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AUDIO VERSATILE RECORDINGS is an independent record label dedicated to producing and promoting high-quality electronic music. With a passion for discovering and supporting unique artists, Whether you're an artist looking for a label or a listener seeking fresh, cutting-edge tracks, Audio Versatile Recordings is your destination for diverse and dynamic electronic music.

Unlock the allure of The Hot Spot through its unforgettable soundtrack, a captivating collection that brings the film's sultry ambiance to life.

Set against the backdrop of a small Texas town, The Hot Spot follows Harry Madox, a charming drifter with a dark past. As he arrives in town, he becomes embroiled in a web of seduction and deceit, navigating his way through a love triangle involving the sultry waitress, Gloria, and the alluring femme fatale, Dolly. Tensions rise and passions ignite, leading to a thrilling climax where desire and danger intertwine. Directed by the visionary Dennis Hopper, the film is a masterclass in mood and atmosphere, capturing the essence of 1990s neo-noir.

The Hot Spot has garnered acclaim for its stylish cinematography and gripping narrative, but it's the music that truly sets it apart. It's an amalgamation of swampy blues, jazz and rock — all mixed and recorded in a sparse, bloomy and eerie sort of way.

Critics hailed the soundtrack as "an electrifying fusion of jazz and blues that perfectly complements the film's seductive undertones." The blend of sultry melodies and haunting instrumentals creates an immersive experience that resonates long after the credits roll.

This recording is just so damn fine, so airy and warm. And the musicians aboard on this Dennis Hopper film are a who's who, including Miles Davis, John Lee Hooker, Taj Mahal, Roy Rodgers, Earl Palmer and Tim Drummond. This has long been a highly sought-after and collectible record among audiophiles. This soundtrack is essential for any music lover or film buff, capturing the very essence of the film's seductive spirit.

Limited edition DIY tape manoeuvres, hand stamped with unique variant covers.

Sounds for meditation and other activities.

Presenting the 3rd outing from the DMV crew, thank you for waiting patiently inline. On the A we have Busta Bus, flexing his lyrical flow all over Rick’s sweet Mary Jane. On the flip side, 90s underground stalwart “Red Hot Lover Tone” gives his approval to the Stars in Herbie’s eyes.

h B4 Feeling Good Lazy Remix - feat Djade 04:47

Lonnie Liston Smiths 'Expansions' ist eines der einflussreichsten Alben aller Zeiten, dessen Sound viele verschiedene Genres streift. Es ist ein Grundpfeiler der Dance-Musik und eine Hymne für die britische Clubszene. Zum 50. Jubiläum feiert Ace Records diesen Einfluss mit einer hochwertigen Deluxe-Vinyl-Edition des Albums. Mit dem Original-Masterband haben sich die Mastering-Spezialisten ins East Londoner Carvery-Studio niedergelassen, um das Album komplett analog aufzunehmen - es hat noch nie besser geklungen! In einer laminierten Klapphülle verpackt, die Jack Martins Original-Illustration des Künstlers so erstrahlen lässt wie nie zuvor. Dazu kommt ein ausführlicher, illustrierter Covertext von Frank Tope, der die Reise der Platte durch das Universum von ihrer spirituellen Jazz-Tradition zur Club-Hymne erzählt. Diese Album-Story wird mit Unterstützung von Gilles Peterson, Norman Jay und anderen erzählt. Das Album als Ganzes ist unverzichtbar und geht über die Tanzbarkeit des Titeltracks hinaus. Mit seinen sieben Tracks zählt es zu den großen Jazzalben der 70er Jahre. Produziert von Lonnie Listen Smith und Bob Thiele, sollte es in keiner Plattensammlung fehlen.

