quête:j p energy

We have had the honour of reissuing the work of Italian sonic polymath J.P Energy via our collaborative label with Transmigration, Sound Migration, over the course of the past year. Our third outing with J.P Energy is ‘Prima Dell’ Alba / Forbidden Planet’ - two sophisticated and sinister percussive tracks from 1997 that sit at the boundaries of Techno & Trance, indicative of the fruitfulness of creativity in underground dance music from Italy during this time. We are very pleased to bring this, until now, very difficult to obtain record into the hands of appreciative music lovers, complete with with a modern revision of Forbidden Planet by J.P Energy himself.

The second release to come out of Sound Metaphors’ collaboration with the Italian electronic music Don, Gianpiero Pacetti aka JP Energy. “I Have A Pessimistic Outlook Of Life E.P.” showcases a considerably more mature and polished sound relative to the previous release as the artist moves into the end of the 90’s and seems to shed the naive playfulness one could still hear in “Strano E.P.” with it's Italo-disco influences. Here things get more serious and even more “industrial” with a darker and perhaps more cynical tone, not unlike the title of the EP. A 3 track record, very much oriented towards the dance floor, “Fantastic Machine” comes in at over 130BPM with a very metallurgical flavour, something one could imagine hearing at a moving assembly line for car engine parts in a factory somewhere in Brescia, yet with an overlaying eerie nuance. “Automatic Sun” comes in with a very driving beat, the secret weapon of the release by all means, very effective employment of electronic percussive elements. And finishing the EP, Gianpiero’s Requiem to the format, a once record store owner who by 1999 might have already been feeling the tides of change brought in with the early CDJs (one could imagine) “The End Of Vynil” goes into full on electro territory with the beat and very much in tune with the title expresses a funerary darkness with the melodic elements. All in

Although one could imagine that by 1993 any Italo Disco nuances would have been vanquished from sophisticated Italian production setups of the time, it is hard to ignore its presence in this particular work of Italian DJ and producer Gianpiero Pacetti. Much more so than in the work of his contemporaries at the time who would have shifted into full on early progressive trance in pursuit of novelty. Resulting in a refreshingly playful exploration of melodic themes, an aesthetic only to be heard again more than 10 years later with Dutch works like Alden Tyrell. With exception of Alvorada which distinguished itself as completely detached from any of the previously mentioned influences, diving deep into percussive samba elements adjoined by alluring arpeggios and other subtle melodic ornaments characteristic of early progressive trancey movements of the time. Includes new remix of “Alvorada” by Berlin's E-Talking. Remastered with new artwork.

Beautiful and highly collectible item: 2xColored LP (Orange / Translucent) + Booklet + Gatefold. Both CDs and 2LP contains download code. Official licence with SNK.

The soundtrack for the sequel to SNK's classic fighting franchise, ART OF FIGHTING 2, is now available on vinyl! Featuring 34 breathtaking NEO GEO tracks across 2-LPs and CD, take the ART OF FIGHTING 2 soundtrack for a spin and relive the classic days of SNK music.

Electro globalisation! The German label Dominance Electricity presents Phase 4 of the Global Surveyor various artist album series (launched in 1998).

Featuring heavy-weights of the international Electro genre such as Anthony Rother, Hardfloor, Silicon Scally aka Carl Finlow and Heliopause (a project of Germany's Dynamik Bass System & Detroit's Keith Tucker of AUX 88) and many more, this carefully selected collection includes a total of 24 productions out of 13 countries / 5 continents ranging between clubbish acid power, deep space cruiser, playful kraftwerkesk melodic downtempo and ambient synth magic.

Switched-on Eugene Documents The Eugene Electronic Music Collective And Some Of The Many Synthed-out Figures In And Around Oregon's Iconic Hippie Stronghold During The 1980s. Whether Connected By Membership, Geography, Or The Tape Trading Scene, The Artists In And Around The Eemc Shared Compelling Visions Of The Future We Now Inhabit, Vividly Captured On Home-recorded Tapes And Distributed Via Zines, Classifieds, And Local Radio. Switched-on Eugene Is A Deep Dive Into A Heretofore Forgotten Sonic Microcosm Unlike Any Other.

Der mehrfach prämierte Soundtrack von Mike Gordon zum Egoshooter-Computerspiel "DOOM" (in der 2016er Bethesda-Version) aus der gleichnamigen, traditionsreichen Reihe. Der Score aus insgesamt 31 Synth- und Metal-Tracks gewann den Game Award 2016 für "Best Music/Sound Design" und erhielt eine BAFTA Games-Nominierung für "Best Music & Audio Achievement". Deluxe-Doppel-CD im Triple-Gatefold-Sleeve und Doppel-LP auf rotem 180g Vinyl mit bedruckten Innentaschen im Deluxe-Sleeve. Das Vinyl wurde in den weltberühmten Abbey Road Studios geschnitten.

Following his first EP on Field Records in 2015, Staffan Linzatti presents the 25th instalment of the label with a perfectly balanced minimalist techno triple pack.

