Search:eve j

We are very happy to welcome Michele Del Vecchio to the RAWAX family!
We will present you this great talent from Italy on two ep's which will be out on CHIWAX.
The first one called "Move Your Time EP" will be out in April.
More to come!

This is the story of an artist in search of sound and breath: an artist who dares to question the rhythm of silence—an invitation to rethink music, sound, and musical collaboration. This is the story of a journey that, after opening countless paths, has finally found its vessel—and its messengers. Three artists of profound musical truth and radical freedom, merging into an exceptional trio that crosses genres and transcends words in a journey toward pure emotion.

Le Rythme du Silence is the culmination of this long search. Yom delivers it here with violinist Théo Ceccaldi and cellist Valentin Ceccaldi—kindred spirits in sound. “I’ve been working on this idea of the ‘rhythm of silence’ for years,” Yom explains. “I first heard the phrase from a Sufi master, describing the foundation of meditation. It struck something deep in me. I’ve practiced meditation for a long time, and we often think of it as a kind of stillness—opposed to noise and life. But in truth, the rhythm of silence enables meditation. It means accepting that the world continues to move and live around you, even as you try to be still. I wanted to compose from that place. To imagine sound as vibratory matter—the primal substance of creation. That required letting go of fixed structures: forgetting melodies, abandoning the idea of a constructed solo. I needed to leave behind music as a system, and touch sound as a living, breathing entity. It took years. Many projects led me elsewhere. But with the Ceccaldi brothers, I finally found the right resonance. Working with them was simply obvious—it was indredibly powerful.”

Yom first rose to prominence reimagining Jewish traditional music with his 2008 debut New King of Klezmer Clarinet. Since then, his path has led through rock (With Love, 2011; You Will Never Die, 2018), electronic utopias (The Empire of Love, 2013), meditative and sacred soundscapes (Prière, 2018), and countless unclassifiable hybrids (Unue, 2009; Green Apocalypse, 2010). It was inevitable that he would eventually cross paths with the free-spirited Théo and Valentin Ceccaldi—two artists who also place collaboration and genre-blurring at the heart of their artistic development. Their projects are always bold, demanding, and full of life (Kutu, Tricollectif, ONJ, Velvet Revolution, Grand Orchestre du Tricot, Lagon Noir, Constantine, etc.). And so, when the three met within the iXi string quartet, something clicked.
“I was seated between the two of them in the quartet,” Yom recalls, “and I could feel their energy flowing from both sides—it was wild! They’re so tuned into each other, they don’t need words. It’s like they’re connected by musical Wi-Fi. The groove happens instantly. They’re precise when they want to be—thanks to their experience in pop-influenced projects —but they can also let go completely, diving into pure sound. That’s exactly what this project needed.”

Without a single rehearsal, the trio formed instinctively. They began performing Yom’s compositions live, unfolding them into a single continuous piece, where clarinet and strings stretch the limits of sound and breath.
Bowed, plucked, or prepared with clothespins, the Ceccaldi strings engage in a playful and intense dialogue with Yom’s custom B-flat clarinet. Through their imaginative listening and fearless invention, air and space open into a vast new soundscape—one that lies somewhere between meditation and healing music.

“When Yom shared the concept of the rhythm of silence, we were immediately drawn in,” says cellist Valentin Ceccaldi. “There’s a deep intensity and spiritual commitment in his music that really spoke to me. With this trio, we’re trying to dive into the core of sound—but also to create a kind of communion with the audience. It’s like gradually turning up the volume on silence, and realizing it’s made of countless tiny sounds—the music of particles in motion" This stripped-down intensity demands full presence—body and mind—of these three musicians, vibrationally connected in a state close to trance. With them, we enter a journey - not religious, but sacred nonetheless.
The Rhythm of Silence becomes an echo of our most intimate, most distant inner landscapes.
An album—and a trio—to return to without end.

Sélavy is Prosper’s debut album. It features 13 tracks that range from fairly traditional French chanson to more techno, rap, rock, punk, and even pop styles. Wordplay and stylistic devices play a central role in the lyrics. Much like his work as a visual artist—where he cuts and assembles elements that seem to have little in common at first glance.



Prosper uses the French language as a tool to express his emotions and reflections on life, with all its sorrows and joys. In doing so, he dissolves the boundaries between poetry, song, and artwork.

La Rama’s club ready sub-label RamaJam is back after a long stretch with 6x new traxx for the dance. Introducing for the first time on record, two Montréal duos that have been rocking the city for the last few years.

The Wet Steppahz are Boogaloo Jones & Pitza Dave, young producers extraordinaire, engineers at local studio Breakglass, live PA performers and organizers of the 140/160 party series. You can also find Boogaloo every weekend laying it down with the Fella’s Q-Tips & Curls crews. Young guns on the come up, be sure to follow their label STEPPATRAXX for some hot fire.

DAPASHU? is the meeting of veteran producer Shash’U & long time local DJ, promoter and studio fiend Dapapa. A quick lookup on Shash’U will have you inundated with originals and versions for you to drop at any jam. A mainstay at dance competitions, a regular feature of institution Loop Sessions, and always ready to share a tip from his production tool kit. Dapapa gets busy on the regular at venues around the city & heads both the Ol’Jack Nu Jack organization and DASA (a Montréal production suite bridging local and international likeminded artists). A fellow who takes no tune for granted.

Musically we make it easy, 3 cuts per side, representing each crew’s essence. No need to describe each tune, listen in and take notes on the mood + we laced you with those BPMs on the label so you can throw them in to the mix at any moment, no stress!

Mastered and cut in the city by our man Cristobal Urbina. Pressed in Canada & distributed from our brick and mortar shop located at 77 rue Bernard O, Montréal QC, H2T 2J9.

