quête:lu tracks

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

2025 Repress

Veyl is proud to welcome back to the label one of the most essential and multidimensional producers today, Filmmaker. To date, the Colombian artist has delivered a plethora of revered releases from his breakout, The Love Market (2019), to his previous album on Veyl, Fictional Portrayals (2022). He consistently traverses genres from postpunk, EBM, synth wave and beyond to create a unique identity still firmly rooted in film culture. Now he returns with perhaps his most robust and powerful offering, Hollywood
Cult.

Comprised of 13 tracks, the album sees the producer elevate his sound to new levels, conjuring a world of haunting atmospheres and devious directions that take the listener through a journey of unparalleled proportions. Kicking off the album is the ritual-like
'Secrecy', which builds tension before exploding into a synth-driven race against time and introduces us to the world that lies ahead. 'Holy Wood' injects a heavy dose of body music for an infectious piece that bleeds perfectly in to the slow burning nostalgia of 'Generational Trauma'. Next, 'Western Malice' picks the pace back up with its evil energy that feels fit for the best horror scenes before 'Shocking Therapy' enters the picture with an exhilarating electro feel.


Now in the depths of the journey, 'Vessels Wine' continues the saga with a high intensity work that gives way to the stirring emotions of 'Peacekeeper Ripper' and the raw, blood lust of 'Criminal Rite'. Now entering the final phases, 'Spiritual Harvest' cleanses the palate before 'Elite Dungeons' comes crashing in with a lo-fi feel that puts you deep underground. 'Two Sets of Rules' charges back with twisted lines before 'No Fetish Without Evil' unveils post-punk strings that puts you in a trance before 'Hanging Finale' closes the release u ltimately fading out into the abyss. Repeat listens will be necessary and the whole album feels like a soundtrack to a dark new world that is perfectly fitting for any Hollywood Cult.

Glasgow-based producer Conna Haraway returns to Theory Therapy with his first vinyl release, Spatial Fix. Inspired in part by his 2024 tour of Japan and Korea, the album explores new dimensions of his evolving sound.

Since Lusidiq – his debut on Theory Therapy – the co:clear owner has honed his ability to balance introspective atmospheres with crisp, meticulously crafted rhythms, imbuing his music with a physicality that’s as tactile as it is hypnotic.

Spatial Fix expands on this approach in every respect. The record oscillates between ambient abstraction and rhythmic intensity, seamlessly weaving the two together. Tracks like “Freon” and “1702” are anchored by a propulsive low end, woven through with Haraway’s crackling textures and field recordings – including those captured across Asia last year. Even in these deeply immersive moments, there’s always something luminous lurking beneath the surface – snaps, clicks, and micro-shudders ripple throughout in strange and surprising ways. The result is an album that pulls you into a writhing, disorienting space, a psychedelic sonic world where beauty and unease pulse in equal measure.

Spatial Fix is available as a limited edition run of 200 12-inch vinyl records.


Written & Produced by Conna Haraway
Mastered by Ike Zwanikken
Lacquer cut by Henry Rudkins
Artwork & Design by Conna Haraway & Gary Hunter

With a Swedish Grammy (GRAMMIS) nomination for her 2023 sophomore album ‘Be Free’ and a packed touring schedule, the in-demand trombonist, songwriter and producer sough to quiet the noise around her and challenge the jazz genre’s rigid rules for her next project.

The end result is ‘When You Know’; a smoky and melancholic 10-track cocktail of jazz, alternative R&B, indie, Hip-Hop and ambient sonics that experiments at every turn. On hand to co-produce the record and provide the electronic elements that move ‘When You Know’ away from the jazz world and into more avant-garde territory, Ebba collaborated with Berlin-based producer Lucy Liebe.

Packing a potent emotional punch, the 10 tracks are a reflection of Ebba herself: direct, driven, precise. Retreating to a cabin outside of her small hometown of Hammarö, 200 miles west of Stockholm, she recorded the album in the dead of winter. With the temperatures outside nearing minus-thirty degrees, Åsman logged off for a month – disconnecting from TV, social media and emails. Embracing with vigour both the deep sense of calm and the challenges that come with the cold but also the stillness and solitude that is yielded by being in the wilderness.

"Float like a butterfly and sting like a bee" said the famous boxer Mohammed Ali, in reference to his legendary strike. This punchline also works wonderfully in music, listening to Roseaux's third album. A French success story, created with all modesty and honesty by the Parisian trio: Emile Omar, Alex Finkin and Clément Petit.

The three musketeers of sound cultivate their know-how, now acclaimed by critics and an ever-growing audience since their first project in 2012. It took them time to take a step back and gain perspective in order to offer us a return that is both joyful and resounding.

Roseaux takes root on the banks of soul, folk, jazz, and songs from all eras, a cascade of inexhaustible sounds, where the three composers draw their inspiration and merge their experiences.

The leaves of Roseaux soar to the breath of wonderful voices, chosen with precision by the three friends, like that of the American singer Aloe Blacc, present since the beginning of the adventure, essential enchanter of the three episodes.

Conceived as a dreamlike escapade full of emotions, on the fringes of the massive, instantaneous and often disembodied production, Roseaux is a totally artisanal group, a sort of UFO in the French musical landscape, which operates on instinct and above all on desire.

Thus, Roseaux has become an expert in bringing together, for the duration of a record, the artists who specifically form the DNA of their host: captivating voices, a plot on the piano and cello, but also encounters and reunions, in a poetic and deliberately nebulous universe.

A welcoming nebula, where the listener is invited to listen and immerse themselves without hindrance, in a luxuriant, wild, exciting sound forest. This third album is the work of 3 music lovers, capable of switching roles: writing, arrangements, production, from which emerge this time, eleven tracks with chiseled melodies including three colorful and unusual instrumentals.

A journey between melancholy and euphoria, which led Roseaux to the ends of the planet, from the Caribbean to Europe via Africa to unearth other vibrations and unique performers: the captivating Grenadian-British singer Ala.ni, the little English afropop prince from Ghana, Ghetto Boy, and the disturbing Swedish Isabel Sörling, sign here a first flamboyant collaboration with the group.

While the talented Haitian-Canadian Mélissa Laveaux, the hypnotic Scandinavian singer Olle Nyman, the sparkling French-Canadian Anna Majidson and our remarkable national Ben, already present on the second part, still manage to create a surprise by revealing new aspects of their range.

Roseaux's voices are decidedly impenetrable and its magic is renewed today by making the strength of all these scintillating elements dialogue, to be discovered in a setting of softness and voluptuousness.

