Song wird auch von seiner Labelkollegin Kendra Morris und ihrer Band im Hintergrundgesang begleitet. Ähnlich wie frühere KF-Veröffentlichungen oder Perlen von The Escorts oder The Four Mints ist diese Platte für dich und deine Lieben gedacht, verpackt in hübsches Papier unter dem Baum bis zum Weihnachtsmorgen. Dann lass noch etwas Platz für Plätzchen und die B-Seite... ,Snowy Night In Ohio" fühlt sich an wie ein langsam fahrender Mitternachtszug, der sich von Cincinnati nach Memphis auf den Weg macht. Inspiriert von Finnigans erstem Winter in Ohio, seiner Liebe zu Gospelplatten und den Hornarrangements von Isaac Hayes. Dies ist ein wirklich herausragendes Instrumentalstück, das eiskalte Seele versprüht. Es enthält eine kurze Gesangsbotschaft von Finnigan, die sich wie ein Zeugnis und ein Herzensanliegen anfühlt. Mit dabei sind Terry Cole und Jimmy James von Colemine sowie Billy Aukstik und Morgan Price.

Swiss sound artist Zimoun returns two long-form works sculpted entirely from the Wind Dynamic Organ (Prototype III) in Bern. Built by Daniel Glaus and his team at the Bern Academy of the Arts, this one-of-a-kind instrument transforms air into something palpable and tactile - wind pressure, airflow and tone are all fluid while shaping sound that shimmers between breath and vibration. Zimoun spent years recording and experimenting with it, coaxing warm, resonant tones, and what results is immersive and uncanny. His vast reverberations and slow-moving harmonics seem to breathe and explore a new frontier in acoustic minimalism.

Andrea opened this sophomore album Due In Color mostly during 2020 and 2021. You may reverb that those times were slightly crazy due to the small matter of a pandemic which is what lead the artists to explore a world of more hazy and experimental jazz sounds. That in turn inspired him to use more acoustic sounds in his music and so this is a record that turns its back on dark and booming club spaces and heads instead towards blooming fields of expansive downtempo, textured ambient and dreamy soundscapes.

Childhood Intelligence 20 / Vinyl Only / Incl. RISO OBI strip, Sticker, Hand-numbered & Hand-stamped. Part Of The “OTHERWORLDS” Capsule project.

Our 20th official record release DAWN OF THE UNDERWORLD - “BLEEP CHRONICLES: OTHERWORLDS” presents a spooky sci-fi Bleep SAGA. A haunted otherworldly journey, resurrecting sounds & scenes from an era long gone. Emerging from an ongoing process of revisiting old DAT tapes from the early 90s, rediscovering forgotten grooves, constructing new fragments / sequences and building sonic bridges between the past-present, time & space.

In a World of deep paradoxes unrestrained by time, mysterious new corporations appear; tagged with the words 'Sunrise Inc.' ... For the first chapter in Childhood Intelligence's Sub-Division Corporation "Sunrise Inc.", Future vinyl Artifacts from Inf0 - Sheffield, UK - have been collected; 6 Traxx showcasing visions of Dark Mystique, from Dreamy Auras and Lush Soundscapes, to Outer Space - all in Pulse with Fresh Acid Saturation and Electrobass. Limited copies...

“I II III” is pure voltage. An EBM synth-punk blasting assault forged in the concrete heart of Kyiv. These tracks don’t just move: they hit, with brutalist force, fury, and cold rage. Each beat stomps forward like a clenched fist, a sound for strobe-lit riots and blacked-out warehouses. Body music as survival instinct and harsh rhythm as revolt. Raw. Unrelenting. Necessary Presented in ONE- OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid RED vinyl, All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).