Cerca:m production

The groove never skipped a beat. 10 years after Global Warming and 2 years after Breaking to the Bus Stop, Romain Dalmasso aka Lord Funk, remains an insatiable crate-digger driven by one thing: the dancefloor. With his 3rd LP, More Orgasms, he drops a record that literally bleeds club culture and raw funk.

This is a deeply organic album. Moving away from clinical productions, the french producer gathered a tribe of top-tier musiciansto bring a living, breathing soul to every track. It’s an in-depth study of groove where cutting-edge electronics meet organic warmth and human vibration.



The tracklist is a map of his musical heart: from the R&B anthem First Crush co-written with his partner-in-crime Guillaume Atlan (The Supermen Lovers) and ignited by Shahdo, to the sharp 80s-Blondie energy of Merryn Jeann. True to his hedonistic roots, the vinyl sleeve doubles as an adult board game. More Orgasms isn't just a release; it’s a tangible piece of club culture—a heavy, singular pressing for the diggers and the lovers who want music that has soul and sweat in its DNA.

Black Swan is a 2010 American psychological thriller film directed by Darren Aronofsky and starring Natalie Portman, Vincent Cassel, Mila Kunis and Winona Ryder. The plot revolves around a production of Tchaikovsky’s Swan Lake ballet by a prestigious New York City company. Usually described as a psychological thriller, Black Swan can also be interpreted as a metaphor for achieving artistic perfection, with all the psychological and physical challenges one might encounter.

The original score for the film was composed by Clint Mansell, an English musician, composer, and former lead singer of the band Pop Will Eat Itself. Mansell was introduced to film scoring when director Darren Aronofsky hired him to score his debut film, Pi. Ever since Mansell wrote the score for many of Aronofsky’s films. Notable additional film scores include The Fountain, Moon, Smokin’ Aces, Requiem for a Dream, The Wrestler, Doom, and High-Rise.

Sun Wukong (The Monkey King) is a monkey born from a heavenly stone who acquires supernatural powers. After rebelling against heaven and being imprisoned under a mountain for 500 years, he later accompanies the monk Xuanzang on a journey to India. Thus, according to legend, Buddhism is brought to ancient China. This much beloved story, is as much a part of Asian culture as The Iliad and The Odyssey or The Wizard of Oz are to the West.

The 2014 action-fantasy film Monkey King - Havoc In Heaven's Place was directed by Soi Cheang, Starring Donnie Yen as the titular protagonist Sun Wukong. A Hong Kong-Chinese co-production, Yen also serves as the film's action director. The film co-stars Donald Chow, Aaron Kwok, Joe Chen and Peter Ho. The music was composed by Christopher Young.

Funfact; the drums on this soundtrack was done by none other than Dave Lombardo (ex- Slayer)

In China, The Monkey King was highly succesful and became only the third Chinese film to earn more than a billion yuan at the Chinese box office.

The soundtrack of Monkey King - Havoc In Heaven's Place is available for the first time on vinyl as a limited and numbered 2LP of 500 copies on gold vinyl, and includes an insert.

Francis of Delirium is the moniker of 22-year old, Luxembourg-based Jana Bahrich. The young artist’s incredible journey up until this point has seen her release 3 critically acclaimed EPs, ‘All Change’, 'Wading’ and ‘The Funhouse’. With praise so far from the likes of Stereogum, FADER, Pitchfork, Line of Best Fit, 6 Music, Radio 1, KEXP and NPR to name but a few, Francis of Delirium is on the precipice of something extremely exciting with debut album ‘Lighthouse’.

The announcement of ‘Lighthouse’ comes following a busy year of touring with the likes of Soccer Mommy, Briston Maroney, Horsegirl, The Districts and hitting Eurosonic, Iceland Airwaves and Tree Fort Fest, as well as opening for The 1975 & Kings of Leon.

Production duties on ‘Lighthouse’ were shared by Catherine Marks (Boygenius, Wolf Alice) and Jana Bahrich/Chris Hewitt. ‘Lighthouse’ was mixed by Jolyon Thomas (U2, Royal Blood).

Music never exists in a vacuum — every scene and sound evolves from the non-stop exchange of ideas between different groups and cultures. Traditions get passed down from one generation to the next, and then individual heads take influence from their own unique perspective. Sometimes, certain people strike upon fusions that spark massive new movements, but even those rarest innovations came from somewhere.

Jon E Cash knows this more than most — the legendary beats he started putting out at the turn of the millennium had their own disparate roots and influences which he had the motivation to put together into a sound he called sublow. There wasn't any other reference point for this music — when he took the first white labels of 'Drop Top Bimmer Kid' into Blackmarket Records in Soho, London, he had to describe it to a puzzled Nicky Blackmarket and J Da Flex as being, "between garage and hip-hop."

Playing catch-up in 2004, Rephlex Records nodded to sublow when trying to introduce a wider audience to the sounds which had been tearing up the London underground. "Grime. Sublow. Dubstep... It's Music. Different people call it different things depending on when they discovered it." But Jon E Cash's sound was rooted in more than the UK garage that had dominated the clubs through the late 90s, reaching way back to his pre-teen days when the first waves of hip-hop culture crossed the Atlantic and broke in the UK.