Nature is full of reeds, this one is unique.

This is the 2nd installment of Diamond D's The Diam Piece 3 series: DUO. Vol. 3 is broken down into 3 separate parts with DUO being the 2nd of 3 parts.

With Diamond on the tracks, Duo boasts features from B-Real, Everlast, Camp Lo, Nems, Sadat X, Tek, Prayah, Saigon, Tons, Kid Capri, Doo Wop, Da Inphamus Amadeuz, Kardinal Offishall, Peedi Crakk, Chip Fu, Shortee Sha, Reef Hustle, Junk, 4-Ize, Focus..., Lady Luck, Camari & Boog Brown.

LOS TRES PUNTOS : the enthusiasm of ska and the rage of punk rock inherited from the 80s french alternative movement, combined for an explosive cocktail to wake the dead! Unbridled rhythm, relentless brass section, unifying songs in French and Spanish ; the band has scoured concert halls in France and abroad.

This "live in Mexico" was recorded in November 2023 in front of 60,000 people at the Skatex Festival in Mexico City, celebrating the 30th anniversary of the group.

14 Tracks taken from the best of their discography, played with the energy and experience of the Los Tres Puntos gang.

7FO: pronounced "nana f o" in English, "nana" being seven.Ryuno Nukegara: "dragon's husk". These are the only difficulties you'llencounter here. This is warm, friendly, very relaxed music, very"understandable" and yet intriguing, sure to appeal to fans ofelectronic ambient, dub and chill-out music, as well as artists likeHaruomi Hosono, Captain Ganja, La Monte Young, Equiknoxx andTapes.The Osaka-based 7FO combines groovily sparseelectronic percussion with similarly sparse dub-feel synth bass, aswell as pentatonic synth and steel pan melodies, the latter with anintriguing Okinawa/Sunda/Malay feel. Sparkling dub-influencedprocessing and thoughtful mixing gives us a music which istrans-oceanic, warm, and enveloping. Following releases onRVNG, Bokeh Versions and Metron,Ryu no Nukegarais availableon digital, CD and 12" LP, featuring a suite of four tracks and the20-minute title track, whose titular dragon is Asian: a potentsymbol of water, strength and good luck.

It has been over a decade since Anthony Mills created Wildcookie, his most celebrated project. With tracks like Heroine and Serious Drug, the album Cookie Dough gained worldwide recognition, landing on numerous radio playlists, including Gilles Peterson’s show. Even after all these years, it remains a favorite on streaming platforms. Now, fourteen years later, Mills returns, teaming up with Marek “Latarnik” Pędziwiatr to create Crack Rock—a bold evolution of Wildcookie’s legacy.
While Wildcookie’s signature warm, jazzy Fender Rhodes sound defined its identity, Crack Rock shifts toward 1980s-inspired compositions crafted by Pędziwiatr, known for his work with EABS, Błoto, and Zima Stulecia. The duo explored yacht rock, drawing inspiration from Fleetwood Mac and Michael McDonald, maintaining the genre’s clean vocals and catchy melodies. However, their experimental spirit pushed the sound further, distorting the polished yacht rock aesthetic—leading to Crack Rock, a clever wordplay reflecting both the music and its themes.
Anthony Mills is known for layered wordplay, and the album’s name nods to deeper personal struggles. “I listened to the song Crack on repeat—it brought me to tears. Growing up in the crack era was painful. The PTSD I endured is now a powerful source of inspiration.” This raw emotional backdrop adds an edge to Crack Rock’s themes of love and human relationships—what Mills calls “cold love”: alluring, grand, yet ultimately destructive. Like an addiction, you keep coming back for more.
This idea of addiction shapes the duo’s sonic exploration—beneath the catchy melodies lie deeper, pain-laden themes wrapped in metaphor. “I see this album as therapy, a testament to the magic we create in the studio,” says Pędziwiatr. “Our process is a mix of musical mastery and deep conversations about life. For me, it feels like soul cleansing.

"The film soundtrack for Marcel Camus' film Black Orpheus, written by Antônio Carlos Jobim, Luiz Bonfá, Vinícius de Moraes & Antônio Maria. Among the musicians heard here are Luiz Bonfá and Roberto Menescal on guitar, as well as the vocals of Elizeth Cardoso and Agostinho dos Santos. Includes the classic songs ""Manhã de Carnaval"" and ""Samba de Orpheus."" Three songs from the film recorded shortly after by the great Joâo Gilberto have been added as a bonus.
THE COMPLETE ALBUM + 3 BONUS TRACKS - 180-GRAM VINYL - LIMITED EDITION"

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

The complete LP + 2 bonus tracks - pressed on 180g virgin vinyl - a limited edition of just 500 copies Ramon "Mongo" Santamaria Rodriguez ("Mongo" is Cuban slang for Ramon) is best known for being the composer of the jazz standard ' Afro Blue, recorded by John Coltrane among others. In 1950 he moved to New York where he became an integral figure in the fusion of Afro-Cuban rhythms with R&B and soul, paving the way for the boogaloo era of the late 1960s. Mongo's 1963 hit rendition of Herbie Hancock's 'Watermelon Man' wasinducted into the Grammy Hall of Fame. This release presents Mongo's complete LP 'Mongo Introduces La Lupe', on which he is joined on some tracks by singer Guadalupe Victoria Yoli Raymond, popularly known as, "La Lupe."

Six track EP full of warm deep house music, spacy jazz not jazz, african and brasil rhythms, plus a portion of psychedelic funk poetry.

‚Children Of Zu Zu‘ is Charles Petersohn‘s restart after his previous label release from 18 years ago, besides some experiments on Bandcamp and SoundCloud. On this EP sound merges into each other, is producing an organic flow. Smooth deep house, different kinds of jazz and jazznotjazz, african rhythms, Brasil batucada, psychedelic funk poetry, inspired by Dr. John and most of all the space music and afrofuturist philosophy of Sun Ra and his Arkestra. Soundscapes and atmos in the background of each song give the music a deeper feel. It took its time to get the music ready. There was the desire of having Web Web pianist Roberto di Gioia in the music, took months. But it was worth waiting. Roberto planted some magic moments in to it. On other hand Charles is hyper critic with his own sound. If jumping into to arena again, there should be something special. When he will be okay with every inch of his sonic work, then its done! ‚Children Of Zu Zu‘ became a collage of thick, warm and smooth housemusic, spacy Ambient Jazz and two dancefloor tools with a deep Afro and Brasil feel.

