Cerca:dr rhythm

Joni Void, the artistic persona of Montréal-based French-British producer Jean Néant (he/them) returns to songcraft on their warmest and most welcoming record yet, where the acclaimed sampledelic sound collagist chills out with an emotionally resonant song cycle tinged by downtempo, lo-fi, avant-pop, and trip-hop. Guests include Haco, Ytamo, Sook-Yin Lee, Pink Navel and N NAO. Every Life Is A Light expands on Void's recent stylistic turn towards more languorous and mellow lo-fi production, foreshadowed by the drifting looseness and ambient bricolage of their preceding experimental sound-art record. This transitional sensibility now shapes more defined song structures and styles, with loops are given time and space to unspool, and rhythms shot through the softer-focus lens of trip-hop and dub. Every Life Is A Light swaps the twitchy insistence of Void's acclaimed early albums for a newfound lightness and suppleness, still imbued with all the restlessness, sonic detailing, and emotional resonance that made their name. The neurotic brokenmachine kinetics of earlier Void, summarized by Sasha Geffen as "drawing despair and wonder from within the vast unfeeling of digital communication" in an 8.0 Pitchfork review, may be chilling out, but Void is becoming an ever better conjurer of hauntological feeling. Every Life Is A Light summons this in a comparatively buoyant, benevolent, head-nodding journey more open to tenderness and modest joys. Perhaps it's the sound of Void at greater peace with themselves and the world, despite the bittersweet cost: even as it channels grief, memorializing comrades and companions recently deceased, this album wants light. Void's raw materials continue to draw heavily from samples (their own Walkman cassette fieldrecordings and songs by others) and from a wide community of musical guests. Vocalists Haco on "Time Zone" and Ytamo on "Cloud Level" help levitate what could be lost tracks from a mid-90s Too Pure Records compilation of skewed-lounge electronica. Canadian musician Sook-Yin Lee sings on lead single "Vertigo," a sinewy 80bpm tape-loop and bassline groove propelled by psychedelically-layered lyrics that eventually turn the song in on itself entirely, like Grace Jones' "Nightclubbing" covered by Animal Collective. One of Void's greatest hip-hop loves is the Ruby Yacht collective; charter member Pink Navel drops some brilliant verses on "Story Board." The album's two minimal tracks, an extended piano loop set to a slow beat and shimmering electronics on "Muffin-A Song For My Cat" and the languid sampled bass riff and breakbeat of "Event Flow," are perhaps most overtly `lofi chill.' Indeed the whole album could be said to sit adjacent to those viral (if not already AI-generated) genre trends, which maybe begs the question on a lot of our minds: can specificity and authenticity of musical materials still be heard, still meaningfully signify substance and difference, still matter? Perhaps a question that fades in comparison to the career break Void could catch by landing on generic streaming playlists. More likely, these tracks remain too off-kilter, too genuinely lo-fi and ineffable, and too disqualified by the status of its peasant rights-holders, to catch the algos. Context remains the poor cousin of content. Meanwhile Void marches on, as a tireless organizer of local music events, bouncing around and often living in DIY venue, depending on the latest apartment eviction. With an ubiquitous polaroid camera in tow, they also document each communal happening with a single shot (and often a blinding flash bulb): a memory and metaphor for lives illuminated preciously, singularly, `imperfectly' in the moment. Dozens of these polaroids adorn the album's back cover and inner sleeve art in grid-like montages, as a fitting analog for the careful construction, grainy intimate materiality, and ephemeral feeling of these songs. Every Life Is A Light is Joni Void's most coherent and congenial record while relinquishing none of their experimentalist acumen as a producer or emotional attunement as a composer. Instead these qualities flourish, on an album that lights a humble flame for the fragile promise of homespun creative collaboration as unalienated labour and therapeutic communion, making an enchantingly idiosyncratic contribution to downtempo sample music along the way. Thanks for listening.

A long standing resident of the infamous FOLD in London whose risen to prominence with electrifying performances across Europe and a growing discography on esteemed labels such as Ear To Ground, Natural Selection, Raw Quarter, Laburnum, and Mhost Likely , Andromeda unveils her debut on Rant & Rave with Dark Matter EP. Drawing inspiration from the raw essence of 90s techno, with it she hones in her skills with modular synthesis and hardware production.


The EP opens with the title track, where a brooding tapestry of foreboding synths gradually rise in pitch and complexity, simulating the mysterious expansion of the cosmos. Lost Planet follows with hypnotic leads and an unyielding rhythm section. Appropriately titled Black Hole follows which cuts through with razor-sharp stabs and a resonating bassline. Closing with El Abismo, Andromeda ventures into darker sonic territories. This track is a no holds barred assault, where interwoven synth lines clash against commanding percussion and a punishing kick, asserting dominance over the dance floor with commanding force.


As a digital bonus, Andromeda invites Severn Electronics label owner, 7XINS, who delivers an outstanding remix of Black Hole. With his signature sound, 7XINS layers complex synth textures and reverberated drum patterns that twist the mind and tease the senses, crafting a remix that is as intricate as it is impactful.

Streng limitierte, remasterte Deluxe-Auflage zum 20-jährigen Jubiläum des vierten Albums "Wet From Birth" (2004) der US-Synth-Punk-Band The Faint, das den Puls des Berliner Undergrounds mit der DIY-Körpersprache Omahas verschmolz, wo Punk ebenso Rhythmus wie Rebellion war. Ihr Sound kombinierte die melodische Essenz von New Wave, die raue Kante von Post-Punk und den roboterhaften Futurismus von Detroit Electro, und mit der Hinzunahme des Death Metal-Gitarristen Dapose entflohen sie in ganz neue Sphären. The Faint brachen aus der bescheidenen Bequemlichkeit des Indie-Rock aus und lieferten den Schock, zu dem die Indieszene der Spät-90er/Früh-2000er bereit war. Die neue Deluxe Edition enthält das sorgfältig von den Originalbändern remastere Album, erweitert auf Doppelformat, mit zwei gänzlich unbekannten Sessiontracks, unveröffentlichten Demos und einigen Remixen, und erscheint auf transparentem Doppelvinyl mit Poster (18x24") im mit Metallfolie geprägtem Gatefold.

