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Monaberry Vinyl 002 ain knit from Sears. All artists wear it because it stretches for fit and it‘s styled for fashion.
Super Flu, NIIXII, Made In TLV, Goom Gum x Dancing On Lego and Derun are pretty savvy. They know how to dress fashionably
and comfortably. The second VA vinyl fills the bill. Consider the selection: 4 tracks, patterns and styles. And the Perma-Prest
baseline: it‘s a Monaberry polyester and triacetate knit for stretch comfort around the collar, across the shoulders and body.
Everybody has the comfort features that make music comfortable. See these great-looking Monaberry shirts now at most
stores, in the regular and Big and Tall catalogs

With the 7th Grade of the Riddim Dub School series, Prince Istari enters
Junior High School. Prince Istari returns with his Riddim Dub School
series now on 12inch, pushing deeper into the intersection of dub, drum
and bass, and sound system culture. This 6-track EP, titled "lessons
into drum and bass wise", explores raw rhythms, analog feedbacks, and
heavy low-end pressure.

The EP starts with a Drum and Bass cut with a One Drop of the DUB ME
LOOPY tune from Riddim Dub School 5th Grade. INTIMACY COORDINATOR
follows with a heavy Disco Dub. The last track on Side A is LABOUR’S
DUB, with deep bass polished through spring reverb. The shakers come in
late and push the whole thing forward. Side B begins with GONE TOO SOON
from Riddim Dub School 4th Grade, in an alternative version. It’s
followed by the most upfront track on the release CONQUERING DUB – brass
fanfares and a deep disco rocker beat with minimalistic arrangement. NO
DUB INNA DI WRONG ends the 7th Grade with a roots way style. It suggests
that dub music doesn't belong to or support negative, corrupt, or unjust
actions or spaces. Dub music stays righteous, true, or positive, and
doesn’t associate with bad vibes or wrongdoing.

“The hand knows best,” the painter Margaux Williamson says. “A shape produces itself, where I go toward what is intuitive, rather than logical.” The shapely, intuitive songs that comprise Ada Lea's third album, when i paint my masterpiece, are surprising, imagistic, tactile. They stand before us and we feel their brushstrokes. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it’s tempting to ask: is painting a metaphor here, for music or life? No! As ever, she resists tidy metaphors. She’s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity.

Levy is a Renaissance woman, and Ada Lea’s albums have been swelling in scope alongside the evolution of her artistic life. Her recent turn toward pedagogy—teaching a songwriting course at Concordia University and co-facilitating a community-based group called The Songwriting Method—weaves another vivid thread into her multifaceted practice. Her debut LP, what we say in private, blurred the lines between interior and performative worlds. Her sophomore record, one hand on the steering wheel the other sewing a garden, featured vignettes centered on Montreal. On this sprawling and ambitious album, written over three years and whittled down from over 200 songs, she asks: what happens when you… pause? How can a life be held suspended in song? The album is a kaleidoscopic exploration of the transformations art can bring: the vision of an uncompromising artist dancing bravely and freely between registers and across mediums.

The album marks a reset—a quiet revolution. After years of relentless international touring, Levy felt an urgent need for community and renewal. Gruelling road schedules with very little support left her wondering: who am I really doing all this for? The system was uncaring and broken, and so it was that she came to envision a new healthy and healing mode of musical genesis. “For me, that looked like resting, extending my creative reach, going back to school, studying painting and poetry,” she explains. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” This need for a more deliberate creative renewal was rejected by her existing systems of support, so she began the search for an alternative.