Here we go with six tracks full of love, full of dreams and full of space.

"Children Of Zu Zu" ist Charles Petersohns Neustart nach seiner letzten Label-Veröffentlichung vor 18 Jahren mit dem Pianisten Jasper van't Hof bei "Jaro". Deep House Music, Jazz Not Jazz, afrobrasilianische Jazz-Grooves, Ambient Jazz, eine von New Orleans Legende Dr. John inspirierte spirituelle Botschaft, einen Gesang von Frauen und Mädchen aus Samoa vom "British Commonwealth Sound Archive" und nicht zuletzt die intergalaktische Poesie von Sun Ra und seinem Arkestra. Soundscapes im Hintergrund fast aller Tracks versetzen die Musik jeweils an einen fiktiven Ort. Es hat seine Zeit gedauert, bis die Musik fertig war. Der Wunsch, den Web Web Pianisten Roberto Di Gioia für die Musik zu gewinnen, schien fast unmöglich. Seine Teilnahme verzögerte sich um mehrere Monate, denn Roberto ist ein vielbeschäftigter Musiker und Produzent. Am Ende hat sich das Warten gelohnt. Er hat der Musik einige magische Momente beschert. Auf der anderen Seite ist Charles mit seinem eigenen Material meist überkritisch. "Wenn ich mich parallel zu so vielen großartigen Musikern und Produzenten überall in der Welt und darüber hinaus mit einer eigenen Botschaft in die Welt begebe, muss das schon etwas Besonderes werden!" Nach endlosen Sessions in seinem Mini-Studio ist 'Children Of Zu Zu' um einiges mehr geworden, als er sich vorgenommen hat. Statt zwei, sind es am Ende sechs Tracks und zwei Bonus-Versionen voller Liebe, voller Träume und voller Space, innerspace und outerspace, geworden. Musik für den Dancefloor, für Jazz Clubs, Chill Zones und obendrein für Kinderzimmer!

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

These two vinyl records showcase the legacy left by the boogaloo movement in Peru between 1966 and 1975. They comprise twenty-two songs by seventeen artists who recorded on the remarkable local label MAG more than five decades ago and now invite today’s new generations to dance body and soul to these re-releases. You will find outstanding tracks by the likes of Tito Chicoma, Melcochita, Los Kintos, Otto Rojas, Coco Lagos among many others. MAG was one of the most important and prolific labels in Peru and, though it also was involved in releasing a lot of other types of music, its specialty was the tropical variety, which coincidentally, DJs and collectors seem to crave most. Peru developed a major boogaloo scene in the mid-60s, far from the genre’s place of origin, New York, where iconic songs like 'Bang Bang' and 'El Pito', fused soul and funk with Latin sounds, conquering dance halls and winning extensive radio airplay. The music trend soon spread to Caribbean countries and from there made the geographical leap to the city of Lima. 'El Pito', the collective creation of the Joe Cuba Sextet, was particularly popular. Shorn of overelaborate arrangements, the improvisation and spontaneity of the song resonated with the young generation who were avid for new music after the U.S. placed an embargo on the distribution of Cuban music. In July 1966, Rebeca Llave´s label, Disperú, released the 45 RPM of 'El Pito' (and Joe Cuba's LP), promoting the single in the most prestigious newspaper in the country: El Comercio. The press information stated that the record had sold seventy thousand copies in New York and fifty thousand in Los Angeles. That same year local dance versions by the bands of Alfredo Linares (MAG) and Lucho Macedo (El Virrey) were released, followed by another by the band of the Argentinean musician Enrique Lynch who was based in Peru (Sono Radio). These records were a hit with a new generation that embraced Lucho Macedo's band and the garage rock of Los York's with equal enthusiasm. Although Joe Bataan claimed that boogaloo was killed off at the end of the sixties by the labels and their veteran musicians (who conspired against the new generation of singers), Pete Rodriguez, Richie Ray and the Lebrón Brothers continued to release boogaloo records in Peru, but salsa music soon took over.

Capturing phantom drones behind dusty beats and haunted twangs, Ellis Swan and James Schimpl return for their third album as Dead Bandit. Locked into a musical language unique to their collaboration, the duo once again put us out to pasture across broad sonic plains, drums flapping like loose fence panels in the prairie breeze and bass rumbling like distant thunder. True to their previous two records, Swan and Schimpl keep the strung out guitars at the front of what they do, whether playing a naked, desolate strum or running six strings through disruptive effects processing until they're barely recognisable.
But while there are details of disturbance when listening to Dead Bandit's self-titled record up close, the wider impression is a smoother, more direct affair that toys with post-rock complexity and matches it with the emotional weight of melodic simplicity, gentle grooves and conscious arrangements. 'Weeds' offsets its languid fuzz guitar with shimmering sustained notes before settling into a patient, heavy-hearted composition charged with heartbreak leads pealing out in the middle distance.
By comparison, 'Glass' has a smoky, half-hidden backroom quality. Its brushed whisper of a beat, lingering guitar drones and subtle sub bass come on like a dub wise flip of a sad-eyed country ballad. The mood maintains on 'Half Smoked Cigarette', which captures the grey sky sullenness of post-punk and reframes it in the seductive isolation of rural America. While there's a thickness to the sound on these most direct of tracks on the album, there's also fragility inherent to the sound world Dead Bandit have been shaping out over these past few years.
'Buttercup' swaps sadness for sinister undercurrents, once more drawing on fulsome low end to fill out the sparse threads of instrumentation up top. 'Pink' finds a steady momentum for its own brand of brooding mystery, the sharp end of the beat bringing focus to the many-layered approaches to the guitar which roundly define the Dead Bandit sound. There's an even clearer direction mapped out in the vintage drum machine pulse of 'Koyo', all the better to carry swirling effects treatments and moody melodic figures. Even in these ominous climes there's space for plaintive, endearing hooks which land as the most direct phrases in Dead Bandit's musical lexicon to date.
The fundamental sound across this album holds true, but Dead Bandit are never bound to a singular practice. 'Lucien's Bitters' strikes up a pronounced drum machine beat which comes on like 90s downtempo, and it feels like a natural vessel for the heavy, shoegaze tinted lament of the guitars. At every turn, Swan and Schimpl prove their affinity for all kinds of approaches, and yet the end product is a deeply cohesive, immediate listen that shows just how clear their creative vision really is.