FIRST TIME EVER ON LP
LIMITED EDITION CLEAR VINYL - ONLY 1000 UNITS PRESSED
COMPACT DISC BACK IN PRINT FOR THE FIRST TIME IN 10 YEARS - Now On 8 Panel Digi-Pak
FINAL SMITHEREENS ALBUM WITH ORIGINAL LEAD SINGER PAT DiNIZIO
PRODUCED BY DON DIXEN (REM, GIN BLOSSOMS, MARSHALL CRENSHAW)

“Crushing chronic chords with the dyne-rhythm section to fuel it all, are not only still here, but stronger than ever”. No Depression

"Everything in Smithereens' world is like a film noir shot in psychedelic colors. But this New Jersey band has a talent for creating fresh variations that prevent dust or mist from clouding their music. "Smithereens 2011" reaches a peak with the song that opens the album, the sour-tempered yet utterly transporting "Sorry.” Ken Tucker, NPR

"Wholly satisfying blast of classic Smithereens songcraft and melodicism, colored with Pat DiNizio’s impassioned vocals, Jim Babjak’s thick-toned, stinging guitar, Dennis Diken’s imaginative, powerful drum work and Severo “The Thrilla” Jornacion’s stylish bass. The entire collection sounds like a return to The Smithereens’ mid-to-late ’80s glory years, both song and performance-wise.” GOLDMINE MAGAZINE

“And 2011’s songs – the songs! – vintage! Picks up where Green Thoughts left off. Pop Dose

Montreal mainstay Sabola (aka Adam Hodgins) brings his intricate sound to Garmo with Útilykt, a six-track odyssey through shadowy IDM textures, fractured techno rhythms, and breakbeat experiments. Spanning a wide range of tempos, the EP evokes the tension between isolation and expanse—its beats heavy with introspection yet reaching outward toward something vast and untamed. Rooted in the sensibilities of early 2000s drum and bass, Útilykt channels the raw energy of that era while weaving it into Sabola’s deeply atmospheric and modern sound.

Ancient Japanese spirits meet contemporary electronic music in *Yokai Parade EP*, a mystical collaboration between Italian producer Volantis and Japanese artist Hiroko. Inspired by a psychedelic experience in Kobe where train sounds summoned supernatural visitors, this four-track journey merges folklore with modern dance music through a unique blend of hardware synthesis and haunting vocals.

The title track “Yokai Parade” leads listeners into a shadowy realm where Hiroko’s Italian narration intertwines with Japanese train announcements, calling forth ancient spirits. Eden Burns transforms this nocturnal tale into a hypnotic, percussion-driven remix that deepens its ceremonial essence. On “La Kappa,” Hiroko embodies a playful water spirit, her accented Italian dancing over dreamlike sequences. Fabrizio Mammarella’s Italorama Version injects classic Italo disco energy, creating a perfect bridge between Japanese mythology and Mediterranean dance floors.

Co-produced with Niccolò Barozzi, this vinyl and digital release captures a unique moment where East meets West, and traditional folklore dissolves into electronic rhythms.

LOUISVILLE, KENTUCKY has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro...these are but some of the exceptional music acts originating in Louisville after 1977. Now it"s time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Like Scarlett O"Hara wrapped in a green velvet curtain, Rigot crafted his own glamorous reality from what was available in the blasted cultural landscape of 1970"s Kentucky. Gold spray paint, duct tape, Ace bandages ... a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ("White Glove Test" and "Trick or Treat") were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release - more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot"s remote vocalese, set against Alex Durig"s guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig (age fifteen!) supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public"s pop tastes in "79-"80. Thirty years of rap and roll later, The Endtables seem inevitable.

Selten hat Tenorsaxofonist Archie Shepp so radikal und furios geklungen wie im Titelstück von ”The Magic
Of Ju-Ju”. Angetrieben von den hypnotisierenden Rhythmen eines fünfköpfigen Percussion-Ensembles
beginnt Shepp das Album mit einer schier atemberaubenden, über 18-minütigen Tour de Force an der
Schnittstelle zwischen Free Jazz, Panafrikanismus und Spiritual Jazz. Im Kontrast dazu wirken die drei
Stücke der zweiten Seite des Albums, die ebenfalls aus der Feder des Tenorsaxofonisten stammen, fast
hon traditionell jazzig - soweit das bei Shepp überhaupt möglich ist

The band is considered as a unique combination of the darkest sides of many
underground genres like grindcore, black/death metal, ambient, drone and of course
psychedelic music.

Tons formed in 2009 with members of hardcore bands from the 00's Turin scene (The
Redrum, Lama Tematica and NoInfo). Slow and heavy sounds take the place of
frenetic HC rhythms; the texts speak about weed in an ironic way, but also about a
certain tendency to esotericism that characterizes the city of Turin. In 2010 they
recorded a demo and in 2012 their first full length "Musinee Doom Session, Volume 1",
recorded by Danilo "Dano" Battocchio, was released for the Turin-based Escape From
Today (EFT050) and for the young Roman label, Heavy Psych Sounds (First non Black
Rainbows release, HPS005). In 2013 a split with Lento from Rome came out and Tons
began to plow the European venues, opening the stage for bands like Bongzilla,
Unsane, Church of Misery, Napalm Death, Pentagram etc ...

In 2015 the drummer Marco Dinocco left the band and was replaced by Andrea
Peracchia (Dogs for Breakfast/Slaiver). Paolo Paganelli (Woptime/Linea77) was also
added as lead guitarist. In 2018 the second full length of the band "Filthy Flowers of
Doom" was released for Heavy Psych Sounds Records, which would bring Tons again
around Europe in 2018 and in 2019. In 2021 they released a split record with the
mighty Bongzilla followed by a European tour together in 2022. On 7th October 2022
the band released a brand new album called "Hashension" and a repress for the 10th
anniversary of their debut album "Musinee Doom Session, Volume 1" with remastered
audio and a new cover artwork.