A-grade disco don Monsieur Van Pratt shares duties on his latest missive with so-called "cosmic funk slinger" Disco 86 as both artists take one side each. MVP is first up with 'Lovers' with its saucy male vocals and funky basslines littered with Chic-style hooks. 'All I Do' layers in plenty of filtered synths and noodling bass hooks to a classic vocal and then it's over to the B-side. 'Shoot Me Baby' is a low-slung and sleazy sound with smooth and sexy vocals and meandering bass. 'Disco Galaxy' is a more upbeat sound with funky brass, leggy drums and a lavish arrangement that is full of action. Another unmissable platter in this new limited Illegal Disco series.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This first volume of a two-volume series presents a selection of the best of early Syliphone recordings. The songs demonstrate not only the essence of Guinea’s authenticité policy and of its subsequent Cultural Revolution, but of a confluence of musical styles from Cuba, jazz, highlife and the diverse influences of Guinea’s cultural groups.

Huxley debuts on Rekids with the ‘MIND G%MES’ EP.

UK DJ, producer, and Dumb Safari label head Huxley joins Radio Slave’s Rekids for the first time with the ‘MIND G%MES’ EP, dropping 25th July 2025. The first track, ‘M%ND’, kicks off with woozy and alluring pads swirling round a cuddly but kicking Deep House groove. Soulful vocals and delicate, cosmic melodies rise out of the mix to bring it to a close in style. 'CLUB SH%T' ups the ante with zippy synths injecting some texture to slamming drums that straddle the House and Techno divide, while wispy stabs and warm daubs of sound dance around the cowbells to make this an evaluated late-night tool.

'FEAR N%THING' is a new school cut, with fi ltered loops, sugary chords, and pent-up energy all surging through the dance fl oor. Last but not least is 'ANY1', a sleazy House pumper featuring moody spoken word, a big, rubbery bassline, and slinky, Garage-infl uenced percussion.

Active in the underground music scene for two decades, former Rinse resident and sometime Aus, Shall Not Fade and Unknown To The Unknown artist has had one hell of a career. From huge breakthrough tracks like ‘Let it Go’ on Hypercolour and ‘Box Clever’ on 20:20 Vision to his 2014 ‘Blurred’ LP on Aus, he’s seen universal critical acclaim as well as massive support from DJs and dancefloors globally. In recent years, his Dumb Safari label, the online community R Trybe (co-founded by Ramin Rezaie/BAKKIS) and collaborations with Steve Bug are just a handful of his projects, while his ‘MIND G%MES’ EP for Rekids is already feeding the fi re with support from Jen Cardini, Cromby, I.Jordan, Jennifer Loveless and big room dons, Michael Bibi and Solomun.

On his brand new studio effort Styles P proves his key to success has always been consistency. The born in Corona, raised in Yonkers, NY native has really worked harder than most to earn the name GOAT, and by naming his album “S.P. The GOAT: Ghost Of All Time” you know he’s not bragging about it, in fact he’s getting his flowers while he’s alive from Hip Hop connoisseurs who know fire bars when they hear them. With productions by Vinny Idol, Termanology, Dayzel the Machine, and Noah Idol among others and guest appearances by Sheek Louch, Jadakiss, Nino Man, Fame of M.O.P, Whispers and Cris Streetz, the legendary LOX and D-Block member proves once again he’s aging like fine wine.

Back in 2016 a talented wordsmith from the Bronx going by the name Mickey Factz teamed up with producer Nottz to release his full-length "The Achievement: Circa '82". The album is an ambitious piece of work that finds Mickey trying to encapsulate all his thoughts in lieu of this very moment, with Nottz serving as the executive producer providing a plethora of landscapes for Mickey to illustrate his stories. Featuring guest appearances by names such as Styles P, Smoke DZA, Phonte, Curren$y, Royce Da 5'9", Skyzoo, Stalley and several others, this deluxe and extended edition also presents a few remixes and unreleased tracks, all packed in a 2LP limited edition vinyl, bringing Mickey's achievements on physical copy for the first time ever.

Berlin-based DJ and producer Moomin (Sebastian Genz) returns with *Into The Distance*, a deeply immersive album set for release on June 20th. Expanding on his signature warm, textured sound, the 10-track LP blends deep house, downtempo, and ambient influences into a hypnotic, cinematic journey.