T. Gowdy returns with a major statement and luminous stylistic expansion on his third album for Constellation. Trill Scan is an exquisite suite of songs literally and figuratively about alchemy, where Gowdy melds his background in choral and medieval music with his trademark analogue electronics. Following the acclaimed Miracles (Bleep Album of the Week / Albums of the Year 2022), Gowdy's bar-raising new LP centers human voice for the first time. Choral set-pieces and solo lead vocals, along with his own lute playing, are novel elements in Gowdy's work, and draw on strains of Middle Ages polyphony and the Baroque "broken style" to further distinguish Trill Scan from anything in his discography to date. Gowdy sees "the modal language of medieval Europe as a less distant cousin to indigenous traditional music practice" compared to a Classical-colonial "patriarchal order of tonality that honours a system of domination." The 12th century Notre Dame School of choral music and 17th century style brisé each carry tonal materiality, heterodox technique, and cultural-historical symbolism central to Trill Scan's conceptual and compositional alchemy. Gowdy coheres these beautifully into his palette of serpentine slowburn electronics, a minimal analogue-driven techno shaped by aleatory strategies and tinged with post-punk grit. Gowdy's sound has been aptly described as "gently transportative, flickering like a busted halogen lamp" and his overriding pursuit of psychoacoustic immanence likened to "getting your brain massaged" and praised as "blissful work that bristles with effervescent energy, like brain waves coming in and out of focus." Trill Scan expands this sonic sensibility with more conspicuous harmonic complexity, stylistic variety, and humanistic narrative arc. Alternately sacramental and intimately personal vocals, sometimes wordless and sometimes lyrical, are worked into superlative instrumental tracks, yielding a warmly immersive concept album that's equally Gowdy's most musical. Gowdy sings explicitly of alchemy on the hypnotic album centerpiece "Novus Lumen" with lyrics that gesture at these medieval processes of material investigation. The tension between the scientific and esoteric is crucial; the separation and synthesis of physical substances in medieval alchemy maps onto his fixation with the interplay between the materiality of sound and psychoacoustics. Gowdy follows the Jungian interpretation of classic alchemical texts as an historical bridge to theories of the psyche, where consciousness itself is treated as materiality and similarly subjected to methodical analysis and experimentation, to deconstruction, dissolution, transformation, reintegration, metamorphosis. Song titles like "Arislei Bone" and "Materiadiscipuli" further reference these mythopoetic throughlines from medieval alchemy to modern psychology. Gowdy chooses disruptive forms from the history of Western music that symbolize and prefigure the modern psychological subject and its struggle for/against order, even as they also evoke liturgy and the Renaissance court. The sacramental adds a potent dimension to his pursuit of psychoacoustic activation, meditation, and transcendence, as choral passages intersperse with electronic drone and pointillism throughout the album. His gorgeous Fennesz-meets-lute rendition of the Baroque composition "Courante" by François Dufault offers idiomatic salon-secular counterpoint. Album closer "Strewn" is bookended by a final recurrence of choral invocation, with pulsing earworm motorik techno in between, over which Gowdy whisper-sings a dreamlike vision quest of mythic-alchemical imagery: "as I washed my eyes they turned to metal / and the memories melted to the metal / the metal of my heart." A mesmerizing final song that explicitly invokes Gowdy's search for materialized abstraction and substantive musical immanence wrought from his own psycho-therapeutic subjectivity, and encapsulates the album's turn towards more harmonic, historicized, and humanistic elements. Trill Scan commingles empyrean and earthly electronic songcraft to genuinely original and absorbing effect. Thanks for listening. RIYL: Coil, Nicolás Jaar, Alessandro Cortini, Pantha Du Prince, Fennesz, Visible Cloaks, Actress,

Bárbara Salazar aka Barbarelle is an experimental multidisciplinary artist from Buenos Aires, known for her conceptual work as a DJ, creative director, and curator.

‘Celesta’ marks Barbarelle first foray into composing and producing her own music; a debut that reveals the intimate, heartfelt territories of her creative universe. The culmination of years of composing for herself - ‘behind closed doors’ - ‘Celesta’ is a deeply personal, self-guided masterstroke of beguiling, free-flowing ambient soundscapes and DIY electronics. With ‘Celesta’, Barbarelle artfully transitions from ardent music aficionado to fully-fledged artist, unveiling an enchanting sonic world that has quietly matured over time.

‘Celesta’ is an exquisite odyssey of sound, assembled from fifteen tracks recorded between 2022 and 2024 in Buenos Aires and Los Angeles. Conceived as spontaneous and intuitive explorations, many of these tracks were recorded in one take without technically-minded premeditation. The product of organic experimentation rather than concrete intention, ‘Celesta’ is an authentic, candid record of emotions, memories, and profound interiorities.

Over time, the pieces in this tapestry found a common thread: a conversation with the ethereal, defined by emotional intensities and softly spoken utterances. ‘Celesta’ is an invitation to immerse yourself in soundscapes that merge to the point of dissolution, evoking the transparency of water and the lightness of a dreamlike world that transcends matter. Like the song of a siren, the voice becomes just another instrument, beyond language yet full of significance. A collection of songs that feels like opening a secret diary; a direct pathway to the centre of the heart.

In addition to her work as an artist, Barbarelle is the founder of Atlas, a platform dedicated to active listening through radio, live performances, listening sessions and more. She is also known for her radio show of the same name on Dublab, where she shares her unique approach to sound with eclectic selections and interviews with the likes of Air, BADBADNOTGOOD, Lucrecia Dalt, Juana Molina & more.

NOW Music proudly presents NOW That’s What I Call Gold – The Ultimate Hits – this essential 3-LP set brings together 46 tracks by legendary artists with timeless anthems, celebrating some of the greatest hits of all time, including chart-topping classics and enduring favourites.



LP1 sets the stage with Queen’s electrifying ‘A Kind Of Magic’, followed by Philip Bailey & Phil Collins’ #1 ‘Easy Lover’. The Police feature with their #1 smash ‘Message In A Bottle’, while The Killers follow with their record-breaking anthem ‘Mr. Brightside’. The massive ‘Stick Season’ from Noah Kahan is up next before the first side finishes with Lana Del Rey’s stunning ‘Video Games’. Flip the LP over for contemporary classics from Coldplay and Duran Duran. Sinéad O’Connor’s ‘Nothing Compares 2 U’ still sounds raw and breath-taking and is followed by classics from the Pretenders, Shirley Bassey, Dusty Springfield, and Soft Cell’s ‘Tainted Love’, one of the best-selling UK singles of the ‘80s, whilst another of those closes out the first LP: Ultravox with their masterpiece, ‘Vienna’.



