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Double 12" release

The Story — From the Streets of Rome to the Male Productions Label
In the early 1990s, Rome lived in a kind of suspended moment. The city was still tied to its historic clubs, yet in the outskirts—inside abandoned warehouses, quarries along the coastline, and the wooded parks north of the capital—something new was beginning to stir. A nocturnal, constantly shifting movement fuelled by a hunger for freedom and a sonic curiosity that reached far beyond the mainstream.

Moving through this ferment was Francesco “Chicco” Furlotti. First an organizer of unconventional parties and underground nights, he soon became one of the driving forces behind Rome’s itinerant rave scene. Furlotti sensed that a wave of change was about to sweep across the city. It wasn’t just about parties: it was the rise of a culture, a new way of thinking about music, community, and belonging.

It was within those nights—later held with official permits, properly built sound systems, and an ever-growing crowd—that Furlotti recognized the existence of a distinctly Roman sound, and the need to capture it, preserve it, and give it tangible form.
So, in 1991, he decided to take a bolder step: to found an independent record label—small, determined, and far removed from the commercial logic that dominated at the time.
That was the birth of Male Productions.

Male was not a label like any other: it was a workshop, a gathering point, a creative hub where DJs, producers, friends, and wanderers converged. Within that environment, an artistic core took shape—Stefano Di Carlo, Leo Young, and Mauro Tannino, along with other collaborators orbiting around Furlotti. From their synergy emerged a project whose very name declared its mission:

The True Underground Sound of Rome.

The collective did not simply aim to release music; it sought to tell a story of Rome through sounds that defied categorization: house, techno, ambient, electronic mysticism, psychedelic visions… a unique blend, instantly recognizable, emotional, and experimental. The sessions unfolded using essential yet razor-sharp gear: Roland drum machines, analogue synthesizers, Akai samplers, stripped-down mixers. Few tools, endless imagination.
The first result of this work was the 12” Secret Doctrine, released in 1991 in an extremely limited run—around 500 promotional copies, according to accounts. The record captured something that until then had floated only in the air of Roman raves: enveloping atmospheres, deep rhythms, melodies built to make the mind travel far beyond the dancefloor. A sound that did not imitate what was happening in Detroit, London, or Berlin, but absorbed those influences and re-sculpted them with a distinctly Roman sensibility.
Yet, precisely because it was independent and detached from commercial circuits, Male’s output remained sparse: few EPs, few copies, irregular distribution. Over time, those records became rare artifacts—almost mythical objects within the Italian electronic scene. The legacy of Male Productions seemed destined to survive only in the memories of those early years, in the stories told after raves, and in the private archives of a handful of collectors.
Many years later, thanks to the almost accidental rediscovery of a few original copies of the first two releases issued by Male Productions, it became possible to undertake a meticulous process of recovery and restoration of the audio etched into those grooves, with the aim of preserving as fully as possible the quality and character of that unrepeatable sound.

We are therefore able today to present — at last in a complete and faithful form — the first two mixes created for Male Productions, now released on a double vinyl that brings back into the present the exact moment when it all began: the nomadic nights of the raves, Furlotti’s vision, the creativity of Di Carlo, Young and Tannino, and the sonic identity of a Rome in the midst of transformation.

This is not merely a reissue.
It is a historical document.
A fragment of a culture that changed the city.
The authentic sound of the Roman underground, finally returned to the world.

The Eagles’ 1975 studio album, One Of These Nights, was a milestone album for the band, earning them their first GRAMMY® Award and becoming the first of four consecutive #1 albums. Rhino will release a Deluxe Edition of the album on April 10 as the band returns for the final weekend of their historic Sphere residency in Las Vegas.
One Of These Nights (Deluxe Edition) will be available as a a 3LP version, released the same day, will include the new album mix and the full concert recording. The lacquers were cut by Chris Bellman at Bernie Grundman Mastering.
Produced by Don Henley, the CD and vinyl editions include a new mix of the album by Rob Jacobs. Originally produced by Bill Szymczyk and recorded at Criteria Studios in Miami and the Record Plant in Los Angeles, One Of These Nights achieved quadruple Platinum certification and the single “Lyin’ Eyes” won the GRAMMY® Award for Best Pop Performance by a Duo or Group with Vocals.
The unreleased live recording captures the Eagles’ performance at the Sunshine Festival in Anaheim on September 28, 1975. Recorded at the end of the tour for One Of These Nights, it features Henley, Glenn Frey, Randy Meisner, Bernie Leadon, and Don Felder. Their set blends songs from that album (“Lyin’ Eyes,” “Take It To The Limit”) with hits from the group’s first three albums: “Take It Easy,” “Witchy Woman,” “Already Gone,” and “The Best Of My Love.” Joe Walsh also joins the group for the encore, performing his song “Rocky Mountain Way,” a few months before becoming an official member of the band.
The penultimate song is a rosing cover of Chuck Berry’s “Carol,” a live staple of the band at the time, marking the first time a recording of the song has ever been included on an Eagles album.
The Blu-ray that accompanies the CD set presents the album and the live performance in Dolby Atmos and high-resolution stereo. One Of These Nights (Deluxe Edition) and the Atmos mix of the original album will also be available digitally.

Ed Sánchez-Gómez is a Costa Rican-born artist now based in Evanston, Illinois (USA). After a complex relationship with classical guitar at the University of Costa Rica, travels through Europe and Argentina (where he absorbed South American folk), and improvisation studies in Chicago, he has forged a deeply personal sound. Born from profound grief and the global pandemic, “Obras de misericordia” is an intense, moving acoustic album that blends artisanal shoegaze with infinite noise-pop harmonies, Latin folk textures (charango, mandolin, hammered dulcimer) and the languid beauty of John Martyn, The Declining Winter and the Elephant 6 Collective. It explores sounds beyond the guitar — adding musical saw, piano, violin, viola and cello — creating landscapes that shift between introspection and catharsis. It is the most hi-fi lo-fi album you will ever hear. Recorded by Ed between January 2022 and March 2024 in Evanston, IL and Peru, IN; mixed by Abel Hernández (Migala, El Hijo) and mastered by Santiago Quizhpe (Pullpush Studio, Madrid).
Influences from UK shoegaze/post-rock pioneers like Hood, and Disco Inferno add layered, atmospheric depth, connecting to the genre's British revival scene.
An essential title for indie, shoegaze, folk-experimental and RSD sections: perfect for in-store play, window displays and collectors who love intimate, boundary-pushing acoustic records with deep emotional resonance and Latin roots.