PS Props: These tunes were selected from recordings of the Steppahz and DAPASHU? playing live for a Seer Records party at Osmo x Marusan in April 2024… Big shout out to Emiliano & Maximum Enemi <3

"The Happening by Tomorrow Comes The Harvest is the least case, a provocative confrontation. It's a challenge or dare to the idea that music can be useful if we are able to experience it. I would imagine that to many, music having an objective beyond the listener doesn't make sense because the general thought is that Music is made for us to consume, to make us remember, to influence us and to make us feel something. The Happening does all those things but much more. What it does is expand the scope from us to "it". Creating and constructing music for the subject of existence is a tall order.

The concept of The Happening is about the beginning and the end of Time and Space; the initial point of when reality starts and its conclusional apex. In the beginning, there is a great light. And from this light, comes life. Life is lived until it isn't.

This is what The Happening implies. It speaks about a 9-minute frame in reality, used to emphasize something that happened a very long time ago, something that happened in its creation and what will eventually happen far in the future.

The Happening was of an accidental birth. The love child of three musicians (Jeff Mills, Prabhu Edouard and Jean-Phillippe Dary) who was just asked to play "something" so that the camera crew could have extra b-roll for all the previous footages of the band while they were working in the recording studio in the North of Paris for their album Forbidden Planet. There was no discussion of what they'll do, no plan, no direction other than to use music to reach a level of consciousness.

Somehow within these transformative 9 minutes, something was felt by each of them, explored to its furthest point, which lead to this extraordinary creation. The Happening refers to the life and death of everything living thing. Infinity."

Jeff Mills

With their musical roots deeply immersed in the fertile soil of Afro-American music, the Buttshakers have found a new direction for their nostalgia-heavy soul music. With Lessons In Love, their third album on Underdog Records, their early heartaches and furies have faded in favor of a more composed harmony – a sound enveloped in love and soaked in the blues. Guided by their singer Ciara Thompson, the Buttshakers have taken a more intimate path, whose compass, in the chaos of emotions and the modern world, points only in one direction: the light.



Seen from the sky, the view appears limitless. Accentuated by the sun, the ochre and sandy hues of the open road only reinforce this feeling of immensity. The sky stretches and the green stands out in striking contrast. In lighter tones, a road is drawn -- without bends or contours. This is the worn and weary road of soul music, which The Buttshakers explore on each album in new and unique ways. Soul music – a rare place to find a French band.

Vast, the musical direction could have taken them to lighter pastures. Yet the Buttshakers chose to evolve in a different way; to take a heavier load. Two paths – one sparked by social unrest, the other purely sentimental, Lessons In Love explores the deep roots of soul music, in the steps of Curtis Mayfield or Al Green. It is here that the heart and mind cross paths, merge, and become one. A weary road -- that brings together the agitation of a world where good intentions never rise above the level of digital outrage, and a faith in love which, however it manifests and expresses itself, remains the only truth that never loses its power.



Less rage and more compassion, it is through the haunting words and now tempered inflection of Ciara Thompson's voice, which opens to distinct emotions and perspectives, that the listener is guided. With its gaze fixed on the horizon, the acoustic guitar of Gotta Believe invites us on an intimate stroll through the open plains, while Dream On carries us away with a clavinet riff and a possessed saxophone; reconnecting the electric heat and neurosis of a city full of dreams. The senses are moved by the conjuring potion of the guitar which distills throughout Troubled Waters; the body is brought back into a visceral dance by the keys and brass section that are put to the test by Sure As Sin and its irrepressible rhythm. Passing through clouds of dust and sand has left a bluesy imprint on their groove: the miles travelled became hundreds, then thousands.



All of this leaves the listener bewitched by the halo of resilience that now surrounds Ciara's performance, as the ten tracks let the light fade. But certainly not hope in a better day. Like the sunflower that always lifts its head towards the sun’s rays, the Buttshakers continue to resource their sounds in the deep roots of soul music. Into the rich layers of African-American music of the 60s and 70s, The Buttshakers capture the spirit as much as the musical aesthetics of the epoch. A sound that reaches into the meanderings of the soul, bringing light to dark places and hope for all. A sound for the most parched of hearts, living in a damaged world, Lessons In Love confirms that even the tiniest beam of light can illuminate one’s path.

pictured cover sealed in shrink wrap (first time ever on Samosa)



Samosa Records comes back with a real summer bang in the form of the ‘Afro-Ritmo EP’ – a four-track journey into afro soaked vibes courtesy of Anura & Sr. Lobezno and featuring label boss De Gama!

First up on side A is the EP’s title track, the mesmerising ‘Afro Ritmo’. Anura & Sr. Lobezno announce their arrival on Samosa Records with this spicy West African rhythm bomb. Kakaki trumpet fanfares meld with intricate synth stabs and ethereal Oja flute, whilst the solid tribal beats and rolling bass dictate the dance moves. And dance you must…

Track 2 is the deliciously glitchy, conga bonanza ‘Sungu Sa’. Make no mistake, ‘Sunga Sa’ is out to get you from the very first beat – tempting you to go behind the curtain as the haunting guitar lures you ever closer to its secret door. Dark, uplifting and ritualistic, the chant of ‘Sunga Sa’ will live in your head rent free well after the sun has gone down. Don’t say you weren’t warned.

Over on Side B De Gama takes the title track ‘Afro-Ritmo’ and applies his unique sonic rubs, balms and enhancers to create a pulsating after hours jam full to the brim with Afrotropic sparkle and magic dust. Like an unstoppable chugging train steaming through a savanna, De Gama is the conductor supreme as the raspy synth, bluesy guitar riff and uplifting brass fanfares entwine around that pounding beat.