LP2 delivers a legendary lineup, including Billy Joel with his Grammy-winning ‘Just The Way You Are’ and Céline Dion’s powerful version of ‘All By Myself’. John Denver’s ‘Take Me Home, Country Roads’ and Paul Simon’s groundbreaking ‘Graceland’ are featured along with the pop genius of Electric Light Orchestra with ‘Last Train To London’. While on the other side timeless ballads from Elton John with ‘Tiny Dancer’ and Lewis Capaldi’s ‘Someone You Loved’ come ahead of Wings, Simply Red and ‘60s gems from Stevie Wonder, The Supremes and the peerless ‘Walk On By’ from Dionne Warwick.



LP3 opens with Neil Diamond’s universally beloved singalong anthem, ‘Sweet Caroline’ and Cliff Richard’s mid-70s classic, ‘Devil Woman’. Disco legends Donna Summer (‘MacArthur Park’) and Gloria Gaynor (‘I Will Survive’), lead into Sophie Ellis Bextor’s ‘Murder On The Dancefloor’ which became a smash for the second time recently. Ed Sheeran and Pharrell Williams had enduringly popular hits with ‘Galway Girl’ and ‘Happy’, and the side closes with the harmonic vocals of All-4-One and their beautiful signature song ‘I Swear’. The final side is packed with anthemic and uplifting classics kicking off with Spandau Ballet’s ‘Gold’, Survivor’s ‘Eye Of The Tiger’, and Take That’s soaring ‘Rule The World’. The remainder of the collection celebrates and showcases some of the ‘70s greatest tracks including Bonnie Tyler’s ‘Lost In France’, Marianne Faithfull’s poignant ‘The Ballad Of Lucy Jordan’ and Blondie’s era-defining and genre-defying #1 ‘Heart Of Glass’.



NOW That’s What I Call Gold is a must-have for all music lovers —packed with legendary artists, timeless hits, and unforgettable moments in pop. Don’t miss out on this golden treasure trove of musical brilliance!

Its sound veers away from raw black metal intensity, opting for expansive, dreamy
atmospheres. Damian Anton Ojeda's signature approach tempers the harshness of
black metal's usual bleakness with a delicate sense of beauty and melancholy. The
album builds around shimmering guitars and lush soundscapes, creating a sense of
longing rather than the frostbitten aggression typically associated with the genre.
A key characteristic of "I Want to Be There" is how the screamed vocals--reminiscent
of depressive black metal--are mixed to blend seamlessly with the instrumental layers.
This intentional obscuring of vocals, pushed toward the back, transforms the vocals
into another textural element rather than a dominant force. This aesthetic decision
diffuses the emotional weight usually carried by extreme metal vocals, steering the
listener away from despair and toward introspection.
The balance between black metal's darker elements and post-rock's ethereal qualities
gives this record its emotional depth. The opening and closing tracks, "In the Distant
Travels" and the title track, lean more heavily on black metal structures but never fully
embrace the genre's typical harshness. Instead, the fuzzy guitars and crashing
cymbals are imbued with hope and uplifting energy. The post-rock influence becomes
more pronounced in tracks like "I Want to Be With You," which forgoes black metal
vocals entirely in favor of a choral atmosphere, evoking a serene and heavenly quality.
Ojeda also demonstrates his talent for creating immersive soundscapes, drawing
comparisons to *Sigur Ros*. Both artists employ sweeping melodies that evoke
feelings of transcendence. Still, where *Sigur Ros* tends to embrace more overtly
uplifting and sentimental tones, Sadness anchors these grand moments in
melancholy, avoiding overindulgence. The album is a delicate dance between light and
shadow, making the listening experience emotionally rich and layered.
While it may not have the raw emotional punch of *Deafheaven* or the nostalgic
charm of *Alcest*, *I Want to Be There* stands as a polished and thoughtfully
composed entry into the post-blackgaze genre. Ojeda's ability to fuse the weightless
hypnosis of black metal with the airy beauty of post- rock results in a sound that is
both familiar and new. Sadness offers a captivating and often beautiful exploration of
blackgaze, making the album a worthwhile listen for fans of atmospheric and
introspective metal.

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.

With a much-loved signature sound heavily influenced by many active years in the trance scene, Fernie’s blend of emotive pads and cosmic soundscapes has secured him a discography that spans some of deep techno’s most revered labels. Having releases on the likes of Monument, Khoros, KVLTÖ and Informa Records to name just a few, as well as heading up his own imprint Space Textures, curating the Monument podcast, and co-running the Orbits parties with fellow Glaswegians Deepbass and Repart - Fernie’s passion for the deep techno community resides in the energy he consistently commits to our scene.

The third release in our catalogue comes as a limited edition 140g transparent vinyl with black smoke, pressed in Italy and presented in a matte sleeve with full colour artwork. Celestial is a carefully woven journey that searches and probes, be it the outer reaches of space or the inner depths of oneself. Perfectly blending the themes of space exploration and astrology, the EP opens with a brooding wash of atmospheres and voice samples, before broken rhythms, lush pads and moody ethereal tones carry the voyage through the A Side. The B Side sees the record open up into two tracks perfect for deep immersion on the dance floor, with Unbound offering an atmospheric cruise fit for early morning bliss. And finally, we are humbled to have a remix from deep techno stalwart Ness closing out the EP - a ritualistic stomper that reworks the original atmospheres of Critical Functions into an uptempo dub techno infused gem.

Demonstrating the poignant power of experience + human connection + innate musicality + operating in the present moment, Jeff Mills' Spiral Deluxe collective unveil their second album - The Love Pretender. Driven by the free expression and creativity of improvised performance, Spiral Deluxe is an electronic jazz fusion project comprised electronic music visionary Jeff, along with legendary keyboardist Gerald Mitchell (Underground Resistance/ Los Hermanos), Japanese rocker Yumiko Ohno (Buffalo Daughter/Cornelius) on Moog synthesizer and the Japanese bassist, adopted New Yorker, Kenji "Jino" Hino - son of Terumasa Hino, the world famous jazz trumpeter. Together, the four key players formed a band centred around completely improvised journeys through sound.

During their unrestrained performances, what Jeff describes as sonic "conversations" arose between the musicians, as they each contributed to full-length live shows, and studio sessions. Within the boundless parameters of freeform spontaneity, they developed an unspoken understanding of one another, finding balance and poise within the unplanned performances. The resulting recordings have been used for three releases so far: Two EPs, Kobe Session (2016) and Tathata (2017), and their debut album Voodoo Magic in 2018. With The Love Pretender, we're presented with another stunning collection of "tracks" extracted from one long improv session.