Rose Connolly has a beautiful voice with a wide melodic range, which she bends, twists, strains and warps through both her physical exertions and a sample-based granular synthesiser. The results recall both the Gaelic tradition of séan-nos singing, and the work of experimental artists such as Meredith Monk, Yoko Ono and Hatis Noit, while the beats meld folk with gothic, 4AD-era soundscapes unmatched since the glory days of This Mortal Coil.” – The Guardian (10 Best Folk Albums of 2024) “RÓIS is a composer, vocalist, multi-instrumentalist, and electronic artist from Fermanagh, whose songs breathe new life into a forgotten Ireland. Self-released, written and produced by RÓIS with additional production from John Spud Murphy (OXN/Lankum), 'MO LÉAN' is a concept album, taking the listener through the grieving process from start to finish, from the chaos that loss brings, to the intense emotional outpourings and finally, a cathartic release.

‘MO LÉAN' features several new original recordings and reworks of songs and hymns based around the concept of death, life, mourning and catharsis. RÓIS re-imagines the tradition of 'keening' in Ireland that goes back to pre-christian times, a practice in which women would 'keen' a lamenting wail at the side of a coffin during a wake. After discovering the last two recordings of keening songs, RÓIS was inspired by their ethereal melodies to give them a modern reworking yet honouring the original women by sampling them in her adaption. 'Keeners', through their voices, movements and laments, conveyed the communal expression of grief and allowed those suffering a way to release their sorrow and loss. RÓIS aspires to do the same with 'MO LÉAN', by expressing the power of the voice to transcend death and help us relinquish our fear of it

third album, "Magic Seeds". The record represents his most personal and collaborative work and blends live recordings and analogue synths to create an organic, rhythmic sound reminiscent of trip-hop and hip-hop.

"Magic Seeds" explores themes of growth and reconnection, featuring unexpected musical moments and influences from 90s electronic music to neoclassical. Tracks like "Smoke in the Air" and "Inner Child" highlight his ability to balance emotional peaks with deep, moody atmospheres. The album’s dynamic range and authenticity reflect James's commitment to musical freedom and societal reflection, making it a compelling sonic collage of his recent experiences.

Over the past few years, Leifur James has steadily built a reputation as a vital new voice in electronic music on both sides of the Atlantic. He’s played prestigious London venues like the Barbican and Village Underground in London and toured Europe, as well as being named Pitchfork and KCRW’s ‘best new music’ in the US, and his music has been championed by the likes of tastemakers Gilles Peterson, Mary Anne Hobbs, Bradley Zero and actor Cillian Murphy, and from BBC 6Music to NTS via KCRW and RMC Italia. James has also enjoyed further flagship press support from Consequence of Sound, Clash, CRACK, Passion of the Weiss, XLR8R, Complex, MixMag, DJ Mag, The Vinyl Factory, and more

In this post Sounds world, the boundaries of Post Punk have not only broadened but splintered. And over the course of (now) four releases, Index For Working Musik have seen to using the sprawling boundaries to great effect, flexing a polyglot of styles to convey the language of the moment. On Which Direction Goes The Beam, the murky, distant ambience that was 2023's Indexé has been fleshed out, incorporating everything from the Brian Aldiss laced, ground lightning shudder of Dome, to the chamber-like arrangements of This Kind Of Punishment. There's even a candle flickering in the window for Think Fellers Union Local 282 that warmed these ears. And if you're a fan of the great Dutch band, Trespassers W (who isn't?), the collective consciousness IFWM enunciates on here is a similar testament of a band growing more sure footed in the pursuit of not only knowing all the ways in, but carving a few of their own on the way out. And it's discerning releases like Which Direction Goes The Beam that keep us in the hunt. Long may they forge. - Tom Lax. RIYL: Brian Jonestown Massacre, Velvet Underground, TOY, John Cale, Wire, Dome

“Onomatopeikoa II” follows on from Irazoki's 2017 Gitarra Onomatopeikoa release, and that album's sense of untethered, questing curiosity is not only carried over but expanded upon even further here. Combining a fully committed approach to the guitar with an almost egoless lightness of touch, this album builds upon the already impressively scopious range of Gitarra Onomatopeikoa to dizzying effect.

Irazoki makes full use of an impressively broad palette. Yet nothing feels forced, nothing is for show – there’s just a sense of open-hearted generosity.