FreedomB Delivers Timeless Groove on 'Essence Of Soul EP'. FreedomB is an artist defined by groove and movement rather than place. Drawing influence from jazz, funk, soul, and the earliest house and electronic rhythms, his sound is rooted in timeless dance music traditions and built for long, immersive nights on the floor. Focused on rhythm, flow, and emotional energy, FreedomB's productions exist to make people dance without compromise. With releases on labels such as Knee Deep In Sound, Roush, Toolroom, Sola, ElRow Music, and Flashmob Records, FreedomB has earned support from leading names including Hot Since 82, Supernova, Hector Couto, Solardo, and Flashmob. Now joining the Definitive Recordings catalogue, FreedomB presents 'Essence Of Soul EP', a two-track release that captures his deep-rooted love for classic house, disco, and soulful dancefloor energy. On 'Mi House Es Tu House', FreedomB delivers pure house nostalgia. A groovy beat and subtle bassline form the foundation, joined by classic piano chords that immediately set the tone. As the track unfolds, disco samples, a 90s-style synth melody, and a soulful female vocal sample build toward a powerful breakdown before dropping back into full groove, introducing a second timeless house synth theme. It's uplifting, energetic, and perfectly designed for any house music dancefloor. The title track 'Essence Of Soul' shifts into a deeper, more disco-infused direction. A straighter, nu-disco- inspired rhythm sets the pace while layered synths evolve throughout the arrangement. An 80s-style bassline anchors the groove, accompanied by filtered vocal chants, disco effects, and a spoken-word vocal reflecting on the meaning of music and the dancefloor. As the track progresses, rich piano chords and classic high house strings lift the energy into an emotional, late-night crescendo. 'Essence Of Soul EP' is a celebration of groove, soul, and timeless house energy. A release that lets the music speak and invites you to dance.

Tone Dropout Records kick off the new year in emphatic style with a brand-new 6-track vinyl EP that stays true to the label’s unmistakable dancefloor-driven sound.

Packed with heavyweight grooves, acid lines, breaks, and bleeps, this release delivers six high-impact tracks designed for late-night systems and packed floors. The EP also marks an exciting moment for the label, welcoming two new artists into the Tone Dropout family while celebrating the return of long-standing contributors.

Joining the roster for the first time are KWAKE and Harry Light, both making a powerful debut on the label. They sit alongside Tone Dropout regulars SkyWave Transmissions and XOTR, while label co-owners DAWL and SWEEN reunite once again, delivering an acid-fuelled opener and a special bonus breaks track on Side B.

As always, the EP is overflowing with breaks, bleeps, acid, and raw rave energy.

Side A – The Head Side

Side A opens strong with DAWL and SWEEN at the helm, laying down a driving four-to-the-floor acid groover that would warm up any dancefloor with ease. It’s a statement opener — and a sign of much more to come from the duo throughout the year.

Next up, SkyWave Transmissions brings his trademark experience and finesse, delivering a tightly produced acid-bleep track that showcases depth, quality, and character. Following seamlessly is long-time collaborator XOTR, who rounds out the side with a pure slice of northern bleep excellence — unmistakably Sheffield in style and sound.

Side B

Side B introduces the first of the new Tone Dropout members, KWAKE. A long-time friend of the label, this marks his first official appearance, and he doesn’t disappoint. His track is a full-force breaks banger, capturing authentic rave energy and guaranteed to ignite the floor.

Next comes Harry Light, making an immediate impact with a pounding house-and-breaks hybrid. Impeccably produced and relentless in energy, the track lives up to its name perfectly — “POWER HOUSE.” Both newcomers arrive firing on all cylinders, delivering two massive dancefloor weapons back-to-back.

Closing out the EP, DAWL and SWEEN return with Tones Breaks 5, a three-minute breaks workout and the latest installment in the label’s breaks series. This track also serves as a respectful nod to one of their musical heroes, Frankie Bones, rounding off the release on a high.

Six tracks. All killers. No fillers.
In challenging times, this EP delivers exceptional value — a complete package of club-ready music pressed to vinyl and built for real dancefloors.

Another quality release from Tone Dropout Records.

Baka G follows a string of releases on the likes of Happiness Therapy with a fresh new cut on Plastik People. It's another breezy blend of house styles with authentic soul. 'G Stands For Groove' rolls on a knotted bassline that Louie Vega would love, while 'Jack's Jam' is livelier without losing the buttery smooth bass and vibey chord work. 'Mama Lava' then ups the energy with some heftier kicks and timeless piano chords, which dance next to sultry Spanish vocals. 'Maracaipe' then shuts down with some wispier cosmic energy and lush instrumentation to bring summer warmth to winter dancefloors.

2026 Repress

Maltese talent Human Safari debuts on Mutual Rytm with jazz-influenced techno EP, 'Culture Shock'.

Human Safari is a key player in his native scene in Malta. He's a resident at Glitch Festival, has played cult spots, and has a dynamic sound that brings jazz improvisation to techno, often featuring live instrumental elements. His music has found its place on top labels like R&S Records, and most of this new EP for SHDW's Mutual Rytm imprint was produced during his Colombian summer tour last year - written and recorded amongst inspiring and unusual settings with just a laptop and headphones.

"This EP represents embracing new beginnings that, though might bring uncertainty and fear, the
light always guides you to where you were always meant to be." - Human Safari.

Opener 'Mouse on Keys' has been a key cut for the label boss across the past year, a unique track that peaks curiosity from dancers to DJs whenever it's played. Its cantering techno rhythm is overlaid with delicate, heartfelt piano keys straight from a smoky jazz bar, making for a great counter to the physical drums. 'Fragments' is a deeply personal track dedicated to the artist's late grandfather. It's a funky, soulful techno roller with blissed-out and sunny chords full of hope.

Next, 'Classique' gets more gritty with loopy drums and bass and glitchy percussion that fizzes with energy, while 'The Labyrinth' features piano motifs recorded in just one take. It brings a dark paranoia in the uneasy, off-grid keys which dart about with nervous energy over the booming low ends. There is just as much intensity and edge to the unresolved keys that loop over the raw drums on 'A Rainy Day in Bogota', before digital bonus cuts 'Dorian' and 'Phantom' bring more jazzed out techno madness with warped keys and expressive elements bringing great invention.