Phantasy transports back to 1982 for a faithful reissue of the highly sought after ‘Fools Are Friendly’ from Xclusiv, carefully re-mastered from the original tapes.

The alias of sisters Karen and Maxine Berlinski, Xclusiv emerged inconspicuously from the London borough of Croydon with a sophisticated vision of cosmic disco pop, linking the suburbs with Soho’s neon-tinted nightlife. Decades later, and in close collaboration with the sisters, this highly sought-after record arrives lovingly reissued by Phantasy in its original, sensuous form.

Originally self-released on Le Maitre Music, a record label spun-off from their family-run fireworks and pyrotechnics company, ‘Fools Are Friendly’ has the irresistible sense of a radio hit that never was. A brilliant DIY reflection of the disco and soul that dominated the charts of the time, its glossy, primitive electronics echo the synth experiments of Giorgio Moroder or Didier Marouani, pioneers that were transforming pop music.

The extended mix provides an overture to the sisters’ twinned vocals, unfolding with delectable disco drama. In contrast, the Instrumental Mix lets the record’s blend of elements truly breathe, a synthesised version of Xclusiv’s irresistible vocal hook holding court between timeless arpeggios and subtle modulation.

Anané’s colourful life in music has seen her do everything from singing at the famous pre-game show at Super Bowl XLI as part of the group Elements of Life, DJ at hotspots like Hi Ibiza, Pacha NYC and Ushuaïa to name a few, while also curating her own monthly residency Nulu Movement, now ten years strong at Le Bain NYC, release unique blends of Afro, house, and pop on labels like Vega Records, and head up her own imprints, Nulu Music and Nulu Electronic. The Cape Verdean-born DJ, producer, vocalist, and songwriter has had countless club hits and has released acclaimed albums like ‘Ananésworld’ and ‘Chapters Of Becoming’, often with a lush, live, and orchestrated style that is truly unique.

With this release, Anané steps forward with her first solo production to date. Here she serves up the sumptuous ‘It Looks Like Love’, a poised, elegant house sound with her own smoking, soulful vocals and classy strings bringing colour to an Afro groove packed with infectious bounce. Neat guitar riffs and silky synths all enrich this most sophisticated sound. The first mix sees Anané link up with veteran Italian Christian Mantini, who has hosted Sunset Ritual parties with Anané and Louie Vega since 2013. Their dub is rooted in warm, rubbery drums that are even deeper and more immersive than the original.

Manda Moor & Sirus Hood are a red-hot contemporary pair who run the Mood label and are defining the contemporary underground. Their remix is more driving, but it retains the soulful vibe with breezy pads and jazzy motifs drifting in and out above the swaggering groove.

Rotterdam-based Chicagoan Jamie 3:26 is a master at blending disco, soul, and house into timeless sounds, and here he delivers a loopy rework that pairs deep drive and sun-kissed vibes with funky, Chic-style bass guitar motifs.

Late Bush presents “Hoarses” on the label Vlek Records, an original repertoire in which he blends electronic music - power ambient, IDM, avant-pop - and early music, which share the same affective intensity, a taste for ornamentation and a form of sonic excess.

At the heart of this material, AI-cloned voices, both human and spectral, extend the idea that any baroque interpretation is a reconstruction of the unknown. They contrast with organic strings recorded with Echo Collective, in a temporal and radical hybridization, creating a fluid and unstable material, between memory and simulation.

One of the conceptual starting points is essential: we have no sonic trace of baroque music as it was played. Only scores remain, and sometimes contradictory indications, a sensitive archaeology, even an imaginary projection.

Everything that is played today is therefore, in fact, a reconstruction, an interpretation of a vanished material. According to this logic and to pursue this reflection, the cloned voices, transformed by AI, are not a rupture but propose a natural continuation of this chain of reinvention, of this relationship to the invisible, to the indefinite. They do not aim to replace a human voice, but rather to embody the fact that any baroque restitution is already a fiction.

The project does not seek to imitate the real, but to play with the thresholds of the plausible, of the spectral. The music then becomes a fluid material, manipulable, alterable, and the performers, musicians or machines, are its vehicles.

The strings, carried by the sensitive and expressive interpretation of Echo Collective, breathe into the project a vibrant authenticity. Their presence brings an organic and tactile dimension that contrasts with the fluid and intangible aspect of the voices and the electronics.

‘Since the 16th century, the Ecuadorian province of Esmeraldas has been home to a unique Afro-Indigenous culture originating in the integration of the Indigenous Chachi and Nigua peoples with African Maroon communities. Juyungo documents significant Esmeraldan artists and bands playing the Afro-Ecuadorian folklore of the province, as well as including some older field recordings. Based mostly on the marimba, whose origins lie partly in the African balafon, partly in Indigenous percussion instruments, the music is laced with call and response chants, ambient insect and bird noise, the filigree finger-styles of the Andean guitar tradition and the panpipes of the mountains. This is resonant insider roots music at its headiest — the mystic revelation of Esmeraldas, gully deep and lustral.’
- Francis Gooding, The Wire.


The fifth in our series of LPs compiling classic music from Ecuador. Customary Honest Jons runnings: a beautiful gatefold sleeve; superior pressing, with vivid, intimate sound; full-size, sixteen-page booklet, in colour throughout, with detailed, fascinating, bi-lingual notes, and stunning photographs.

The music is transfixing, magical; not like anything else. From start to finish, this album is continuously, profoundly immersive; a kind of journeying, trippy meditation about slavery and cultural resistance, identity and mix, places and spaces, futures and pasts. It’s inscrutable to net-surfing, algorithms, Shuffle. But for a taste try the insurgent marimba roller Agua Largo, jet-propelled by Rosa Huila’s rapturous blend of African spiritualist and Christian chant. ‘Healing music,’ Zakia called it on Gilles Peterson’s BBC show recently. And the ravishing pasillo Kasilla Shungulla — ‘calm your heart’ in the Quichua language — a duet between the Peruvian master-guitarist Raúl García Zárate and viola da gamba by Juan Luis Restrepo from Medellin, recorded in a baroque church in Buzbanza, Colombia.