With each musician proficient in their specialism and, of course, an all-out music lover, the communication between the group members became almost telepathic. Very little preparation was needed, and their performances flowed naturally and organically. This can be heard, and felt, throughout The Love Pretender. Tracks like 'The Soloist' evolve effortlessly, each new shift subtly influenced by one of the musicians nudging the conversation into a different phase, and the rest responding accordingly, or vice versa. It's music that embodies the true nature of mindfulness and letting go of fear. In their unstructured, liberated cocoon the artists thrive and create musical moments that have, fortunately, been captured for us all to immerse ourselves in. Jazzy notes fill the air, combined with electronic bass, synthesised beats, sparkling keys and an all-round warm and welcoming atmosphere, with the slight edge you can only get from improvised performance.

Sylvain Luc's posthumous appearance on the album is of significance too. The French guitarist died in March 2024 at the age of 59. His natural flair adds another dimension to the album, bringing a touch of that laid back 1980s American California Coast feeling to tracks such as 'Society's Man'. These contributions to the LP, recorded separately, add character - a final sprinkling of humanity to complement the aliveness and presence of this body of work. Three other musicians also added their creative energy to the project. They were; TOKU, a Japanese jazz musician who specialises in wind instruments, especially the cornet, trumpet and flugel horn. And there's Masa Shimizu, who also has wide-ranging with the guitar, as well as being a producer.

Themes on the album include the optimism one can have by simply trusting the process and trusting that everything will work out in the end. By playing together in the way they do, Spiral Deluxe place their trust in the mystery of what will happen next. Getting comfortable with not knowing is key to a sense of peace with regard to the future and this energy is vital to their collective musical output. By embracing the notion of the unknown, you become an eternal optimist, living in the moment, rather than projecting into the future. This cultivates excitement, an antidote to anxiety.

Meanwhile, the title alludes to the shifts and changes that have occurred in today's society, whereby it's possible to achieve success through pretending. The superficiality, and falsehood, that can often be presented via social media, can lead to questions about what's real and what's not. From AI to the fake personas that populate the dominant platforms, The Love Pretender speaks to a process that is symbolic of the time we're living in. Behaviour that has become acceptable in today's world, which may not have been as welcomed a few decades ago. But this is part of the cycle of life...

Jeff's intention with this music is to present it in high-fidelity, to be listened to over and over and over again. In post-recording he worked for hours to ensure the audio quality was as high as it could be. The goal is to create music that people can live with their entire lives, from his solo work to these masterful improvisations. Music that comes to life, music that has a voice we can replicate with our own vocals. Expressive, unstructured, and alive...

With The Love Pretender Jeff Mills continues his mission to experiment with music outside the bounds of what is typically expected. It's freeing, enlivening, vibrant and uniquely human. As ever, Jeff's visionary outlook and bold approach to musical performance and recording has produced a body of work that epitomises his often revolutionary capabilities. There's no pretending here, just pure unadulterated sonic transmissions from a wonderfully daring, inspiring and optimistic ensemble...

The fourth release on Sismo comes from Uruguayan artist Luis Malon, based in La Barra. This 12’’ delivers a dynamic blend of styles, featuring two high-energy, dancefloor-oriented tracks alongside two electro-romantic cuts, showcasing Malon’s versatility and signature sound.

Das Debütalbum der ghanaischen Frafra-Gospel-Queen Florence Adooni (auch Mitglied bei Alogte Oho & Sounds of Joy) ist ein inspirierendes High Life-Werk mit grandiosen Tracks wie der Gospel-Hymne "Mam Pe'ela Su'ure" oder dem mit Jimi Tenor aufgenommenen Clubtune "Vocalize My Luv". Produziert wurde "A.O.E.I.U." von Ethno-Funk-Pionier und Philophon-Betreiber Max Weissenfeldt. Florence Adooni ist mit ihrer achtköpfigen Liveband regelmässig auf Tour, begeisterte bei Festivals wie Roskilde, Down The Rabbit Hole und Überjazz und absolvierte 2024 mehrere Termine mit Erobique.

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

No matter how much of their filthy riches Munich’s oh-so shiny and smart glitterati are going to spend on generic pest control, they’ll never manage to exterminate SPINNEN (n.b. German for “spiders” – and also for “being bonkers” ;) Instead, SPINNEN will spread even further, they’ll form new networks, take over new corners, new spots, connect more musical dots with invisible, incendiary cobwebs.

Whereas these two SPINNEN – Sophie Neudecker (drums) and Veronica “Katta” Burnuthian (bass) – have been doing their spidery thing(s) in countless muggy, experimental corners of Munich for years (think bands such as Bombo, Uschi, Apian, The Living Object, Friends of Gas + other art ventures, tats, Schaufel & Besen Records…), the duo’s first full-length offering for Weilheim-based Alien Transistor sees them move on towards a warm kind of light – “Warmes Licht”. Inspired by Lambrini Girls, Peaches, McLusky, Amyl And The Sniffers, and all things loud and gain-heavy around their hometown, the album – obviously two body parts (A + B side), 8 legs (tracks) – is set to arrive in March 2025.

“Zusammen wachsen/Zusammen fallen,” meaning grow together/fall together feels like a fitting motto on opening track “Träume,” an initial onslaught of shouts, spiky basslines, crunchy chords, a whole lot of awesome friction in that lovely lower end. “Visionen folgen/Kämpfen und Erschaffen,” is another apt line while doing just that, fighting, creating, turning visions into soundscapes, into pure sonic fun & resistance. Putting even more pressure on the mosh pit with wordless “Wirken,” that titular warm light eventually breaks through towards the end of hypnotic “Moment”: The lyrics might talk about a calm state of mind – but these two are certainly not slowing down, not aiming for consistency, or for “making it”…

“Warm” has no drums, no message, it’s pure light, all playful organ hypnosis, paving the way for the b-side that opens with first single “Geister” (spirits/ghosts/genies): Arriving with a rough wind that immediately turns things upside down, it’s all screams and riffs, turbines and propellers – one of many moments that make you realize how bad you want to see this hi-octane duo live, how good it must feel to have them scare the shit out of your body (“Verscheuche mich aus meinem Körper”). They’re like two genies coming from the same smashed bottle, offering three wishes to those who’re lucky enough to listen (Fuzzy Noise Pop? Punk Catharsis? Rrriot Krautsound?).