Following his acclaimed 2011 debut *The Story About You*, Moomin has released on labels like Smallville, WOLF Music, OATH, and Aim, while also running his vinyl and tape imprint, Closer. *Into The Distance* refines his introspective, groove-driven style, with tracks like *Joni* and *A Way Out* pulsing with subtle energy, while *Caught In A Memory* and *Night Moves* evoke dreamy nostalgia.

Having stepped away from live shows in 2019 to focus on his mastering studio, Moomin's latest album reflects this period of deep creative focus-fluid, contemplative, and designed for both personal reflection and sonic exploration.

Vines, the solo project of New York-based multi-instrumentalist and composer Cassie Wieland, offers a window into her inner world through expansive swaths of sound. She pieces together a celestial mix of synths, percussion, strings, and vocoded voice, making music that is at once deeply personal and cinematic in scope. This diaristic approach first took shape with her 2023 EP Birthday Party, and is crystallized on her debut LP, I’ll be here. With the sweeping and vulnerable I’ll be here, Vines arrives fully formed as an artist who crafts deeply resonant and open music–the kind that invites listeners in to listen, reflect, and share in the journey of learning through living.

“It was through making music that I was able to meet myself,” Wieland said. “Anything I’m going through or feeling is something that somebody else out there can relate to, and that’s really special to me.”

I’ll be here is both a culmination of years spent creating gossamer soundscapes and an opening to a new journey for Wieland as an artist. The album grew out of her years as a composer and songwriter, and builds on the language she developed on Birthday Party, which transformed the tumultuous feelings of the passing of time into minimalist meditations. It was just a start, though–a prologue, a development of the kind of language and ideas she wanted to express. With I’ll be here, she digs deeper and writes music that feels more sprawling, further solidifying her singular voice.

Wieland’s musical composition process is similar to journaling, lending itself to the music’s honesty. When she writes, she makes room for all the ideas she has; in these sessions, there are no wrong ideas, and she allows the music to be attuned to the experiences she’s having at the time. With I’ll be here, Wieland zeroes in on themes of anxiety, loneliness, navigating human connection, and having to grow up from a young age, ultimately coming to a place of acceptance. And though it began as a journal written in solitude, her collaborators shape the music with her.

Working with friends, in fact, was a crucial part of bringing the record to life. “Everything that was supposed to happen came together so easily because of the people involved,” Wieland said. I’ll be here was co-produced and recorded with Wieland’s longtime collaborator Mike Tierney, a four time Grammy-nominated engineer who has worked with artists across the contemporary classical and experimental scene like minimalist pioneer Steve Reich, LA’s preeminent classical ensemble Wild Up, and various bands on Bang on a Can’s Cantaloupe Music label. Percussionist and composer Adam Holmes and violinist Adrianne Munden-Dixon are two other longtime collaborators who are frequent fixtures of her live show. Holmes plays synths, drums, and banjo; in live settings, his kit is loaded with elements of the songs that are then triggered by MIDI, making the music an interactive, evolving experience. The album’s gentle, filamented edges are colored by Munden-Dixon, whose poignant string melodies elevate Wieland’s introspective compositions, as well as cellist Helen Newby, saxophonists Julian Velasco and Jordan Lulloff, and bassist Pat Swoboda.

Wieland takes an economic approach to writing music, building the swirling and immersive landscapes of Vines through short melodies, lyrics, and phrases. As each element layers and interweaves, they grow into sprawling webs of ghostly sound. Prior to Vines, Wieland composed pieces for other people to play using a minimalist’s sensibility, writing slowly unfolding melodies for instruments like violin and saxophone. In recent years, she sharpened her solo style across a variety of singles and covers which have garnered significant attention on social media for their emotional resonance (“being loved isn't the same as being understood” in particular went massively viral on TikTok in 2024). Birthday Party, her debut as Vines, brought her writing to a much more intimate space, centering on her vocoded voice cloaked in feathery reverb. A series of recent singles, meanwhile, including “I am my home,” showcase the way that Wieland’s music is born from the story of her innermost feelings, extending far beyond just the self.