During these years Tons played in many important Festival, such as Desert Fest
London and Antwerp, Sonic Blast, Frantic Fest, Venezia Hardcore and HPS Fest.
QUOTE From the Band :"Three fun tracks for lovers of head banging who don't take
themselves too seriously like our friends Teo Segale (Rumore Mag.) and Ranch Sironi
(Nebula) to whom these songs are dedicated. "

This latest opus marks the band's studio comeback since 2018's "City Of Dope And
Violence", plus the opportunity to work with underground scene juggernauts like Tons
and Subsound Records and the consolidation of Alexander Lizzori as active producer
("Cyclops" / "2" era drummer and long time collaborator).

The band is considered as a unique combination of the darkest sides of many
underground genres like grindcore, black/death metal, ambient, drone and of course
psychedelic music.

Tons formed in 2009 with members of hardcore bands from the 00's Turin scene (The
Redrum, Lama Tematica and NoInfo). Slow and heavy sounds take the place of
frenetic HC rhythms; the texts speak about weed in an ironic way, but also about a
certain tendency to esotericism that characterizes the city of Turin. In 2010 they
recorded a demo and in 2012 their first full length "Musinee Doom Session, Volume 1",
recorded by Danilo "Dano" Battocchio, was released for the Turin-based Escape From
Today (EFT050) and for the young Roman label, Heavy Psych Sounds (First non Black
Rainbows release, HPS005). In 2013 a split with Lento from Rome came out and Tons
began to plow the European venues, opening the stage for bands like Bongzilla,
Unsane, Church of Misery, Napalm Death, Pentagram etc ...

In 2015 the drummer Marco Dinocco left the band and was replaced by Andrea
Peracchia (Dogs for Breakfast/Slaiver). Paolo Paganelli (Woptime/Linea77) was also
added as lead guitarist. In 2018 the second full length of the band "Filthy Flowers of
Doom" was released for Heavy Psych Sounds Records, which would bring Tons again
around Europe in 2018 and in 2019. In 2021 they released a split record with the
mighty Bongzilla followed by a European tour together in 2022. On 7th October 2022
the band released a brand new album called "Hashension" and a repress for the 10th
anniversary of their debut album "Musinee Doom Session, Volume 1" with remastered
audio and a new cover artwork.

During these years Tons played in many important Festival, such as Desert Fest
London and Antwerp, Sonic Blast, Frantic Fest, Venezia Hardcore and HPS Fest.
QUOTE From the Band :"Three fun tracks for lovers of head banging who don't take
themselves too seriously like our friends Teo Segale (Rumore Mag.) and Ranch Sironi
(Nebula) to whom these songs are dedicated. "

This latest opus marks the band's studio comeback since 2018's "City Of Dope And
Violence", plus the opportunity to work with underground scene juggernauts like Tons
and Subsound Records and the consolidation of Alexander Lizzori as active producer
("Cyclops" / "2" era drummer and long time collaborator).

Showcasing whip-smart spikiness remains, and a gorgeous weirdness
matched by very few others, it's easy to see why wonk pop 7-piece KEG are
one of the most talked about bands of 2024
Soon they'll be THE band of 2025.
Their forthcoming debut album Fun's Over represents the culmination of KEG's initial
forays into life, and as such leaps all over--from the melodic to the demented with all
the enthusiasm of a very lively bean salad. Sharp angling guitarwork that would be at
home both on a Fugazi or a Wilco record. Cascading synths and drums, pepperings of
trombone and lyrics which invite you into a baffled man's brain full of joy and anxiety.
Contrary to the previous releases the album takes its time, allowing Keg to showcase
the orchestral leanings of the band, melding textures and battering- ram rhythms,
whilst all the time managing to hone their carefully manipulated balance of chaos and
order.

With his second album, 'All The Others', the award-winning German trumpeter
and composer Jakob Bansch cements his status as one of the most
promising musicians of the young jazz generation
Building on the success of his critically acclaimed debut 'Opening', the artist from
Pforzheim, Southern Germany presents himself as even more mature and versatile on
his sophomore release. 'All The Others' blends influences from classical music, jazz,
and film scores into a musical work that tells personal stories and resonates deeply.
Bansch's approach to this album is remarkable: "I wanted to musically portray
characters and themes that have personally inspired me - whether from literature,
films, and series, or from the real world," he explains. Alongside his impressive
trumpet playing, it is above all the narrative depth of his compositions that defines the
album. Highlights include the epic opener "Ouverture", inspired by classical
composers such as Maurice Ravel and Olivier Messiaen, as well as the rhythmically
driving "Mephisto", which showcases Bansch's extraordinary technique and his
penchant for complex structures. The album features nods to Avatar: The Last
Airbender, Ahsoka Tano - the Jedi Knight from Star Wars: The Clone Wars and Maeve
from the series Sex Education. The music reaches a particularly poignant depth in
pieces like "Vasudeva", a homage to Hermann Hesse's Siddhartha, where Bansch
conveys warmth and tranquility through the gentle tones of his flugelhorn.
His working band - pianist Niklas Roever, bassist Jakob Obleser, and drummer Leo
Asal - returns for this album, displaying an almost telepathic musical chemistry. The
ensemble is further enriched by Latvian guitarist Ella Zirina and vocalist Zuza
Jasinska, who add additional sonic nuances to the work. A standout moment is
Roever's composition "Kauai'o'o", which musically processes the tragic story of an
extinct bird, powerfully highlighting the importance of conservation.
With 'All The Others', Jakob Bansch delivers a remarkable second album that
demonstrates his artistic growth. It is not only a continuation of his journey but also a
bold step into new musical dimensions - a work that takes its listeners on an
emotionally moving journey.