Gal Costa’s 1969 self-titled album stands as one of the
boldest statements of the Tropicália movement. Blending
psychedelic rock, experimental arrangements, and Brazilian
popular music with fearless originality, the album showcases
Costa’s powerful, expressive voice at its most adventurous.
Featuring contributions from major Tropicália figures such as
Caetano Veloso and Gilberto Gil, its mix of sweetness and
sonic daring helped redefine contemporary Brazilian music,
cementing Gal Costa as a groundbreaking and influential artist.

Channels Of Love, the collaboration between Italian duo's Dirty Channels and Eternal Love present their first original release from Dirty Channels featuring Ethiopian-Dutch singer Minyeshu and a remix from Dionisos...

With Harmony, Dirty Channels mark the first official original release on their new imprint Channels Of Love, founded together with Italian duo Eternal Love. Born as a platform for edits and reworks, the label now evolves into a broader vision rooted in global grooves and club energy.

Featuring Ethiopian-Dutch singer Minyeshu, whose spiritual and emotive voice bridges African traditions with contemporary sounds, Harmony blends percussive drive, warm basslines and hypnotic arrangements into a powerful yet soulful peak-time record built for connection.

The release also includes a soulful remix by Dutch producer Dionisos, delivering a deeper, housy reinterpretation while preserving the essence of the original vocal.

With this debut, Channels Of Love sets the tone for its future direction: alternative club music rooted in authenticity, where edits evolve into original productions and the dancefloor becomes a space for shared energy and unity.

A magus is a wizard…a sorcerer. Magus, the band, is certainly interested in such things (who isn’t), but the name is especially apt due to the band’s approach to alchemy, the blending of rock, gothic, proto metal, and psychedelic styles to create a sound that is, ultimately, unique. Part of that uniqueness comes from the instrumentation. While guitar is often a dominant instrument of the rock oeuvre, the Fender Rhodes generally plays a supportive role. Not so here, where Jessica Weeks’ deft use of the keyboard dovetails with Greg Weeks’ more standard six-string approach. Not standard is the band’s sound. Doomy yet inspirational, dour yet vibrant, the duo’s tunes map sinister realms whose subjects span metaphysical creatures to enigmatic portals. You know, the typical stuff that rubs elbows with a magus.

Formed in late 2024, Magus sprung from a desire by both artists to experiment with darker, heavier sounds. Long enamored of artists like Flower Travelling Band,, Black Sabbath, and Deep Purple, the duo delved deeply into trance like riffs and euphoric solos to create the backbone of what has become their debut album, Music for Mandrax. This thirteenth Language of Stone offering features grounded, metronomic grooves, organic, lugubrious synth lines, and tandem vocals (supplied by both Weekses) that, in total, weave a heavy, trancelike spell sure to entice fans of bands as disparate as Sabbath is to Pink Floyd. Recorded at Weeks’ Hexham Head studio (to analog tape, of course), the band enlisted long-time counterparts Jesse Sparhawk (bass) and Ben McConnell (drums) to round out their sound and lock down the grooves that propel the album.

Mixed by Brian McTear and Amy Morrisey at Miner Street in Philadelphia, the band’s fully realized vision came to fruition, which left only the album art to contemplate. The band, wishing to further the gothic aesthetic of their sound, enlisted fashion designer and artist extraordinaire Hogan McLaughlin (Game of Thrones) to create the starkly beautiful line drawings of the front and back covers. The duo travelled to Salem, MA to complete the package with Courtney Brooke Hall, who shot the moody and evocative photographs that grace the gatefold release’s inner panels.

Until We Are Free is the debut album from fabric, a collective of musicians from diverse backgrounds united by a shared goal: to fuse irresistible rhythms and grooves with a direct, socially conscious message that draws vital attention to the contradictions of modern life. The project's name itself evokes the idea of a living, dynamic ensemble—a creative intertwining of different threads, from musical genres to founding musicians and guest collaborators, all actively woven into the social fabric.

The record blends funk, soul, and Afrobeat with a sharp, contemporary urban attitude, resulting in a sound that functions simultaneously as sonic resistance and an invitation to the dancefloor.

It finds its place in a lineage that runs from Fela Kuti and ESG to The Comet Is Coming, Sault and Jungle.

At its core is the conviction that music and civic engagement can coexist seamlessly without being didactic. While the lyrics—entirely in English—tackle themes of rights, equality, and freedom, the groove remains the heartbeat: constant, pulsing, and relentless.

Mixed by Tom Campbell (whose credits include Sault, Little Simz, Adele, Michael Kiwanuka, and Jungle) and featuring art direction by Raissa Pardini, Until We Are Free is a soundtrack for complex times. It is an invitation to refuse neutrality and isolation, and to imagine—together—new possibilities for movement, resistance, and the future.

fabric's singles "Taste This Sound" and "Fight!" have been featured in FIP's Spotify Playlists "FIP Radio (en live)" and KEXP's "New This Week" and "KEXP Rotation".

180 GR Records is proud to present a new release by N-Zino, reimagining two tracks previously released by Four Flies Records: Mo... and Living Disco Club, offering two distinct yet complementary interpretations. Mo... (180 GR Disco Mix) takes its cue from the original Banda Maje version, itself a contemporary homage to Peppino Di Capri, already given a club reinterpretation. N-Zino elevates the track with a nu disco approach, emphasizing its elegant groove and sunnier, funkier side, blending disco influences with pulsing basslines, shimmering percussion, and warm synth textures, all infused with contemporary sensibilities while keeping the original melody alive. The result is a bright, danceable reinterpretation designed for both listening and the dancefloor. In a different yet perfectly complementary direction, Living Disco Club (Don Ciccio Tribute Mix) explores a deep house dimension, turning Banda Maje's disco-inspired original into a hypnotic, late-night groove. Deep bass, soft drum machines, essential rhythms, and atmospheric pads create a rich, warm, immersive vibe, ideal for after-hours or more refined, introspective club moments. Together, these remixes highlight N-Zino and 180 GR Records' vision: celebrating strong musical roots, connecting Italy's musical past with contemporary club culture, offering tracks that honor the tradition and the originals released by Four Flies, while speaking directly to modern dancefloors.