RNT co-founder JKriv joins forces with keyboard virtuoso Jason Lindner to drop the Real Ones EP, a clubby and musical 3-track excursion that includes a deep and polished remix from rising star Retromigration. Needing little introduction, JKriv is a driving force behind RNT, architect of edits, original productions, and the aesthetic direction of the label. Jason Lindner has a storied musical history that includes leading the in-house big band of legendary jazz club Small’s in the early 2000s through to performing on David Bowie’s final album Blackstar, and much more. The duo have been honing a musical alliance for the past few years through their work together in the A Joyful Noise band and hybrid-live sets on hometown Brooklyn Razor-N-Tape events, developing an inctricate musical interplay and incendiary energy that is captured perfectly here. Across these 3 melodic house tracks, lush layers of synths interlock and build toward big anthemic moments, with hard-hitting drums driving the energy forward. Retromigration steps up to deliver a gorgeously slick remix to round out this exceedingly musical and eminently playable 12".

Liva K and OVEOUS unite for transcendent new single, ‘Blessings’, on Crosstown Rebels. Out on 27th March 2026, the Greek producer and NYC-based artist deliver a hypnotic journey of spiritual rhythm and soulful energy.

A groove-driven journey arrives on Crosstown Rebels on 27th March, with Greek DJ/producer Liva K and New York DJ/producer and vocalist OVEOUS guiding the way. Their label debut, ‘Blessings’, emerges as a meeting of instinct and intention. Crafted from Liva K’s fusion of sounds and textures, the track flows with captivating suspense, while OVEOUS’ voice carries a magnetic, ritualistic weight. The result is a record that exists in both body and mind, designed to move crowds while resonating on a deeper, spiritual plane.

Liva K has quietly carved his own path since emerging onto the international scene, weaving melodic house and techno, and Afro-infused rhythms into sets and productions that pulse with movement and depth. From his debut album ‘1994’ to recent material on Defected, Black Book Records, and When Stars Align, he balances studio craftsmanship with spontaneity while creating moments across venues from Hï Ibiza to Miami’s Factory Town. Meanwhile, OVEOUS brings his HYPER SOUL and Hyper Ancestral sound to every stage and recording, merging house, afro-soul, and ritualistic energy. As a DJ, producer, and poet, his voice and presence cut through tracks with spiritual weight, turning grooves into experiences that are simultaneously sensual, reflective, and kinetic. providing moments that resonate long after the lights come up.

Two original house cuts. One statement. Soulbound / Abracadabra lands as a double-header single as part of our new XPRESS Singles Series, bridging gritty South London soul with slick Franco-American house energy - a release designed for the salubrious moments on the dance floor.

“Soulbound” sees Bustin’ Loose deliver cutting-edge disco-soul infused house music straight from the concrete textures of South London. Sung and produced by Bustin’ Loose himself, the track rides a pumping, elastic bassline with warm strings and raw vocal emotion - modern house with classic soul DNA. Capturing the energy of London's expansive music culture, Soulbound is both uplifting, euphoric and street-wise. Inspired by the music of Fatboy Slim, rappers like JME and Ghetts and the club culture of London.

On the flip side, “Abracadabra” from Magnolia & Sam Karlson featuring LA wordsmith Relaye drips with French house sensibilities, blending glossy filters, catchy wah guitar and punchy grooves with razor-sharp rap vocals. Imagine Music Sounds Better With You colliding with the cool charisma of Q-Tip - hypnotic, stylish, and irresistibly repeatable.

The remix package pushes the release deeper into club territory:

• Dam Swindle transform Soulbound into a deep, bumping underground roller, rich in groove and late-night atmosphere.
• Phil Weeks delivers a signature Ghetto Mix of Abracadabra, crafted with his beloved MPC sampler - raw drums, stripped-back funk, and a pure nod to house music’s roots.
• La Felix closes the circle with a nostalgic, early-2010s-tinged deep remix of Abracadabra, balancing modern polish with timeless dance-floor warmth.

Let's see now – you just love that hugely fertile foundation period of Jamaican pop music from the birth of ska, through the spectacularly brief two year heyday of rocksteady up to and including the arrival of the first incarnation of reggae a.k.a. early or 'boss' reggae. But you're also aware that the pioneers of these sounds (including The Pioneers!) won't be creating music in these styles or touring forever – so what do you do?

Well, if you're Neil Anderson, owner of Original Gravity Records, the creation bit isn't a problem. You put forth period-authentic style material from a 'roster' of acts – such as Junior Dell & The D-Lites - that in reality consist mostly of yourself (you are a multi-instrumentalist and lyricist after all!) and whichever extra musicians and session singer you rope in for a given track. In the case of Junior Dell & The D-Lites that singer was Adrian Dell – soon to be dubbed (no pun intended) 'Junior' - first appearing on 2021's uptempo ska tribute to Salvadoran retro-dancing internet sensation Aranivah, entitled Miss Aranivah. And you keep putting out stuff so profusely and effectively that there are clamours for you to tour 'the band' which - er - doesn't really exist. What a botheration! Still, maybe your session singer could become – well - a permanent singer? Maybe you can rustle up assorted bredren to become the rest of the band and...you know what? That might just work!

And so, in the blink of an eye, Junior Dell & The D-Lites becomes a bona fide actual live band fronted by a young Jamaican singer playing fresh 60s/70s-style Jamaican music with an energy last seen and heard in, well, the 1960s and 70s. And it tours so effectively that there are clamours for 'the band' – or more accurately, now – the band - to release an album. Wait...what now? And, by the way, you've got a European tour coming up in April wouldn't it be great if the album was ready to tour by then? Pressure drop? Pressure rise more like!

Then again, Junior Dell & The D-Lites have done so many sure-shot singles to date that assembling them along with a new cut, an extended version of one of the singles and re-recordings of two of the label's previous singles that were originally by 'label mates' The Regulators should be a cinch. So expect all the hits: bluebeat banger 20 Flight Ska, the euphoric ska bounce of the aforementioned Miss Aranivah and the title track, a de rigueur smattering of covers (opener Jump Around, midway markers Praise You and Just Can't Get Enough, and one of the re-recordings, closer Don't Look Back In Anger), early reggae groovers Cool Right Down, Last Night Reggay, Can't Stop The Reggae (in a new extended form) and crowd-pleasing new one Mi Try along with the other Junior Dell re-recording - the gorgeous Why Why Why which nods to the period of reggae between the sound of '69 and the arrival of roots.

