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Authentic group soul harmony that is guaranteed to appeal to fans of downtempo soul ballads. Accompanied with an instrumental version, where the flute plays the lead vocal melody. A recognizable continuation to the previous collaboration between the singers and the Cold Diamond & Mink band. If there’s a group in this age that faithfully carries the torch of real group soul harmony, it must be these three cats from the US west coast by the name of Thee Baby Cuffs. Currently composed of Joe Narvaez and Reality Jonez, the trio prances on the stage with their new song “There Ain’t Enough Roses”. Produced together with the Timmion house band Cold Diamond & Mink, these gentlemen lay down pure soulful romantics enough to fill a jacuzzi. Even though they seem to be walking out from the candy and flower shop empty handed to meet their lover, they are equipped with lyrics and falsetto flows that can melt any heart. Continuing with their tried and tested downtempo ballad style, Thee Baby Cuffs deliver a soul boulder just as potent as their previous Timmion releases “My My Baby” and “You’re My Reason”, not to forget the brilliant work that they have put out on the Raza Del Soul label from California. So hop on in the passenger’s seat and let Thee Baby Cuffs serenade you all the way to the sunset. In case you’re more for the instrumentals, flip the single over to reveal the flute-led version that’ll send you to that sweet Steve Parks lowrider territory in no time.

Authentic group soul harmony that is guaranteed to appeal to fans of downtempo soul ballads. Accompanied with an instrumental version, where the flute plays the lead vocal melody. A recognizable continuation to the previous collaboration between the singers and the Cold Diamond & Mink band. If there’s a group in this age that faithfully carries the torch of real group soul harmony, it must be these three cats from the US west coast by the name of Thee Baby Cuffs. Currently composed of Joe Narvaez and Reality Jonez, the trio prances on the stage with their new song “There Ain’t Enough Roses”. Produced together with the Timmion house band Cold Diamond & Mink, these gentlemen lay down pure soulful romantics enough to fill a jacuzzi. Even though they seem to be walking out from the candy and flower shop empty handed to meet their lover, they are equipped with lyrics and falsetto flows that can melt any heart. Continuing with their tried and tested downtempo ballad style, Thee Baby Cuffs deliver a soul boulder just as potent as their previous Timmion releases “My My Baby” and “You’re My Reason”, not to forget the brilliant work that they have put out on the Raza Del Soul label from California. So hop on in the passenger’s seat and let Thee Baby Cuffs serenade you all the way to the sunset. In case you’re more for the instrumentals, flip the single over to reveal the flute-led version that’ll send you to that sweet Steve Parks lowrider territory in no time.

If there's a group in this age that faithfully carries the torch of real group soul harmony, it must be these three cats from the US west coast by the name of Thee Baby Cuffs. Currently composed of Joe Narvaez and Reality Jonez, the trio prances on the stage with their new song "There Ain't Enough Roses". Produced together with the Timmion house band Cold Diamond & Mink, these gentlemen lay down pure soulful romantics enough to fill a jacuzzi. Even though they seem to be walking out from the candy and flower shop empty handed to meet their lover, they are equipped with lyrics and falsetto flows that can melt any heart. Continuing with their tried and tested downtempo ballad style, Thee Baby Cuffs deliver a soul boulder just as potent as their previous Timmion releases "My My Baby" and "You're My Reason", not to forget the brilliant work that they have put out on the Raza Del Soul label from California. So hop on in the passenger's seat and let Thee Baby Cuffs serenade you all the way to the sunset. In case you're more for the instrumentals, flip the single over to reveal the flute-led version that'll send you to that sweet Steve Parks lowrider territory in no time.

If there's a group in this age that faithfully carries the torch of real group soul harmony, it must be these three cats from the US west coast by the name of Thee Baby Cuffs. Currently composed of Joe Narvaez and Reality Jonez, the trio prances on the stage with their new song "There Ain't Enough Roses". Produced together with the Timmion house band Cold Diamond & Mink, these gentlemen lay down pure soulful romantics enough to fill a jacuzzi. Even though they seem to be walking out from the candy and flower shop empty handed to meet their lover, they are equipped with lyrics and falsetto flows that can melt any heart. Continuing with their tried and tested downtempo ballad style, Thee Baby Cuffs deliver a soul boulder just as potent as their previous Timmion releases "My My Baby" and "You're My Reason", not to forget the brilliant work that they have put out on the Raza Del Soul label from California. So hop on in the passenger's seat and let Thee Baby Cuffs serenade you all the way to the sunset. In case you're more for the instrumentals, flip the single over to reveal the flute-led version that'll send you to that sweet Steve Parks lowrider territory in no time.

On ‘Cordial’, Ursula Sereghy traces the sensation of home; not as a place, but as something fleeting and deeply felt. Comfort appears in glimpses, nestled between moments of dissonance and unraveling structure. There is joy, but it carries the weight of absence, the quiet grief of realizing what was missing all along. A laughter that is both liberating and bittersweet.

Sereghy’s music moves with no fixed center, shedding hierarchies and opening itself to the unknown. Sounds unravel and reform: fragments of voices, reshaped textures, the shimmer of manipulated recordings all bending into semi-familiar contours. In this space, harmony is not a destination but an unfolding process, a web of shifting connections rather than rigid form.

Deeply drawn to natural processes, Sereghy’s music resonates with an elemental force: chemical reactions, unseen currents, the quiet logic of interconnection. Sound becomes a space where trust takes shape, where loss is acknowledged but never final, and where the act of feeling remains, above all, an act of survival. It is music in constant negotiation with itself - dismantling, reshaping, and reaching towards something vast, untethered and luminous.

Songs of Silence is a beautiful turn-based strategy game of fantasy warfare. Leading one of the game's distinct factions, it is the player's task to conquer randomized maps through military might, subterfuge or arcane means. Intriguing hero stories grounded in a rich fantasy world create emotional bonds and give meaning to the player's actions. Roguelike meta-game progression, based on heroes' personal stories and unlocking new features and content via playing, ensuring long-time motivation and keeping the game excitingly fresh. The atmospheric soundtrack of the game is composed by Hitoshi Sakimoto, the famous artist behind all-time favourites such as Final Fantasy Tactics, Final Fantasy 12 and Valkyria Chronicles. Sakimoto describes his way into creating the soundtrack for Songs of Silence: "Regarding Songs of Silence, the stage design and the world-building are incredibly detailed and meticulously crafted. The settings are thoroughly developed and each region has its own unique culture. Given this highly refined world, I believe that my role was primarily to support and enhance the atmosphere with sound. At the same time, I wanted to ensure that the music conveys the uniqueness of this world. When people see it, I want them to feel its strong presence while also recognizing that it is a world unlike anything they have seen before. Expressing this uniqueness and reinforcing the impression it leaves is, in my view, the role of music and sound." But Sakimoto's music isn't just pushing the gamer's experience, it aims to add a little extra in a way that only his profession is able to: "It's a bit difficult to describe the specific 'feeling' I was aiming for, but I intend to create sounds and music that people have rarely heard before. Since the world itself is already well-defined, my approach was to add an extra layer - something that cannot be conveyed through visuals or text alone - through music."