In lesser hands such a whirlwind tour of style and form might risk failing to get its hooks in deep enough, yet not only does Irazoki have the imaginative scope to tackle these varying approaches to the instrument, he has the technical chops to pull it off. Each composition seems to have an openness of intent that is utterly disarming; all cards are on the table and nothing is held back, resulting in a creative tour de force that builds, piece by piece, to a unifying cohesiveness that makes the whole far greater than the sum of its parts.

Featuring contributions from long-time OTO favourites Rhodri Davies and Raphael Roginski,

“Onomatopeikoa II” is nevertheless unmistakably a work of singular craft and vision.

FFO: Jeff Parker, Loren Connors, Keiji Haino

Limited edition vinyl of 250 copies

presented by Hegoa with a cover designed by Pablo Mirón.

Kassie Krut is comprised of Kasra Kurt and Eve Alpert — former members of Philadelphia math rock institution Palm — alongside Matt Anderegg (Mothers, Body Meat). On their self-titled debut EP, the newly minted Brooklyn three-piece have retained the fangled snarl of their prior work, outlining sugary melodies with visceral flourishes. Front to back, 'Kassie Krut' smudges starkness & filth, settling into a commanding partnership fit for muddy raves, basement punk spaces, and festival stages alike.

After years of twisting rock instrumentation into unknown shapes, the first release by Kassie Krut represents a transformative refocusing of energies. These tracks evince the kind of wisdom that only comes from experience—and the kind of experience that can only be scored by new sounds, still glittering with the metal filings of their making

Since 1992, Robin Storey (founding member of the pioneering post-industrial band Zoviet*France) has been creating innovative and thought-provoking music under the Rapoon moniker. Drawing inspiration from his early days with Z*F, he continues to push the boundaries of ambient, industrial, and world music genres, earning him a dedicated following across the globe.

Originally available in 1994 as a limited-edition DAT tape through Staalplaat Records, Cidar was later included as a bonus CD in the reissue of another Rapoon classic, Fallen Gods. Now, after years of anticipation, fans can experience this mesmerizing work as a stand-alone release – remastered and expanded with three previously unreleased tracks from the original 1994 recording sessions.

Cidar showcases Robin’s signature sound – a seamless blend of Z*F-inspired drones and loops intertwined with vibrant African percussion and hauntingly beautiful Asian string instruments. This combination creates an immersive, trance-like atmosphere that transports listeners into a world of meditative sonic exploration.

With its enchanting rhythms and deeply textured layers, Cidar stands as a testament to Robin’s unparalleled ability to craft music that defies genre boundaries while remaining instantly recognizable. Fans of both Zoviet*France and Rapoon will find themselves drawn into the hypnotic sounds of this timeless masterpiece.

The standalone release of Cidar marks an important milestone in the history of experimental music, offering audiences worldwide the opportunity to rediscover or experience for the first time one of Robin Storey’s most influential works.

Crypt of the Wizard is proud to present Scimitar – Scimitarium I on vinyl and digital formats. Formed in 2024 by veterans of Copenhagen’s underground music scene—including members of Slaegt, Endless Glory, and Shaam Larein—Scimitar arrives as a fully formed force of nature. In their raucous wake lies Scimitarium I, a frenzied, whirling dervish of black occult rock. For those familiar with the members' previous efforts, this should come as no surprise. This piece of musical alchemy is a perfect knife-edge dance, seamlessly blending elements of black metal, post-punk, and occult rock. Dark and serpentine, onyx black, scaled and sacred, Scimitarium I unfurls itself like an endless snake wrapped tight around the world. With a dark heart and a head full of fever dreams, this is an album of breathless intensity. Shaam A.’s constant presence provides an abundance of rich, overflowing lyrics, delivered in her distinctive and haunting voice—written as if hurriedly scrawled in feverish reverie—and reinforced by winding, twisted narratives played out on violent yet harmonic duelling guitars, alongside a rhythm section of unyielding intensity. Scimitar has quickly become an indelible part of the city's fertile and ever-evolving metal scene—a place where stalwarts continue to push boundaries and break moulds with seemingly effortless zeal. This is an album of forged perfection, honed and sharpened like a curved blade—shimmering with lethal precision—driven straight into the heart of all matters

Don’t rolls into its 25th year of releasing records with this insane 5 track 12” “Swagger Portraits” from one of the most interesting Techno producers out there. L/F/D/M

This is his second outing on the label and as always the message is raucous and confrontational Techno and Acid that penetrates right to the core of what Don’t is all about

To put it simply, he’s an ‘ideas man’ and his tracks are always different, always exciting and always a nice contrast/middle finger up, to the sanitised sample pack culture that seems to be rife in Techno at the moment.