Don't you brag and don't you boast but that's a Whole Lotta Skankin' going on! Do the ska, do the rocksteady, do the reggay, why– it's another scorcher!

Killer Groove Records proudly presents the self-titled debut album by Italian cinematic funk trio Atabasca. A sonic journey where funk, psychedelia and desert groove merge into a timeless narrative suspended between rhythm and vision.


"Atabasca" marks the debut release from the cinematic funk trio, dropping March 27th on limited edition LP, CD digipack and digital formats, the latter featuring an exclusive bonus track. This is a project built on evocative imagery: each song unfolds as an open scene, an emotional landscape where listeners can step inside and write their own ending.

Lap steel, kalimba, percussion and guitars interweave with bass and drums, striking an original balance between tradition and experimentation that evokes unwritten soundtracks for worlds at once distant and familiar. The record navigates between melancholy and irony, tension and release, with a sharp focus on dynamics and sonic narrative.


Deserts, seas, imaginary villages, getaways, pursuits and collective rituals: "Atabasca" emerges as a collection of musical landscapes that unfolds through vivid, evocative imagery.

Jazz-funk, world music, afrobeat, psychedelia and the Italian Golden Age of movie soundtracks merge into a singular emotional geography: warm, analog and deeply human.

The musical journey opens with "Dune", a melancholic statement that leaves room for imagination, before igniting with "Kundela Mawedi" and its cascading lap steel over haunting vocal chants. "Paco" tips its hat to classic westerns, tracing a bandit's trajectory, while "Cameo" drifts back to childhood through minimal rumba and shimmering kalimba. The cinematic imagery continues in "Cacopoulos", a nod to Spaghetti westerns and Eli Wallach, built on raw drum patterns and distorted guitars. Intensity builds in "Khettara", where afrobeat rhythms and Middle Eastern textures intertwine, before "Hell Dorado" tears off in pursuit of the American dream's funk-fueled mirage. "Papambra" weaves hypnotic polyrhythms between kalimba and lap steel, while "Porpora" delivers a sensual, visceral tango of passion and tension. The digital edition closes with "Reprise", a sequel that stretches the album's central theme into an expansive, meditative interpretation.

The tracks were recorded in single takes, capturing the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the album at Velvet Room Mastering Studio in Brighton.

Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment. This is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals) and Valerio Pompei (drums, percussion, vocals).

Individually active for over twenty years on both the national and international scenes, the three Italian musicians came together in 2023 to create a project that merges experience, experimentation and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.

Atabasca's sound moves through jazz-funk, world and cinematic territories, weaving together afrobeat, desert and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


For fans of Khruangbin, Surprise Chef and instrumental psych-funk!

Paper Crown release their third album Letters - an ambitious and playful record that marks a clear new chapter for the duo, brimming with confidence, nostalgia and new horizons. Letters is the result of a long and meticulous creative process, with guitarist, producer and songwriter Ornulv Snortheim and vocalist and lyricist Johanne Kippersund (MEER) working closely, patiently and with great attention to detail. The album was recorded and produced at Snortheim's own Dakkota Studio in Hamar, Norway. Drummer Borre Flyen contributes throughout the record, and violinist Aud Ingebjorg Barstad adds beautiful string textures on selected tracks. Musically, Letters draws inspiration from the organic warmth of 1970s recordings - featuring spacious arrangements and live, breathing instrumentation - while also clearly nodding to alternative 1990s pop- rock, with strong melodies, distinctive guitar lines, raw energy and a spirit of exploration. The result is a sound that feels both nostalgic and contemporary, making Letters the duo's most complete release to date.

35 Years of PROJECT PITCHFORK – The legendary debut ‘Dhyani’ returns! There are albums that make music history. And then there is ‘Dhyani’. For the 35th anniversary of PROJECT PITCHFORK, the debut album of the German electro-industrial pioneers is celebrating its triumphant re-release. Back in 1991, ‘Dhyani’ marked a milestone: a work full of energy, innovation, and dark beauty that revolutionized the scene and forever shaped the sound of PROJECT PITCHFORK. With this album, band founder, creative engine, and visionary Peter Spilles proved impressively that electronic music can be far more than dance beats. It can tell stories, unleash emotions, and connect generations. Now, 35 years later, ‘Dhyani’ returns in new splendor. For this special anniversary, the album has been carefully and expertly remastered by none other than Robin Schmidt (24-96 Mastering). Every tone, every nuance has been meticulously refined to preserve the timeless character of the songs while revealing fresh details that make the album feel even more powerful and vibrant today. ‘Dhyani’ is more than a debut. It is a testament to Peter Spilles’ creative force—an album that created sonic landscapes still captivating to this day. For fans, collectors, and new listeners alike, this re-release is a unique opportunity to experience a piece of music history in its purest form. Immerse yourself in the world of ‘Dhyani’ and feel the power that began 35 years ago and remains unbroken to this day. - Classy black vinyl - 2x180g 12” vinyl - All discs newly remastered for vinyl - Audiophile vinyl – German pressing - Sturdy cardboard sleeve - Printed inner sleeves containing all lyrics

DJ Support: Garnier, Opolopo, Worldwide FM, Marcia Carr, Bill Brewster, Timeout Moscow, Craig Smith, Delfonic, Tony Nwachukwu, Marcel Dettmann, DJ Rocca, Shuya Okino, Borrowed Identity, Titonton Duvante, Alex Attias, Rainer Truby, Sol Power All-Stars, Kyri R2, Robert Luis, Severino Panzetta, Lars Behrenroth, Kassian, Alkalino, Getdown Edits, Moodymanc, Gerd, Lea Lisa, Young Pulse, Mark de Clive-Lowe, Mark Grusane, Alex Barck….