'Liftoff', an album created by saxophonist Robin Verheyen featuring a jazz trio with legendary drummer Billy Hart (Miles Davis, Herbie Hancock, Stan Getz) and renowned bassist Drew Gress; musicians from three generations at one with each other, communicating ideas without borders, resulting in inspirational and memorable music Featuring nine original compositions by the leader, including a waltz dedicated to Wayne Shorter, a composition where African drumming meets harmony, a beautiful rendition ofHarold Arlen's Over the Rainbow,and a composition by pianist Marc Copland.

Robin Verheyen: tenor saxophone
Drew Gress: bass
Billy Hart: drums
Recorded April 2024

Max Buchalik has been shaping Frankfurt’s music scene for many years now. Thanks to the deep connection to his hometown and the artists surrounding him, Max has constantly developed his production skills that now fuel his rising career.

His debut EP “Higher State” released in 2024 turned heads and his remix for Lauer’s “Don’t Let The Music Stop” on the Spanish imprint SOULMEEX truly made waves. Now, the Madrid-based label proudly presents Max Buchalik’s latest EP: Lucid Dreams.

With “Lucid Dreams”, reality blurs into fiction: a personal dreamscape entwines with the pursuit of perfection. The track soars into cosmic dimensions – timeless and weightless. Driving basslines blend with sparkling synth textures and shimmering pads, crafting an immersive, emotional atmosphere. It takes you on a journey where your feet stay grounded while your mind takes flight – Lucid Dreams become endless!

“Soar and Sway” is a pulsating ode to life – a celebration of constant growth despite the ups and downs of reality. The soundscape ventures through rhythmic percussion and radiant harmonic melodies. At times, ethereal pads take center stage; at others, punchy kicks and sharp hi-hats dominate. Continuously evolving, Soar and Sway radiates a vibrant aura, seamlessly merging energy, motion and harmony.

By teaming up with the charismatic and passionate artists Chinaski and Llewellyn for the remixes both tracks have been infused with fresh perspectives and luminous energy, making the EP shine even brighter.

With a growing international reputation for championing forward-thinking artists in the contemporary jazz space, Denmark"s April Records proudly presents the third album from instrumental collective Andorra. Their most ambitious undertaking yet, the audio-visual release invites audiences to fully immerse themselves in the energetic grooves, lyrical melodies, and colorful modern production that define their sound. Andorra"s eponymous 2021 debut reunited five friends who met at the Funen Music Conservatory and went on to work across a range of disciplines, from film music and orchestral work to large ensembles and chamber jazz. Realising their long-held desire to explore their collective creative potential, the ensemble describes their sound as "modern vintage", bringing together the nostalgic warmth of analog synthesis, present-day digital audio manipulation techniques, and jazz musicianship steeped in tradition. Taking a decisive step to perfect the production of their music, the quintet recorded at Lundgaard Studios - one of Denmark"s most prestigious studios - and placed the responsibility of mixing in the hands of their own synth-guru Peter Moller, whose deep understanding of the band"s sound made him best suited for the role. Taking a step back from the dark, brooding music often associated with the Nordic countries, "III" is a playful, high-energy, deep pocket collection of seven original pieces that are unapologetic in their grooving, in-your-face attitude. Driving complex drum parts, shimmering guitar textures, squelching synth pads, thick old-school bass tones, and lush timbres from Mads La Cour"s horns deliver catchy and danceable hooks as easily as they do spacious explorations of texture and vivid harmony. The entire album has been shaped into a concert film directed by photographer Jesper Van, set to premiere at select cinemas across Denmark - soon to be available online - offering global listeners a comprehensive experience of Andorra"s creative vision.

Following the success of their 2023 release "Stockholm Kobenhavn", two of Denmark"s most celebrated musicians in multi-instrumentalist Gustaf Ljunggren and drummer Emil de Waal present their fourth collaborative album. Expanding on their growing reputation for crafting songs and sounds with masterful senses of subtlety, narrative and capacity to form meaningful connections with their collaborators and audiences alike, "Mikroklima" is set to release on February 7th on April Records. Emil de Waal has been one of Denmark"s leading drummers for three decades, best known for his work leading the band Kalaha and his collaborations with Elith "Nulle" Nykjær, as well as performing alongside most of the finest names in modern Scandinavian jazz. Gustaf Ljunggren initially studied the saxophone at the Rhythmic Conservatory of Copenhagen, where whispers spread throughout the school that he was the best saxophone player in town and yet never practiced. His career has seen him prove that he can bring grace, musicality and heart to any instrument he touches, from the pedal steel guitar, to the bass, piano, and more. "Mikroklima" is a testament to and celebration of musical growth, community, and the joy of musical gathering. One element that truly sets this album apart, is the bold move of inviting a group of 12 year old school children from a music class into the studio to record alongside Gustaf and Emil. Drawing from years of experience leading music workshops with young musicians, on Mikroklima Ljunggren and de Waal wanted to capture the sound of musicians from different generations and experiences coming together to contribute their ideas to their compositions. Showcasing Ljunggren"s colorful, comforting, folk-influenced approach to harmony and songwriting alongside de Waal"s distinctive touch on the drums, crafting simplistic yet creative grooves that feel as pleasing and refreshing as they do restrained and purposeful. As each piece unfolds, it becomes more and more apparent how present and communicative the duo are, playing only what the music needs and placing more weight on texture and feeling than soloistic flair. "Mikroklima" is an organic, generous offering that shows Gustaf Ljunggren and Emil de Waal doing what they do best: connecting with music.

Japanese artists Yumiko Morioka and Takashi Kokubo unite for Gaiaphilia, a journey through ambient soundscapes that seamlessly blends Morioka’s graceful piano compositions with Kokubo’s immersive field recordings and atmospheric synthesisers.

This collaboration brings together two of Japan’s most influential pioneers in ambient and new age music, each with decades of groundbreaking work. Morioka, celebrated for her 1987 album Resonance—reissued to critical acclaim by Métron Records—infuses her introspective playing with Kokubo’s vivid environmental textures, creating a dialogue between nature and melody.

After releasing Resonance, Morioka stepped away from music, moving to America to raise her family. For years, her work was quietly cherished by fans, only gaining wider recognition with its reissue in 2020. A devastating wildfire destroyed her California home seven years ago, prompting her return to Tokyo where she became a chocolatier before rediscovering her passion for the piano in recent years, playing live shows and making new recordings.

Takashi Kokubo’s legendary discography spans over 30 years, and has found wider acclaim in recent years via YouTube algorithms and bootleg uploads, wracking up tens of millions of plays. Yet he is probably best known for his sound design work, specifically the Japanese earthquake alert sound as well as credit card payment jingles - his creations are pervasive in Japanese society.

“From our love and concern for our planet, we both offer a unique sensibility and spirit of inquiry which we express through our music.”