Also included is an edit of ‘We Know’ by label boss Jerome Hill.

Xzibit – Kingmaker markiert die lang erwartete Rückkehr der Westcoast-Legende, sein erstes Album seit 2012. Vollgepackt mit Heavyweight-Kollaborationen präsentiert Kingmaker Branchengrößen wie Dr. Dre, Ice Cube, Busta Rhymes, Redman, Royce Da 5'9", Ty Dolla $ign und viele mehr. Mit einer knallharten Produktion und Xzibits charakteristischer, messerscharfer Darbietung verbindet dieses Album rohe Lyrik mit erstklassigen Beats und bekräftigt Xzibits Status als Hip-Hop-Powerhouse. Kingmaker ist ein Muss für Shops und Fans gleichermassen und wird in der gesamten Kulturszene für Aufsehen sorgen.

Demilitarize follows Nazar’s remarkable 2020 debut Guerrilla, which reprocessed Angolan kuduro music with rough textures, field recordings and media clips, telling a personal story of the civil war that exiled his family to Europe, while his father, a rebel General, fought a losing battle in the jungle back home. After Guerrilla, and an extended period of serious illness, now Demilitarize is motivated by a reckoning with mortality and the flowering of new love, turning the ‘rough kuduro’ of Guerrilla inside out.This is a deep sound world, genuinely dreamy, the arc of the album describing shedding the armour of trauma and surrendering to this new situation. A constant and unexpected aspect of Demilitarize is Nazar's gentle, submerged vocal. Insistent and mantra-like, it’s like a cross between Elisabeth Frazer, Arthur Russell and Frank Ocean, and the music is fragile and opaque in response. The rhythms of kuduro are still here,but move around his voice like fish around a swimmer, while precise sound design illuminates from different angles. Chords spiral, ripple and shoot through the beats giving tracks the loosest of settings; songs disassemble; vocals float off-centre.

Jorge Ben’s 1963 debut, Samba Esquema Novo, introduced his infectious blend of bossa nova and samba, propelled by the timeless Mas Que Nada and Chove Chuva. While his later sound leaned more into rock and Afro-Brazilian rhythms, this album bursts with swirling melodies, rich harmonies, and big-band energy, all anchored by Ben’s distinctive, minor-key guitar work. A vibrant, era-defining classic.

Van Morrisons neues Album 'Remembering Now' markiert seine Rückkehr zu Original Music mit einer reichen Mischung aus Soul, Jazz, Blues, Folk und Country und enthält die lang erwartete Single 'Down To Joy'.

Van Morrison, blue-eyed Soul-Shouter und wild-eyed Dichter-Magier zugleich, ist einer der wahren Erneuerer der populären Musik. Er ist ein rastlos Suchender, dessen beschwörender Gesang und alchimistische Verschmelzung von R&B, Jazz, Blues und keltischem Folk das vielleicht spirituellste Werk im Rock'n'Roll-Kanon hervorgebracht hat. Seine Aufnahmen, die nur den Launen seiner eigenen Muse unterworfen sind, decken ein außergewöhnliches stilistisches Terrain ab und bewahren doch eine Geschlossenheit und Reinheit, die unter seinen Zeitgenossen nahezu unerreicht ist. Was sie verbindet, ist die mythische Kraft seiner einzigartigen musikalischen Vision und seines feurigen Gesangs: spiralförmige Wiederholungen von Klagen und Flüstern, die die Grenzen der Sprache umgehen, um emotionale Wahrheiten zu artikulieren, die weit über den Rahmen der wörtlichen Bedeutung hinausgehen.