Vivel is Alexander Eldefors’ second release under his own name. Built around eurorack and field recordings, many captured during still moments while traveling to visit family and friends. The album was created during a period of transition. It functions as an anchor in a time of change, representing a sense of home, safety, and stillness.

Alexander Eldefors is a producer, composer, and mixing engineer based in the countryside outside of Stockholm, Sweden. With a background as both a sound engineer and musician, he has spent years recording, mixing and playing in a wide range of bands and solo projects. In 2019, he consciously slowed down and returned to a more intimate and quiet musical expression, leading to the release of his debut album Bergen in 2020 under his own name. Bergen is the Swedish word for mountains and reflects the fact that Alexander grew up in the north of Sweden close to the mountains.

His music is minimalistic, melodic, and embracing, shaped by a deep connection to nature. Natural environments are a constant presence in his work, serving both as inspiration and as a sound source. Alongside this, he is drawn to the raw textures of everyday objects, working with foley sounds and field recordings. His arrangements unfold as organic sound collages, where elements blend freely and imperfections are preserved to maintain a natural, human feel.

Now, Fantastic Cat has defied the odds—and their therapists’ strong recommendations—to return with their third and finest album yet, Cat Out Of Hell. Produced by the band and mixed by D. James Goodwin (Goose, Kevin Morby, The Hold Steady), the collection elevates Fantastic Cat’s trademark blend of craftsmanship and chaos to new sonic heights, capturing the freewheeling, lightning in a bottle energy of their must-see live show and channeling it into a ramshackle house party full of existential searchers, desperate romantics, and barstool philosophers.

That time of the year has arrived! The next Various Artists is the prefect blend between old and new generations, including 2 new addition to the label and 2 familiar faces.

Opening the EP is MikeroBenics with “Julika (Original Mix)”. This track was officially released in 1994 on Harthouse and through the years on other labels in different versions. The version we are publishing has never seen the light before today. A deep melancholy trance journey characterised by driving acid lines and club-oriented rhythms. Followed by the return of Noboot with “Drive Control”. Made in 2022, this track bring us back to the sound of his first release. An immersive electro-acid track with a 303 melody that moves with punchy rhythms, letting our bodies move and our brains fly.

On the B side, Periferico is back with a new production made in 2021. “2804 A DEF12MIX” is an engaging journey into Livio progressive house world. Closing the VA, we welcome our dear friend CRL with “Breathe”. Composed in 2024 while trying new techniques and samples, characterised by its ethereal pads and a slow unfolding vortex of acid bassline, brings the minds into a deeper conscious state.

I wrote this album in prison. I went to the music room every week to play on their keyboards. I studied different styles of beat patterns and sound recording to be a recording engineer. I wanted to create this new sound, so I took go-go, hip-hop, house, and drum and bass to blend up a new pattern of beats with a DJ sway. So I rapped on it. I need a perfect mix sound so I used a reverb gate, small room because I was in a small room. I used my moms blankets to trap the sound waves in the room. I use a digital mic from radio shack and was rapping with a blanket over my head to trap the sound waves. I played my keys in F flat to deepen the tone. I put tom toms on it to fill the spaces with handclaps to have that snap. Then I put a reverb gate on every instrument to get the lo-fi audio sound. I mastered it with all knobs on zero. Equalizer on zero. I mastered my own sound by tweeking and listening with cheap headphones. So that's why I call myself Mix-0-Rap because I master my mix and DJ rap style with a touch go-go rapping. Thank you for supporting me and my music, I hope you enjoy this.

Some tracks are just too good to only feature on a compilation, even if it is a significant and celebratory set like Leng’s 15 Year anniversary album from late last year. That’s certainly the case with Payfone’s brilliantly atmospheric ‘Dime Algo’, a seductive slab of slow-motion Balearic disco featuring ‘I Feel You’ vocalist Kyd Nereida, along with Sofi Hardoy and Ludmila Rodriguez.

For this single release Black Science Orchestra, one of Britain’s most storied production collectives, deliver some truly exceptional remixes. Initially making their name with a series of sensational house jams on Junior Boy’s Own across the 1990s, BSO became renowned for the quality of their remixes as well as an ever-evolving trademark sound that put soul, organic instrumentation and references to dance music’s rich and varied past front and centre.

Comprised of Rob Mello, Ashley Beedle and Darren Morris, Black Science Orchestra work has been rare in recent years but here they deliver some magical takes on ‘Dime Algo’, blending Payfone’s original instrumentation with their own low-tempo magic. The Vocal Mix begins with sparse drums, Kraftwerkian bleeps and heavy sub-bass, building the action in waves with 303 lines, electro synths, warm chords and Nereida’s superb lead vocals combining to re-frame ‘Dime Algo’ as a deep, far-sighted slice of chugging 21st century acid-disco. The Dub Mix stretches things out with effects-laden instrumentation, acid lines and vocal snippets. Deeper and woozier, with more prominent use of the trio’s 303 trickery and Payfone’s superb original elements, it’s a heady, intoxicating and loved-up interpretation that subtly gains intensity throughout its seven-minute duration.

“ko mixtape” is okgiorgio’s personal vision of club culture: a 15-track journey where electronics,
acous c instruments, and samples coexist. Capturing two years of live performances across Italy
and Europe, it embodies the privilege of connec ng with so many people and bringing them
together on the dancefloor. The album is designed to be heard in one breath, much like a DJ set,
and is performed en rely in Italian—driven by the belief that even when traveling the world, it’s
vital to showcase where you come from.
okgiorgio is a musician and producer born in 1996. Based in Bergamo, he is a member of the band
ISIDE and has produced for major Italian ar sts such as Pinguini Ta0ci Nucleari, Loredana Bertè,
Carl Brave, Tancredi, and many others. His solo project—a blend of refined, powerful electronic
textures held together by an uncanny use of vocal manipula on—launched in 2022 with the track
"okokok" and a packed debut live show at the APE event in Milan.
His music has gained significant recogni on abroad. In December 2022, he was named one of
Rockit’s "CBCR" (Ar sts to Watch) for the following year.