Though Wieland’s music often deals with dark themes, it unfolds with tender melancholy, the kind that feels like a warm embrace. On “Evicted,” Wieland wonders if she’s getting sick or moving on, if she’s lost or found. Her vocals expand with each lyrical repetition, as the instrumentals slowly encircle and the music’s rhythm grows and bursts into a heart-wrenching, yet radiant wave reminiscent of post-rock bands like Explosions in the Sky. “Tired” follows a similar trajectory, building from a looping, melancholy rhythm and floating lyrics into a solemn resignation. Elsewhere, Wieland takes a more ruminative approach: “Omw” begins with twinkling piano and melancholy strings that gradually transform into an undulating mass. It is a song born out of the warm feeling of reminiscence, the slight return of hope that comes with nostalgia.

With any searching journey, there is also a point of understanding. The title track closes the album with the freedom of acceptance. A marching drum beats steadily beneath Wieland’s open vocals, moving forward, ever onward as it flies into the ether. In Wieland’s delicately textured music, there is room to come into yourself, and learn to love whomever that is. I’ll be here is a special space that can be all your own, one in which to feel what needs to be felt. “This is music for your story,” Wieland said. “I want you to use it how you need it.”

3XL boss and scene hyper-connector Special Guest DJ (aka uon, shy, Caveman LSD) lands on their own label with a debut album of hazed ambient noise and aquatic club anarchitextures, with a patented, heady style bent into new shapes.

For nigh on a decade, Berlin-based American producer, label boss, promoter and DJ Shy has operated at the centre of a scene that's still not fully defined. Their mythical DJ sets, where you're likely to hear precision-tweaked dubstep, dreampop, decelerated rap and dubwise ambient blended into vapour; gives some sense of the vibes at play, and a comb thru their spiderweb of a catalog - as Caveman LSD or uon, as part of Ghostride the Drift, Hoodie, crimeboys, virtualdemonlaxative and Cypher, or as the figurehead of 3XL, Experiences Ltd, xpq? and bblisss labels - further blurs that gist.

They've been caught in the crossfire of Big Ambient, sure, but there's always been something scrappier, sexier and more present going on under the hood. Shy and his network of associates - Huerco, Ulla, Perila, Ben Bondy, Naemi/Exael, Ponteac Streator and Arad Acid, among others - have asserted the interrelatedness of their discrete approaches. So-called "ambient" music doesn't exist in a vacuum, it un-focuses elements that undergird so many more corporeal sounds, and for Shy, their music reflects the druggy, DIY, genre-agnostic ethos of a trans-Atlantic neo-punk underground that exists in some liminal zone between the club, the bedsit and the basement.

Concerned with themes of “anger, sensuality, and dreaming”, the 40 minute roil of ‘Our Fantasy Complex’ frames Special Guest DJ at their most unapologetically oblique and illusive, expanding and contracting between whorls of shoegazing dynamics and extended portions of quasi-speed D&B x dub tech smeared on the mind’s-eye, with a vivid sense of bruised lushness that’s perfused all shy’s work thus far.

Joined by kindred collaborators Ben Bondy, Arad Acid and mu tate, and suspended in agitated bliss by Rashad Becker’s lucid mastering, the results feel out some of 2025’s most considered and distinctive within an amorphous zone that’s become a world unto itself. Ambient music’s fluffier signifiers are swapped out for a sort of sublime tension that, like the sound’s original ‘90s explosion, can be heard to reflect states of altered consciousness - both individual and collective.

Shy's layered, undulating productions are more like the chewed remnants of a thousand mixtapes cooked into a stream-of-consciousness hex. Save for the glistening, zoomed-out parting piece ‘Dream’, it all mostly avoids pretty melodies in favour of a spatio-textural sensuality that wraps us up, sometimes uncomfortably intimately, in shy’s thoughts. That oneiric closer is one of three gritty palate cleansers that swirl around its peaks, where elements of Reese-bass are suspended, writhing below looming atmospheric pressure in ‘How Long Can I Burn?’, emerging charred and flecked with rattled percussion on ‘Yoro (pt I & II)’, as though K-holing thru a blazing summer’s day.