"Echomania" (1993) ist ein klassisches Dub Syndicate-Album, auf dem Drummer "Style" Scott und Bassist "Flabba" Holt, das Fundament der mächtigen Roots Radics, die monströsen Rhythms zusammenhalten, während Adrian Sherwood seine Magie an den Reglern wirken lässt. Mit Gastauftritten von Lee "Scratch" Perry bei "Dubbing Psycho Thriller" und "Dubaddisababa", Michael Franti (Beatnigs, Disposable Heroes Of Hiphoprisy) bei "No No" und dem Tabla-Virtuosen Talvin Singh auf mehreren Tracks. Das seit langem vergriffene Vinylformat wurde von Frank Merritt im The Carvery neu geschnitten und enthält rare Fotos von Coneyl Jay und neue Linernotes von Rob Harris (Testpressung).

The emerging Uruguayan label Eviterno Records marks its entrance into the scene with a dynamic debut split EP named “Vendiendo Uruguay por un Vintén” featuring two of the country’s most esmteemed producers, Stonem and Elías Sternin. Known for consistently delivering top-tier productions in recent years, they maintains their reputation with this impressive release.

Stonem on the A side is offering two meticulously crafted tracks rooted in groovy and functional tech house, perfect for the dancefloor. The journey begins with Banana Afair, a track whose resonant basslines are guaranteed to energize any crowd. Following this, Jolgorio takes a more cerebral turn, seamlessly blending acid sequences and intricate drum patterns while preserving the rhythmic groove, a testament to Stonem's alignment with the distinct Uruguayan sound.

On the B-side, Sternin continues the sonic exploration with Quema Madera, a hypnotic and acid-infused piece driven by commanding basslines—an essential tool for any DJ's arsenal. The release culminates with Acúfenos, where Sternin masterfully incorporates melodic elements while retaining his signature intensity, making it an ideal choice for an emotionally charged set closer.

This debut release from Eviterno Records stands as a bold statement, offering a compelling blend of groove, depth, and functional power, making it a must-have for any DJ and vynil enthusiasts.

Artwork by Clara Bonavita & Rina.
Master by Rob Smalls

She’s out of this world…

Maltese musician & producer Joon’s galactic debut arrives on our shores fully formed a decade after she first set sail. 12 cuts of uniquely addictive Synthesized Pop twist & turn on the rocky waters of life.

Her story begins after a life-changing car crash on the streets of Malta many moons ago. She was lucky to walk away in one piece. “That car crash was a wake-up call,” she says. “It made me realize how precious life is & I started living the life I felt was worth living.” Inspired to finally pursue her love of music full time, she began collecting instruments. Starting with a Stylophone& a vintage rhythm box, she started documenting ideas. Returning home to Malta after a few years in London, she only met one other woman making electronic music on the island. Driven by the desire to make music possible & accessible for the next generation, Joon co-founded the Malta Sound Women’s Network.

Ten years later, she sends us messages in a bottle from across the Mediterranean Sea. Armed with a Moog & her ethereal voice, she transmits hope & joy from a bedroom somewhere between Sicily & North Africa. Her music is right at home alongside outsider pioneers like Fever Ray, Grimes, Laurie Anderson & Molly Nilsson. Dream Again glides across heavy rhythms & eclectic electro. Telling stories of alienation with a throbbing heartbeat & space-age melodies, she lets us into her ultra-vivid world where anything is possible. Produced by Johnny Jewel, the album shines bright like comet orbiting the label’s dark sky, a much-needed vision of light on the horizon.

“Even if I’m sad or heartbroken, I remain optimistic. I want to grow old with no regrets.”

It’s time to Dream Again…

UK-born DJ, producer and label boss Jimpster debuts on cult label Nu Groove in 2025 with a fresh set of four originals, The Phoenix EP, now on wax. Across this four-track collection, Jimpster showcases over two decades of production expertise, starting with a title track that showcases a club-ready sound built for the underground; ‘The Phoenix’ builds a tight groove through the ebb and flow of overlapping rhythmic patterns. What follows is ‘Lightening In Me’ featuring vocals from East London’s Oliver Night, an electronic artist and songwriter whose work has been supported by the likes of tastemakers Kerri Chandler, Gilles Peterson and Honey Dijon.

Rounding off the EP is ‘Beat Of An Era’ and ‘You Got My Love’, two select cuts that demonstrate Jimpster’s mastery of the deep house scene, complete with dreamy synthwork and jazz inflections. With vinyl alive and well in 2025, The Phoenix EP is a must-have for the modern wax aficionado.

Introducing Obi Trackz, a new record label which debuts with Pelle’s “Momentum EP” featuring a remix by Michelle.

Momentum EP features three tracks that reflect Pelle’s signature style, balancing house and techno with a raw, yet refined edge. The tracks are characterized by acid-tinged sequences, textured basslines, and intricate drum work, offering a dynamic range of moods. The A side exhibits the more psychedelic and mysterious direction, where twisted melodies meet bouncing bass patterns.

The B side includes a remix by Michelle, the producer from Uruguay known for her contributions to My Own Jupiter and Cabaret Records. Her interpretation takes Pelle’s ideas into a more raw and atmospheric territory, combining layered soundscapes with rhythmically complex structures. The B side shows the outspoken side of the record, with broken drums on the remix and sweeping synths and a dark vocal flip on “Aesoning”.

With Momentum EP, Pelle explores the intersection of past and present dance music, carving a distinctive sound that feels rooted yet contemporary. This release marks an exciting beginning for Obi Trackz, setting the tone for future releases.

Sharpening his modernist, hybridised club sound with the restless energy he’s made his name on, Breaka returns with Aeoui. Nodding to the vowel-only vocal samples he scatters throughout his tracks, this much-anticipated second album reaffirms Charlie Baker’s reputation as a many-sided bass music innovator.