The duo’s debut album sets off on an airy, groovy odyssey.

Recorded at the legendary La Frette studio (Parcels, Fontaines D.C.), the album follows an extensive period of demo development.

Immersed alongside outstanding musicians, the team worked in a relaxed, old-school spirit: a handful of takes, tape recording, and analog gear. Plenty of space was left for ideas to emerge organically in the studio. The arrangements—synthesizers, flute, backing vocals, percussion—were then carefully refined over many months.



"Idésia" stands out for its delicate production, brought to life by Maxime Kosinetz on recording (Oracle Sisters, Bon Voyage Organisation), Stan Neff on mixing (Andrea Laszlo de Simone, Polo & Pan), and Chab on mastering (Daft Punk, La Femme).



The record unfolds across changing sonic landscapes, with Will’s voice gliding over melodies rooted in a bright, warm groove. A subtle blend of pop and Californian warmth runs throughout the album.

The album explores themes of childhood (Sur le Chemin de l’École, L’Île Perdue), ecstatic escapes (Holiday(s), Pas de Côté, Escalier), and simple pleasures (Le Bal, Cavalière de l’Aube). It also casts a poetic eye on the evolution of the world (Dernier Vol, Robot Rêveur, Balayeur de l’Espace). Will & Paul play with contrasts, shifting perspectives along the way.



"Idésia" is the imaginary world in which Will & Paul gracefully lose themselves - a suspended place between nostalgia and science fiction, as if their silhouettes were drifting from a bright, carefree past toward a place suspended in time.

The "Phunk Investigation vs. James Senese" collaboration, specifically the track "E'na Bella Jurnata,"

is seen as a high-quality fusion of Italian Disco and funky house, praised for its driving beats,

70s disco melodies, and signature saxiness from the legendary Senese,

making it an instant anthem for clubs and Ibiza.

Reviews highlight it as a grand cru of Italian dance music, blending classic vibes with modern house energy,

a must-have for disco and house lovers.

Leading voices in contemporary Organic House anchor LS001 V.A-Thunderlab Collective, the inaugural vinyl-only edition from Life Signal. This first chapter introduces Life Signal as a curated imprint dedicated to presenting standout works from modern electronic music-pieces selected for their lasting impact and now pressed exclusively for listeners who value both sound and physical format.

These tracks have earned significant attention within the digital space, and this release brings them to vinyl for the first time, giving collectors a chance to experience them in a new, tactile form.

A1-Volen Sentir & PROFF-"Luna Amazonia (PM Mix)"
The record opens with a signature blend of organic textures and melodic flow, shaping an atmosphere that sets the tone for the edition.

A2-Krasa Rosa-"
Kaftan"A refined balance of acoustic nuance and electronic drive, building toward a standout breakdown and a sharp, vocal-chopped lead.

B1-Jiminy Hop-"Cavalier (Extended)"
Marked by Jiminy Hop's characteristic phrasing and evolving percussive movement, this version extends the melodic narrative with precision.

B2-Audiense-"Winterfell (Extended)"
A steadily rising finale combining psychedelic touches and ethno-vocal textures, rounding out the collection with an expansive sense of lift.With LS001, the Life Signal vision arrives on vinyl: curated electronic works preserved for collectors who follow music not only by sound, but by legacy.

For Sofia Kourtesis, joy is a living practice. It"s evident in her effervescent stage presence and bombastic sets, which confidently traverse through house, electro-pop and melodic techno. The Peruvian DJ and producer has forged a vibrant and illustrious career that has taken her to all corners of the globe. Kourtesis"s debut DJ-Kicks mix is a potent blend of the beautiful, complex emotional soup that has made her connect so deeply with her fans.

The West African band and new sensation LAGOS IN PARIS make their striking debut with the release of their first and bold, EP « WE ARE LAGOS IN PARIS ».


After gaining support on their two first singles « Mali Spirit » and « Afro G Western » from Colors Studio, Trace or even Rollingstone and being broadcasted on BBC Radio 1Xtra the collective continues to expand and spread what they call the AFRAW sound : a mix of traditional African music with modern electronic styles resulting in a raw, powerful, and unique sound.
Recorded in different places across West Africa and Europe, every track on « WE ARE LAGOS IN PARIS » is shaped by the artists, musicians, and cultures they encountered along the way.


Blending heady blues loops in « Afro G Western », or groovy electronic basslines in « Faya », always with pure vibrant vocals, LAGOS IN PARIS offers trough this project a visceral and authentic experience speaking directly to the soul.


The listening experience also extends to the visual with the single « Faya », which will be accompanied by a video shot in Ghana, capturing the energy and aesthetic of the song.

Driveline Records launches its catalog with a focused four-track vinyl EP built for the dancefloor, presenting four distinct yet cohesive techno cuts driven by groove, atmosphere and functionality.

The A-side opens with Invexis - "Roots", a hypnotic builder that slowly unfolds into a funky-driven rhythm. Tight hi-hats and rolling basslines carry the track forward, culminating in a subtle yet engaging melodic progression that lifts the energy without losing tension.

Next, Pylot - "Observation" delivers a highly functional club tool based on steady loops and an aquatic sound design. Aggressive low-end and raw basslines support an atmospheric and hypnotic flow, making it a solid choice for mid-set pressure and long blends.

On the B-side, Berlin-based duo Disguised contribute "Gitty (Dub Mix)", a dub-influenced and dreamy track designed to keep the dancefloor moving while creating a floating, immersive mood. Deep grooves and spacey textures balance rhythm and emotion.

Closing the EP, Shadow Hrym - "Delia" explores more melancholic territory, combining tribal and funky rhythms with emotive soundscapes, offering a powerful and memorable ending to the record.

A strong debut statement that defines Driveline Records' sonic vision: DJ-oriented techno with depth, groove and atmosphere, pressed on vinyl for dedicated selectors.

Igor Tamerlan is a stranger in his own land. Born in 1954 the Hague and spent most formative years in Paris, Igor suddenly had the urge to relocate to Bali in 1986. “I want to settle in Indonesia and marry a local girl,” he told his sister shortly before flying out.