Rooted in shared philosophical interests, Gaiaphilia reflects a profound reverence for nature’s resilience and harmony. Themes of Gaia, Mother Earth’s renewal, and the interconnectedness of life are central, with inspirations drawn from cosmology, sacred geometry, and Japan’s mystical Katakamuna tradition. The album invites listeners into a meditative space where sound mirrors the delicate balance of the natural world.

A master of sound design, Kokubo enhances this vision with his distinctive field recordings, captured using a self-made binaural microphone shaped like a crash test dummy’s head. From the jungles of Borneo to the gentle rhythm of ocean waves, Kokubo’s globe-spanning recordings transform into immersive soundscapes that perfectly complement Morioka’s introspective piano compositions.

“The title, Gaiaphilia, is a newly created word to encompass our love and respect for nature and life, this feeling is the theme we hoped to express.”

Released on Métron Records on 12/03/25 and with artwork from Ventral Is Golden, Gaiaphilia marks a remarkable new chapter for Morioka and Kokubo. Recorded at Kokubo’s log house studio named Studio Ion in Yamanashi, their collaboration offers listeners a deeply emotional and transcendent experience, rooted in the timeless beauty of Japan’s natural landscapes.

Patrick Conway crossed the threshold to find a new hope. This is his third offering for the ESP Institute. On side A, 'Loss' sets an overall melancholic tone for the record. A single repeating high note on the piano establishes a guiding element, which is eventually supported by a tear-jerking yet resolving chord progression, a trailing choir of angelic voices, and a filter-modulating synth that pads the widest zones of the mix with the occasional counter-melody. Robust in and of itself, Patrick’s melodic arrangement floats gracefully over an otherwise antagonistic rhythm section built from his signature corroded dancehall arsenal. This hornets nest of boxed live kick drums, piccolo snares, and high-pitched toms is held together by a dry veneer of saturation, sitting at safe distance from but in natural harmony with the bulbous low-frequency atmospherics. On the flip, 'Silencio' employs a similar statement at the top of each measure, this time an anthemic polyphonic synth stab as opposed to the singular piano note, however, unlike the layered melodies throughout 'Lost', here Patrick explores the narrative possibility of negative space—call and response, rhythmic dialogue, and the implied notes that leave the listener’s or dancer’s intuition to complete a phrase. In the game “musical chairs,” children run around manically until signaled to find a chair, at which point their diverse personalties must urgently synchronize, until set free to run again and repeat the process. Patrick's approach for 'Silencio' conjures said metaphor—his melody and rhythm are unleashed to meander and spasm within the confines of each respective bar, until that anticipated synth stab unifies everything “on the one”—controlling the chaos, calling on muscle memory and affirming logic. These two songs will be with you always as they always have been.

Madronas’ debut LP Erogenous Biome is an amorphous, murky, cathartic offering. A duet of modular synthesizer and winds that’s equal parts doom and ecstasy, it’s the sound of a majestic butterfly emerging from it’s slimy chrysalis just in time to catch the sun setting on the end of days, a bewitching, heavy ceremony, a power-wash of both mind and spirit.

Tracked in one continuous take at Brooklyn’s Heavy Meadow studio, individual tracks were gleaned from the purge and eschew predictable structures, making for a dense, fluid suite of improvisation, like dancing smoke ribbons in the dark. The duo's chosen sound sources are seemingly opposite - Ry Fyan’s modular’s coming from electronic oscillators, Isaiah Barr’s saxophone and various flutes originating with the breath - but the visceral, imprecise, alive quality to the sound of both lends the record a thrilling combination of rapturous harmony and gritty, intense friction.

Opening the session in ritualistic, foreboding fashion, Voluntary lurches to life with rattles and wandering, bassy arpeggios before a suona’s cry signals the seance has officially begun. Ostraca Loam spits explosive modular rhythms and eerie shrieks for the flute to float above, while Detritus Harp smudges mechanical whirring, pensive horn and wind chimes for an untethered drift. Petrified Microdot swells with menacing sci-fi sequences and breathtaking sax runs until they both run out of breath, and Negative Lingam starts out in a panic of breathy riffing before exhaling into one of the most sublime passages on the record. Rhythmic pounding and undulating flutes punctuate Lenticular Shroud, before The Preparation Of The Novel sets the winds aside for a synthesized dual fit for electric dreams. The title track dominates the B-side, it's shimmering levity slowly unfurling to reveal itself as a kind of post-apocalyptic devotional music, deep space drifting grounded by earthly flutes, and Vale Of Cashmere offers an ascetic, contemplative closure, sparse flute and chiming rhythms organic or electronic - by this time it’s hard to know, it doesn’t matter either way.

Erogenous Biome is a world of it’s own, and one Impatience is honored to offer a window into.

RIYL - Senyawa, witchcraft, Colin Stetson , Civilistjavel, Mars (the planet), Finis Africae, raga, Stephen O’Malley, modular synthesizer, Anthony Braxton, Shabaka.

Madronas is Ry Fyan and Isaiah Barr. Fyan is a painter and tattoo artist, this is his first release. Barr is a prolific instigator of the downtown New York scene, producing and playing saxophone in jazz circles with his group Onyx Collective, as a player and/or producer on records by Nick Hakim, David Byrne and Wiki, performing live with William Parker and as part of his projects Universal Space Jam and Cafe Dewanee.

Erogenous Biome was recorded and mastered by Griffin Jennings at Heavy Meadow, Brooklyn.

Vinyl was cut by Beau Thomas at Ten Eight Seven Mastering, Berlin.

Artwork is by Ry Fyan, typography and layout by Nicolas Turek.

CSN was the trio's last fully realized album, and also the last recording on which the three principals handled all the vocal parts without the sweetening of additional voices. It has held up remarkably well, both as a memento of its time and as a thoroughly enjoyable musical work." — AllMusic

Crosby, Stills & Nash was a folk rock supergroup made up of American singer-songwriters David Crosby, Stephen Stills, and English singer-songwriter Graham Nash. CSN's 1977 self-titled album is a return to the harmony-soaked idealism with which the trio had been catapulted to popularity; it reached No. 2 on the charts, behind Fleetwood Mac's megasuccessful Rumours.

AllMusic says the songs on CSN show a "great deal of lyrical maturity and compositional complexity compared to those earlier albums (from a far more innocent time). "Just a Song Before I Go" was the latest of Graham Nash's radio-friendly acoustic numbers, and a Top Ten single. "See the Changes" and "Dark Star" ranked with the best of Stephen Stills' work, while David Crosby contributed three classics from his distinctive oeuvre: "Shadow Captain," "Anything at All," and the beautiful "In My Dreams."And Nash's multi-part "Cathedral," a recollection of an acid trip taken in Winchester Cathedral on his 32nd birthday, became a staple of the group's live repertoire.

Ground-breaking music perfection deserves definitive sound and top-notch packaging. This reissue was mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing.