Since 2019, Breaka has been primarily shaping his own destiny by self-releasing most of his music, and it’s afforded him the space to evolve his sound on his own terms. In the wake of his 2022 debut LP We Move, the consistently prolific producer had been looking for a fitting window to channel his work into a second full-length. The opportunity arose when he struck on a fit of jet-lagged inspiration in late 2023 and laid down two of the new album’s key tunes, ‘squashy track’ and ‘yolo bass rewind’. Jutting out at a distinct angle from his other work, Breaka knew he’d found the anchor point around which to build out the next phase of his sonic evolution.

This productive period also aligned with a new studio space to work in, leading to the album’s striking double-dose opening of ‘Aeoui’ and ‘Are We There’. With the flavour of his new album established, Breaka was able to comb back through his reams of existing ideas and find the remaining pieces that fit the emerging puzzle. There are enduring influences which bind together the Breaka sound — footwork, techno and dancehall continue to guide the infectious floor-ready pressure of the record, but he worked free of stylistic concerns to find a vibe that remained true to his independent spirit.

It’s clear the Breaka DNA reaches beyond purist club music — his roots as a jazz drummer from an early age guide the expressive flair in his beat programming, while he took a more direct influence from a mind-blowing Sons Of Kemet gig in 2022 to make psychedelic centre-piece ‘Roundhouse’. Elsewhere ‘Cascara’ pays tribute to the Afro-Cuban rhythm of the same name, which he fused with amapiano’s lithe log drums and shakers, Brazilian percussion and edgy sound design to create a maverick soundsystem wrecker.

The collision of organic and synthetic, crisp forms and chaotic energy are captured perfectly in the cover artwork created with Jordan Core. It’s a savvy sum-up of where Breaka is at right now, continually building out with clear intentions while embracing the unpredictable energy of lived experiences and the ideas that get sparked along the way. That’s why Aeoui sounds like no one else out there but Breaka.

Blend Mishkin & Soul Sugar - Theory of Mind
Cultural Collaboration Sparks New Sound:
Athens and Paris Unite for Soulful Jazz-Reggae Fusion Album.

A collaboration between two creative musical minds, Blend Mishkin from Athens meets Parisian Soul Sugar to co-create a genre-bending album titled “Theory of Mind”
This album features nine compositions which uniquely fuse vibes of jazz, soul, reggae, afro-beat and even some 70’s b-movie soundtrack all brought to life through the warm tones of vintage keyboard instruments such as the Hammond Organ, Clavinet and Fender Rhodes electric piano, played by virtuoso keyboardist Soul Sugar aka Guillaume Metenier paired with flawless orchestration, arrangements and production by Blend Mishkin.

Soul Sugar, a disciple of jazz master Dr. Lonnie Smith on the Hammond organ, known for his
intricate reggae-jazz masterful improvisation, brings a distinctive mellowness and complexity to the album. His use of the Hammond organ, Clavinet and Fender Rhodes electric piano adds a layer of depth and authenticity that transports listeners back to the golden age of soul and reggae. Blend Mishkin, a versatile artist, who has mixed and moved across reggae, dub, soul, as well as world music, introduces elements of funk and reggae rhythms to the mix. His production techniques, combined with the rich, analog sound of the vintage instruments, creates a sonic landscape that is both timeless and inspired.

Guest vocalists are featured in four out of nine tracks. Greek-French funk powerhouse Georges Perin delivers a heavy soul tune called “I Miss Those Days” , Fae Simon from London lays a velvety vocal on an old school steppers groove, Thaliah from Athens brings her smokey jazz flavour with “Moonlit Letter” and Jeffrey Diop from Senegal adds the perfect chant in “Big Boss in a Small Town”.

The recording sessions, split between Athens and Paris, were as much about cultural exchange as they were about musical experimentation. The result is a collection of tracks that resonate with the energy of live performance, while also echoing the rich musical background of both artists.
"We wanted to create something that felt organic and real," says Guillaume. "Using these incredible vintage instruments allowed us to tap into a sound that feels both timeless and brand new."
Blend adds, "This album is about mixing our roots, our sounds, and our experiences. It's a celebrationof music that transcends borders and eras."

“Theory of Mind” it's a cross-cultural journey. The project emerges from the vibrant, sun-soaked melodies of Athens with the sophisticated, urban grooves of Paris, resulting in a sound that is both nostalgic and refreshingly modern.

SPACE ECHO RETURNS WITH A DOUBLE FUNK-FUELED MESSAGE: ‘WHAT’S WRONG WITH YOUR MIND’ & AGOSTA’S REMIX OF ‘ECHOES OF AFRICA’

While awaiting the production of their new album The Invisible Session, Space Echo makes a bold return with the release of their new single ‘What’s Wrong With Your Mind’—a supercharged funk statement aimed at the war-driven forces that destabilize lives and communities.

Blending irresistible funk rhythms with downtempo grooves, ‘What’s Wrong with Your Mind’ is an invitation to reflect and introspect. The track’s infectious groove is elevated by the masterful trombone work of Gianluca Petrella, channeling a pure Fred Wesley-esque funk energy. Meanwhile, commanding choral arrangements in the spirit of 1970s funk bands drive the song’s message home, creating an immersive experience that stimulates both mind and body. This is more than just a song—it’s a call to shift perspectives and challenge the forces that divide us.

Alongside the single, Agosta presents a powerful remix of 'Mother Forgive Us' from The Invisible Session's previous album 'Echoes Of Africa', transforming the track into a futuristic electronic afro-funk odyssey. Infused with tribal percussion, pulsating electronic textures, and deep-rooted African musical influences, the remix is a high-energy fusion of past and future. Its hypnotic rhythm captivates the body and soul, while soaring synths and driving basslines create a dynamic interplay of tradition and innovation.

Lyrically, the remix carries a poignant message: ‘Mother Earth, forgive us for what we have not done and are not doing’. This plea underscores the urgency of climate action and the disconnection from nature that defines modern life. It’s both a lament and a rallying cry—an appeal for awareness and transformation.