International dance music heavyweight, producer and DJ Alexander Lay-Far returns with a powerful new chapter - Lay-Far Dance Orchestra (LFDO) - a fully-fledged live band project that reconnects him with his jazz-funk and fusion DNA while pushing dance music forward with unmistakable groove, musicianship and emotional weight. Formed in early 2024, LFDO is no nostalgia exercise. With Lay-Far at the helm as bassist, bandleader, composer, arranger and sound engineer, the orchestra has already been turning heads with explosive live performances, reinventing classic Lay-Far cuts, and now unveil their first album “Skybreak” with all new and original material written and produced by Lay-Far together with his bandmates and star guests, including Lipelis, Antoha MC and Seven Davis Jr. This work shows the departure from the predominantly electronic sound of Lay-Far's previous solo albums in favour of live instrumentation recorded to analogue tape and effortlessly bridging the gap between Jazz, Library Music, Disco-Funk, House, Broken Beat and Drum’n’Bass. “Skybreak” is dynamic, passionate, spiritual, cinematic, playful, heartfelt, life-affirming, dreamy and deeply romantic. Ultimately, there’s something profoundly romantic in recording and releasing such music in this day and age!


“Take Flight (Part 1)” is opening the album with style. It takes us on a beautifully orchestrated journey, blending the sensuality of Library Music with high-octane Jazz-Funk and raw b-boy breaks, propelled by breathtaking flute and Rhodes solos of Timur Nekrasov and Maxim Glonti. This aural symbiosis of “beauty and the beats” will become more and more prominent as the album unfolds.



It’s time for “Aquarius Love” created with the inimitable artist and vocalist Seven Davis Jr. (Secret Angels, Ninja Tune). In this composition cinematic soul and heavy jazz meet the restless energy of live drum & bass with deep and heartfelt vocals - timeless sound combined with a timeless message about love and life!



Next is “Head In The Clouds” - a theme for an imaginary rom-com, an ode to all the dreamers - sweet, light, naive and heartwarming. Space-Disco-Funk at its best!

“Where You From” is a fiery Soulful House number with heavy Afro-Latin influences recorded in collaboration with Lipelis. It’s full of Sun, joy and passion. Its irresistible rhythm is emphasised by funky octave bass, wah-wah guitar, catchy piano riffs, guitar solo by Lipelis and seemingly light conscious message delivered by Lay-Far and Maryag. Summer is here!

Now the album takes an unexpected twist in the form of “The Harp of Boom” which at first glance appears to be a classic-sounding Boom-Bap banger. Yes, It’s loud, raw, and gritty, yet it gradually evolves into something delicately-touching and deeply-soulful thanks to a memorable flute melody and lush string arrangement. Definitely recorded with tongue in cheek.


Next is “Feel The Moment” a remarkable collaboration with one of the most recognisable and distinctive Russian artists, singer, trumpeter and cultural icon Antoha MC. It’s a feel-good song, hopeful, life-affirming and bittersweet. A stylish excursion into Brit-Funk and Soviet Jazz-Fusion sound, drawing inspiration from the likes of Atmosfear, Light Of The World or Soviet Jazz bands like Allegro and Arsenal, but reimagining the influences through the modern West London broken beat lens.


The spectacular music journey continuous with “Take Flight (Part 2)” - it’s all about the deep infectious jazz-funk groove, heavy beats, rolling percussion and the glory of the soloing instruments - saxophone and flute by Timur Nekrasov, demonstrating the wide range of emotions from thoughtful and lyrical to restless and borderline vicious. One for freestyle dancing!

As the album draws to an end a vibrant musical triptych “Soul Constant” awaits, mixing together the deep and sensual mood of spiritual jazz with heavy syncopated drum’n’bass rhythms by Michail Fotchenkov, lush orchestration, expressive saxophone solos and the ending which can simply be described as “aural bliss”. It’s breath-taking!

A pleasant bonus is the exclusive version of “Where You From” by Lipelis himself, who is taking it into dub territories, further enhancing the rhythm section and enriching the song with his trademark playful synth flourishes and dreamy guitar solos for maximum effect (and appeal).

The album “Skybreak” by Lay-Far Dance Orchestra is the work of real artistry and craftsmanship with timeless sound that’s not only deeply-rooted but also forward-thinking.

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

Audaciously innovative sound designer/producer/live artist Enrico Sangiuliano reaches #0 in his countdown from ‘NINETOZERO’ on his eponymous ephemeral imprint, triggering its built-in autodestruct by the release of provocative 3-track EP ‘Absence’, out March 19th on vinyl & digital. The digital EP will also feature an Edit of ‘Step Into The End’.

The Italian tech maestro and artistic pioneer eschews populism, yet still storms charts & wins hearts – notably/recently in his unsettling, compelling manifesto x battle cry ‘The Techno Code’. Says Enrico of his label, ‘NINETOZERO is a cycle of listening, making, and letting go. Born from silence, shaped by space, directed by reflection, altered by change, revealed by glitch, unified through interconnection, lifted toward transcendence, refined by discipline, clarified by chaos, and finally returned to absence.’

On his ‘Absence’ EP: ‘With ‘Absence’ we come full circle, back to the womb of nothingness but charged with the echo of everything we have experienced. It is an ending, yes, but also an invitation. A new kind of silence is born, shaped by the memory of every frequency we unleashed.’ Enrico Sangiuliano can thrill listeners with his music, but dares to challenge, to trust them.

Main track ‘Step Into The End’: a full-on barrage of trustworthy techno danceability & energy, bookended by soulful violin, high horns & sirens, with spoken incantations as if summoning to a sacred rite. A ten-minute timeless dance track as ‘all we’ve learned converges into a single point where presence & silence merge.’