In their new album Bagola, Trio Da Kali present newly composed songs accompanied on balafon and ngoniba, that provide a rich accompaniment to the spectacular voice of Hawa Kasse Mady Diabaté. She inherits her singing style from her father, the late Kasse Mady Diabaté, who was widely recognized as one of Africa"s all-time greatest singers and won a Grammy nomination in 2004. Hawa"s voice has an exquisite purity and expressiveness, with a wide emotional range. She is equally at home in the lively, 9/8 rhythms of the title track Bagola, a light-hearted critique of men in Malian society, to the soulful Orpaillage, a song that laments the destruction of land from gold-panning. Orpaillage was in fact composed on the spot in the studio, reflecting the creative chemistry between these three musicians. The musical director of the trio is balafon (xylophone) player Lassana Diabaté, born in Guinea into a well-known family of balafon musicians. His remarkable dexterity on the balafon earned him a place in Toumani Diabaté"s Symmetric Orchestra, and later on in the group Afrocubism (featuring Eliades Ochoa). He has collaborated with many musicians, including bluesman Taj Mahal on the album Kulanjan. With two balafons of 22 rosewood keys each, tuned to play chromatic scales, Lassana Diabaté achieves a perfect balance of rhythm, melody, harmony and virtuosic embellishment. David Harrington, leader of Kronos Quartet, compares him to none other than JS Bach. Underpinning the balafon with compulsive groove, is the large ngoniba, played with brilliant musicality by Madou Kouyaté (son of Bassekou Kouyaté and member of his group Ngoniba). Madou, the youngest member of Trio Da Kali, also adds rich harmonies with his deep breathy voice to the songs. Trio Da Kali were founded in 2013 under the initiative of the Aga Khan Music Programme, with the help of three-times Grammy-nominated music producer Lucy Durán. The Trio first rose to international fame with their sublime album Ladilikan (World Circuit Records 2017), featuring an unprecedented and multi-award-winning collaboration with Kronos Quartet, the legendary classical string quartet from San Francisco. Bagola is a showcase of Trio Da Kali"s entrancing and unique sound, only equaled by their magical performances on stage.

RUSSELL HASWELL is an artist, record producer, free improvisor, computer musician, noise aficionado and curator.
Trained at Coventry School of Art, graduating in 1992, Russell’s extraordinary conceptual oeuvre resists easy summarisation, focused on the site-specific, performance and methodology of large-scale sound works, sometimes in surround sound. Russell has given solo audio presentations at major Art and Music festivals and events, in art galleries, concert halls, clubs, rock venues, and even squats in 30 countries, and counting. Most recently he has performed at SONIC ACTS, SONAR, Pirelli Hangar Bicocca and Coventry Cathedral.

As a curator, Russell has delivered projects for PS1/MoMa, All Tomorrows Parties, Aldeburgh Music, Thyssen-Bornemisza Art Contemporary, and Cafe Oto. He now lives and works in Glasgow.

Recorded in real-time (ADDAC System, ALM/Busy Circuits, Cwejman, Epoch Modular, FANCYYYYY Synthesis, Flight of Harmony, Instruo...)

Roi is the new album from Sultan Stevenson, one of the most compelling voices emerging on the UK and European jazz scenes.Known for his ability to seamlessly merge narrative and accessibility, Stevenson’s music captures listeners both within and outsidethe jazz community. Drawing deep inspiration from legends like McCoy Tyner, Herbie Hancock, Kenny Kirkland, and Geri Allen,Stevenson’s compositions are an exploration of faith, identity, and the complexities of the human experience. His signature style,rooted in quartal harmony, vamps, pedal points, and modality, is elevated by his natural storytelling ability.Stevenson’s sound is unmistakably inclusive, with a humble approach that prioritises dramatic interplay within his trio over overlycomplex musical ideas. His music is captivating and approachable, reflecting his relationship with the Lord and his culturalheritage. Stevenson’s method of creating compositions, often starting with a central motif and building around contrasting melodicideas, highlights his deep understanding of contrast and narrative in music, resulting in compositions that resonate with a widerange of listeners.As a performer, Stevenson is quickly becoming a thrilling force in jazz, translating heritage and spirituality into an evolving andrelevant sound. With El Roi, he continues the journey he began with his debut album Faithful One, which saw each track serve aunique purpose within a larger conceptual narrative. Stevenson’s keen attention to musician selection, including his regularbandmates Jacob Gryn and Joel Waters, alongside collaborations with figures like Denys Baptiste, speaks to his commitment toboth personal and professional growth. His music is not only a reflection of his influences but also of his vision for what modernjazz can communicate to the world today.

13 years in the making, Mr Bongo proudly presents a new compilation of beloved Brazilian disco and boogie finds from the legendary London disco connoisseurs, Horse Meat Disco. A labour of love, it showcases a tantalising cross-section of disco, funk, boogie, samba and MPB, from past to present. Unearthing tracks from the seemingly endless gold mine of Brazilian gems, the compilation features legends such as Jorge Ben, Gretchen, Marcos Valle and Robson Jorge & Lincoln Olivetti, alongside unsung heroes including Zé Carlos and Carlos Bivar.

Over 20 years ago, the Horse Meat Disco crew (James Hillard, Severino Panzetta, Jim Stanton and Luke Howard) began their weekly residency at Eagle London back in 2003. That same year, Luke made his first visit to Brazil, beginning a musical love affair that is still going strong.

“I had always wanted to go to Brazil since I was a kid, and when I finally had the opportunity to go with Princess Julia, I was just blown away. I’ve visited Rio every year since 2003, and in that time, I’ve learned Portuguese and tried to discover as much as I can about Brazilian music and popular culture. I learned to dance samba with the Paraiso School of Samba in London and paraded three times at Rio Carnival. Brazilian music was a brand-new world for me to explore and get excited about—a whole universe of genius musicians, singers, and styles.”

9 years later, Mr Bongo invited Luke down to their Brighton HQ for a listening session of some of his favourite Brazilian boogie and disco 7" finds. A compilation was green-lit, but multiple licensing delays and the release of other HMD compilations meant that it lay dormant for years.

Fast forward to 2024, and with the help of esteemed, Rio-based record collector Tee Cardaci, along with suggestions from HMD’s James Hillard, the dream of an HMD Brazilian compilation finally materialised. It’s a carefully curated collection that includes the electronic-boogie/italo-disco-esque 1984 groover 'Venha (Remix)' by the singer Źe Carlos, two cuts by Luiza Maura taken from her sought-after Deixa Girar 7", and Gretchen's sultry 'Ela Tem Raça, Charme, Talento E Gostosura' written by Jorge Ben.

At its core, this compilation captures the excitement and sense of discovery that won over Horse Meat Disco’s heart more than 20 years ago. A vibrant mix of feel-good flavours, it homes in on a sun-soaked strand of disco and boogie that has been enriched with the spirit of a nation where music serves as a central pillar of life.

A premium series of limited edition Japanese pressed 7"s - featuring unreleased and impossibly hard to find gems from the Duke Reid archives.Side A : Released 1966. Recording By Treasure Isle Studio. Very Rare & Great Harmony Rock Steady Vocal. Side B : Recording 1967 In Treasure Isle Recording Studio. Great Rock Steady Instrumental By 007 Series.