Gravity Pleasure's inaugural release is a rippling compilation of womxn, trans, and non-binary artists and
collaborators that invites listeners into an aqueous paraworld of fluid resistance and sonic kinship. Across 21 tracks from the likes of Yetsuby, Flora Yin Wong, Felisha Ledesma, Ursula Sereghy, tibslc, and more, Water Bodies spans a post-genre miasma of ethereal mermaid music, cathartic flows, and glistening sibilants. Inspired by a poetic prompt from Lou Croff Blake, each track is an exquisite message in a bottle of deep diving emotionality. Pulling from a wide range of musical perspectives – field recording, lovesick ballads, shimmering downtempo, post-party comedown, and percolating ambient – the compilation contains multitudes yet maintains deep sentimental coherence. Like a wave crashing in slow motion, each artist sonifies possible ways of being, insisting on the porous, the interdependent, and the deep and unruly. Water Bodies reminds us that home is a body made of water, to which we all belong.


Credits Curated by Ashlynn White & Madelyn Byrd
Artwork by Dre Roelandt
Layout by Madelyn Byrd Mastered by Estle
Distributed by Rubadub
Published by Gravity Pleasure ❊ GP01 ❊ 2025

'Tense from the first note and decisively uncompromising ‘GHSTING’ is the debut collaboration by Polish artists Alex Freiheit and Aleksandra Słyż, an incredibly unique piece of work that mixes fiction, spoken word poetry, theatrical antics, dense synthesis, acoustic ensemble and dark landscapes all set within the backdrop of a sinister Eastern Europe hotel. The resulting sound is menacing, humorous, harmonious, tumultuous, and at times quietly erotic.

Alex Freiheit, a poet and vocalist, is widely recognized for her captivating work with the SIKSA duo. Over the past decade, she has delved into the realms of personal feminist storytelling, postmodern fairy tales, and queer legends, crafting unique and thought-provoking narratives. In this groundbreaking collaboration with talented composer Aleksandra Słyż, they are now delving into the herstory of lies and exaggerations, extracting the raw essence of these tales filled with stench, stains, secretions, and torn organs. Eyeless Freiheit haunts the hotel guests while dressed in a binder and holding a bottle filled with a corrosive substance. She shares compelling stories about the hidden activities and other secrets that unfold within the walls of hotels when no one is watching. Her gripping narrative is complemented by equally haunting and eerie music. Słyż divides the text into four chapters, skillfully intertwining synthetic and acoustic elements. She combines the sounds of synthesizers, woodwind and percussive instruments with vocals, creating a tense, dynamic soundscape. Freiheit’s voice possesses an earnest quality, where a frightening cadence suspiciously flips into a meditative cycle.

Together, Freiheit and Słyż have crafted a bold and suggestive story that feels like the mesmerizing soundtrack to a contemporary Eastern European horror film, captivating an essence that is hard to pinpoint but instantly recognizable. This is abstractly powerful music that pushes listeners into a kaleidoscopic spiral that channels ecstatic over loss.

Peki Momés took hearts and ears by storm with her first 45 (Göç Mevsimi b/w Rüya) last autumn. Her dope outernational grooves and fresh singing style made it as far as Iggy Pop's show on BBC. Time for another double-sided single!

Yıldız is a Turkish cover of the beloved Marcos Valle tune Estrelar. Staying true to the spirit of the original, this version draws its energy from the bright stars, dreaming of meeting the stars up in the sky alongside the sun and moon. The production has been meticulously crafted, blending key elements of the original instrumentation with Peki Momés' distinct vocals in Turkish language.

Bahar is a psychedelic disco groove about longing for sunny days — both literally and metaphorically. It captures the exhaustion of waiting for brighter days in our homelands, our world, and our inner selves. As Peki Momés puts it, the wait for spring can be so long, it even wears down our pullovers. This track mirrors the duality of our reality and invites the audience to dance during this wait.