Finally, Track 4 gives us the seriously powerful Javier Morrilas remix of ‘Afro-Ritmo’. The original is stripped right down and given the Big Beat treatment for this insanely good take – a peak time switcheroo of a track that keeps you guessing as to where it’s taking you. As the flutey breakdowns and broken beat madness get you, you will fall in love with this one instantly.

The ‘Afro Ritmo’ EP is a powerful, masterful four tracker from Anura & Sr. Lobezno which is well at home in the Samosa Records cooking pot. Spread the word, buy the vinyl. You won’t be disappointed.

• Reviewed with love by The Black Light Disco

Written, Produced, Arranged and Mixed by Anura & Sr. Lobezno.
Keyboards & Percussions: Anura.
Trumpet: Jimmy Garcia
Sax & Flute: Carlos Ligero
Trombone: Prudencio Valdivieso

*Remix and Additional Productions by Stefano Gamma aka De Gama for De Gama Rec - Rome.
Jazz Guitar & Acoustic Bass by Pietro Nicosia.

** Remix and Additional Productions by Javier Morillas.

All tracks mastered by Francesco Pierguidi at L’n’P Studio – Rome.

Artwork and computer graphics by Nerina Fernandez.


SMS038

Celebrated DJ, producer, and sonic explorer Auntie Flo (aka Brian d’Souza) — described by The Guardian as “one of global club culture’s most vital voices” — returns this autumn with ‘Birds of Paradise’: a rhythmically rich, emotionally resonant, and ecologically grounded new album, out 23 October via his A State of Flo imprint. The album will be launched with a special live show at London’s Jazz Caféon the same day.

‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.

“Birds of Paradise is about finding beauty and rhythm in a chaotic world. It’s about listening, to nature, to our bodies, to what’s real. It’s a reminder that dance music can be both joyful and grounded.” The album blends Afro-Latin polyrhythms with Western 4/4 patterns, fusing instinctive, dancefloor energy with field recordings that anchor the music in the earth. Described by d’Souza as “tropical with a few deeper edges, a balance of light and dark.”

The new record follows the acclaimed ‘In My Dreams, I’m A Bird and I’m Free’, which earned 4 stars and Global Album of the Month from The Guardian, featured in Disco Pogo’s Albums of the Year, and received support from Luke Una, Resident Advisor, Juno, Bandcamp, Mixmag, DJ Mag, Electronic Sound, The Skinny, Beatport, Ban Ban Ton Ton, and more. The album’s launch show at Omeara London sold out. Other recent projects include the ‘Outernational Dance’ EP on cult label Multi Culti, event series ‘Plants Can Dance (and Mushroom’s Sing)’ which explore plant and fungi bioelectricity as a means of live composition, and ‘Black Beacon’, a haunting cassette release and soundwalk series recorded on the abandoned military island of Orford Ness. There, d’Souza explored the eerie intersection of nature, decay, and deep time, gaining special access to restricted buildings to capture long-form soundscape compositions.

Alongside his production work, d’Souza has emerged as a leading voice at the intersection of sound and science. He curated music for Imperial College’s groundbreaking psychedelic therapy trials, developing six-phase playlists to guide participants through psilocybin-assisted sessions treating conditions such as fibromyalgia and gambling addiction. His five-hour ambient set at Watching Trees Festival, selected as Resident Advisor’s Mix of the Day, continued this exploration into the therapeutic potential of sound in altered states. He also spent six months collaborating with BBC producer Tom Raine on a documentary for BBC World Service, centred on a two-week journey through Kenya and Goa. There, he performed live, led plant music workshops, and joined a deep listening retreat rooted in field recording. “I realised my studio isn’t just four soundproofed walls filled with instruments — it’s the journey itself. It’s the people I meet, the natural world I listen to, and the connections I feel.”

This same commitment to deep listening fuels his live concept Plants Can Dance, a project that combines the biosonification of plants and fungi with modular synthesis. The next event, on 14 September at Hideout Hackney Wick, will feature performances by Stella Z and Lapalace, with d’Souza and resident Lamine playing live alongside responsive plants in collaboration with Repot Hackney Wick and the label Music To Watch Seeds Grow By. “I’ve spent years exploring how electronic music can connect us, not just to each other, but to the natural world. Whether it’s translating mushroom data into melody or capturing birdsong at dawn, it’s about finding resonance across bodies, ecosystems, and machines.”

Rooted in his Goan and Kenyan heritage and shaped by years of travel and collaboration, d’Souza’s creative mission is simple: to reconnect the electronic world with the natural one. Through A State of Flo, he continues to blur the boundaries between club culture, sound art, and ecological awareness.

Repress
the journey continues...

The third part in the Drexciya re-issue series! Another part of the exciting journey of Drexciya with mind blowing tracks such as You Don't know, Intensified Magnetron, Aqua Worm Hole etc.
One of the finest moments in electronic music history and Detroit techno available in remastered versions including unreleased material. Essential in every serious electronic music collection

This album consists exclusively of instrumental versions of songs by The Beatles, featuring ten of the songs from the band's White album.

BAR Musica is proud to introduce a new, exceptionally talented artist: Gargiulo.

At BAR Musica, one of our core values is providing a platform for emerging talent to share their unique sounds with the world. Gargiulo, hailing from the serene countryside of Tuscany, Italy, has spent years honing his craft—creating music purely out of passion, without ever releasing a track. Until now.

We’re thrilled to finally present his debut: three mesmerizing tracks that showcase his trippy, dark, and hypnotic style. This is just the beginning.