25 years on, it's a fine time to reflect on the impact of the music Cash made at the turn of the millennium. History looks back favourably on what he and the Black Ops crew were doing with sublow in the early 00s. The timing meant it ran in parallel with what was happening over East with Pay As U Go, Roll Deep et al, and of course there was crossover. Every DJ and every MC was on the hunt for the best beats they could find. But there's a whole different swagger to sublow — a different web of influences, a different intention and so a different outcome. It's still there in the beats Cash is making more than 20 years later — his 3dom Music label is carrying upfront productions with that sublow DNA coursing through their veins. Whatever the beat or the tempo, the drums are still hard as nails, and the bass is tuned for maximum rave damage.

Lush Life is the Sonar Kollektiv debut EP by German singer, songwriter and multi-instrumentalist Flo Naegeli.

Originally hailing from the Bavarian forests of southeastern Germany, Naegeli began his musical journey at the age of seven as a folk accordionist, later switching to electric guitar and developing a disciplined approach to songwriting and musicianship that led to formal music studies and a professional career. After moving to eastern Germany, he gradually stepped away from band projects to focus on solo work, embracing self-production tools to realise a sound that blends soulful songwriting with warm, organic instrumentation.

Written and largely recorded by Naegeli himself, Lush Life is a deeply personal yet accessible collection of songs reflecting on fatherhood, family relationships and friendship.

Field Green Vinyl. Big Crown Records is proud to present the instrumental version of El Michels Affair's 2025 instant classic 24 Hr Sports. The roster of vocal features on 24 Hr Sports is amazing, Clairo, Norah Jones, Florence Adooni, Shintaro Sakamoto, two different choirs, and even some singing from the man himself, Leon Michels. The background vocals contributions are amazing; Lady Wray and Kevin Martin from Brainstory to name a few. But alas, there's a new energy that shows up in the listen when you pair it down to the impeccable musicianship and Leon's tried and true "Midas Touch" production. Leon plays a ton of instruments across the album and is joined by the regular cast of heavy hitters; Homer Steinweiss, Nick Movshon, Dave Guy, Marco Benevento, Hether, and more. There is even a saxophone solo by the late, great Rahsaan Roland Kirk.Some would argue this is some of the best music being made by some of the best musicians of our time. We wouldn't argue with anyone...we let the music do what it does.

It's hard to fathom Martin Bramah's trajectory from his beginnings as a guitarist/writer behind two crazily influential postpunk albums - The Fall's Live At The Witch Trials and Blue Orchids' The Greatest Hit (Money Mountain) (vocalist on the latter too, of course) - then nearly three decades of sporadic-at-best activity, offering releases just frequently enough to remind fans of his peculiar brilliance . . . before another stay in the void. Chalk it up to what you want - Mark E. Smith's utter usurpation of The Fall, his split from partner Una Baines after Blue Orchids' debut, the vague collapse of rash experimentation in `underground' music as early `80s nu-pop and American college rock diluted any real spirit, a few failed attempts at working with with Mark again . . . and maybe just life getting in the way. A sense of lost opportunities isn't tough to justify. Inasmuch as Martin was originally the singer for The Fall - Mark began as guitarist but couldn't play! - and given that the group's mythology was born in an era before that gang of Mancunian misfits had even thought of playing, it's high irony that 49 years after The Fall began, Martin has both become wildly prolific and the leader of a band with more rights of inheritance to The Fall's credibility than any other living person could justify . . .yet the band isn't remarkable for that as it is for the range and wealth extent of their collective powers and talent: two great and original guitarists, three of the UK's most daringly-skilled drummers, a genuine bass legend, and a brilliant spare Blue Orchid guitarist. Four albums in, the HOUSE Of ALL is getting ambitious, with each album a subtle improvement on the last, forging a path away from their pasts without denying a thing. Inklings differs from the first three for not having being largely improvised at first, with sounds, rhythm, groove and melody later forged into songs. They rehearsed! They had fun doing it! They're going on an extended tour! There were even extra tracks! We'll leave it to fans and critics to sit down and analyse the specifics of it all, but Steve, Si, Pete, Phil, Karl and Martin have made a bold and powerful album unlike any other you'll hear in 2026 . . . stately, majestic, bold and worthy of a group of real survivors. In perverse form, the album will be officially announced and preceded by a song not on the album!

Opaque Pink Version

Bubble Bath for Giants is an ode, a Tribute, a reverence for Oceans, for the Mighty Magnificent Power of Fairies, to the energy that we are all everything, whole, well, but in different sized and shaped vessels at times . . . It is a Celebration of Gentleness and of incredible Force, and Charge . . . These, I sea as the same. The Yang Springs from the Yin and together they ever reflect, dance, and express themselves . . .