Presenting the vinyl reissue of "French" by the legendary Buzzcocks, an electrifying live album capturing the band’s dynamic performance during their iconic Paris show in 1995. Known for their pioneering sound that fused punk’s raw energy with melodic sensibilities, Buzzcocks deliver a setlist packed with fan favorites and deep cuts, showcasing their impact on generations of punk and alternative rock. This album captures the intensity of their live presence, with Pete Shelley's unmistakable voice delivering heartfelt lyrics on love, desire, and disillusionment, supported by Steve Diggle’s powerful guitar riffs and the tight rhythm section of bassist Tony Barber and drummer Phil Barker. Buzzcocks have long been celebrated for their emotionally charged songwriting and high-energy performances, making "French" an essential recording that preserves their legacy. This vinyl edition invites both long-time fans and newcomers to experience the unfiltered sound of a Buzzcocks concert in its raw, analog glory.

A new artist appears on the streets of City HC Records, he is Andrey Orenstein
multidisciplinary artist, part of the alternative Rock band ‘Tequilajazz’, with several solo musical incarnations such as: Amor Entrave, for electronic Indie beats with tocuhes of IDM of broken beats, Do you like trains? for Acid House, and 50DIX, dedicated to street beats such as jungle, drum n bass, ghetto house, Juke and Footwork, and the pseudonym he uses for Go Ahead! EP, the new and multifaceted 22nd release from the Valencian label.

IF U WANT 2 is the elegant track that takes us into the bustling avenues of the 2st century megapolis, where the urban rhythms of the dance battles in Chicago, Footwork and Juke, along with brief Jungle passages alternate in a brilliant composition with funk and jazz nuances accompanying tight percussion and distorted kicks at 160 BPM.

Tough and Ghetto House and rugged acid define FOOLZ, second track of the A-side in which the demonic power of the 303 sounds embrace the thick and husky voice that together with infectious laughter set a rhythm as pugnacious as it is playful.

FETTA DI LIMONE, Juke, Footwork and Jungle, a perfect combination of American influences, legacy of Dj Rashad together with the English tradition around bass music, are fused by 50DIX with the unexpected and playful Italian lyrics of Tomasso Girardi, in perfect conjunction with the pianos, ethereal pads and mutant synths, that forge the development of the track. Already anthemic before the first beat sounds.

Juke, IDM, Halftime and abstract broken beats combine for the ultimate dance elixir, in the last track of the vinyl titled ICE FEELS KEEN, reaching 170 BPM in a catharsis of braindance, soul and acid exaltation in a dreamy harmony, where the syncopated notes of Oleg Egorov's bass and the velvety voice of Julia Garnits (Ice Hokku) commune.

Bonus digital track - 50Dix ICE FEELS KEEN (DZA REFLIP). Hypnotic, sharp and minimalistic, DZA's remix transforms the original track into an intimate and evocative experience, in which every sonic element acquires more prominence and presence.

Bonus digital track 2 - Fetta di limone (Kaxtelian remix) Inspired by the classic hardtrance sounds of the 90s, from Valencian dance temples such as Chocolate, Kaxtelian reinterprets the track with distorted drums, catchy melodies and Rave spirit at 165 bpm.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK), except for the Bonus track 2 mastered by Raszia.

Once again, artwork and design by Dani Requeni, giving artistic coherence to the label's aesthetic.

The Andalusian label is back with a new compilation called 192 and once more, 4 new and neatly selected tracks.

The E.P is intentionally made up of four talented music projects. Besides and as is becoming the custom, these four diverse tracks are full of catchy melodies, touching arpeggios, and powerful beats. There is harmony between the four artists, Dark Vektor, Synth Alien, Imiafan (Keen K RMX) and Wardum and without a doubt this compilation can show variety and bet on music that the label loves and respects.

Valuable vinyl reissue for this historic four-handed work by Gigi Masin and Giuseppe Caprioli. The concept of multitude combined with the figure/symbol of the labyrinth suggests orders of thought relating to the multiple states of being that inhabit the dark labyrinths of the soul, the hidden regions of the human psyche. All in Multitude In Labyrinth leads us to look for keys to understanding the ultimate meaning of a test as enigmatic as it is powerful. A congeries of paramusical phenomena in continuous evolution, expression of an internal feeling strongly concentrated on itself, disguised in the plastic flow of sound events that evolve on the gravitational maps of low-frequency drones, of the changing waveforms and of the elliptical-circular loops warped with scientific skill in the electronic workshop used for this purpose. A cinematic symphony in nine movements that direct the listening towards the frontiers of unexplored parallel worlds, ready to recreate the infinite maze of aural multitudes that materialize, dissolve and regenerate impulse after impulse for the duration of the work. Music whose remote echo makes us think of the harmony of the spheres that governs the mechanics of the cosmos and of being.

The complete album + 4 bonus tracks - pressed on limited edition 180g virgin vinyl

Baden Powell de Aquino, better known simply as Baden Powell (1937 - 2000), was one
of the most prominent and celebrated Brazilian guitarists and guitar composers of his
time. He combined classical techniques with popular harmony and swing, and
performed in many styles including bossa nova, samba, Brazilian jazz, Latin jazz, and
Brazilian popular music.
This release presents his second album as a leader, 'Um violao na madrugada',to which
four 1959 tracks have been added as a bonus, including a version of Powell's
composition "Consolacao" performed with American flutist Herbie Mann.

AIR 's Jean-Benoît Dunckel & Jonathan Fitoussi have joined forces to release Mirages II, a sonic exploration of analogue synthesis, moving from the minimal to the cinematic.

"After their first album as a duo, released in 2019, JB & Jonathan have gone back together to build another work, in which their two personalities unfold even more surreptitiously, always very attentive to each other.

At their heart, an electronic spirit, anchored to a very mineral rhythm.

There are glimpses and echoes of the great German musicians of the 70s, with their infallible metronome.
There are also ghosts of Detroit's hypnotic machines.

Above all, this album moves forward as if it were running slowly, its rhythms giving a cadence that calms and radiates, in sparkling harmony...

These mirages, second chapter of that name, are at their zenith."