Gargiulo is definitely an artist to keep an eye on.
Welcome to the BAR Musica family, Gargiulo!

SCALER are the electrifying Bristol-based band hailed as the city’s “next national breakthrough” thanks to their pulverising live show and meticulous, mind-warping sound. Now they’re back with ‘Endlessly’, a sublime and stylistically expansive new album. 10 potent tracks written and recorded more collaboratively than ever before, as SCALER explore what it means to make music with no ceiling.


Building on what they know and taking it in new directions has been a constant throughout the three-year journey behind ‘Endlessly’, which came together in the studio beneath Bristol’s legendary The Louisiana. Inspired by time apart, the album finds them reconnecting with their diverse sonic touchpoints – many tangled in their city’s much-mused-on musical heritage – and the creative energy of collaborators around them. Close friends and long-admired peers, including Akiko Haruna, Art School Girlfriend, Tlya X An, Shadow Stevie, Thomas Ridley and Cold Light’s ELDON add colour to SCALER’s darkened palette and point to the left-turns they’re leaning into. The intense softens into introspection. The blistering becomes a balm.


‘Endlessly’ is the second album from SCALER, a.k.a. Alex Hill, Isaac Jones, James Rushforth and Nick Berthoud, alongside visual artist Jason Baker. The record follows 2022’s acclaimed ‘Void’ and marks their debut for Bristol’s revered Black Acre, a longtime champion of genre-defying electronic music.

I've always admired DJ Rush for one simple reason: he brings the Funk to Techno like no one else. His tracks are instantly recognizable. The Major’s off-grid grooves are wild, unique and downright irresistible. You just have to move when they hit. That's why I'm beyond proud and excited to present my own take on DJ Rush’s classic "Get On Up”. It’s a track that captures everything I love about his sound. Even more special: For the first time in 20 years we're also releasing the original (remastered) version by means of a strictly limited 12” picture disc. Thomas Schumacher.

The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD.

Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.

Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge. This plays an important part in the sound production by creating a brief contact between the string and the upper rim of the bridge, thus modifying the vibrating properties of the string. In this manner, the spectrum of the sound is considerably enhanced (up to over 10 kHz).

The begena is a very powerful instrument, it keeps the devil thirty steps away, and its presence in the home wards off malicious spirits. Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicians, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which "gives birth" to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.

Recorded by Stéphanie Weisser in Addis Ababa, Ethiopia, March 2002-December 2005.

Mastered by Renaud Millet-Lacombe.

Issued under license from VDE-Gallo, Switzerland.

"Pretty Close", Ethel Lindsey's debut LP, marks the beginning of a new musical journey, showcasing the talent and heartfelt nostalgia of this gifted singer-songwriter. Deeply rooted in the sound and spirit of the 1970s, her work draws from the golden age of Soul, Funk, Disco, and AOR, blending these genres with elegance and authenticity. Her songwriting and vocal delivery are so true to the era that one could easily imagine this album emerging straight from a California studio in 1976.

Entirely composed, written, and performed by Ethel Lindsey, Pretty Close is a deeply personal and cohesive body of work. From lush harmonies to groove-driven arrangements, the album captures the warmth and depth of vintage recordings while offering a fresh and intimate take on these timeless sounds.

Once again, Favorite Recordings brings its signature dedication to the project, ensuring every step of the process—from production to final mix—remains faithful to the sonic and aesthetic codes of the era. The album was produced using a maximum of vintage analog equipment, staying true to the texture and character of original 70s productions.

This is not merely a nostalgic tribute—it’s a sincere continuation of a musical tradition. With a deep respect for the past and a forward-thinking spirit, Ethel Lindsey breathes new life into classic genres, reaffirming their relevance in today’s musical landscape.

As Ethel herself puts it:
"The songs on this album offer but a fleeting glimpse into the whimsical, melodic reveries that may have danced through the mind of a young girl growing up in the northeastern suburbs of Paris, France during the early to mid-1980s. They are, perhaps, the earliest echoes of a fraternal musical upbringing—an inheritance both consciously absorbed and unconsciously imprinted—shaped by shared moments, half-remembered sounds, and the mysterious alchemy of childhood imagination. This collection is, in essence, a first distillation of that early inner world: playful, imperfect, sincere."

Word is the name of the next EP which has been announced on the label as you can see right now. It was written by the prominent artist Orbet that has been making waves in his native country Russia and has played nearly all the hottest events and festivals there are and continuing doing it without any will to stop. It has been 5 years since his last vinyl release which was a sellout hit so this is an important year we marking in the artist’s life and sound output and celebrating his return to releasing the music again. The design of the record comes in the style of graffiti that is very close to the artist as Orbet is no stranger to this art being an artist of graffiti himself. The tracks have a wide range of sound and would be able to work at different times of the party whether it’s prime, warm up or the afters. The four tracks presented on this disc are ready to be worked round the clock strictly for the pleasure of the people of the underground. I think that should conclude my verbal ramblings as it’s best to test this record in action to see it for yourself.

Unleash the groove with this rare jam – a Street Funk remix of a legendary track from one of hip-hop’s most iconic voices and his powerhouse Flipmode Squad. Known for delivering countless hits and unforgettable anthems, this collective has once again blessed the decks with something truly special. Previously unreleased on 7” vinyl, this DJ-friendly edit is a treasure for any serious DJ and collector.

The pressing quality is simply mesmerizing, built with clubs and dancefloors in mind. From bouncing beats to fluid basslines, from uplifting keyboard chords to soulful vocals and razor-sharp rap verses – it’s got all the ingredients of a certified smash. Whether you're setting the tone or saving a set, this 7” is a go-to weapon for DJs worldwide. There’s not a problem this squad can’t fix and for sure this 7” will save a DJs life every night…

Eddie shows up to this game alone, wielding, as ever, a deft and unbeatable trigger finger on the sampler...