Many Bells, Bowls, Ceramics, Chimes, Cymbals, Drums (Bass, Sakara, Surdo, Tom, and many more,) Gongs (Chao, Cup, Indonesian, Sun, and Symphonic,) Keyboards (Metal, Synthesizer, and Wooden,) Percussion, Plant Leaf Bundles and Fronds (Bamboo, Eucalyptus, and Palm,) Ratlles, Shakers, Voice, Whistles, and Sound Design by Carlos Niño.

Featuring:
Luis ​Pérez Ixoneztli, Bernard Xolotl, ​Aaron ​Shaw, Surya ​Botofasina, Nate Mercereau, Laraaji, Darius ​Jones, Sheila Govindarajan, ​Idris Ackamoor, Deantoni ​Parks, André 3000, ​Marshall Allen, Sam ​Gendel, Sibusile ​Xaba, Mia ​Doi Todd, ​Anisia Uzeyman, Saul Williams, Jojo Abot, Jowee ​Omicil, Aztlan ​Unearthed

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Cover Photo by Carlos, from in the Maui Waters
Art Direction, Design and Original Art by Nep Sidhu
Layout Production by Jonny O'Hara

Recorded by Carlos Niño in Topanga, California, and by some of the Artists named above, from their Homes . . .

Mastered by David Allen

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FUMU christens the promising new label Return To Zero (RTZ) with »Funeral Rites on Planet Saturn«, the surrendering sophomore album from Nigerian artist, self-described »negro-producer«, hedonist, and iconoclast LINTD. With production collaboration from Porter Brook and features from Samrai (Swing Ting), Porter Brook, Sam Scott Francis (GOMID), Rizmi, and Imani Jendai.

LINTD’s work emerges as a call and response between the tender, dynamic sounds of Black music across history and the surreal reality of contemporary, vulnerable Black life – a haunting dialogue. These themes are catalysed in the Black Impossible LP Trilogy, reclaiming Black utopia through sound technologies via »Smooch Soundsystem Live at The White Hotel« for Second Born (Kop-Z, Porter Brook), and »DOGTOOTH. And Other Such Tales of the Macabre« on The White Hotel’s HEAD II outlet.

While earlier works engaged with the mania, joy, and paranoia of this impossible experience, »Funeral Rites on Planet Saturn« arrives at a soulful conclusion, allowing grief to tell a truer story. In the vein of Sun Ra, Alice Coltrane, and Octavia Butler, LINTD introduces the speculative planet Saturn as a site where impossible Black being across the world can come and rest: a site for liberation and emancipation.

»This one is an act of care towards myself, and hopefully others like me. I have proven everything I want to prove this year; this one is my elixir from all the lonely grief, a place of rest.«

Crackazat returns to Freerange for his latest EP entitled Shine, and sees the artist in his finest form to date! An absolute anthem in the making the title track appears here in Club Mix and Mana’s Dub form, plus an amazing flip of Crouching Tiger from Baltimore legend Karizma Shine is a soulful, jazz-inflicted epic which will have any dance floor worth it’s salt fully locked in. Crackazat’s own vocals bring hints of Jamiroquai whilst his production calls golden era MAW and Blaze to mind. Add an incredible arrangement, live horns, bass and drums to this already heady concoction and you get an idea of why we’re so excited about this release. These kind of club tracks are few and far between these days! Next up we have one of Crackazat’s own Mana’s Dubs of Shine.

A chance for Ben to strip things back, loop things up and dub things out. Keeping the funk intact, we’re treated to a feelgood party-starting house track which has a classic sound that can’t fail to warm the cockles! Flip over for a proper curve-ball from everyone’s favourite Baltimore house hero Karizma who turns Crouching Tiger into the kind of twisted, rolling, jazzy and leftfield workout we love him for. A driving force of the city’s underground, he always comes with the raw energy and fearless creativity. A staple of the dance floor and a leader beyond it, Karizma represents the past, present, and future of Baltimore House and once again proves why he’s such a don.

Drop this one and run for cover whilst the dancers throw crazy shapes! Closing out the EP we have Crackazat’s Mana’s Dub take on previous single Watchu Say. Looping up the killer piano hook and his live bass line, Ben manages to craft the kind of warm, uplifting slice of house music which simply works. And for those who love a big drop, this one should fit the bill with a trademark Mana’s Dub seratonin-boosting build that hits all the right buttons.

On this 8 track EP every song has UK and USA lyricists side by side as equals. It includes older icons of Hip-Hop, established talent from the current underground rap scene, and young emerging rappers who haven't been given a platform until now. This project is a collaboration between producer Sam Seed, a dozen rappers, 4 record labels,

the 05:21 music platform and a DJ night. No filler, all killer.


Introducing Sam Seed

A rising name on the underground rap scene. North London producer Sam Seed has a list of top tier production credits to his name with artists including Vinnie Paz, Billy woods,

Mickey Diamond, Conway the Machine. The Unaligned Vol.1 is his eagerly awaited debut EP.

2 killerz from Alcore & more killers from Shrui-Khan.
Self-production from Shui-Khan. A total weird music on a pink "I scream" !... or I want an ice cream !