J. Ghosn

Ajay Saggar is BHAJAN BHOY. "With BHAJAN BHOY, Saggar synthesizes all of the stylistic approaches he’s explored over the years, swirling them into an intoxicating musical blend, with an earthy spirituality. Even the project’s name reflects the dual aspects of Saggar’s upbringing coming together in harmony. In Hindi, a “bhajan” is a devotional song, sung in the mandir, or temple, while “bhoy” is a Scottish and Irish derivation for a young man. There’s a searching quality to Bhajan Bhoy, as if Saggar is still hunting for transcendence with each track, whether through an expansive drone, an orchestral facility on the piano, or an electronics-augmented raga that threatens to dip into noise” (Erick Bradshaw / writer and WFMU DJ). This album presents a rich and varied set of compositions that showcase Saggar’s skills as an incredibly talented and accomplished composer and musician. With each and every Bhajan Bhoy LP, you are are carried to a higher place. With ‘Bhoy On The Wire’, the 35 minutes laid out unfolds like a cosmic tapestry, an extraordinary exploration that shimmers and reverberates with newfound vibrancy. The songs were broadcast as part of a session on Steve Barker’s “On The Wire” radio show in April 2024. They were a gift to Steve and his team for 40 years of broadcasting. “On The Wire” is simply the greatest radio show in the world. As Ajay explains in his own words : “In September 1984, I started a degree course at the University of Lancaster. On a wet and soggy Sunday afternoon towards the end of September, I sat in my room staring out at the grey Lancashire landscape, and decided to alleviate the boredom by seeing if there was anything to listen to on the radio. Most of the stations I tuned into were as dull as the weather outside. However, as I neared the end of the FM dial (and was about to give up hope), I chanced upon a station where I was taken by the music being played. That show was “On The Wire”, introduced by Steve Barker. From there on in, every Sunday, between 2-5pm, I tuned into Radio Lancashire to listen. Steve’s shows had an incredible and wide reaching selection of music and genres, that thrilled your ears and left you wanting more. Tied to that, his deep knowledge of the material he played helped the listener dig into the sounds even more, and also left you in admiration of this trait. In 1985, I started putting on DIY shows in Lancaster (inviting the likes of Bog-Shed, bIG fLAME, The Membranes, The Wedding Present, etc etc) and Steve was kind enough to mention the shows on-air, which helped in getting people from different parts of the county to come to the shows. At the tail-end of 1985, he invited me to the studio to come and hang out. When in 1988, the group I was in, Dandelion Adventure, released our first (demo) cassette, it was Steve, who not only played tracks off it, but invited the group to the studio for an interview. Now if you’re a young band, that is a massive thrill! And in 1990, when Dandelion Adventure did a John Peel session, I actually used “On The Wire” jingles (that Steve had put on a cassette and given to me a few years before) on the track “All the World’s A Lounge”. Since then, the show has been a mainstay for me, and so many others around the world, to get turned onto incredible sounds from around the world. And over the course of 40 years, Steve has always supported my music. These six tracks are a 40th birthday gift to the “On The Wire” team (Steve, Michael “Fenny” Fenton (an absolutely critical part of the show), and Jim Ingham (engineer who keeps the technical side of things going)) for sharing so much amazing music, and making the world a better place. They were originally broadcast as an exclusive session in April 2024 on “On The Wire", and are here for your listening pleasure. Music like shower”. Artwork by Jake Blanchard

A reggae cover of Marvin Gaye's '60s soul classic and The Police's '80s hit!

Australia's reggae dub unit, Springtones, has reimagined two massive hits from Marvin Gaye and The Police through the lens of reggae fusion and dubwise, now released on a 7-inch vinyl!

Side A features a dubby and masterful cover of Marvin Gaye's 1967 soul classic, "I Heard It Through The Grapevine," with vocals by Gayl, brought to life by the Springtones. Side B showcases "Walking On The Moon," The Police's 1979 smash hit, covered by drummer Dubbin' Darryl?renowned for his unique reggae sound infused with funky soul?alongside the Springtones and Jamaican vocalist Noya. This track blends dubbed-out horns, deep electro basslines, and Noya's ethereal vocals in perfect harmony. The artwork, which pays homage to the Japanese edition of Marvin Gaye's singles, is also a must-see!

2025 Repress
Singing black-lit liturgies of bog bodies caked in mud, entranced by nocturnal landscapes flickering in the moonglow and powered by queer enchantment, Tristwch y Fenywod are a Welsh-language gothic avant-rock powercoven. Exhumed from the depths of Leeds’
experimental underground, the trio consist of Gwretsien Ferch Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The Courtneys).
Stark, striking and bewitching, Tristwch y Fenywod’s self-titled album is their debut studio recording, following just 10 gigs and a live demo. Formed in 2022, Tristwch y Fenywod ("The Sadness of Women”) record exclusively in the Welsh language, conjuring an eldritch, subterranean, alien folk music played on dual zither, electronic drums and bass guitar. With towering, siren-like vocals curling around the Welsh consonants, accompanied by stark, martial rhythms and swirling claw-plucked strings, Tristwch y Fenywod feels like an early 4AD recording dredged from the waters of an Anglesey swamp. The effect is simultaneously chilling and stirring.
The eight tracks on the record constitute what feels like a recently rediscovered, unholy grail of edgy, atmospheric, occult feminist goth emissions. Gwretsien’s dual-zither playing scatters melodic fragments and spirals of harmony around the decimated space opened up by the lugubrious bass playing and pounding, brooding drum pads.
Coupled with the Welsh vocal, Tristwch y Fenywod embody a new, unique Celtic darkwave sound, equal part Pornography-era The Cure, Svitlana Nianio’s haunted hammered string-work and the dark beauty of Dead Can Dance or This Mortal Coil. Opener Blodyn Gwyrdd feels like the last ride of Princess Ukok, with lumbering bass and 6/8 rhythms in procession to the event horizon with an entreating, impassioned vocal and surprising lyrical theme. The doomed dancing of the zither provides the mysterious melodic bedrock throughout the album, particularly on Ferch Gyda’r Llygaid Du’s heavy funereal swa and the slowly building, paroxysmal banshee breakdown of Awen: an astonishing swell of thrilling chaos.
The album was recorded and produced by Ross Halden and the band at Hohm Studio, Bradford, Summer 2023.

This heavy roots reggae cut comes courtesy of The Viceroys, legendary harmony group from the stables of the world renowned studio 1. First recording for the venerable Mr Dodd in 1967 The Viceroys were instrumental in moving the sound from rocksteady to reggae with early hits like “Ya Ho” and “Love & Unity” .

The A side of this weighty 45 is a revisited vocal from the early days of the group, a haunting, smokey rendition of Maga Down. Drawing musical influence from Ethiopian and Cuban music as well as its obvious early reggae basis this record sounds fresh whilst simultaneously transporting you back to the golden era with its warm nostalgic themes.

The flip side is an ethereal dub mix from the Bristol based Yakka, an almost psychedelic journey into the mixing board bringing out the best of the vintage sound pellet.

This is the third release from Bristol label Poor Man's Friend Records, produced in the Poor Man's Friend studio and voiced in Jamaica only 300 copies of this smoked out ode to the golden era are available for purchase.

Enxin/Onyx, the duo of Nicky Mao/Hiro Kone and Tot Onyx (formerly group A), joins Other People with their debut album "In Rupture," capturing the same mesmerizing energy for which their live sets have become known.