DETROIT ASSEMBLY LINE
......the dawning of a successive genealogy of Detroit’s underground rhythm science and technology.

Two mainstays in the fabled legacy of Detroit’s authentic electronic music birthright, align to unleash 4 tracks of undeniable pure techno intensity.

This is the first of the Detroit Assembly Line series; a music manifest to the world, calculated and anticipated to affirm the bona fide noise from Detroit.

Limited vinyl release for aya's 2021 Hyperdub-debut album, a one-time pressing on Ecomix random colour-mix recycled vinyl. Originally released in 2021 as a book and digital album, im hole is now presented on ecomix splatter-effect vinyl. A welcome reminder ahead of new aya music in 2025. On im hole, aya distilled the incisive sonic experimentation of her early run of releases, the tongue-in-cheek giggles of her DJ sets and edits, and the identity-fluxing lyricism of her live shows. The album was immediately championed from all corners, 'Best New Music' in Pitchfork to DJ Mary Anne Hobbs Album of the Year, followed by incredible live shows which drew new listeners further into the net. Contorting language, dialect, gender and sexuality between intermittently controlled bursts of rhythm, noise and aural goop, aya sculpted a set of autobiographical vignettes that challenge established norms, question supposed truths, and affirm a spectrum of interlocking experiences. But while it's wide open and personal, im hole also challenges queer art's tendency to veer towards repetitive solipsism. Even the title itself references the unwieldy mix of self-actualization and sexualization that bogs down cultural perceptions of the trans experience. It's neither one thing nor t'other, just as much a sly nod to dissociative afterparty sloppiness as it is any self-congratulatory pinkwashed grandstanding. The music follows suit, fragmenting familiar sounds, twinned with familiar words, assembled in unfamiliar ways, full of sharp humour, even in the middle of despair. Stories are muddled with phonetics just as dubstep is macrodosed with microtonal drone.










j B4. If [redacted] Thinks He's Having This As A Remix He Can Frankly Do One

Actual Earth Music - Volume 1 & 2’ presents two caustic, yet alluringly unreal live sets from Canadian noise-rock entropy hunters Earth Ball. Following on from the group’s critically appraised ‘It’s Yours’ LP (released 2024 on Upset The Rhythm - UTR164) this release captures the band at the peak of their powers, playing live, composing spontaneously.
Side A features Earth Ball live at The Fox Cabaret in Vancouver, supporting Wolf Eyes on August 4, 2023. Jeremy Van Wyck from the band considers this “the gig that sent us into orbit, really. Causing Olson & Young to wax poetic about our interstellar jams to a fine bloke across the big sea. Upsetting our casual rhythm and forcing our hand. All that talk led to an LP, ‘It’s Yours’, and a full UK tour the following spring”.
Now, with the birth of this live series ‘Actual Earth Music’, it seems only fitting that Volume 1 should be this gig. It’s a doozy. Listening back is a pure revelation. Earth Ball whip up a vortex of thrashing wild energy, the ecstatic release is off the charts. “You don’t always catch every nuance of the jams as they come down. I mean, this one felt good, but upon listening back to the tapes, it sounded very good” confides Jeremy. “It reminded me of Von Trier’s Melancholia: the sound of a large sphere coming toward you to bring doom. However, this one reverses course, heading away to some other shore, bathing you in reflective bliss before saying goodbye—instead of ending humanity as we know it”.
Volume 2 occupies Side B of this LP, showcasing a collaborative summit from the second night of their recent Café OTO residency on May 21, 2024. This event featured Earth Ball laying down three separate sets—all collaborations. This second recording presents their opening performance and features pivotal UK improv luminary Steve Beresford on piano and free-jazz phenomenon Chris Corsano on drums.
Running Time: 42 mins

Damian Lazarus and JOJO ABOT unleash mesmerising new single ‘Warrior Dance’ on Crosstown Rebels. The single builds on the release of the Crosstown founder’s fifth album ‘Magickal’, with remixes provided by Major League Djz and Raxon.

Following the initial shock-drop release of his latest album ‘Magikal’ and the 2025 edition of his revered Day Zero Festival in Tulum, Crosstown Rebels founder Damian Lazarus unveils his next sonic offering, ‘Warrior Dance’, featuring Ghanaian interdisciplinary artist and healer JOJO ABOT.

A dynamic and powerful composition, ‘Warrior Dance’ sees Lazarus and JOJO ABOT craft an entrancing fusion of pulsating beats, immersive textures, and commanding vocals, adding to the album’s diverse soundscapes and blending hypnotic rhythms with amapiano influences. Their synergy extends beyond this track, with the duo having already collaborated on ‘Force’, another standout moment from ‘Magikal’ that showcases JOJO ABOT’s evocative vocal prowess and the influence of her Ghanaian roots.

The release also features two expertly curated remixes as Lazarus once again showcases his renowned A&R talents. South African trailblazers Major League Djz serve up signature driving and captivating grooves, following their remix of Lazarus’ ‘Into The Sun’ feat. Jem Cooke as part of ‘Crosstown Rebels pres. CR20 The Album: Unreleased Gems and Remixes’. Meanwhile, Egyptian-born, Barcelona-based DJ/producer Raxon makes his Crosstown Rebels debut, delivering a tunnelling, driving and off-kilter rework that stays true to his trademark sound, as heard on labels like Kompakt, Ellum, and Diynamic.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

Britny Fox is the eponymous debut album by American glam metal band Britny Fox, originally released in 1988. It was met with critical acclaim and near Platinum sales. Their lead single "Long Way To Love" made heavy rotation on MTV and the band won Metal Edge magazine's Best New Band award in 1988. Britny Fox was formed in 1985 in Philadelphia, fronted by lead vocalist and rhythm guitarist "Dizzy" Dean Davidson. Other band members included Billy Childs on bass, and two former members of the band Cinderella; Michael Kelly Smith on lead guitar and Tony Destra on drums. Their debut album remains their most popular work to date. Britny Fox is available as a limited edition of 750 copies on white coloured vinyl and includes an insert.