Reprising those beloved 7 Inches Of Pleasure and early Red Motorbike vibes on some deadly Madlib style downtempo cuts, and quick Cut 'n Paste workouts

LJ Simon, who collaborated on those killer recent Sandy B releases lends a hand too, it's a joyous Disco-House affair that reminds us of those old Tony Senghore jams from the 90's

Fruitful and fully juiced up joints for the Disko Universal !

Tuskegee continues apace with ‘Work Come First’ from Life on Planets, a flawless blend of classic house, R&B, and conscious songwriting, remixed with finesse by Omar S and Soul Clap’s Charles Levine.

A modern-day hymn to hustle and stride, ‘Work Come First’ doesn’t chip away at the soul in pursuit of success. Working in collaboration with like-minded producer Seven Davis Jr., Phill Celeste applies his key alias to a triumphant, full-bodied songwriting moment. Led by beautiful organ piano, mingling with the artist’s defiant vocals and defined by the feel of a full live band, ‘Work Come First’ continues Life On Planets' beguiling, genre-crossing journey.

In ever-charismatic and minimal mode, Detroit icon Omar S breaks down ‘Work Come First’ into core elements for the floor, blowing out the system and applying Life on Planets’ vocal performance to a raw, lo-fi arrangement with a hint of street soul. In neat parallel, Charles Levine delves into the more full-bodied, rich elements of the track, tripping on the sophisticated funk long associated with the Soul Clap founder’s oeuvre.

Complimenting both takes, producer Seven Davis Jr. provides an alternate ‘Sev’s mix’, a little rougher around the edges for dancers under red lights.

The Toxic Funk series keeps the dancefloors moving, and for Volume 17 we welcome back the ever-funky duo Suckasidewith a pair of groove-heavy gems pressed on 7" vinyl. DJ B-Side and Sucka Timmy once again show their mastery of blending classic soul, funk, and RnB flavors with breakbeat punch.

The A-side, Hot Pants I Just Wanna Love You (112 BPM), is pure sunshine soul on wax – bright and upbeat with crisp breakbeats, silky vocal chops, and infectious horn stabs. Its warm groove and steady energy make it the perfect opener for a DJ set or a surefire way to lift any crowd.

On the flip, Dang Lazy (SuckaSide 45 Edit) kicks things up a notch with a faster, more driving funk workout. The bassline struts, the drums snap, and playful vocal snippets dance over the top, all tied together with Suckaside's tight, polished production. It's a party starter with a cheeky edge – perfect for when the floor is already buzzing and you want to take it higher.

Detroit, MI – – Blank Code Records, a cornerstone of the underground electronic music scene, is proud to announce the launch of its highly anticipated sublabel, Modern Relics @modernrelicsrecords. This new venture is set to redefine the future of electronic music by merging a diverse range of genres, including techno, drum & bass, atmospheric, polyrhythms, ambient, and dub.

Conceived in the heart of Detroit, Michigan—an internationally renowned hub for electronic music innovation—Modern Relics is dedicated to exploring the freshest, most experimental soundscapes. The label aims to introduce listeners to groundbreaking productions that push the boundaries of genre and convention, reflecting the cutting-edge spirit of the underground scene.

Modern Relics will serve as a platform for both emerging and established artists who are unafraid to break free from traditional constraints, weaving together intricate rhythms and atmospheric textures that captivate and challenge the listener’s perception of sound. Drawing from a wide array of global influences, the label will focus on music that’s as dynamic as it is genre-defying, from hypnotic techno to the pulse of drum and bass, with hints of ambient sound design and the intricate complexity of polyrhythms.

"We wanted to create a space where experimentalism meets accessibility, where the boundaries of different genres can be blurred and redefined," says Co-Founder Chad Parraghi. "Detroit’s legacy in electronic music made it the perfect place to launch a new chapter that honors the city’s rich history while also pushing into the future with new and innovative sounds."

Modern Relics will launch with a series of forward-thinking releases. Expect immersive soundscapes that transport you into uncharted auditory territories—one where techno meets the experimental, drum and bass merges with ambient sound design, and dub echoes resonate within polyrhythmic structures. The label will feature a diverse roster of talented artists whose work reflects the international underground, bringing together voices from every corner of the globe.



Bio: Echoføn is the project of Detroit producers and Blank Code co-founders Chad Parraghi and Corbin Davis. Their music pulls from the roots of Detroit techno while folding in the energy of drum & bass and the complexity of polyrhythms, giving their tracks a sound that feels both raw and forward-looking.
Through their work with Blank Code, Parraghi and Davis have long been part of Detroit’s underground, building spaces for artists and pushing new ideas into the scene. Echoføn is a natural extension of that—two voices combining into something new, but still grounded in the city that shaped them.

Their first release, the Empty Space EP on Modern Relics Records, has already picked up support from artists like Polygonia, Kangding Ray, and Forest on Stasys, marking an exciting start for what’s ahead.

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

Repress

The journey continues... Clone Records continue with the re-issue series of the early catalogue of one of the most groundbreaking and influential techno acts ever... Raw, uncompromising music made with soul and creativity that has always been the trademark of Drexciya. This is the 4th release in the series and contains arguably some of their rarest and most astonishing tracks such as Black Sea, Mantaray, Hydro Cubes and Depressurization.
Design and layout by Klen.
Mastered by Alden Tyrell.