His next journey would be as audacious as his time in the Fifth Republic. Born from a prominent Indonesian expatriate family in Paris with ties to Indonesia’s first prime minister Sutan Sjahrir, Igor earned a degree in architecture at Ecole nationale supe´rieure d’architecture de Paris-La Villette.

He could have been a brilliant architect or a political scientist (he was accepted to Sciences Po), but his passion for music distracted him from his academic works. He was after all named after Russian composer Igor Stravinsky.

During his brief stint at Sciences Po, Igor spent most of times hanging out at recording studios and rub shoulders with the likes of singer-songwriter Jean-Jacques Goldman and Michel Polnaref. He had a brief encounter with The Rolling Stones at the Cha^teau de Thoiry studio in the early 1970s.

But Igor’s musical education and his occidental eyes appeared to be ill-suited for Indonesia. His first record, titled Langkah Pertama (First Step) on the mainstream label Musica was met with a shrug and was a commercial dud. An experimental record blending the influence of Spanish motifs, Francophile production and a whiff of hip hop and ska was seen by critics as being too alien. His sarcasm-laden lyrics and his biting critique of excessive materialism among the upper tier of Indonesia’s nouveau riche in the album was met with confusion from the audience. He was just too far ahead of his time.

He left the label Musica – or may had been dropped – soon after Langkah Pertama and decided to go independent. He then relocated to Bali and set up a state-of-the-art recording studio in Sanur, across the street from Southeast Asia’s first boutique hotel where luminaries like Mick Jagger, David Bowie, Sting, Yoko Ono and Ringo Starr stayed for their holiday.

From the studio, Igor recording everything from the sounds waterfalls, geckos, minibuses to motorized rickshaw and mix them with hip hop, jazz, electronica, dub and Balinese gamelan. A visionary, Igor was the first musician to use MIDI, which started to be available globally in the early 1980s.

On paper, songs like “Bali Vanilli” should not work, a mish mash of disparate elements mentioned above, sung in three languages, Balinese, English and Bahasa Indonesia while tackling the subject of overtourism. The song was also the first to introduce rap to an unsuspecting audience. But for some strange reason “Bali Vanilli” became a sensation and overnight Igor became household name. And in 1987, long before overtourism was an issue, Igor broached the subject to a national audience in Indonesia on the possible destruction of nature and culture from tourism.

Ever an iconoclast, Igor decided to step out of the limelight following the success of “Bali Vanilli” and in early 1990s he relocated to Indonesia’s cultural capital, Yogyakarta. Here, he worked on some more experimental music while juggling as music video director. He passed away in 2018 at the age of 64.

The 10 songs in this compilation, Bali Vanilli: Experimental Pop from Paradise Island (1987-1991), are some of Igor’s best works, music that would have gone into obscurity had it not been for the diligent work of film director Alfred Pasifico Ginting, who managed to track down some of the master tapes while researching on a documentary on the musician.

These recordings have never before been released outside of Indonesia. Igor would have been proud with this reissue project.

"Orange Ave. is the fourth studio album by American post-grunge band Seven Mary Three. It was released in 1998. The album was named after a street running through downtown Orlando, Florida, their hometown. The album's only charting single was ""Over Your Shoulder"". ""Each Little Mystery"" was also released as a single, but did not chart. Their debut rode the Pearl Jam bandwagon to commercial success with a combination of crunchy guitars and angst-filled lyrics, and 1995's American Standard was more straiht forward Americana. On Orange Ave., they take chunks of their predecessors and come up with a post-grunge,soul-searching, acoustic-guitar-strumming personal statement. This album blends all this into a perfect mix. Orange Ave. is available for the first time ever on vinyl and will be released on orange coloured vinyl. Limited & numbered to 1000 copies and it will contain an insert"

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

Danny Scott Lane is a New York-based musician, photographer and sound artist whose work drifts between jazz, ambient, and gentle funk. Originally an actor and singer before turning to photography, Lane brings a cinematic and emotional sensibility to his recordings - music that feels intimate, tactile, and quietly surreal. He has scored films and commercials, and his eclectic taste has taken him to DJ booths around the world.

Since his first tape release in 2019, Lane has released nine albums, five of them with WRWTFWW Records, each expanding his distinct blend of warmth, rhythm, and daydream. His tenth LP, House of Alice, welcomes back three-time collaborator David Lackner and introduces Michael Gagliardi, further deepening the reflective world Lane continues to build.

The album's title is derived from the Alice Austen House. Danny took an interest in the prolific 'street' photography of Alice where she often captured everyday life and intimate depictions of women's lives beautifully. Inspiring images that reflect in his own photography as well. We will continue to stand on the shoulders of giants.

Expect a gentle mix of electronic new age jazz and soft funk.

Danny Scott Lane is a New York-based musician, photographer and sound artist whose work drifts between jazz, ambient, and gentle funk. Originally an actor and singer before turning to photography, Lane brings a cinematic and emotional sensibility to his recordings - music that feels intimate, tactile, and quietly surreal. He has scored films and commercials, and his eclectic taste has taken him to DJ booths around the world.

Since his first tape release in 2019, Lane has released nine albums, five of them with WRWTFWW Records, each expanding his distinct blend of warmth, rhythm, and daydream. His tenth LP, House of Alice, welcomes back three-time collaborator David Lackner and introduces Michael Gagliardi, further deepening the reflective world Lane continues to build.

The album's title is derived from the Alice Austen House. Danny took an interest in the prolific 'street' photography of Alice where she often captured everyday life and intimate depictions of women's lives beautifully. Inspiring images that reflect in his own photography as well. We will continue to stand on the shoulders of giants.

Expect a gentle mix of electronic new age jazz and soft funk.

Fast-rising Los Angeles band The Silvertone make a splash on the modern soul scene with Mistakes—their most soulful statement yet. Retro-laced and dripping with smoky vocals, dusty grooves, and late-night cool, this souldie record blends vintage R&B, classic soul, and a touch of psych—Sam Cooke meets Durand Jones under neon lights.