Acid Jazz has been releasing Kevin Fingier’s productions on group label Fingier Records for the past 5 years, and there’s always that unmistakable Latin touch. It all started with ‘Latin Dynamite’, which sold out 15 days before its release. Then came ‘Cocktail de Medianoche’, another instant sellout, followed by ‘Why Don’t You Go Home’ (making them the best-selling 7” singles on Acid Jazz since Paul Weller and ‘Andy Smith’s Are You Trying to Be Lonely’).

For the second pressing of ‘Latin Dynamite’ (which, again, sold out), Fingier added a fiery Latin take on the R&B classic ‘It’s Your Voodoo Working’. And when he released his first album, ‘Not Strictly Soul’, he hid a Latin gem within it: ‘El Popcorn’—now available on 7” for the first time, ready to ignite Northern Soul and R&B all-nighters. Now, for the first time, these four Latin Soul monsters come together in one explosive Boogaloo EP! Presented on a beautiful graphic picture sleeve with signature Fingier labels

»Cosmogonical Ears« is Amosphère's first album for Hallow Ground. Following her contribution to the Swiss label’s »Epiphanies« compilation and her 2021 full-length debut »More Die of Heartbreak« on 33-33, it features three expansive pieces. The Paris-based composer and multidisciplinary artist delves deeper into themes of time, space, cosmology, human perception, and psycho-physical effects, crafting profound sonic meditations. Drawing on a minimalist approach while blending electronic and acoustic elements, Amosphère’s long-form compositions are living, breathing entities whose sonic richness and evocative power unfold gradually over time, putting »Cosmogonical Ears« in direct kinship with previous Hallow Ground releases by artists such as Kali Malone and FUJI|||||||||||TA.

The album opens with its longest piece, »Land of eternal delight,« composed for the Buddha10 exhibition at the Museo d'Arte Orientale in Turin. Written during three years of isolation—a period in which Amosphère explored meditation practices and diverse belief systems—it merges mythology with personal transcendental experiences, reflecting on a challenging time for humanity. »By blending Buddhist philosophy and sculpture with my own meditation practices, I sought to explore a way for people to transcend the boundaries of space and time—not as a believer, but as an observer,« she explains. Featuring handmade ceramic instruments and recorded by Thomas Lefevre, the piece combines Amosphère’s electronic organ with Marc Lochner’s flute contributions, creating a sound that is simultaneously minimalist and expansive.

The concept of teleportation and how it challenges traditional notions of time and space serves as the foundation for the second piece. »Recent advances in quantum physics suggest that teleportation might be possible through quantum entanglement,« Amosphère notes. »What if science fiction is becoming reality—or has already existed in ancient times?« Drawing inspiration from theories proposed by physicists such as Roger Penrose, Amosphère again worked together with flutist Lochner, this time using her VCS 3 synthesizer. »Teleportation« weaves single notes into intricate, non-linear patterns that defy conventional logic, creating a complex auditory tapestry. The last piece »Black hole in, white hole out« was recorded on Corsica and features Miao Zhao’s bass clarinet drones alongside Amosphère’s church organ. It imagines the possible sound of crossing a black hole while also suggesting the study of its theoretical exit and its potential applications for large-scale time and space travel.

The questions posed by »Cosmogonical Ears« do not yield straightforward answers. Instead, Amosphère’s restrained yet intricately layered compositions require full immersion and concentration from the listener. As expressed by the album’s title—which envisions the birth of a new universe through listening—»Cosmogonical Ears« offers an experimental approach to auditory perception as a tool for seeking truth, freedom, and harmony between the outer world and the inner self.