The Helsinki-based five-piece rock band Us has been winning over British ja Japanese audiences with their unique blend of garage rock, punk, and rhythm 'n' blues. Their explosive live energy and catchy rock songs have been brilliantly captured on their debut album Underground Renaissance, originally released in the fall of 2024. Underground Renaissance is now being released on vinyl by Playground Music sublabel Lördag. In 2024 the band played nine shows at Glastonbury festival in the UK and six shows at Fuji Rock Festival in Japan. During the same year Us also released their debut album Underground Renaissance. The album has received praise from such magazines as Rolling Stone Japan, Mojo Magazine, Shindig! and Classic Rock Magazine. The songs have also enjoyed numerous plays on BBC 6 radio. In live reviews Us has been compared to early Arctic Monkeys and The Hives with Mojo Magazine describing their "blistering 3 AM show" at Glastonbury as "Dr. Feelgood-style punk-blues with the vigour of peak Ramones". In 2024 alone, Us have performed at Eurosonic and Bigpop festival (the Netherlands), Glastonbury (UK), Fuji Rock (Japan), Sziget Festival (Hungary), and Transmusicales (France), as well as headline a run of UK dates.

If the sanguine cedar scent of Cosmic Americana and the bright jingle jangle of Neo-Psych Rock has led you through the last couple of years, then chances are good you’ve had a brush with Silver Synthetic. The members of the New Orleans band ditched the dirtier riffs of their past projects (Jeff The Brotherhood, Bottomfeeders) for a West Coast curl that balanced country twang and honeyed harmonies with a rhythmic stomp that fishtailed through the speakers with glee.

An eponymous full length on Third Man fully distilled the scope of their sound, turning stage-battered ballads and barroom burners into one of 2021’s most promising debuts. They return for a second salvo, honed with a tour-tight symbiosis and some ace drop-ins from southern slingers Luke Schneider (pedal steel) and Rex Gregory (sax, flute). Rosalie finds Silver Synthetic refining their sound, softening their approach, and letting a breeze of ‘70s AOR weave among the country swagger. Between the tanned riffs, the band also balances societal burnout with sunshine, transforming scoffs and sneers into smoke-curled sighs draped in a windows-down aura.

They make their way to Curation Records for the new outing, a welcome home for the band’s sun-streaked Americana, turning ‘Preflyte’ Byrds, JJ grooves, beach-bound Neil, and ‘Water of Love’-era Dire Straits into an album that smooths the seams and steers the listener towards new horizons.

If the sanguine cedar scent of Cosmic Americana and the bright jingle jangle of Neo-Psych Rock has led you through the last couple of years, then chances are good you’ve had a brush with Silver Synthetic. The members of the New Orleans band ditched the dirtier riffs of their past projects (Jeff The Brotherhood, Bottomfeeders) for a West Coast curl that balanced country twang and honeyed harmonies with a rhythmic stomp that fishtailed through the speakers with glee.

An eponymous full length on Third Man fully distilled the scope of their sound, turning stage-battered ballads and barroom burners into one of 2021’s most promising debuts. They return for a second salvo, honed with a tour-tight symbiosis and some ace drop-ins from southern slingers Luke Schneider (pedal steel) and Rex Gregory (sax, flute). Rosalie finds Silver Synthetic refining their sound, softening their approach, and letting a breeze of ‘70s AOR weave among the country swagger. Between the tanned riffs, the band also balances societal burnout with sunshine, transforming scoffs and sneers into smoke-curled sighs draped in a windows-down aura.

They make their way to Curation Records for the new outing, a welcome home for the band’s sun-streaked Americana, turning ‘Preflyte’ Byrds, JJ grooves, beach-bound Neil, and ‘Water of Love’-era Dire Straits into an album that smooths the seams and steers the listener towards new horizons.

Long time friend of the label and Stones Throw alumni "Rejoicer" joins forces with longtime collaborator, fellow Apifera band member and renowned pianist Nitai Hershkovits to present a new moniker and concept piece "Cinema Royal" - a delicate yet audacious album that quietly commands attention.

This album, recorded in 1957, brings together a dream team of jazz musicians. The singer, with her rich tone and soulful inflections, is supported by top-tier players. Sonny Rollins on tenor saxophone delivers exquisitely refined solos, while Max Roach on drums provides subtle yet impactful rhythms. Paul Chambers on bass and Wynton Kel1ly on piano offer impeccable harmonic support. Between poignant ballads and more upbeat tracks, each piece is a gem.

Recorded in 1957, this remarkable collaboration pairs Thelonious Monk’s angular piano style with Gerry Mulligan’s warm baritone saxophone. Backed by Wilbur Ware on bass and Shadow Wilson on drums, the quartet strikes a unique balance between Monk’s unpredictable harmonies and Mulligan’s melodic fluidity. Tracks like “Round Midnight” and “Straight, No Chaser” showcase their contrasting yet complementary approaches, blending complexity with swing. The interplay between Monk’s percussive chords and Mulligan’s smooth phrasing creates a dynamic, compelling listening experience. A jazz dialogue to savor.

2025 marks the return of Cologne-based electronic outfit Urban Homes with their first new music in over eight years, following an unintentional hiatus driven by side projects, relocations, the pandemic, and the unpredictability of »life.« After over eight years, the duo is back with their first new material: a fresh batch of purely instrumental downtempo and dub-influenced tracks, marked by a somber and atmospheric vibe that distinctly separates this new material from their previous work. Inspired by themes of extraterrestrial life and the paranormal, the four new tracks compiled on the »U.F.O.« EP release were crafted during recording sessions split between Cologne and Berlin before languishing for years on neglected hard drives, finally »ripening« into their current form.