In step with Perila’s notably darker turn of events on her ‘Omnis Festinatio Ex parts Diaboli Est’, album, or the unexpected ferocity of recent Space Afrika live shows, it’s not hard to hear a darkside gravitational pull on this one, where ambient music is no longer just a balm for troubled souls, but also suggestive of humanity’s most frightful odours.

The ‘Split EP’ is a collaborative release with James Hayford and BiggaBush, as well as labels Filtered Deluxe and Tru Thoughts Recordings.

The collaboration commenced several years back, when Glyn ‘Bigga’ Bush reached out to James (known for his Shoes Edits series), one conversation led to the next, and a remix exchange was initiated.

In 2022, James contributed a remix to BiggaBush’s ‘A Different Style’ remix collection, released on Tru Thoughts Recordings - followed by Bigga’s version of James Hayford’s ‘Flower Of Thy Womb’, released via Filtered Deluxe Recordings in the spring of 2025.

The ‘Split EP’ is presented as a vinyl-only release, including the previously unreleased ‘Come To Crunch’ by
BiggaBush.

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James Hayford is a sample-based producer best known for his unparalleled series of Shoes edits (feat. Al Green, Miles Davis, Roy Ayer, and more), plus remixes released under his own Shoes and Plimsoll labels - as well as for the Numero Group.
James continues to release original downtempo and leftfield dance music on labels Filtered Deluxe Recordings, and Growroom Productions.

Glyn ‘Bigga’ Bush launched his career as half of Rockers Hi-Fi, and co-founded the Magic Drum Orchestra. He’s
released as BiggaBush and Lightning Head through the ever-evolving Tru Thoughts Recordings, and many more.
His influences range from afrobeat, dub and funk, to library music and soundtracks - as well as electronic, Latin, and jazz music.

A truly essential piece of early Detroit Techno history here, Octave One's original white label "Octivation" EP from 1990 has long been a sought after and coveted slab of wax. This 5 track journey charts the Burden brothers mood from sinister, spacey, acidic Techno jams ("Sonic Fusion") to deeper, more melancholic mid-tempo cuts ("Nicolette") and along the way manages to usher in a new wave of Detroit Techno sounds.

Steeped in soul and depth "Octivation" was hinting towards the epic style Octave One would shape with their various projects in the following decades and releases. The earliest glimpse (Their 1st release) into a long and fruitful career that is still continuing today. This EP was a game changer and it's influence can still be felt in contemporary House and Techno right now.

Now, finally made available again to be re-discovered and experienced.
Re-mastered, re-pressed and re-issued with all the original 430 West white label and sticker artwork intact, in conjunction with the Burden brothers / 430 West Records.

Emotional Especial reaches a landmark with its 50th release. Started in 2012 as a “dancier & trippier”, club friendly spin off, sub label to Emotional Response, it has gone on to forge a path, releasing a myriad of artists including the opening release by Jamie Paton (Cage & Aviary / ESP Institute) to Richard Sen (Bronx Dogs), the debut of Khidja (Malka Tuti / DFA) and on to unearthing the breaks masters Alphonse (Klasse Wrecks) and Junior Fairplay (Crimes Of The Future), the uplifting Italo influenced Lauer (Robert Johnson), the new wave anthem of Sfire (featuring Sophie), plus perfect remixes bt Kris Baha (CockTail D’amore) and INHALT (Dark Entries), the NYC pop-rave-vox of Kim Ann Foxman, through to showcasing upcoming artists like Berlin’s Giraffi Dog (Aiwo Recs) and the global acid adventures of Akio Nagase (Chill Mountain) to most recently, the slo-mo trance muscle of 53X and post-rave uplighters of Remotif (Space Lab) and DJ 1985.