Following a quick melancholy breather (“Lichter”), things once again get restless as they rush towards the punk finale via slow-burning demolisher anthem “Ermüdend”/“Immer wieder,” only to unleash one last battle cry, one last middle finger made of light and noise to the heated room (“Mäuse”) they’ve long taken over.

It’s certainly no coincidence that a certain square/fine/upstanding citizen named Margit O. gave Munich’s Bürgerpark Oberföhring a scathing 1-star review on Google Maps exactly four years ago – at the very moment that Sophie and Katta first met just there, which eventually lead to the formation of SPINNEN. The reason for O.’s negative rating: “Too loud”.

Repressed LP on Neon Orange Vinyl, includes download card. It feels like someone left the light on in the studio and it all just ran itself, there had been a funky human input earlier in the day but, by a Darwinian machine-led kind of osmosis, the tracks recorded spent the wee small hours self-reducing and simplifying themselves. Marinated in music. “I believe more in the scissors than I do in the pencil,” said Truman Capote. ”Simplicity is the ultimate sophistication,” opined Leonardo da Vinci much earlier in proceedings. Yes, it’s the space around the object, what you leave out that makes what you leave in so important. ESG know this. Sure they can play the game but it’s the swagger of the groove and the minimal topping – like an anti-cup cake – that makes this unique New York sisterhood so appealing on ‘Keep On Moving’. Sampled on TV ads, lauded by critics and swooned over on the dancefloor, ESG’s post-punk took out the grunge and polished the basics. Cut them open and “less is more” is written all the way through. ‘Keep On Moving’ was released over ten years ago to much praise (Q said it was “even better” than 2002’s much loved ‘Step Off’). ESG had been sparring partners for PiL and early hip hop and four years after the ‘Off’, they were onto something new – rhythm as core, reflective storylines about relationship management, sensuality and insanity gather around the bass fix but they’re much blurrier than the incessant beats. Inadvertently they unmask techno and glitch and leave out any kind of superfluous fluff. It’s hard and temple throbbing. Turn it up. And keep moving. “If there's one tune which sums up ESG's enduring lust for life, it's the beautifully-judged Black Flag/early techno crossover of the closing 'Gimme A Blast'.” The Guardian 5/5 // “This album's every percussive aspect has been honed to impart the maximum amount of pleasure.” The Observer // “Despite their influence on younger bands (you can hear LCD Soundsystem's knobbly grooves on ‘Insane’), ESG still sound like nothing else.” The Guardian

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

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

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

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

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

DeepMatter Records is thrilled to reintroduce ‘Daughter of the Sun’, the groundbreaking album from Canadian bassist and producer vbnd. Originally released in July 2018, this neo-soul masterpiece has captivated listeners worldwide, racking up over 68 million streams and selling out two previous limited vinyl pressings in the process.

Blending jazz influences with soulful grooves, this album is a true gem for any lover of neo-soul. Featuring collaborations with fellow Saskatoon artists — including the ethereal vocals of Katie Tupper, the masterful guitar work of Justice Der, the sultry sax of Connor Newton, and the artistry of Simon Jasieniuk — the project is a lush and unforgettable listening experience. Standout tracks like “Smoke” and the titular “Daughter of the Sun” highlight Tupper’s smoky, enchanting voice, perfectly paired with vbnd’s lush, soul-infused production.

Since its release, ‘Daughter of the Sun’ has become a cornerstone of Saskatoon’s blossoming jazz and soul scene, with vbnd drawing inspiration from icons like D’Angelo, Jaco Pastorius, and Snarky Puppy.

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.

Second installment of this wonderful compilation of gems from the 60s and 70s Singapore music scene, focused on the amazing ladies that helped make it so vibrant. 14 gems of female fronted Pop Yeh Yeh, another eye-opening collection of amazing Singapore treasures. A new collection of female fronted Singapore recordings from the 60s and 70s, documenting one of the most vibrant music scenes during those incredible years. Be it as solo singers, backed by other bands or as band leaders, women had a huge presence on the Singapore music scene, and here's another 14 tracks to celebrate their legacy. All under the idiosyncratic Pop Yeh Yeh umbrella and each with her strong personality and musical tendencies, the music contained in this beautiful record is an absolute trip for anyone interested in 60s and early 70s music.

Nach mehr als 20 Jahren ist das gefeierte vierte Album von NIGHTINGALE, "Alive Again", wieder erhältlich, und zwar remastered (CD/LP) von Songwriter/Frontmann/Produzent Dan Swanö (Opeth, Katatonia, Oceans Of Slumber). Ursprünglich nur auf CD im Jahr 2003 veröffentlicht, beginnt mit "Alive Again" die Entwicklung der härteren Rock-Tendenzen von NIGHTINGALE, die eine Brücke zwischen 70er Jahre Rock, AOR, Prog und Metal schlagen. Das internationale Profil der Gruppe führte auch dazu, dass sie ihren Freund Arjen Lucassen (Ayreon, Star One) als Gastmusiker für "Falling" gewinnen konnten. "Alive Again" enthält die herausragenden Tracks 'Shadowman', 'The Glory Days', 'Shadowland Serenade' und die 11-minütige Saga 'Eternal'. Die defini-tive Re-Issue Edition von "Alive Again" ist jetzt als Ltd. Digipak 2CD (10 + 20 Bonustracks) mit O-Card und zum ersten Mal über-haupt auf Vinyl, als 180g LP (10 Tracks) erhältlich. Restauriert, erneuert und erweitert, werden die Fans von NIGHTINGALEs brillantem "Alive Again" noch einmal schwärmen.

When Creed Taylor was setting up his CTI label one of his proposed signings was Billy Vera. This led to a deal for Vera’s younger sister Kathy McCord. In fact, McCord was the first artist signed and recorded by CTI. Her debut, “Kathy McCord” was released in 1970.

Although the label would go on to establish a fine reputation in jazz, “Kathy McCord” was a folk rock album. A gifted young poet the 17-year old McCord wrote many of the tracks on the album which were then interpreted in the studio by a crack team of jazz musicians that included Harvey Brooks (bass), Hubert Laws (flute), John Hall (guitar) and Wells Kelly and Ed Shaugnessy (drums). Musically and lyrically both the musicians and McCord stretched out on tracks like ‘Rainbow Ride’, ‘Jennipher’, ‘Candle Waxing’ and ‘Take Away This Pain’ to conjure up an amazing fusion of folk and jazz. The only cover on show was a version of Lennon and McCartney’s ‘She’s Leaving Home’ which McCord repurposed as ‘I’m Leaving Home’.