Title track ‘Absence’: The (Techno Code-esque) Voice speaks of sound, space, absence, trace... the track’s background noise is the almost- silence of his studio ‘through a magnifying glass’.. His breathing can just be heard in the recording. Melodic, beautiful, free-form chords in the middle section act like a breakdown in reverse. ‘A provocation, a track of silence, incidental noise. A tale of a story that just finished, but also a background for a story to be shaped. No one is intentionally performing for us. Here, the responsibility and work of listening is on you, to figure out what you can hear and what to make of it, to craft your own soundtrack based on the sounds that surround you, beyond the track. You can perform your own version yourself. Close your eyes and just listen. Engage with your environment. Be present. Expand your senses. Enjoy absence.’

‘The Aftermath’: a 40-second provocative coda. A snatch of stirring conversation signing off the EP and label alike. What will be launched post-zero by Enrico Sangiuliano? Watch this space, this absence.

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.

DYING VICTIMS PRODUCTIONS is proud to present MIDYRASI’S KULT’s highly anticipated debut album, Italian Dark Sound, on CD and vinyl LP formats. MIDRYASI'S KULT are revolutionary and uncompromised. Featuring veterans from such Italian doom stalwarts as Doomsword, Midryasi, Agarthi, and Fiurach, their unique blend of elements from the NWOBHM, doom metal, and early black metal – all fused in their distinctive national dark-sound tradition, which includes such cult legends as Black Hole and Death SS – results in an obscure, hypnotic, and exciting formula. In March 2025, after just one week on Bandcamp, MIDYRASI’S KULT were intercepted by Caligari Records, who released on cassette their debut demo, Mountain Devil. Featuring three songs in a concise 15 minutes, this demo reaped international acclaim for its originality and attitude. But that was but a foretaste of darker delights to come. Witness the first full-length of MIDRYASI’S KULT, Italian Dark Sound.

Truly titled, Italian Dark Sound is an intoxicating spelunk into catacombs both idiosyncratic and indefinable. Totaling 32 time-/mind-expanding minutes, the eight primary tracks here – the outro is titled “The Lost Son of Sylvester Anfang,” which should offer an obvious clue to the black-metal-minded out there – each offer something different from the next, and yet all add up into a shadowy experience that’s both rocking and atmospheric. In fact, if one were to single out an aspect between the demo and album, it’s that MIDYRASI’S KULT exude more energy on this full-length without sacrificing any of their occult aura. But, just like that demo, Italian Dark Sound features supremely pro production – gritty, earthy, and yet kaleidoscopic in texture – under the guidance of Gabry "The Way" Strada, head of RDF Studio and who’s now collaborating on the upcoming Doomsword new album. In the vein of an open artistic project, all the artwork is made by vocalist / bassist Geilt himself, and up to 11 musicians have been involved in these recordings

Following a huge wave of global support since its digital debut, ‘Edge Of Desire’ from Jonas Blue & Malive finally lands on 12" vinyl. A fitting format for one of the most talked-about house records of the past twelve months.

Since its release in July 2025, ‘Edge Of Desire’ has become a genuine streaming and club phenomenon. The sun-drenched house cut built on shimmering guitar riffs, bubbling synths and an irresistible vocal hook quickly took on a life of its own, topping Beatport Overall Chart and spending weeks in the Top 10 while racking up 100 million streams worldwide and over 100,000 global radio plays. From major playlists to festival stages, the track’s uplifting energy has made it a staple for selectors and listeners alike, with early DJ support from tastemakers including Adriatique, Adam Ten and Carlita.

Now, ahead of summer 2026, the record arrives on a special 12" vinyl edition bringing together the original alongside standout reinterpretations from some of house music’s most respected names. Dutch favourite Franky Rizardo delivers a groove-heavy club workout, Florida legends Jazz-N-Groove add their unmistakable soulful house touch, while Grigoré & Serve Cold transform the track into a deep, rolling dancefloor weapon.

With the original continuing to dominate playlists and dancefloors around the world, the vinyl release of ‘Edge Of Desire’ feels perfectly timed. Ready to soundtrack open-air sets, beach parties and late-night club moments throughout the season. For DJs, collectors and house music fans alike, this pressing captures the record at the peak of its momentum: a modern Defected anthem finally given the wax treatment it deserves.

Originally released on CD in Japan in 2003, as a love letter & thank you to his Japanese fans. Recorded at home, produced, engineered & mixed by Matthew Sweet (bass, guirars & vocals) with the classic ‘Girlfriend’ era lineup of Ric Menck (drums), Greg Leisz (guitars) and the genius electric lead guitar of Television’s Richard Lloyd. The sleeve art is by renowned artist Yoshimoto Nara. In the liner notes, Sweet describes the album's title as an attempt at reverse English: "If I did it correctly, the title should seem a little strange or wrong, but still meaningful! The true definition is supposed to be a 'love you' life, one devoted to loving someone or something, even life itself!"

“an excellent modern guitar pop album, filled with great hooks and harmonies and irresistible ringing six-strings”
Allmusic

“Kimi crackles with Girlfriend‘s energy, as Lloyd and Sweet’s guitars provide antagonistic foils as they did more than a decade before on cuts like “Tonight We Ride.”
Rolling Stone

Despite its tragic breakup, Yugoslavia as a political, social and cultural phenomenon still inspires generations, especially those who were born or lived at the time of this utopian land of South Slavs. Those who didn’t enjoy the privilege are still amazed by its 1970s and ’80s music scene and the number of very modern, high quality acts that were so often ahead of their time. Two such acts were Data and The Master Scratch Band, both founded by Zoran Jevtic and Zoran Vracevic, who introduced synth-pop, breakbeat, and hip-hop music in Yugoslavia in 1984 with their releases: SP Neka Ti Se Dese Prave Stvari/Ne Zovi To Ljubavlju and miniLP Deogut (Jugoton). Our latest release, “It Was Ridiculous, It Was Amazing!” gathers their earliest unreleased material from 1981-1983, showcasing a broader range of genres – alongside synth-pop and breakbeat/hip-hop, they also experimented with industrial, EBM, minimal synth, and electro-funk!