Nouvel EP de la série Vinylbleu, ce pressage vinyle réunit Leks avec son titre Alienation, véritable retour aux sources, ainsi qu'une nouvelle track de DE$ et deux productions signées Numéro Bleu. Une face tekno et une autre orientée hardtek, la track Onde Stationnaire est également sortie sur l'album digital Whispers of the Spiral du label Eskwad Records, à découvrir en ligne.

Repress

Well. Where do we start with 'Deep Inside' Originally released in the golden NYC House era of 1993, this 5 tracker literally smashed everything in sight. And still does now! The epitome of an evergreen, all-time classic release. Masters At Work Louie Vega and Kenny Dope were on a major roll in this era, producing, remixing, dj-ing and everything in-between, these guys put in ridiculous work. They are joined on this EP by a roll-call of names and collaborators, Erick Morillo engineering the title track Check. Maurice Joshua on co-production duties You got it. Vocals by Ms. Barbara tucker They're there. Killer, rock hard drums Stacks of Soul Masterfully chopped up Disco samples All present. Serious stuff. Sometimes a record just manages to capture and distill the true essence of what this is all about and 'Deep Inside' is one such record, it bears all the hallmarks of golden era MAW, all the signposts of what was happening in NYC's clubs in the early to mid 90's were there within it's grooves. You know a record is good when it's still being, quite literally, hammered nearly 25 years later! Now, remastered, and reissued with the full involvement of Strictly Rhythm this seminal piece of NYC House history is made available again with all original, full sleeve artwork intact as per the 1993 original. This one's a straight up essential for any self-respecting dance aficionado. You know what to do!

Green Arrow Sound System is the DUB sound system from Paris, organising underground parties all around the city and the country. Home-made SUB is the rule here.

The label is directly from DUB DIGGLER, the manager of this project.

StayReo, the official Graphist of Green Arrow, is a major StreetArtist from Montreuil/Paris, as well as a great DJ and party provider

This production is a true Underground Project from Paris defending Street & Sound System Cultures !

Limited to 300 copies. Yellow Vinyl. Approaching Doom is the third album by Monsternaut, a darker and heavier representation of the band's established devotion to groovy riffs and to the point compositions. The songs took shape over several years, during which the arrival of a new drummer opened the door to more adventurous rhythms and riff ideas, pushing the band into new territory while staying true to their roots. Sonically, the album leans toward the grit and weight of early 90s metal rather than polished modern production, giving it a raw and immediate edge. Its lyrics and atmosphere follow a naturally darker direction as well, adding an extra layer of tension beneath the grooves. Recorded entirely the old fashioned way, straight to analog tape with no digital editing, it captures the band playing as they are, relying on performance, chemistry, and feel rather than correction. The result is a record that hits harder, feels more focused, and marks a confident new chapter in Monsternaut's evolution.

Scopeotaku’s latest is a continuation of themes he explored in System Failure. Mutating into darker dimensions, influenced by recent world events. reality error is steeped in strangled synths, tape hiss and distorted echoes. Featuring crushed low-tech rhythms and recordings inspired by science fiction B-movies. Scopeotaku seizes the means of production with full on DiY approach. Setting out to soundtrack a dystopian society that has lost touch with the soul of humanity. A world where corporate greed and disruptive extremist views amplified by echo chambers soaked in misinformation drown the voices of reason and compassion. Within this murky swamp however lies a glimmer of light and hope for us all to not accept the future but to shape it.

50 DiY tapes with download code included.

Recorded in Glasgow

"The Thinking of the World Began Pounding in Our Ears the Moment We Hit Shore is a studio-constructed album developed as a project rather than a band.

Created by Florian TM Zeisig between 2022 and 2025, the record draws on sessions and material contributed by a small group of collaborators. Recordings were gathered across different contexts and brought together through an extended studio process, with writing, production, arrangement, and assembly treated as a continuous activity.

The album took shape gradually through selection, editing, and re-placement of material over time. Individual pieces were revisited, reshaped, and recontextualized until they formed a unified body of work.

Contributions to the project include work by Mari Rubio (More Eaze), Róisín Berkeley, Don Lyons, Cal Fish, K, Seán Being, and JQ. All tracks were produced, written, arranged, and mixed by Florian TM Zeisig, with co-songwriting contributions noted per track."

Repress

Reboot returns to Cécille this November with his five track ‘Lind EP‘, once again showcasing his unmistakable groove driven signature sound across four vinyl cuts and a digital bonus.

Since two decades the Frankfurt born artist has been shaping the underground with his raw, hypnotic and percussive house productions, gracing some of the most respected imprints including Cocoon, Cadenza, Sei Es Drum, Rawax, Mood Child and of course Cécille - the legendary house label founded by Nick Curly and Marc Scholl, which has long been a natural home for his sound. Over the years, Reboot has become a solid part of the Cécille family, regularly appearing on the label’s releases and lineups world wide.

With this release, Reboot once again proves why his productions remain a fixture in record bags and DJ sets worldwide timeless, driving and unmistakably his own.