A cafe in Paris, a cocktail lounge in Palm Springs, a beachside bar in Rio De Janeiro, a lokanta in Istanbul. Jill Barber’s French repertoire is played around the world and has earned her a following that transcends language barriers. Her music has become the soundtrack to an experience. It is a surprising achievement for an anglophone artist who only began her affair with the French language in her late twenties, following a moment during the Montreal Jazz Festival, where she sang a few notes of French to an enraptured crowd. Inspired by their reaction, Jill enrolled herself in an immersive French school in the South of France, eventually emerging with her own recordings of the songs and poets that inspired her most: Piaf, Gainsbourg, Aznavour. The album "Chansons" was released in 2013 and has since become Jill's most globally successful record to date, having been streamed over 120 million times - with more than 35 million listens in the past year alone. A full decade later, Jill has reunited with Grammy Award-nominated producer Drew Jurecka and the musicians that accompanied her on "Chansons" to produce "ENCORE!", its long-awaited sequel. "ENCORE!" is a delightfully arranged and lushly orchestrated album, featuring all new interpretations of classic songs by Edith Piaf, Charles Trenet, Blossom Dearie, Django Reinhardt, Robert Charlebois, Josephine Baker, and Barbara. “For me, singing in French is an embodied, sensual experience… it’s a new language in which to explore and express myself artistically- and be vulnerable.” The French have a saying for a particularly pleasurable sensation that is so unique, it’s difficult to put into words- when Jill Barber sings in French, there is a pleasing quality, a “Je ne sais quoi” that is hard to describe, but easy to enjoy. And now she’s done it again - ENCORE!

Yosuke Yamashita, Itaru Oki, Yuji Ohno, and Kimiko Kasai. An astonishing jazz workshop with a never-before-seen encounter. Japanese jazz was so sharp and original.

Yosuke Yamashita Trio, Itaru Oki Trio, Yuji Ohno Trio, and Kimiko Kasai. Three trios and one vocalist, Trio by Trio Plus One. This is a live recording of a jazz workshop held in 1970, and the original was released as part of Victor's "Japanese Jazz" series. Just looking at the lineup of musicians gives off an extraordinary atmosphere, making this a special work.

Yamashita was a leading figure in the scene as the darling of the times. Oki came to Tokyo from Osaka in the mid-1960s and attracted attention. Ohno was a man of supple musicality who played everything from modern jazz to new jazz. And Kasai is just about to blossom. Needless to say, each performance is powerful and fascinating, but this album also features a performance by a unique seven-person group consisting of the Oki Trio, Ohno Trio, and Kasai. This is a two-disc set of super-class that reminds us once again just how original Japanese jazz was.

Text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY

To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.

This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.

SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.

‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.

SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.

The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.

‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.

A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).

Following the success of the 12” “Trip To Your Mind (The Reworks)”—where Delfonic and LTJ Xperience both brought their own magic to Hudson People’s disco/jazz-funk anthem—we’re back with a fresh twist: DJ Friction steps in for an official 7” rework, breathing new life into this cult classic in his own unmistakable style.

For those who’ve been following the story, you know “Trip To Your Mind” is a true favorite among DJs and collectors since decades, from its creative inception by the writer Reginald Hudson with the GI funk band Body Heat, to the original recording taking place in the late 70s in London that eventually paved the way for disco lovers to produce this recent string of reworks.

Where the 12” reworks stretched out the groove with extended intros and club-friendly builds, Friction’s version keeps things tight and energetic. He adds his own drums, claps, synth touches, and some new vocal layers—combining the standout parts from both the original mix and the classic UK remix. The result is a punchy new take that’s perfect for DJs who want maximum impact in a short format, but still want all the funk and psychedelic flavor that’s made this song a dancefloor staple for decades.

And for collectors? The original 7” of “Trip To Your Mind” is notoriously hard to find—and pricey when it turns up. This new release finally makes it easy to spin a fresh, fully licensed version on 7” wax, expertly mastered for today’s systems.

Whether you were hooked by the Delfonic or LTJ Xperience edits, or you’re just discovering this tune for the first time, DJ Friction’s rework is a natural next step in the ongoing journey of “Trip To Your Mind.

Repress 2026













k D1 | The Train (King's Cross) Feat. Caroline Polachek











[k] D1 | The Train (King's Cross) [Feat. Caroline Polachek]











[k] D1 | The Train (King's Cross) [Feat. Caroline Polachek]

Among the true Keiji Haino devotees, Nijiumu’s Era of Sad Wings (released on P.S.F. in 1993) has always held a special place in the pantheon. Operating for only a few years in the early 90s and apparently only performing a handful of shows, Nijiumu operated at the opposite end of the dynamic spectrum to Haino’s famed power trio Fushitsusha, dwelling in a hushed, meditative realm of mysterious droning sonorities and free-floating melodies that occasionally erupts into violence. Black Truffle is pleased to announce a new double-LP edition of a lesser-known 1994 Nijiumu recording, When I sing, I slip into the microphone. Into that void, I bring comrade “prayers”, then, turning to face the outside, together we explode. Here, Nijiumu is the trio of Haino, Tetuzi Akiyama and the obscure Takashi Matsuoka, the three performing on a wide variety of string, wind and percussion instruments, as well as electric guitar and bass, and Haino’s unmistakeable voice.