Formed in 2008, Urban Homes initially emerged as a post-punk group, debuting live in 2009. Their first release—a four-track demo tape recorded in late 2010—already hinted at an evolving sound that would soon embrace a more experimental and electronic direction. By 2011, the band swapped their live drums for a drum machine, a shift that would profoundly shape their sound in the years to follow. Over the years, Urban Homes has explored a broad sonic landscape, merging electronic production, rhythm-driven compositions, and experimental song structures. Drawing influences from early house, balearic, disco, dub, avant-garde electronica, and pop, their music continues to defy easy categorization.

In March 2013, the duo released their debut album »Centres«, earning the Pop NRW Prize for Best Newcomers that same year. Their 2016 follow-up, »Jams«, was met with critical acclaim. A love letter to dance music's roots, Jams fused pop sensibilities with open-ended experimentation, built from years of MIDI-driven jam sessions that were painstakingly edited and reconstructed. Both released by Altin Village & Mine, »Jams« was also licensed by the Japanese label Fennely / Moorworks for an exclusive CD edition in 2017. Over the years, Urban Homes supported their releases with numerous tours and festival appearances across Germany and a memorable tour of Japan in 2017.

In a bold step! Myles Sanko has taken full creative charge over every element of this project—from writing, composing, arranging, recording, mixing and producing to distribution through his own label, 213 Music.

"Let It Unfold" represents a pivotal moment in Sanko's musical journey, demonstrating his unwavering dedication to his artistic vision as an independent artist and visionary. The album provides listeners with a deeply intimate musical exploration, serving as a form of therapy that addresses past childhood traumas and empowers future dreams, all while radiating a hopeful energy.

Inspired by his love for soul, jazz, and hip-hop, and rhythmic influences from his Ghanaian roots, Sanko delicately blends these musical styles to create a unique contemporary sound. His distinct approach to songwriting enriches each track with emotional depth and authenticity, presenting a new level of artistic expression.

The album's theme of self-acceptance and self-love is encapsulated in its title, symbolising the gradual process of personal growth and healing. The creation of this album has been a therapeutic endeavour for Sanko, helping him embrace his vulnerabilities and celebrate his strengths.

"At the end of the day, a new one begins. Sometimes dust covers the wounded human spirits, nebulizing their ambitious world with melancholy from some far place. Today we met and melded our emotions. Improvisation is the art of becoming sound. Loose lyrics on Hollywood dreams, galaxy economy, and algorithm poetry, banned and warped in drama industrial, synth-journey-music, ghost pop, anger electronics, and analogue deserts. Improvised recording sessions for epochs where head liquefies the concrete. It’s all about fashion, now, that we have recession. Dressed to kill with murder fabrics. The anger of the machines. The happiness in their language. Inkasso & ML asked themselves"

The industrial treasure chest of Laurent Petitgand & Thierry Mérigout Geins’t Naït unit gets a third and final archival jag, playing to a spectrum of styles from misfit tape cut-ups to sludgy grooves and trampling sidewinds of the filthiest, sickest calibre.

The three volumes mining the Geins’t Naït Archive have parsed some 40 years of work for the most potent industrial blatz, culminating in some of the gnarliest and richest tackle on this final volume. As also highlighted on releases via Vladimir Ivkovic’s Offen Music label, it’s hard to fully surmise Geins’t Naït’s oeuvre, but you kinda know it when it hits. It’s industrial, or more specifically post-industrial, in the classic sense of everything after Throbbing Gristle and their famous label; buzzing with atonality and often heavily rhythm-driven, but not necessarily built for the club. In some senses, it's adjacent to freakier ‘floors in a way shared by the likes of Bourbonese Qualk or Din A Testbild, likeminded miscreants who emerged in TG’s shadow during the ‘80s.

‘Archives 3/3’ opens with a particularly Gallic slant on the paradigm in ‘Michel’, and shells a slew of thee crankiest gear that shares a certain tone and thrust toward trippy abstraction with Anne Gillis. ‘Abstrac 2’ finds them speaking in ogreish tongues on an uncanny waltz, before dialling up the pomp with near-EBM levels of muscularity and fanfare on ‘Poiro’, and unleashing reverse-looped heck like a La Peste joint in ‘GN is Good For You’. The keening pulse and nose attack of ‘Rappel’ reminds us of CHBB, and the evil slug of ‘Hate’ feels summoned from Parisian catacombs, whilst ‘Wladimir’ stands out for its phosphorous synth burn and prototypical Él-G poetry, leaving ‘Base Cour’ to souse the senses in distortion and barnyard squabble.

"The title track here ebbs and flows in and out of Amen break cascades, as the drones hovering beneath give a sense of flying through an electrical storm. Dooky' is better still, its sparser rhythm recalling Reinforced stalwart Paradox in its ability to be simultaneously woody and ultra-digital, human and alien." THE WIRE

Those who are aware of dgoHn will by now be familiar with his sound and those who aren't should be. Back with his third single on Love Love, the drum maestro makes skin prickle once again with two shining original tracks laced with impeccable moments. Only dgoHn can create the kind of drum and bass that sounds like the tightest of ensembles playing meticulously rehearsed arrangements, painting intricate shapes with the percussion.

The title track takes a fresh look at the amen break, finding ways to breathe new life into it. Soaring above the clouds on thick warm pads, the drums thunder with a blissful rage propelled forwards by a rumbling bassline.

On the B-side 'Dooky' serves up a dgoHn masterclass in spatial control that could well be a future-classic of his. A formidable groove with serious punch, hi-hats skip along as the delicate balance of frequencies gives the listener just enough headspace not to get lost in the deep, dark world it creates. A subtle demonstration of tension and release, this single floats like a butterfly and stings like a bee whilst dripping with funk.

Lastly, Rognvald switches up the title track with a jam that triples the edits and doubles the bass, tipping the scales from the side of restraint to that of chaos without losing the feel of the original. Artwork once again provided by Colin 'Snublic' McCallister.