“In Rupture” is not painless but in rupture lies possibility. The elasticity of this time pitching us across unknown terrain, revealing new potentialities, eclipsing static being. Whether in breach, collision,shimmer or severance, Enxin/Onyx explores these as occasions for transformation. Peeling back the layers through discord and harmony, exciting the inversion of expectation, towing the listener to depths and back up again to illuminate the senses. At times metallic and feral, at others murky and sharp, each song serves as an offering for all that is in rupture; body, spirit, land, ecosystem.
The opening track “A Void” calls to mind some mutation in its mechanical ecstasy, but for what purpose remains unknown. Even in the near moments of stillness, “Needle Pierces the Threshold” breathes a forceful disquietude. Tommi’s vocals pulling the listener down into some subterranean
madness, to unravel upwards from all sides, flooding the once parched landscape. In “Embers Kissthe Eye”, all of time emerges in one moment, compelling the subject’s gaze towards a new horizon.
The album follows its subjects through exile, exhumation and discovery. Through this process plates shift, fissures are revealed and what once appeared to be indomitable absolutes crack, pointing towards their inevitable collapse. To be in rupture is regeneration, to be in rupture is to return.

A maelstrom of music and metaphysics, a crushing conduit for connection, contemplation and catharsis; ritualistic sludge-metal juggernauts Pothamus return to this plane of existence with new album `Abur', the highly anticipated spiritual successor to their colossal debut, `Raya'. The search for meaning stands central as a pillar of belief in the enigmatic world of Pothamus. Whilst blending eastern philosophy and western esotericism into a unique ontology, the band stay true to the fundamentals of music: sounds, instruments and bodies coming together just as they too drift away. To experience Pothamus is to open yourself to an immersive, out-of-body experience that transcends the ordinary and delves deep into the profound. `Abur', Pothamus' sophomore full-length is an odyssey of truly epic proportions. As well as honing their already formidable live sound in the intervening years, the band have widened their musical palette in order to explore a truly original take on heavy music that steers them ever further away from well-trodden post-metal paths. On `Abur' the Pothamus' signature ritualistic sound is elevated by the glacial sounds of the Surpeti, an drone instrument originating from the Indian subcontinent traditionally used for mantra singing, whilst drummer Van Hulle adds his voice in harmony with guitarist Coussens' to create an astounding richness and depth. Capturing Pothamus at their creative zenith was musical contemporary and close friend Chiaran Verheyden (Psychonaut, Hippotraktor) who recorded, mixed and mastered `Abur'. A 44-minute pilgrimage through nature, animism and the depths of the human soul, `Abur' is Pothamus' answer to the big, existential questions that keep us all awake at night. Titanic, all-consuming heaviness is met with ethereal, airy beauty as the band contemplates the interconnectedness of all things, creating a singular sonic universe balanced perfectly between cosmic creation and absolute destruction. FOR FANS OF: Amenra, Heilung, Om, Wardruna, Briqueville, The Black Heart Rebellion 3-panel gatefold CD + 28 pages booklet, gatefold LP + 28 pages booklet

Ivory coloured vinyl! A maelstrom of music and metaphysics, a crushing conduit for connection, contemplation and catharsis; ritualistic sludge-metal juggernauts Pothamus return to this plane of existence with new album `Abur', the highly anticipated spiritual successor to their colossal debut, `Raya'. The search for meaning stands central as a pillar of belief in the enigmatic world of Pothamus. Whilst blending eastern philosophy and western esotericism into a unique ontology, the band stay true to the fundamentals of music: sounds, instruments and bodies coming together just as they too drift away. To experience Pothamus is to open yourself to an immersive, out-of-body experience that transcends the ordinary and delves deep into the profound. `Abur', Pothamus' sophomore full-length is an odyssey of truly epic proportions. As well as honing their already formidable live sound in the intervening years, the band have widened their musical palette in order to explore a truly original take on heavy music that steers them ever further away from well-trodden post-metal paths. On `Abur' the Pothamus' signature ritualistic sound is elevated by the glacial sounds of the Surpeti, an drone instrument originating from the Indian subcontinent traditionally used for mantra singing, whilst drummer Van Hulle adds his voice in harmony with guitarist Coussens' to create an astounding richness and depth. Capturing Pothamus at their creative zenith was musical contemporary and close friend Chiaran Verheyden (Psychonaut, Hippotraktor) who recorded, mixed and mastered `Abur'. A 44-minute pilgrimage through nature, animism and the depths of the human soul, `Abur' is Pothamus' answer to the big, existential questions that keep us all awake at night. Titanic, all-consuming heaviness is met with ethereal, airy beauty as the band contemplates the interconnectedness of all things, creating a singular sonic universe balanced perfectly between cosmic creation and absolute destruction. FOR FANS OF: Amenra, Heilung, Om, Wardruna, Briqueville, The Black Heart Rebellion 3-panel gatefold CD + 28 pages booklet, gatefold LP + 28 pages booklet

Tricatel is releasing on gatefold vinyl a selection of tracks composed by Bertrand Burgalat for Ça, c'est Paris! the series directed by Marc Fitoussi, starring Alex Lutz, Nicolas Maury and Monica Bellucci.

Marc Fitoussi - extract from the sleeve notes
After collaborating on my film "Les Apparences", I knew he'd be the ideal man for this series. Someone who could make real revue music, like you'd hear at the Paradis Latin or the Alcazar, and who could also be resolutely contemporary, like when the troupe relaxes and dances in a bar to a hit of the moment.

Stéphane Lerouge - extract from the sleeve notes
It's a genre that dates back to the thirties, that of the backstage musical, a genre with well-defined codes: the struggle of a collective, a troupe of singers and dancers, to put on a show that, despite a tsunami of obstacles, will end in triumph and reveal a new star. A broad spectrum of films can be linked to this, from "Quarante-deuxième rue" to "Tous en scène", from "Chorus line" to "Trois places pour le vingt-six". And today, the original link in this long chain is the series "Ça, c'est Paris!", in which Marc Fitoussi strips away this tradition, reenchanting it, making it crackle with new energy. In the end, his mission is almost the same as that of his main character, Gaspard Berthille (Alex Lutz), heir to a cabaret, the Tout-Paris, for whom he must invent a present, or rather, a future. To carry out this delicate task, Gaspard Berthille needed an accomplice, invisible on screen: Bertrand Burgalat. His freedom, the way he juggles harmony and tonality, shines through in every measure, as if Marc Fitoussi's subject had triggered something decisive and essential in him.

Peter Tosh's final studio album, "No Nuclear War," released in 1987 is now available on 1LP Yellow Recycled, is a profound anti-war statement that underscores his lifelong commitment to peace and justice. The album won a Grammy Award for Best Reggae Album, posthumously honoring Tosh's enduring influence. With tracks like "No Nuclear War" and "Nah Goa Jail," Tosh addresses the perils of nuclear conflict and the struggles of the oppressed. The album's passionate plea for a nuclear-free world and its call for global harmony encapsulate Tosh's legacy as a fearless advocate for peace and a visionary artist whose message remains relevant.

The Tonarium is an idiosyncratic instrument comprising of two sets of modular synthesizers: Serge by Random Source, and another one by Bugbrand, both of which operate alongside a mixer constructed by Piotr Ceglarek and Jan Dybała. This intertwinement facilitates precise control over audio and CV signals and integrates technology with analog sound, offering the artists a distinctive sonic palette to delve into.