There’s no direct English translation for the word “hiraeth”. In the Welsh language, it describes a form of longing for an intangible something, somewhere or someone that no longer exists. Sofie Birch and Antonina Nowacka draw on the concept to guide their second collaborative album, a suite of vulnerable, open-hearted improvisations and reflections that attempt to grasp an image of the past that’s chimeric, dissolving almost as soon as it materializes. The duo’s process follows the same distant beacon; unlike Languoria, their critically acclaimed debut, Hiraeth is, at heart, an acoustic record, informed by in-person improvisations with voices and string instruments that gesture to an era before computers, AI and DAWs. It’s just as lush, but Hiraeth is warmer and more muted than its predecessor.
Nowacka and Birch conceived the album in the wake of a slew of collaborative live concerts, spurred on by serendipitous improvisations and an interest in paring down their setup. Unsound arranged a retreat in Sokołowsko, an idyllic village nestled in the verdant hills of Southern Poland, close to the Czech border. Sokołowsko surrounds a large ruined sanatorium that’s rumored to have inspired Thomas Mann’s 1924 novel The Magic Mountain, and has long been a magnet for artists. The two took the opportunity to rethink their approach completely, arriving with just a guitar, a zither and a portable Nagra reel-to-reel machine. Recording directly to tape, they sketched out ideas with just their voices and instruments, reflecting their surroundings without being distracted or mediated by modern technology.
“We wanted to get away from screens as much as possible,” says Birch, “to bring to the world something vulnerable and honest. Without advance preparation, every day we went out into the open air, finding places to sit, during sunset or the midday sun. We discovered new tunings on our instruments, picked up a melody, and started the machine, playing over
and over till we got a take.” In the autumn, they met again in a Copenhagen studio, sparingly and carefully layering old synths and organs to add more depth without muddying the mix.
Both Nowacka and Birch sing throughout, their voices threading the acoustic instruments and tangling with each other, almost becoming one. But it’s the environment of Sokołowsko, “the birds and the light, even the wind playing against the harps,” that’s woven into the music’s lining. Affected by time spent meditating and in nature, as well as the fact that Birch was pregnant whilst recording, the album feels alive and remarkably present. Even the sound quality of the tape machine gives Hiraeth a tactile, organic quality, as Nowacka puts it, “like being in a warm bath.”

They still have the raw recordings from Sokołowsko on old reels, physical souvenirs of their time spent making music in a “habitat for intuitive songs, a little ecosystem, alive and spirited.” The outmoded gear and remote setting helped the duo disengage from the modern world for a few moments and imagine an existence that’s been lost to time and nominal progress. With digital technology receding into the background, Nowacka and Birch had space to make “intuitive connections with frequencies and people,” as Birch explains. Hiraeth is a testament not to nostalgia, but to the power of kinship.

As a tribute to Vladimir sivc aka FUNKY DESTINATION who sadly passed away in march last year, SOOPASOUL is releasing this limited edition special updated version of the now classic '' The Inside Man- REMIX '' pt.1 has been completely rebuilt from the ground up , on the flip is pt.3 .. which is previously unreleased and features Paul 'Dewey' haywood on Tenor sax and Tony wright on Congas as well as toasting and additional guitars by Soopasoul.

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

Focus Track: Bear Hill Album Description: Raekwon’s The Emperor’s New Clothes is a sharp return to form, showcasing the Wu-Tang veteran’s lyrical precision and timeless street wisdom. The album is powerful with equal parts - high-quality bars and carefully sculpted production. Raekwon recruits a stacked lineup of guests, including Nas, Griselda, Method Man, Inspectah Deck, and Ghostface Killah, injecting the project with gritty energy and legacy chemistry. Marsha Ambrosius and Stacy Barthe provide smooth, soulful hooks, adding emotional layers to the hard-edged verses. Production comes courtesy of Nottz, Swizz Beatz J.U.S.T.I.C.E League and more. The LP is a reminder of Raekwon’s enduring power as a lyricist and curator. A veteran artist showing that mastery doesn’t need excess. The Emperor’s New Clothes is regal, streetwise, and sharply tailored for those who value craft.

Skymark is back with a new album recorded in 2025 with his electric pianos and analog synthetisers. The vibes is very similar to his previous albums, a fusion of Spiritual Jazz, Soul, Brazilian music and Disco. As always influenced by his 70´s and 80´s favorite musicians but with a touch of contemporary soulful music. This is a very limited vinyl edition mastered by Jose Rico (Madrid) and pressed by Mad Vinyl music (Madrid).