EP2 Limited 2 x 12" Vinyl & Digital Release The second digital and vinyl EP from Brian Jackson and Masters At Work’s highly anticipated ‘Now More Than Ever’ project is a masterclass in soulful innovation, musical legacy, and collaborative excellence. Carefully curated and expertly packaged for true fans, this release brings together extended versions and rare cuts that were simply too expansive, deep, and powerful to fit on the forthcoming triple LP — but far too important not to be heard. The double pack also includes the title track off the forthcoming album ‘Now More Than Ever’, a brand-new, never-before-heard track birthed organically during the energy and creative momentum of the recording sessions. It stands as a testament to the spontaneous brilliance of Jackson, MAW and their collaborators, capturing a moment of pure musical inspiration. The EP features seven tracks, including reimagined and extended versions of classics such as Kenlou Cult Classic ‘Moonshine’, Jackson and Heron’s ‘Lady Day and John Coltrane’, and ‘Home Is Where the Hatred Is’, plus a deep focus on ‘Racetrack in France’ — first recorded by Brian Jackson and Gil Scott-Heron in 1977 for their landmark Bridges album. Highlights include: The MAW (Masters at Work) Live Mix of ‘Moonshine’, featuring former Midnight Band/Amnesia Express multi-instrumentalist Carl Cornwell on saxophone. A sprawling 12" version of ‘Home Is Where the Hatred Is’ — a jazz-fuelled dancefloor reinterpretation blending political fire with sonic elegance. The 12” version of ‘Lady Day and John Coltrane’, featuring Rahsaan Patterson’s soulful vocal performance set against a lush, cinematic arrangement. A masterful reworking of ‘Racetrack in France’ featuring legends Josh Milan, J. Ivy, and Moodymann, each bringing their distinct voice and flavour to this seminal piece. The instrumental version is also included in this 2 x 12” EP. Whether you're a long-time devotee of Brian Jackson and Gil Scott-Heron’s influential catalogue, a DJ or collector chasing rare wax, or a new listener drawn to future-leaning soul and jazz, Now More Than Ever ‘EP Two’ is an essential release — a bridge between the past, present, and the music still to come.

Two foundational releases from Toronto's Strobe Records get a well-deserved reissue on the Clone Classic Cuts series, spotlighting a pivotal moment in North American dance music. While often overshadowed by the Detroit and New York scenes, Toronto's underground in the early '90s was brewing its own potent blend of house and techno - and these tracks are prime examples of that cross-border synergy.

The Hayden Andre Project's contributions sit at the perfect intersection of tribal house rhythms and the emotive, machine-driven pulse of early Detroit techno. There's a raw elegance here - a sense of deep groove layered with just the right amount of percussive tension. It's no surprise that these tracks became staples in the crates of DJs both then and now. The production feels timeless, with hypnotic arrangements that still command the floor over three decades later.

On the flip, Kingdom Come, another alias of Ron Allen, delivers lush, blissed-out house music that channels the soulful energy of New York's golden era while adding a uniquely Canadian sensibility. Allen's piano work, layered with warm pads and swinging drums, gives these tracks an unmistakable vibe - equal parts deep house ecstasy and garage swagger. It's the sound of 3 a.m. euphoria, of packed dance floors and emotional peaks.

"Wilson Records proudly presents the new LP by Fabio Monesi, an artist known for his uncompromising analog approach and his ability to merge heritage with innovation. This latest work draws from a rich palette of influences--new wave atmospheres, raw electronic structures, and the unmistakable pulse of Chicago house while projecting a distinctly future-facing vision. Crafted entirely through hardware sessions, the album showcases Monesi's deep command of analog equipment and his instinct for blending grit with elegance. On You Are The One For Me, Fabio lends his own voice, adding a personal touch that shapes the emotional core of the record. A profound and reflective body of work, the LP explores themes of self-awareness, resilience, and inner transformation. Based on a true story."

In collaboration with EIoper Music, Impressed is proud to press the 10-Year Anniversary Edition of Szymon's debut album, Tigersapp, on limited edition vinyl.

Szymon was a multi-instrumentalist from Newcastle, Australia, with a deep love for jazz and production, building rich sonic worlds in his bedroom studio. Tigersapp stands as his creative legacy—a beautifully curated and emotionally layered collection that blends influences from folk, ambient, electronic, and indie pop.

These songs were mostly recorded in 2008–2009 in his home studio. After his death, his family and supporters enlisted producers like Rusty Santos (Animal Collective, Grizzly Bear) and Ian Pritchett (Angus & Julia Stone) to complete the mixes.

Tigersapp has earned both public and critical recognition in Australia and beyond. It debuted at #21 on the ARIA Albums Chart, and earned a nomination for the 2015 ARIA Award for Best Adult Contemporary Album.

We’re chuffed to present this record from Dutch producers Fouk, who make their debut on Freerange Records with a brilliant 4 tracker entitled the Get It Done EP.

Showcasing their signature blend of groove, melody, and dancefloor dynamism.

"Originally released in 1979 on Sly & Robbie's Taxi label, this album was Black Uhuru's second LP. Recorded at Channel One it set forth a new sound in recorded music technology. The songs blend into dub versions and the mixing is simply stunning. The track Shine Eye Gal also features guitarist Keith Richards"
(but hey, nobody's perfect).

"Hear the meticulous song writing of Michael Rose, joined by Puma Jones & Duckie Simpson, to complete the vocal line-up.

Sly & Robbie and the Taxi Gang created a sublime sonic masterpiece at Channel One studio in Jamaica. They were at their absolute peak of their powers, before being launched as global superstars with Grace Jones.

Black Uhuru went on to be an extremely popular live outfit, touring endlessly around the world, breaking down barriers and making new inroads to territories previously unknown to Jamaican artists.

This Classic reissue is a must for all reggae collectors."

Rick James Blends Brazen Attitude, Fearless Sexuality, and Shrewd Charisma on Street Songs:

Punk-Funk Album Aims for the Hips and Head, Includes the Timeless Hit “Super Freak”
Sourced from the Original Master Tapes and Strictly Limited to 4,000 Numbered Copies:

Mobile Fidelity’s 180g 45RPM 2LP Set Presents 1981 Smash in Audiophile Sound for the First Time
1/4” / 30 IPS analogue master to DSD 256 to analogue console to lathe


“Punk funk” was a relatively unknown concept before 1981. But once Street Songs took the charts by storm that year, the world soon knew about what became Rick James’ signature style. And how. True to its name, Street Songs blends outspoken sexuality, brazen attitude, and edgy commentary amid contagious R&B-fueled arrangements that simultaneously aim for the hips, head, and various nether regions. And it’s never sounded better.