This selection of obscure eighties and nineties experimental and industrial music was taken from even more obscure cassette releases on labels such as Nihilistic Recordings, Harsh Reality, Cauchy Productions, Cafardage, Illusion Production, Watergate Tapes, Afterbirth Records, IEP and Out Of Nowhere.

Tracklist A:
1 Kinexus Stringenus - Ohne Titel (from "Heliotropic" Cafardage 199?) 2 Bernard C. - Les Chants Révolutionnaires Part 3 (from "Les Chants Révolutionnaires" Illusion Production 1983) 3 Winter - Ik Wil Winter (from "The Netherlands" Harsh Reality 1989) 4 Lyke Wake - Burning The Human Flesh (from "Pandora's Wooden Bucket" Watergate Tapes 1989) 5 Varoshi Fame - Work After Machinery (from "Tear Down The Mill" Afterbirth Records 1987) 6 Toshiyuki Hiraoka - Ore (from "Japan" Harsh Reality 1990)

Tracklist B:
1 Mortification To The Flesh - Voice Out Of The Tomb (from "Registro De Voces" IEP 1987) 2 Louis Pasteur - Bei Aller Liebe (from "Wolfsangel" Nihilistic Recordings 1986) 3 Det Wiehl - Rome (from "Tu Quoque, Fili Mi" Cauchy Productions 1987) 4 Nox - Yohad (from "Out Of Nowhere" Out Of Nowhere 1986) 5 A Violated Body - Seduction (from "Wolfsangel" Nihilistic Recordings 1986)

Red Motorbike hits the road in '26 with an original production from Berlin's master of boogie funk LJ Simon!

Givin' Up is a soulful modern funk 7" steeped in warm '80s analogue production and classic groove.
The OG version blends vintage synth textures with a deep, understated rhythm section. Known for his love of fat-sounding vintage gear, LJ Simon begins every song with no blueprint, working purely from sound, instinct, and feel, tuning in to receive what the moment brings. The influences are unmistakable, yet the result feels fresh, intuitive and alive.

Vocals are delivered by Denice Brooks, a formidable singer from Austin, Texas, now based in Berlin. Denice built her solo career while performing with an exceptional list of artists including Tina Turner, Roy Ayers, David Bowie, Nancy Wilson, Natalie Cole, and many others. She is notably the only singer to receive Prince's blessing to record an official cover of 'Purple Rain' - a distinction that speaks volumes about her artistry.
Her career has taken her across Germany, Europe, the Middle East, and South Africa, where she even once performed for Nelson Mandela. Her continued experience across stage, studio, television, and musical theatre shines through in a vocal performance rich in depth and soul.

Label head Eddie C offers up his Disko Mix and reframes the track through a '90s street soul lens; stripped-back, dusty, and perfectly tuned for late-night selectors and heads-down dancefloors.

In 2023, Wood secretly worked with producer Kevin Antreassian on a new mix of his top-selling release "The Normal Album." Digging into the original 2019 recordings for more muscular takes, smoother edits, and a more nuanced and balanced mix, Antreassian and Wood created a version of the fan favorite that is one of the rare cases where a new mix is widely considered to improve on the original noticeably. "The Normal Album" is yet another turn in Wood's discography, sardonically playing with Americana and doo-wop sounds, strategically restrained but still highly emotive vocals, and lyrics densely packed with scientific and philosophical references. The dark mania of Wood's prior 2016 release, "SELF-iSH," continues on some tracks but is arranged with greater precision with a new band at his command. Like his 2015 debut "Everything is a Lot," the songs whiplash tonally but are brought together through intertwined themes and recurrent musical motifs and an undercurrent of simultaneous obtuseness and vulnerability. After the original mix of "The Normal Album" was released, a live version of the 4th track on the LP, "I/Me/Myself," had an unexpected viral moment, which brought attention to many other songs on the LP. Songs like "2econd 2ight 2eer" and "Laplace's Angel" continued to attract new fans with their dense wordplay and high-energy attitude, and the album became Wood's first major break into larger notoriety, proving that his sudden burst of popularity was not just a fleeting trend. After taking some time away from the public, Wood began to revisit the album with the intent of giving it the production that he had originally envisioned for it. Wood's top-selling album re-edited for a fuller sound and clearer instrumentation, bringing the album to a new level: new Modern Stereo Mix - 2023 Edit

In 2023, Wood secretly worked with producer Kevin Antreassian on a new mix of his top-selling release "The Normal Album." Digging into the original 2019 recordings for more muscular takes, smoother edits, and a more nuanced and balanced mix, Antreassian and Wood created a version of the fan favorite that is one of the rare cases where a new mix is widely considered to improve on the original noticeably. "The Normal Album" is yet another turn in Wood's discography, sardonically playing with Americana and doo-wop sounds, strategically restrained but still highly emotive vocals, and lyrics densely packed with scientific and philosophical references. The dark mania of Wood's prior 2016 release, "SELF-iSH," continues on some tracks but is arranged with greater precision with a new band at his command. Like his 2015 debut "Everything is a Lot," the songs whiplash tonally but are brought together through intertwined themes and recurrent musical motifs and an undercurrent of simultaneous obtuseness and vulnerability. After the original mix of "The Normal Album" was released, a live version of the 4th track on the LP, "I/Me/Myself," had an unexpected viral moment, which brought attention to many other songs on the LP. Songs like "2econd 2ight 2eer" and "Laplace's Angel" continued to attract new fans with their dense wordplay and high-energy attitude, and the album became Wood's first major break into larger notoriety, proving that his sudden burst of popularity was not just a fleeting trend. After taking some time away from the public, Wood began to revisit the album with the intent of giving it the production that he had originally envisioned for it. Wood's top-selling album re-edited for a fuller sound and clearer instrumentation, bringing the album to a new level: new Modern Stereo Mix - 2023 Edit