Wenn Liebesdramen klingen wie glitzernde Clubnächte und der Schmerz so tanzbar wird, dass er fast schön ist: Austra verwandelt den Moment des völligen Verlusts in eine Partitur aus Verrat, Trost und neonfarbenem Pathos. Katie Stelmanis hat ihre Stimme immer wie ein kostbares Instrument behandelt, klassisch geschult, in Opern getaucht, vier Alben lang getragen von einer Dramatik, die man auf der Bühne so überzeugend spielen kann, wenn sie im echten Leben ausbleibt. Bis der Vorhang im Frühjahr 2020 einfach ohne Ansage fiel: Die Partnerin, viele Jahre an ihrer Seite, wacht eines Morgens auf, sagt, sie sei unglücklich und verschwindet wie eine Figur, die mitten im dritten Akt aus der Inszenierung läuft. Zurück bleibt Stelmanis, umgeben von einer Welt, die plötzlich so wenig Struktur hat wie ein falsch gesetzter Akkord. Der Titel des neuen Albums, Chin Up Buttercup, ist ein feiner Stich ins gesellschaftliche Fleisch: dieses unausgesprochene Gebot, das Herz zu flicken, das Lächeln anzukleben, einfach weiterzutanzen. Gemeinsam mit Co-Produzent Kieran Adams blickt Stelmanis nach Europa, nach 1998, zu Madonnas Ray of Light, zu William Orbits flirrendem, elektronischem Lichtgewebe. Aus der Trümmermasse persönlicher Verluste baut sie tanzbare Hymnen, die zugleich beschwören und beschweren. Math Equation ist dabei die erste Single und das schlagende Herz: eine Gleichung aus Verrat und Witz, in der Zeilen wie „You said I needed my own friends / So I found them / Then you fucked them“ zugleich Klage, Trotz und poetische Ohrfeige sind. Über allem liegt dieser Hauch von sapphischem Chaos, der Austra hier zu einer großen Erzählerin des gebrochenen Takts macht.

A new 4-track EP by one of Japan's top crate diggers, SOUTHPAW CHOP, is here!
A dope and timeless collection of beats that follows the true path of traditional sampling hip-hop - once you hear it, you can't stop nodding your head.

New single by Romperayo on 7-inch vinyl spinning at 45 rpm, released by the Austrian label discos
elgozo.
This record is a tribute to the sound of Cumbia Sabanera de Acordeón from Colombia, in dialogue with
Mexico’s Cumbia Sonidera. It also pays homage to the melodic line of the first generation of
Colombian accordion masters of Cumbia Sabanera such as Joaquín Betín, Emiro Caicedo, and
Policarpo Calle.

The two tracks are built on a solid rhythmic foundation of bass and percussion, accompanying a
melodic interplay between accordion and analog synthesizer.Mixed and produced by Pedro Ojeda Acosta at Romperayo Studios, both songs were recorded live, in
quartet format, at Mambo Negro Studios in Bogotá, Colombia, by Daniel Michel, featuring Iván
Medellín on accordion, Nicolás Eckardt on electric bass, Juan Manuel Toro on analog synth, and Pedro
Ojeda on percussion.
This single offers a first taste of Romperayo’s upcoming LP, set for release in early 2026 — once again
on discos elgozo.

Limited Edition of 1,000 Hand-Numbered Units on Ruby Red Vinyl. Includes never heard before audio and lyrics printed on heavy board inner sleeves!

40 years later - and still no one does it like this. We’re celebrating the unstoppable legacy of one of hip-hop’s most iconic collaborations: Doug E. Fresh and Mc Ricky D (now globally known as Slick Rick) “La Di Da Di" along with the pop dance tune "The Show."

From its very first breath, this track reshaped sound, style, and storytelling — a cultural moment that became a timeless movement. Decades on, its influence is everywhere: sampled, quoted, reimagined — but never duplicated. “La Di Da Di”and “The Show” didn’t just belong to an era — they created one.

To mark this monumental anniversary, the Hip-Hop legends decided to drop a limited 12” 40th Anniversary Edition. The release features the original versions of “La Di Da Di” and “The Show” - plus a rare demo of "The Show" as well as an unreleased street version of "La-Di-Da-Di" recorded live from The Lincoln Projects in Harlem NY) that take you deeper into the sound that started it all with the Get Fresh Crew.

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