Like on the early solo Haino album that shares the group’s name (released on P.S.F. in 1993), the instrumentation swims in reverb (the use of which Akiyama recalls as ‘a kind of point of the band’), often obscuring the instrumental sources. On the short opening piece, a distant reed instrument arcs long buzzing melodies over a bed of cymbals and gongs, like a psychedelic take on Tibetan music. The epic second part, occupying almost 50 minutes, begins as a splayed, near-formless cloud of electric guitar and bass, shadowed by bowed and plucked strings, the three elements working through twisting atonal shapes. At various points in the recording, we hear what seems to be the sounds of musicians moving between instruments, their shuffling and bumps fitting seamlessly into this radically open music. Eventually, what sounds like electric guitar moves closer to the foreground, fixing on a repeated melodic cell around which hover mysterious clouds of long tones and a sporadic shaker. At the half-hour mark, the music begins to build to a violently emotive climax, Haino’s impassioned vocal cries punctuating a lumbering, bass-heavy murk, contrasted at points by what sounds like a tin whistle. Suddenly, the volume drops to a near-whisper, opening the way for the stunning final moments, which touch on the slow-motion balladry of Haino’s classic Affection, here given an eccentric twist by an occasional woodblock hit. The third piece opens with a hazy trio of rumbling bass, bowed strings and abstracted slide guitar, the latter calling to mind some of Akiyama’s later solo work. Eventually joined by Haino’s voice, its fragile, haunted tone might remind the listener of the man in black’s documented love of the madrigals of the murderous Count Gesualdo, before the recording abruptly breaks off mid-note. In this new edition, the Nijiumu trio recording is supplemented by a piece recorded solo by Haino in 1973, a bracing electronic blowout stretching almost half an hour. Using a homemade electronics setup to unleash a barrage of crunching distortion and shuddering harmonic fuzz, it takes its place in the canon of extreme live electronics next to Robert Ashley’s Wolfman and Walter Marchetti’s Osmanthus fragrans, looking forward to extreme noise years before Merzbow. Taken as a whole, these four sides of music are a stunning document of some of the lesser-known waystations of Haino’s singular creative path.

The Party is the second Alexia's album released on 1998. For the first time on vinyl!

In 1982, the elite, core musicians (MFSB / The Salsoul Orchestra) behind the soulful Sound of Philadelphia - Earl Young (drums), Ron Baker (bass), Norman Harris (guitar), Lenny Pakula (organ), Larry Washington (percussion), Vince Montana, Jr. (vibes) - and powerhouse vocalists Joe Freeman, David Simmons, Ron Tyson and Bobby Love convened at Philadelphia’s historic Virtue Studios to record some of the genre’s most iconic hits. This small, but amazing set of lush recordings, which were mixed at Alpha Studios - ensuring that every note and nuance was captured with the highest fidelity, recently caught the attention of the famed producer and remixer Eric Kupper. Kupper got his start working as a keyboardist and guitarist for such producer/remixers as David Morales, Arthur Baker, Frankie Knuckles, Peterauhofer, and Richie Jones, just to name a few. Since 1986, he has played on, remixed, and/or produced over 1400 records for artists spanning all contemporary musical genres. Presented here is Kupper stellar remix of “Back Stabbers” which features Freeman’s impassioned lead vocals. This release is not just a tribute to the past, but a vibrant continuation of the legacy

Best known for his cinematic jungle excursions, Seb Uncles returns to Livity Sound for a second extended release of introspective electronics with a strong influence from mystical sources.

As Eusebeia, Uncles has developed a strong, independent presence in modern electronic music defined by a prolific run of deep-diving, breakbeat-driven albums and EPs. In 2022 he released Cosmos on Livity Sound, a mini-album that zoomed out to a more reflective strain of electronica shaped by atmospheric synth lines in the hauntological vein of Ghost Box, Pye Corner Audio et al.

The Wyrding Way finds Uncles delving even deeper into this area of his output, keeping drums to a bare minimum and focusing instead on powerful melodic lines. There are still considered soundsystem moments that connect with Livity's long-standing sonic focus, not least the subtle dub inflection of EP centrepiece 'By The Light Of The Moon'. Elsewhere Uncles leaves the melodic parts unaccompanied, letting the phrasing and emotional pull of the title track tell its own story.

Balancing light and dark elements and drawing inspiration from personal experiences and perspectives, combined with spiritual and existential observations, Uncles capitalises on the evocative streak in his studio practice to deliver a timeless, immersive experience unlike anything else in his considerable back catalogue.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

Followed by the first release last year Chinese label Motivation, curated by B.ai, comes back with its second V.A. featuring Ilkay Yeler, J6, SMEV and NAE. The vinyl attributes in progressive house, electro house and electro.

Opening track “Destiny” ‘s morphing main motif gets kept in check by a steady pulse of snappy bass. Enigmatical vocal samples add to the ambiguous atmosphere, so the sets of twinkling mallets J6 sleekly includes, bring a touch of subtle lightness.

A-2 Ilkay Yeler’s sound is fueled by endless nights of groove, and on “Frontliner” this translates to a hypnotic trip into the deep end. Underneath its dreamlike current of silky chords a steady bass riff propels everything forward, allowing a restless arp to zone in and out.

Flipping to the side B, Sev’s Miami-inspired 808 patterns have “Clearing The Fog” come out of the gates swinging. Bright flutes and big basslines provide this slab of machine funk with a tapestry of melody, and fluorescent synth solos top it off.

Nay ends affairs on a melancholic note with “Silent River”. The leads sound like they ran through an eighties wave pedal chain, and as pondering chords and choirs work their way in, a Juno 6 bass adds extra depth. Still firmly directed at the club, the track escapes easy classification - and suitably closes a diverse yet coherent EP.

The ninth installment in the MEGABREAKZ series dives headfirst into the raw energy of early industrial. A rhythmic discharge straight from the golden era of industrial new beat and industrial dub: rusted percussion, toxic delays, and sweat-drenched basslines. Velax channels the raw spirit of Chicago’s most abrasive scene, Wax Trax!, where beats were machines and noise had a body. But here, everything is filtered through the dub haze of the UK’s early counter-scene, with fractured echoes in the style of Keith LeBlanc, crafting the ideal soundtrack for a crumbling factory. Grit, groove, and distortion as the only possible language. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl.