The whole record is divided into two parts: on A side there are 7 previously unpublished songs by group DATA, and on B side there are 4 previously unreleased recordings by The Master Scratch Band.

The Data side opens with two unexpected “shocker” tracks: Ja Nisam Kao Ti” (eng. I am Not Like You) and “Izumi” (eng. “Inventions”) from 1981, where they sound like early Deutsch-Amerikanische Freundschaft with unusual vocal pan sound effects on Serbian lyrics and uncompromising synth-based sound. Equally unpredictable are the next two songs: atmospheric “España” and dusty “Damage In My Head,” where Zoran Jevtić boldly steps into the lead vocal role. But the surprises don’t end there. The next two songs, France and Strahovi (eng. “Fears”), bring a mysterious and nostalgic atmosphere, elevated by the irreplaceable sound of the modular Roland System-100M. At the end comes the greatest surprise of all: Data covers YMO-Ballet in a song called Ne Zelim Da Tako Zive (eng, I Don’t Want Them Living Like That) and puts some extra energy in rhythm without losing the original song’s sensibility. Like in the original, the lyrics are tender and yet mysterious and provocative.

The Master Scratch Band side contains the very first versions of the songs Break War, Jailbreak, and Computer Break, originally recorded in studio Druga Maca in Belgrade in 1983. These versions were not released on their mini-LP album Dégout (Jugoton, 1984), and they are actually the first ever hip-hop/Breakbeat recordings in Yugoslavia. With great enthusiasm, every sound was uniquely crafted from scratch using the finest analog gear available in the early ’80s. The two young artists, aiming for international success, chose to write their lyrics in English. The album’s final track, “Mad Scratch,” showcases their talent for creating impressive sound effects, which would be a delight for contemporary DJs and producers who specialize in sampling and scratching old-school hip-hop.

This release is truly a “100% digger’s gem” – 11 previously unreleased tracks from legendary pioneers of electronic, hip-hop, and breakbeat. A collection to discover, enjoy, play, and treasure forever!

Twoosty Mayonez is a duo consisting of Bartosz Wolert (drums) and Kornel Karolak (synthesizers), creating post-jazz music and is considered to be part of the new Polish wave of this genre. The album is a continuation of the story begun in 2123, when Captain Harrison Focus, as a result of an emergency landing of his rocket, lands on the unknown planet Carmin. This story was described and released by U Know Me Records and this is how the (universe) world learned about Twoosty Mayonez. Their latest album is a story about what happens on the surface of the mysterious planet Carmin. This time, the main character of the album is Triceradiplodocus. The songs show changes in mood and atmosphere. The music is full of energy, harmony and emotions that reflect the diversity of the world the hero goes through.

All compositions were created on a weekend in September 2023, as a result of the duo's collective improvisation. The recordings were made at the Twoosty Room studio in Warsaw by the band's drummer.

The album features guest appearances by: Alicja Sobstyl (flute), Ola Szmidt (vocals), Wojtek Mazolewski (double bass), Olaf Węgier (sax). The cover was designed by Dominika Kiszkiel, and the mix and mastering was done by Maciek Goliński (Envee). The album, released in LP and digital formats by U JAZZ ME Records, is scheduled for January 9, 2025.

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.

NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

Now, following great acclaim for Volume 1, CTR is proud to unveil another equally eclectic Post-Punk Era Selection Compiled by Jason Boardman ( Before I Die Records) Celebrated Manchester club-night curator & record Label Owner , DJ & digger - supreme.

A second compilation of late 1970s / early 1980s Post-Punk era bedroom & small studio innovations & DIY Inspirations - Featuring more rarely & never heard cuts from that period. Including tracks from the enigmatic Prana, Blank Students, Janet Armstrong & The Native Hipsters ..A rich vein .

Jason Writes Of Volume 2 :
"It was a delightful shock that No Ones Listening Anyway Volume One was so well received - thanks to everyone one who bought & enjoyed it. This led to John asking me to collate Volume Two, so here it is.

This time all the material was recorded & released in the UK between 1978 & 1984.

I was conscious that there was minimal female energy on Volume One so have tried to rectify that here on Volume Two. I have also tried to make it as varied as possible with none hit wonders, oddities, collectables, under the radar B-sides & a couple of previously unreleased on vinyl selections."

Courtney Marie Andrews has long been celebrated as an artist who challenges herself, and who finds new interplays of Folk and Americana.. Also a vivid poet and accomplished painter, she brings a multidisciplinary richness to her work that shines throughout her 9th studio album, Valentine. Co-produced with Jerry Bernhardt and recorded almost entirely to tape, the album features complete in-studio performances that prize raw performance rather than perfection. It is Andrews’s most sonically explorative record thus far – she plays flute, high strung guitars, myriad synths, and draws heavy inspiration from her art outside of music. Her voice is gorgeous and acrobatic always, but on Valentine it finds a new depth, an assertiveness that brings new dimension to its biggest anthems and its softest moments. Written during a period of profound endings and new beginnings, Valentine is a vulnerable exploration of love vs. limerence. While anticipating the imminent loss of a loved one who would eventually recover, a new but uncertain romance began to develop. Rather than lift her up, the two emotional poles seemed to bleed into each other to sow doubt, trouble, even obsession. But through her own exploration of music and art, Andrews found a way to grow stronger inside this feeling. “I didn’t want to slink into my pain, I wanted to embrace it, own it” she says. The songs that emerged are devotional in their lyrics but defiant in their energy; it’s the very sound of a woman standing in her first wisdom. With Valentine, Andrews rejects the objectification of love, the love filled with gestures and objects instead of trust, mess, and growth. In doing so, she delivers her most beautiful and loving album to date.