"In The Big Room" enthält Aufnahmen von Peter Gabriel und seiner Band, die am 23. November 2003 live im Big Room der Real World Studios aufgenommen wurden.

Dieses intime Konzert war für Mitglieder von Peter Gabriels Full Moon Club und fand während einer kurzen Reihe von Live-Shows im November 2003 statt, zu denen auch ein Auftritt für die britische Wohltätigkeitsorganisation Children in Need im Cyfarthfa Castle in Merthyr Tydfil, eine Show im Brighton Centre und das Nelson Mandela 46664 Concert in Kapstadt gehörten.

Das 14 Songs umfassende Set enthält Material, sowohl aus der "Growing Up" Live-Tournee von 2002/2003 – Gabriels erster Tournee seit 10 Jahren, die mit der Veröffentlichung seines Albums "UP" einherging – als auch aus der anschließenden "Still Growing Up" Live-Tour, die sich über einen Großteil des Jahres 2004 erstreckte. Besonders bemerkenswerte Ergänzungen zum "Growing Up" Live-Set sind "Burn You Up, Burn You Down", "Games Without Frontiers" und "The Tower That At People".

Dance Mania from 1958 is Tito Puente's bestselling and most essential album. Delivering incredibly tight mambo rhythms, Puente knew how to get his traditional southern American music across. Helped by an impeccable, vivid stereo production (as part of RCA's aptly named original "Living Stereo" series), this infectious mix of Latin dance tracks will get anyone up on their feet. Featuring the inimitable Ray Baretto on percussion,

The album does exactly what the title says: shake your derriere like you just don't care! This record should belong in everyone's jazz, soul or Latin music record collection.

Dance Mania is available as a limited edition on green vinyl.

YONAKA return with their turbo-charged second studio album, Until You’re Satisfied. Self-recorded with band member Alex Crosby at the production helm, alongside a little help from Dimitri Tikovoï (Placebo, The Libertines), the Brighton rock-trio come together as a unified force over 13 tracks. Until You’re Satisfied is a joyful reclamation of themselves, wrestled from the brink and shaped into their truest form yet. “Fragile in places and a circus in others”.

Emilia Sisco’s single “Trouble” b/w “It’ll Get Better” gets an instrumental treatment by Timmion, crafted by the label’s renowned powerhouse, Cold Diamond & Mink. In the absence of Emilia’s vocals, the instrumental renditions of both tracks offer the listener a fresh perspective to the deep original material.

The shimmering guitar licks of “Trouble” run face to face with the tightly grooving horn section. What starts as a light and melodic stroll in the park grows slowly towards the anthem-like ending.

“It’ll Get Better” drops the tempo down a notch, as the organ glides slowly through the southern-tinged deep soul instrumental.

Cold Diamond & Mink’s seasoned production skills shine through as they infuse these instrumental tracks with their soulful signature touch. If you are looking for a funky background for your day or jukebox, sink your teeth into these analog treats right now.

Demetrio Castellucci and Massimo Pupillo present the music of Sleep Technique, a performance by Dewey Dell inspired by the Chauvet cave and its ancient cave paintings.
The music comes to life anew on record, an immersion into the depths of sonic particles, moist electroacoustic rhythms, the repeated forms of speleothems, and the electric bass that scrapes the walls, shaping them into concave or convex surfaces. A voice that moves incredibly slowly, yet is in constant motion, like the millennia-old, unceasing erosion of water.
The album’s journey follows the geography of the cave in reverse, moving from its deepest chamber back to the entrance.

Demetrio Castellucci is a composer and sound designer who has been involved in theater productions, choreography, and film since 2004. Around the same time, he began performing as a DJ, favoring an omnitemporal approach geared toward dance that transcends musical genres. Since 2006, he has been a member of the dance company Dewey Dell, and since 2007, he has been active as Black Fanfare, a maximalist electroacoustic project. He has collaborated on performances by Andreco and Enrico Ticconi/Ginevra Panzetti, as well as on films by Ahmed Ben Nessib, Beatrice Pucci, and Ilaria di Carlo. After living in London and Berlin, he settled in Vilnius, where in 2018 he founded Unarcheology, a digital platform that publishes music and radio programs. He is also active as Airport Gad, an ambient project which, together with Unarcheology, launched its own “Airline Company”: concerts in a flight simulator built from cardboard, where the pilots are also the musicians.