Upon release the album sold poorly. Creed’s expertise and contacts were in the jazz field and he had no idea how to market an album of folk jazz songs sung with fragile beauty by a good looking girl still in her late teenage years. Also, when Billy Vera did not sign to CTI McCord was dropped.

Over time “Kathy McCord” attracted a dedicated following amongst folk-rock collectors in America and the UK. In many respects it was an echo of something like Deena Webster’s 1968 folk rock LP, “Tuesday’s Child” that also came, went and is now sought after.

Ace are delighted to give the world the first vinyl reissue of “Kathy McCord” since 1970. Pressed on black 180gm vinyl it also includes liner notes from Billy Vera - who has this to say about his late beloved sister: “My sister had the goods. She could sing, she could write and she looked great. Like so many other talented people, she just failed to get lucky. Listen and enjoy her. I love her stuff”. You will too...

Nach mehr als 20 Jahren ist das gefeierte vierte Album von NIGHTINGALE, "Alive Again", wieder erhältlich, und zwar remastered (CD/LP) von Songwriter/Frontmann/Produzent Dan Swanö (Opeth, Katatonia, Oceans Of Slumber). Ursprünglich nur auf CD im Jahr 2003 veröffentlicht, beginnt mit "Alive Again" die Entwicklung der härteren Rock-Tendenzen von NIGHTINGALE, die eine Brücke zwischen 70er Jahre Rock, AOR, Prog und Metal schlagen. Das internationale Profil der Gruppe führte auch dazu, dass sie ihren Freund Arjen Lucassen (Ayreon, Star One) als Gastmusiker für "Falling" gewinnen konnten. "Alive Again" enthält die herausragenden Tracks 'Shadowman', 'The Glory Days', 'Shadowland Serenade' und die 11-minütige Saga 'Eternal'. Die defini-tive Re-Issue Edition von "Alive Again" ist jetzt als Ltd. Digipak 2CD (10 + 20 Bonustracks) mit O-Card und zum ersten Mal über-haupt auf Vinyl, als 180g LP (10 Tracks) erhältlich. Restauriert, erneuert und erweitert, werden die Fans von NIGHTINGALEs brillantem "Alive Again" noch einmal schwärmen.

2025 Repress

AFAR is a Berlin based music duo consisting of Elena on vocals and guitar, and Joseph on synthesizers and live hardware. Their forthcoming album stems from the misty heights of the pyrenees, hidden and sheltered within thick, old walls. The whole album was written and recorded in four winter weeks. An intense and demanding period, yet liberating and empowering. »The Refuge« is the collection of stories, the process of it is a story on its own. All tracks are touching, drifting, driving. Soft and raw voices meet between rough synthesizer lines. The result ranges from powerful breakouts to fragile moments. Honest and vulnerable, bold and brave: A true journey, a real refuge.

Yellow & Black Vinyl. "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll.Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God."These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

China Crisis BBC Sessions have been compiled onto vinyl by Scottish label Last Night From Glasgow, released in early 2025. The release features the band's two John Peel sessions recorded with the BBC in March 1982 and January 1983, now remastered and available on vinyl and CD. The album includes the BBC session recording of hit single Wishful Thinking. The Complete Sessions follows on from recent album China Greatness released in May 2024, a collection of the band's best tracks now newly arranged and mixed. China Crisis remain one of the UK's most beloved pop bands. Formed in Merseyside in 1979, the core duo of Gary Daly and Eddie Lundon remains unchanged 45 years on. They rose to fame in the early 80s with chart success single Christian and single Wishful Thinking, album Difficult Shapes & Passive Rhythms reached No.21 in the UK album charts in 1982. China Crisis continue to tour extensively and boast over 325,000 monthly listeners on Spotify.

Following up his magical singles Rupees, Las-Vegas by way of Chicago underdog DJ LUCKY brings us his debut album Triple 7. Featuring fellow colleagues such as DJ Manny, Taso, and Weezy, this LP compiles work from a rather undocumented member of the Teklife family. These 10 tracks are pure modern footwork tailor-made for the dancers, but with tons of rave-friendly sonics in-between.

Opening things up with the ethereal DJ Manny collaboration War, Lucky sets the tone for the rest of the album with its thick, moody atmosphere. At times the vibe here is soulful, other times it’s eerie, often it’s all of the above. There’s rolling jungle breaks with a hip-hop lean on tracks like G.B.G.W., and there’s lots of sinister battle dramatics like those on Hit Da Flo. The synth work is masterfully crafted throughout the album, with lots of trance-inducing arpeggios like those on GAWD, and of course the drums are relentless, with huge swooshing snares bombarding your ears on Lost Without U. It’s a perfect soup pot of the emotions that make footwork great: dark and intimidating, yet full of passion. Triple 7 is a great introduction to a member of the footwork community that some fans might have slept on. Lucky grew up in the culture both making music and dancing, and this album proves how crucial his sound is to the art form. It’s uncut floor burning music sure enough to cause lots of trouble in the circle and beyond.

Introduced by the digital single ‘Deixa Passar’, this 12” EP concretises on physical support the renewed collaboration between the two Schema Records artists Gerardo Frisina and Tomaz ”Toco” Di Cunto, working together again five years after the release of the EP “Frisina Meets Toco” (SCEP 487): the two unreleased songs here included, the aforementioned “Deixa Passar” and “Ilê”, are featured both in their original and reworked versions, and represent an excellent blend of samba jazz and Brazilian popular music. In both tracks, the music composed and arranged by Gerardo backs up the Portuguese language lyrics and melodic lines of Toco, who duets with Luzia Dvorek in an almost surprising contrast between serious and graceful sounds. The instrumental department features Gianluca Petrella on trombone, Eduardo Taufic on piano (Deixa Passar) and Fender Rhodes (Ilê), and Edu Moreno on flute (Ilê), in an excellent ‘union of opposites’, between popular music and modern sounds, between acoustic instruments and electronics, with mystical influences that envelop the songs with a mysterious and attractive aura. Not only musically, but also visually and lyrically, this EP is a tribute to the Brazilian culture and lands, already from a cover that re-imagines the iconic shapes of the famous Copacabana pavement in Rio De Janeiro: while “Deixa Passar” celebrates Rio’s carnival as an opportunity to momentarily free oneself from the burdens of life, “Ilê” recalls the traditions of Salvador De Bahia’s historic ‘bloco afro’ quarter called Ilê Aiyê.