During his time with the Yosuke Yamashita Trio, Nakamura poured his entire being into every note, weaving flashes of inspiration and raw impulses into powerful blows in the early 1970s. With this work, he undergoes yet another transformation. As Nakamura himself described: “Sharing space with everyone, feeling as if we’re flying freely like birds that’s the ideal.” Here, layers of sound and moments of silence expand the sonic space, and within it, Nakamura’s saxophone runs vibrantly and unrestrained.

Highlights include the exhilarating “Wolf’s Theme”, inspired by Kazumasa Hirai’s Wolf Guy series; the nostalgic melodies and relaxed groove of “Harappa”; elegant, richly textured interpretations of standards like “Body & Soul” and “I Can’t Get Started”; and the dynamic, liberating energy of “Viva Giappone”. In every track, Nakamura’s ideal is vividly realized. Featuring contributions from Toshiyuki Daitoku, Aki Takase, and Ryojiro Furusawa.

Italian cinematic funk heroes Calibro 35 announce a limited edition 45 rpm vinyl featuring two previously unreleased singles. The record is pressed on clear orange vinyl, limited to 600 copies, making it a must-have collector’s item.

On the A side, Calibro 35 reimagine Grover Washington Jr.’s jazz-funk classic “Mister Magic” with an ultra-groovy cinematic funk stormer, perfect for DJs and collectors alike. On the B side, the Milan-based combo revitalizes Can’s krautrock anthem “Vitamin C” with a fresh jazz-punk energy, a track recently brought back into the spotlight through Kanye West’s sampling. Both tracks are taken from the Deluxe Edition of their latest studio album Exploration, set for digital worldwide release on February 6th via Record Kicks.

Praised by Rolling Stone as “the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years,” Calibro 35 have built an international reputation as one of the coolest independent bands around. Their music has been sampled by Dr. Dre, Jay-Z, and The Child of Lov (featuring Damon Albarn), and they’ve collaborated with icons such as PJ Harvey, Mike Patton, and Stewart Copeland, continuing to push their cinematic funk universe further.

To celebrate the release, Calibro 35 will hit the road starting mid-October, with two special U.S. shows in Miami and Los Angeles, followed by a European tour including Barcelona, Berlin, Paris, and London.

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records, received a Taite Music Prize nomination and saw them win Best Group at the 2025 Aotearoa Music Awards. They’ve toured extensively, sharing stages with the likes of Queens of the Stone Age, IDLES, Acid King, Brant Bjork and Kikagaku Moyo. With Dungeon Vision, Earth Tongue deliver their most immersive work yet, a richly human, fuzz-soaked journey that bottles the magic of their live show and cements their reputation as one of the most exciting psych rock acts on the planet.

When you notice the cheerful mystery playing with the synths, the edges of this small world start to look slightly distorted. In any era, someone is always creating mysterious music on their own. (7FO)

----------------------------

Music in DNA is an album recorded in the early 1980s in New York City by Yasuhito Ohno, a young Japanese man breaking free from the constraints of his homeland. The album is a naive burst of outsider DIY enthusiasm, inspired by the multiple avant-garde movements of the era, in music, painting and performance, as well as the native energy of 80s NYC. Ohno channeled his youthful "edge" and zeal into open-minded lo-fi musical explorations using a mere two machines: the then-new technological glories of a four-track cassette recorder and that polyphonic synthesizer masterpiece, the Roland Juno-60; on several pieces he vocalizes. These seven tracks have a zestful, innocent, anything-goes charm, free from preciousness and self-consciousness: a raw and youthful human spirit at play in a new world. Ohno was also inspired by the humanistic promise of the general technological developments of the day, including DNA research, personal computing, and early computer graphics, an example of which can be found on the cover. Ohno later returned to Japan, becoming a renowned composer/producer. In an era of jaded cynicism, Music in DNA is a welcome taste of big-hearted innocence, a revival of a raw self. Available on CD/LP/Digital, with E/J liner notes.

'Balconies' is an urgent, physical record shaped by momentum and heat. The album takes its title from a recurring metaphor: a balcony as a place of exposure and distance. Elevated, visible, yet removed from the action below. Throughout the record, Tin Fingers explore feelings of observation, displacement and restlessness, moving through places without fully belonging.

Musically, 'Balconies' marks a clear shift for the Antwerp band. Where earlier releases leaned into intimacy and melancholy, this album is louder, more direct and built for movement. Sharp, energetic songs are balanced by the band's continued attention to atmosphere and imagery.

The album was written instinctively over three months by frontman Felix Machtelinckx before being brought to the band, with arrangements coming together quickly thanks to years of shared experience. Recording took place over four hot summer days at The Old Carpet Factory on Hydra, Greece. The warmth, the sea and the island's isolation shaped both sound and mood, while limited time encouraged live recordings that capture the album's raw energy and immediacy. 'Balconies' was mixed by D. James Goodwin (The National, Kevin Morby, Whitney).

Following the release, Tin Fingers will present 'Balconies' live, with shows at De Roma (Antwerp), Mezz (Breda) and Supersonic (Paris).

Rave-o-lution - Teknology EP (HDK-3)is a manifesto disguised in project.

Forged in the raw energy of the underground, Rave-o-lution - Teknology EP explores the connection between machine, movement and collective consciousness. This is not nostalgia, it’s forward motion. Teknology as a tool, rave as a language, evolution as a necessity.

Across four different versions, the same core signal mutates and adapts, shifting pressure, tempo and density while staying locked to its original frequency. Each version is built for a different moment on the floor, from deep hypnosis to pure mechanical drive.

Sometimes a pad emerges in the break, a moment of suspension where emotion cuts through the structure. A brief opening. A breath inside the system. Proof that even the hardest teknology carries feeling beneath the steel.

HDK-3 is made for soundsystems at full power, bodies in sync, and minds ready to disconnect from the surface and dive deeper.

No compromise.
No decoration.
Just rave — evolved.