The present record unfolds in two parts, each exploring the fluctuating nature of sound. Both equally contribute to the work’s immersive imaging characterized by sound intensity, continuity and endless flow. Within its sonic tapestry lies a space for listeners to uncover subtle nuances, pulsations, and moments of harmony flickering through each chord’s firm surface.

In Part I, a formidable force consisting of chord progressions pierced by abrupt shifts and transitions unfolds. This deliberate disruption of harmonic continuity invites listeners to immerse themselves fully in each musical entity, uncovering the intricate details of the chords’ overtonal structure, drifting and steadily glimmering inside their glowing cores.

Part II, on the other hand, presents a more closed form—a recurring four-chord motif that evolves and transforms with each iteration until it finally fades out into whisper-like serenity. Here, the bass pulsates with greater intensity, like a wave enveloping the listener in a froth of feelings, which prevails and swells throughout the composition. In contrast to Part I, it exudes a sense of warmth and intimacy, inviting listeners to reflect over the dimensions of their own inner landscapes.

The Tonarium is to serve as a conduit for expression—a vessel through which the artist Aleksandra Slyz is enabled to channel her creativity and emotion into the music. Both Part I and II of the work have the capacity to drag listeners into a sonic odyssey that transcends time and space, therefore leaving an indelible impression on one’s trembling soul.

Performed & recorded on December 18-19th 2023 while in residence at The New Media Laboratory in Katowice, Poland.

Organized by The Soundscape Foundation

Composed & produced by Aleksandra Słyż

Mastered by Rashad Becker

Photographies by Kacper Krzętowski

Design by Maks Posio

Executive production by Christian Di Vito

Ten years on, Joana Gama and Luís Fernandes show no signs of slowing down. Over the past decade, the duo has released five albums, composed soundtracks for film and television, and created pieces for performing arts. With “Strata”, they embark on a bold exploration of their musical identity, breaking new ground by seeking the primordial, the raw, and forging a deeper creative synergy. This evolution makes their music feel less like a conversation and more like a unified, introspective monologue.

Until now, their work has largely been defined by dialogue - a dynamic exchange of ideas evident in their earlier records. However, in their relentless drive to push boundaries, they now turn inward, embracing a monologue as a pathway for growth, innovation, and celebration of their journey so far. Two key elements shape this transition: Joana’s growing affinity for synthesizers over piano, a direction initiated in “There’s no knowing”, and her integration of field recordings gathered from diverse locations around the world. Rather than stepping into each other’s domain, the duo finds common ground, creating music that thrives on harmony and introspection.

“Strata” stands as Joana and Luís's quieter and most cohesive record to date. It reflects their desire to craft music that resonates with the natural world, unfolding as a seamless stream of sound that enhances their connection and invites the listener into their creative process. While their previous works were compelling, they often felt distant, as if the listener was observing from the sidelines. “Strata”, by contrast, draws the listener in, encouraging them to fill the spaces and find their own place within the duo’s monologue.

This process climaxes in the closing track, "Geode," where the subtle sounds of debris underscore the tightly woven structure of “Strata”. It’s a testament to the duo's commitment to evolution and their ability to surprise both themselves and their audience. A decade into their collaboration, “Strata” reaffirms Joana and Luís's creative vitality, offering a record that feels both fresh and deeply rooted in their artistic vision.

"Drouillard’s most unfiltered and introspective record yet, an instrumental album drawn from the compelling musical landscapes that inspired him to begin creating music altogether.

Emotion and abstraction being main driving forces behind the work, Dean set out to create recordings that felt like abstract expressionist paintings.

Silence, mistakes and accidents all hold equal value to musical contributions, keeping the music human and vulnerable.

The album begins with more accessible cinematic pieces, incorporating melody and moving harmony. As the album progresses the form becomes more open and abstract inviting the listener into a dreamlike state.

The album was recorded and performed entirely by Drouillard with his atmospheric guitar in the forefront, with layers of pump organ, synth, percussion, bass, organ and voice creating often shapeless textures beneath."

To celebrate its 20th anniversary, Freedom Cry Sound presents its first realease with Freddie McGregor. The legendary artist sings “Behind the Wall”, a song produced by Genius T and Freedom Cry that is now available as an exclusive 7” vinyl limited edition, published and distributed by Rebelmadiaq Records. “Behind The Wall” is a projectile of roots reggae, a dazzling song where the roots are very much alive, living in harmony with the spirit of modernity.” David Vilches, musical chronicler.

The Catalan musician and producer Genís Trani is responsible for the musical production as well as the mixing of the riddim. The musicians who have participated are: David Goldfine on bass, Pau Dangla on keys, Lamont ‘Monty’ Savory on guitar, Josep Blanes on trombone, Oriol Escolano on trumpet, Pol Prats on sax, Roberto Sánchez on backing vocals and the same Genís Trani programming the drums. The Jamaican singer, songwriter and producer Freddie McGregor is a legend and a great reference in the genre, with a professional career full of musical successes that have become immortal treasures.

GC'mon Tigre announces their new instrumental project, Instrumental Ensemble - Soundtrack for Imaginary Movie Vol 1. This album offers an alternate view of cinematic music: a soundtrack composed for a fictional film using a challenging and inventive method. This project investigates an alternative approach in which music shapes and guides visual storytelling. It's the first in a series of albums dedicated to as-yet-unmade films, enabling listeners to explore music as a key component in cinematic narrative. The original story that inspired this music was created in partnership with a large language model, which was taught and instructed in substance and style to best fit the project's artistic concept. C'mon Tigre works with AI to achieve collaborative harmony while contemplating on the unavoidable future ahead. Each track on the album depicts a scene, delivering stories about humans juggling personal issues and contacts with advanced technology. The end result is a story told by sound and text, designed to immerse listeners in a multisensory universe.

Boytronic was founded in the early 80’s in Hamburg by Holger Wobker (aka Bryllyant Berger) and Peter Sawatzki. At the beginning, under the moniker of Kapitän Sehnsucht, they were in charge of making the soundtrack for some seedy sex shows on Hamburg’s famous ‘Mile of Sin’. After a while, the boys found that not so satisfying and, through it was a well-paid job, they decided to leave hoping to break into the world of pop music as Boytronic. They already had some demo songs that got the attention of Mercury Records. The first single “You” was recorded highly influenced by the sound of New Order and Patrick Cowley. It didn’t go very well at the beginning. It was just a moderate club hit, but soon after they got lucky and performed “You” on a German TV Show. Just after this, sales reached 80,000 copies in the first week and had a major hit in the German charts reaching position 10. This sudden success was followed by the recordings of the debut album “The Working Model” that was finished in only fourteen days and released at the end of 1983. “The Working Model” is considered as one of the best techno-pop releases coming from Germany in the 80’s. An album more than 40 years old and still sounding so fresh and authentic.

Limited edition of 400 copies on black vinyl with gatefold sleeve, A2 poster and sticker. Includes all tracks from the original album plus some classic remixes of “You”, “Diamonds and Loving Arms”, “Trigger Track” and “Bryllyant”.