Sourced from the original master tapes, strictly limited to 4,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents James’ platinum-certified effort in audiophile quality for the first time. Playing with crisp dynamics, lively textures, airy headroom, and revealing clarity, this collectible edition of the record that stayed at the No. 1 spot on the R&B Album Charts for 20 weeks invites you to get closer to music that beckons you to turn your space into a private dance floor.

Then again, you’ll likely be so taken by how the taut bass lines, snappy rhythms, and four-on-the-floor beats — all rendered in stunning detail and with full-bodied architecture — come across with such accuracy and presence, you might stay pinned to your seat. On this pressing, the soundstaging, imaging, and lit-fuse energy of Street Songs reach new heights. Everything from the rubbery feel of the guitar lines to the depth of James’ temperature-raising vocals to the scale of the horn charts emerges as if James and his ace session crew set up in your room.

The Buffalo native and his ensemble waste no time getting their message across. On the album-opening “Give It to Me Baby,” James and company lay down a mix of sleek funk and pulsing disco that practically activates the bright lights of a discotheque and stimulates the libido of anyone within earshot. Having reached No. 1 on the Billboard Hot Soul charts, the song is pure sex — and just one of the carnal delights on a record that embraces the subject as fearlessly as James does his identity.

Of course, the most famous of James’ erotic excursions — the timeless “Super Freak” — hit No. 1 on Hot Dance Club Play charts, No. 16 on the Hot 100, and, later, No. 153 on Rolling Stone’s list of the Top 500 Songs of All Time. Bolstered by a quavering keyboard theme and electro riffs, the much-sampled track worms itself inside your muscles with smile-inducing subject matter, gliding vocals, nimble movements, a hot tenor-saxophone solo, and backing vocals by the Temptations.

The iconic Motown group isn’t the only celebrated guest artist on the Grammy-nominated Street Songs. James’ then-labelmate, Stevie Wonder, lends harmonica to the frank sociopolitical narrative on “Mr. Policeman,” a protest tune that also manages to stroll ’n’ strut via simmering organ, staggering brass accents, and James’ gritty vocal performance. In addition to contributing backing vocals on several cuts, Teena Marie turns in one of the album’s signature moments on “Fire and Desire,” a romantic old-school duet with James that impresses with smoothness, sensitivity, and smokiness.

High-profile colleagues aside, James remains the undisputed star, a figure whose leather-and-latex attire, braided hair, and natural swagger made him misunderstood by some in the mainstream and embraced by everyone in the know as a true original. As a testament to his magnetism and skills, his charisma and rawness seemingly seep through every note, whether on the balladic sweep of the risqué “Make Love to Me” or strident, poke-and-prod persuasion of the moonwalking “Call Me Up.”

On the closing “Below the Funk (Pass the J),” an uptempo autobiographical tale that addresses the visionary musician’s second-favorite love, the singer acknowledges his upbringing and inseparable connection with his roots — an homage to where he began and a toast to where he’s gone.

Rick James, keepin’ it real on Street Songs, still as real as it gets.

Peru's soul classic “CARINITO” covered by Japanese cumbia band REAL THING! Plus, a jungle version is also included!
This cumbia, blending passion and sweetness, is a true killer tune beloved not only by bands across South America but worldwide, reinterpreted
countless times in different styles.

Medium Rare showcases The Mighty Mighty Bosstones at their finest — a dynamic mix of B-sides, unreleased gems, and three brand-new songs that bridge the band’s early ska-punk roots with their mature, horn-driven sound. Bursting with energy, grit, and heart, this collection captures the spirit of the Bosstones’ Boston-bred attitude and their unmatched ability to blend melody, muscle, and message into timeless ska-core anthems.

Don’t believe your ears - Pepper’s Ghost is the latest offering from NYC project Nuke Watch.

Whatever you think it is - it is not. By the same token it really can be whatever you want - electronica, jazz, improv, noise, new age, ambient - it’s none and all of these. Like the primitive visual illusion it’s named for - Pepper’s Ghost is a projection of a thing, it’s not the thing.

The Nuke Watch method - like that of Aaron Anderson and Chris Hontos’ other primary project Beat Detectives - leans almost entirely on live improvisation, with some advanced studio alchemy in post. Where the Beat Detectives palette draws from club music tropes, Nuke Watch blends recognizable tones (hand drums, woodwinds, keys, fretless bass) with sounds of providence unknown, the line between organic and synthesized instrumentation unintelligibly smudged. What is real and what is projection? It’s hard to say. What do our ears tell us? This is where we arrive at Pepper’s Ghost.

Warped as the sounds may be, the playing belies a crew of deeply expressive, learned improvisers who have their craft honed. Their friendship and psychic connection enhances the ritualistic rhythms, mutant modular synthesis, nimble keyboard runs, absurdist sampling and unidentified skronk. They’re wonderfully complemented across several tracks on this set by Cole Pulice’s levitational, sublime saxophone.

As unhinged as this might all appear, once the mind and music meet on the same wavelength this is profoundly moving, energizing and uplifting Alive Music that recalibrates the sense of what music can be.

Nuke Watch is Aaron Anderson and Chris Hontos, with an array of friendly guests. They’ve released records as Nuke Watch on The Trilogy Tapes, Commend and Moon Glyph. As Beat Detectives they’ve released records on Not Not Fun, 100% Silk and their own studio imprint NYPD Records.

Pepper's Ghost was written and produced by Aaron Anderson and Chris Hontos. Additional instrumentation on these recordings by Cole Police, Leonard King, Eric Timothy Carlson, Chris Farstad and William Statler. It was mixed by Chris Hontos and mastered by Jack Callahan. Painting on the cover is “The Unity Of Being” (2020), by Ry Fyan. Design and layout by Aaron Anderson.

RIYL - Musical illusions, puzzles and magic tricks, downtempo, music of the spheres, good journey, Eddie Harris, Ketron, "world building", orange sunshine, suspension of disbelief.