Massimo Pupillo is best known as a founding member of the band Zu, with whom he has released 18 albums and performed over 2,000 live shows worldwide. He has maintained a highly open and multidisciplinary approach that has led him to work with some of the most acclaimed figures in the contemporary art world: South African photographer Roger Ballen, actors Malcolm McDowell and Marton Csokas, Romeo Castellucci and Chiara Guidi of Societas Raffaello Sanzio, American choreographer Meg Stuart, poet Anne Waldman, and Italian poet Gabriele Tinti, among others. He has collaborated live and in the studio with avant-garde musicians and composers such as Alvin Curran, piano duo Katia & Marielle Labèque, and classical virtuosos like Viktoria Mullova and Giovanni Sollima. He has also worked with some of the most influential names in the international rock scene, including Mike Patton, Thurston Moore, Jim O’Rourke (Sonic Youth), Guy Picciotto & Joe Lally (Fugazi), Buzz Osborne (Melvins), and Damo Suzuki (CAN).

In the field of improvised music, he has collaborated with Peter Brötzmann, Toshinori Kondo, Mats Gustafsson, Ken Vandermark, and Tony Buck, among others. Within the experimental music scene, his collaborations include Oren Ambarchi, David Tibet (Current 93), Thighpaulsandra (Coil), Stephen O’Malley (Sunn O))), Abul Mogard, Mick Harris (Scorn), Gordon Sharp (This Mortal Coil), FM Einheit (Einstürzende Neubauten), and many more. In cinema, he composed the score for Kirill Serebrennikov’s film LIMONOV, presented at Festival de Cannes in 2024.

Far from being a nostalgic exercise, the record reasserts their daring artistry, merging legacy and rebirth. Known for melodic minimalism, elegant melancholy, and pulsing electronics, the band has often been compared to Depeche Mode, New Order, or Joy Division, yet their singular identity has always set them apart. On this new album, they reinvent their sonic language, blending vintage synths with classical textures and luminous modern production. The result is a sensory journey where light and shadow converse, where poetry meets pulse, reaffirming their timeless relevance. Their influence extends across genres: sampled by Madlib, reinterpreted by Tricky, reimagined by Theophilus London, and remixed by DJs such as Marcel Dettmann. Tributes, reissues, and appearances in cinema and fashion underscore their resonance, from Lucie Borleteau's Chanson Douce movie to catwalks by Chloe.

Born in Marseille in the early 1980s and led by Alain Seghir alongside Catherine Loy , Brigitte Balian , and Beverley Jane Crew , Martin Dupont left a mythic legacy with tracks like ' Inside Ou't and 'Just Because...' before dissolving in 1987. Rediscovered through Minimal Wave reissues, their music captivated a new generation of underground and electronic enthusiasts. Today, Martin Dupont are reborn. Seghir and Crew, joined by Sandy Casado, Thierry Sintoni, and Olivier Leroy, embark on a world tour that affirms their unique ability to move and inspire. You Smile When It Hurts proves that their visionary sound has never been more alive

B. Chamber (Stratum A), by B. Close, is the first full length solo release by Los Angeles-based multi-disciplinary artist Brian Close. The first of two volumes assembled from some thirteen hours of music produced by Close while residing in Connecticut from 2021-2025, B. Chamber (Stratum A) offers a vivid, fractal afterimage of a prolific, specific time and space in the artist’s oeuvre.

After leaving New York City early in the pandemic to a farmhouse in the countryside with dedicated spaces for multiple sound stations, Close developed an intensive daily practice of melding with the machines. The vast, pastoral backdrop of rural CT provided inspiration and contrast for his ongoing investigations into dynamic, poly-rhythmic electronic music. The sounds on B. Chamber (Stratum A) range from the machine-modeling of acoustic instruments and natural environments to the utterly unhuman, spinning on the axis between crystalline, pointillist precision and shifty blown-cone distortion. Close’s atypical interpretations of rhythm, noise and other undefined musics land in a hybrid zone of their own.

Throughout B. Chamber (Stratum A), Close’s productions are in perpetual motion. Foxtrot’s shifting hi-hats and disembodied voices rise like cicadas propelled by glitching machines and tangled rhythms, Many Drive draws momentum from dubby stabs and twinkling atmospherics. Character Community’s nimble, drifting snares and erratic static are uplifted by swelling synths, and Mpan’s modular mining forgoes drums but is no less propulsive for it. Acre Voices’ seasick pads and deft drum patterns tap an energizing nerve, and closer 5D Bow’s ambush of pummeling machine gun fire spirals into the tryptamine palace and emerges completely rinsed and refreshed.

Equally powerful in the club as in the outdoors, in the headphones eyes closed or on the move, B. Chamber (Stratum A) grants an immersive temporary trip on B. Close’s unique wavelength, with Stratum B to complete the picture in the summer of 2026.

RIYL - Mark Fell, muay thai, Vladislav Delay, gaming, Errorsmith, modular synthesizer.