Visionary producer and one half of pioneering electronic duo The Chemical Brothers, Tom Rowlands returns to Phantasy with ‘We Are Nothing / All Night’, the first solo dancefloor material since his last appearance on Erol Alkan’s storied London label in 2013 with ‘Through Me / Nothing But Pleasure’.

Once again, Rowlands delivers a double A-side single in order to commit two progressive new productions to wax. Heavily road-tested across the world in Chemical Brothers DJ sets, the sprawling arrangement of ‘We Are Nothing’ trips through a decades-long obsession and subversion of house music and psychedelia alike. Imaginatively sampling Canadian outsider artist Bill Bissett, Rowlands uses the poet’s existential phrasing as the foundation for a rising slalom of acid catharsis, peppered with snatches of soul, analogue freakouts, and all-encompassing groove.

‘All Night’, meanwhile, finds a different, perhaps unexpected rhythm. Here, Rowlands’ unmatched studio instincts deviate in a different direction entirely, employing a searing tempo to embrace the analogue experimentation at the heart of his work, as well as an appreciation for electronic music’s willingness to barrel ever-forward; the result is a worthy head spinner from both label and artist alike.

Tom Rowlands will play a rare solo DJ set at Glastonbury's Stonebridge Bar on Friday 27th June, as part of Bugged Out's 30th Anniversary celebrations.

Wrong Filament embodies Robert Piotrowicz's creation of fictional traditional music - not studied but invented, a utopian and oniric construct that becomes tangible in sound. These imagined traditions act as communal forces of music-making, resisting dominant structures of power.

The album unfolds in six dense compositions built on rhythm, repetition and minimal melodic gestures that draw on archetypal patterns of Eastern European traditions. Entirely synthetic yet strikingly instrumental in character, they develop as autonomous sound events, expanding into multi-part forms that evoke the physicality of ensemble performance - as if played by an imagined community of musicians.

Rather than reconstruction, Piotrowicz invents forged dances - a pre-techno of sorts, where complex meters and dense textures point to a parallel history of collective sound beyond industrial uniformity. They imagine a utopian and fictional genealogy of collective sound: one where industrial modernity yields to more unstable, communal energies.

This is celebratory music with invocatory charge: calls to dance, echoes of ceremony, microtonal melodies shaped by emotional weight, and traces of Eastern ornamentation stretched through synthetic means. Wrong Filament sacralises performance through sound alone, spinning a world where spectres of collective experience vibrate against the limits of rupture and resistance.

These pieces confront the traces of violence inscribed in body and memory, yet also affirm freedom, emancipation and integration. They manifest celebration, identity and resistance while opening a path toward liberation and shared needs that exceed social, private and intimate categories.

Swedish underground maestro Jo Bubbles (a.k.a. Jonas Dahlström) boasts an impressive streak of hot dance 12’’ releases in recent years, for illustrous labels like Parkway Records, The Transient Nature of The Disco Business and Västkransen. Ever intent on lifting homegrown talent and presenting it to its
worldwide audience, Studio Barnhus proudly unveils Mr. Bubble’s first outing on the label: a compilation of four distinct, yet equally striking dance tracks, each showcasing meticulously curated sound palettes paired with undeniably rock solid grooves.
From the electroid stomp of Compass Point to the Balearic-leaning grandeur of closing track Tu Cariño, these are cuts that would have gone down a storm during the early morning hours at Hägring, the infamous, now-defunct disco rave Jonas helped steer for over a decade. We’re thrilled to release these babies into the wild, for all to enjoy. Tu Cariño is out on vinyl and digital formats on October 10.

Having established a reputation as one of the most versatile and respected producers in the game - with over a decade at the forefront of UK bass music, spanning UKG, grime, bassline and drum & bass, Flava D needs no introduction. Now, with her debut drum & bass album Here & Now, she levels up once again, channelling years of dancefloor know-how into a project that's as weighty as it is emotionally dialled-in.

A self-proclaimed fan of Hospital Records from the age of 14 - the first drum & bass CD she ever bought being 'Hospital Mix Vol. 1' - Here & Now marks a particularly paramount milestone for the Bournemouth-born beatmaker. Across 15 tracks, Here & Now captures the breadth of Flava D's musicality, offering a bass-charged, genre-spanning statement that's rooted in experience but tuned into the present moment. With a star-studded bank of collaborators, including MPH, Anais, Unglued, SOLAH and more, the album highlights Flava D's curatorial ear and the strength of her network across the scene.

At its core, Here & Now is a meditation on presence - a fresh, fearless chapter from one of the UK's most consistently innovative producers. The album is equal parts masterful and functional, giving fans what they came for while revealing new layers of Flava D's ever-evolving sound. Through its stacked line-up of collaborators, Here & Now also connects voices who are helping shape the future of dance music, from the underground up.

Troubadours is a tentacular collective oscillating around Laura Lippie, Kim Khan and Dr Winzo.

“Everything Is Being Recorded All The Time” is the result of three years of sonic explorations in Lyon, Abbecourt, Berlin and Den Pasar, carving hours long studio jams into deep, narcotic mutated funkiness.

Traditional instruments and high-tech ones are invoked to confront beauty and misery : the system is contemplated through dilated pupils. We’re beyond happy to welcome you on board for the journey : whether you find it nerve-racking or soul-soothing is no longer our responsibility. Expect the unexpected…

Mastered by Miles Whittaker

Artwork By Clara Cimelli

Design by Local Service and Arthur Naulot