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Brian Close (b. 1979, NYC) uses the cold logic of mathematics to trigger states of total sensory displacement. Close co-founded multiple AV studios to explore the "hypnotic"—a ritualistic practice of motional-graphism and improvisational sound. His work is a study in synesthesia and the architecture of trance, using geometric precision to dissolve the sense of time. It is a digital-visceral experience built on heavy logic, designed for large-scale immersion and timelessness.

Close is one half of Georgia who have released records on Palto Flats, Firecracker Recordings, Meakusma, Youth, OOH-Sounds and EM Records, and have a long-running residency on NTS.

B. Chamber was written, produced and mixed by Brian Close.
Mastered by Rashad Becker.
Artwork by Brian Close.

ZHERAV unleashes hypnotic Middle Eastern grooves on NAJA / BAZAAR 45 for Batov’s highly collectable 45 series.

New Zealand-based producer ZHERAV announces his debut release, NAJA / BAZAAR, a double single and 45 on Batov’s Middle Eastern Grooves series. The record fuses psychedelic rock, hypnotic rhythms, and electronic production influences, creating a sound that moves between swung grooves and cinematic, reverb-soaked textures.

ZHERAV draws from his background in house and techno, layering live guitar, bass, and synths over programmed drums. “I had a production template for house music on Ableton” he explains, “and I thought about how to switch to this Middle Eastern sound using the same format”. Most of ZHERAV’s tracks developed through improvisation - starting with programmed drums, then experimenting around scales on instruments until something works. ZHERAV has already received support from independent radio in Australia and New Zealand, and encouragement from international artists like Ko Shin Moon.

Both tracks explore Middle Eastern scales, bringing a distinct flavour to the grooves, while maintaining ZHERAV’s signature hypnotic layered sound. ZHERAV had something in mind related to snakes and their charmers when creating the A-side, NAJA (“Indian Cobra”). An ominous bassline loops repeatedly over snapping drums and percussion, whilst ZHERAV improvises guitar riffs and effects over the top.

Denver Cuss presents her first 7" single release and her debut with UK independent label LRK Records.

'Crossed My Mind' backed with 'You Don't Get It' is out on streaming services on the 30 January, with the 7" out on the 27th February. It follows her 2024 album 'Leaving Me', which was described as "a nostalgic masterpiece" - Sommer Zeit magazine, earning a feature in Rolling Stone Germany, and a series digital singles, which have been played on the Craig Charles Funk & Soul Show on BB6 Music as well as Noble & Heath's Soho Radio show.

Denver is an Irish, London-based musician and producer, who makes classic R&B and Soul-influenced music, having graduated as the prize-winning jazz vocalist from the London College Of Music. She has since stepped into a world of live and session singing, alongside her solo project, delving deep into girl-group harmony, Northern Soul and classic Rhythm and Blues.

For this release, she captures the essence of '60s record-making, working with collaborator/producer PM Warson and engineer Ed Deegan at the all-analogue Gizzard Recording in East London. Backed by some of London's finest young musicians, she cut her vocal live, bypassing the trend for layered productions and imitation, in favour of a direct, live and soulful approach, direct to tape. The result is two of the most authentic '60s Pop/Soul sides you're likely to hear this year

A mutant beat manifesto from Miami luminaries Jonathan Trujillo (Jonny from Space) and Pablo Arrangoiz (El Gusano, DJ Fitness, Baüzer Vep), Crespi Drum Syndicate’s Colada Talk follows the duo’s debut on Sonido Isla with a freshly freaked collection of percussive oddities. Rooted in foundational clave rhythms and avant-garde experimentation, Crespi Drum Syndicate emerges from the amphibious underbelly of Miami’s Latin-infused club scene with their singular electro-acoustic vision.

Extensive live recording sessions, free improvisation, and a ritualistic studio practice

— countless hours spent twisting and rearranging sounds from found objects and Buchla modular systems — coalesce into new rhythmic forms. Atonal saxophone, bass clarinet, and slide whistle further expand upon Trujillo and Arrangoiz’s ever-evolving sonic palette, while NYC’s AceMo lends a hand on the heavily syncopated “Siu,” and closer “Boubow” might be the duo’s most hook-driven production to date with its mangled pop vocal and lewd drum-line bounce.

Landing somewhere between Steve Reich’s polyrhythmic “Six Marimbas,” Moebius & Plank’s industrial Krautrock sessions, and Ricardo Villalobos’ hypnotic techno minimalism, Colada Talk delivers on a world of subtropical rhythmic futurism and experimental body music that’s as heady as it is culo-shaking.

YonYon's commemorative 1st album ‘Grace’ shines with new brilliance through analog sound－the long-awaited LP release!
This album features 14 tracks in total, including 7 popular songs from the album “Grace”, plus 7 remixes.
Guest artists include KIRINJI, SIRUP, South Korea's leading R&B singer-songwriter/producer SUMIN, PEAVIS, and other artists resonating across generations
and styles. Sound production features top-tier creators active globally, including ☆Taku Takahashi (m-flo), Chaki Zulu, grooveman Spot, and South Korea's
rising producer Slom. The album effortlessly crosses genre and language boundaries, weaving diverse musical elements into a rich soundscape.