As with every 10th release on the label, the label present a various artists “Showcase” of what and where the label is. Aptly it is recent signing 53X who opens Gracias Especial with the bounce of Radar. Finland’s Jonne Lydén debut EP on Especial, Zen ’23 came out of nowhere, more than simply riding a zeitgeist of the “Trance Revival”, his all-live analogue symphonies drop the bpms, presenting widescreen beats, darkroom bass, sirens and tripped out vox all mix to propel a singularly driven.

Taking things much deeper has been the hallmark of Jamie Paton’s remixes for the label. As well as providing the opening EP in 2013, designing every sleeve and producing 20 remixes and counting another 2 for the label here, it’s impossible not to associate Especial with Jamie’s music. First, he reworks rising star DJ, but recent break out producer Chez De Milo, with a trademark dub excursion that takes the ethnic origins of Kremer to a space echo wonderland. Space is the place, the lulling beats, see you falling through the gaps, true dub style.

Alphonse makes a rightful return to Especial, with Raze Rave highlighting the allusive producers’ unique understanding of the varied history of rave culture via a techno-suite of soundscapes, perfectly mixing uplifting breaks, memory inducing vocal samples and dub bass, with a nod to the pop sensibility that rave encompassed, while being that allusive “lost chord” moment of man and machine.

The finale returns to the trance acid expanse of 53X, with the mastery of label stalwart Jamie Paton. An apt marriage, Paton takes the title cut from Lydén’s debut EP and crafts a trademark durge-dub, where TB303 and space echo intertwine with the De Witte vocal, hinting at touches of dub, new wave, trance and acid house all in one melting pot of sound the label optimistically termed “Protoid” back at inception of summer 2013.

Jordan Passmore, an electronic music and sound producer based in Indianapolis, USA, has spent two decades crafting original songs, remixes, and live performances. His work is characterized by the use of both vintage and modern synthesizers and drum machines, creating a unique blend of house, wave, techno, and more.

Over the years, he’s been known for producing finely textured tracks that nod to early electronic traditions while pushing into new terrain.

In his latest release, KEEP IT E.P., Passmore continues to push the boundaries of his sound. This EP features a variety of tracks that range from acid techno to mellow new wave, showcasing his ability to intertwine different genres seamlessly. Each song presents a distinct mood and pacing, reflecting a more experimental approach compared to his previous works.

The EP is a kaleidoscope of styles and moods—an interplay of acid techno grit, minimal wave introspection, and rhythm-driven synthscapes. Each track carries its own personality, from the pulsing tension of “Keep It (Short Version)” to the warped funk of “Wired Access Panel” and the dreamy, cinematic sway of “Angelica and Persephone.”

KEEP IT keeps a listener in motion, in thought, and in rhythm.

Solid gold previously unreleased Junior Murvin Album produced by King Jammy finally sees the light of day. Rare non-album singles plus a trailer load of previously unreleased make ‘Cool Down The Heat’ a must have companion to Junior Murvin’s iconic Lee ‘Scratch’ Perry recordings. Among the newly discovered gems Junior Murvin revisits his two signature songs ‘Police and Thieves’ & ‘Cool Out Son’ and locks them down in true Waterhouse style.

SIDE B returns with the second installment of its newly established label, this time with Rill at the helm. Staying true to effect, the young German producer has honed his percussively forward style with a string of steady releases and performances over the past three years. In his EP 'Friss', Rill delivers three highly concentrated club tracks with a Beste Hira remix closing out the project, assembling a record destined for unforgiving sound systems and frenzied dance floors.

Driving and mental, Rill brews up a viscous first track 'Silky Stones' to make his intentions clear. Shooting through a bubbling lead with percussive stabs wide in the stereo field, the producer uses the element of surprise by sharpening the edge with a sharp key sequence, doubling down on tension to an already hypnotic cut. With no time to waste, the needle slides to 'Rakija', with an imposing groove and quick, dry hats. Characteristically, a dystopian melody warbles over a robust rhythm to ensure maximum movement. Two tracks in and Rill already proves to balance his tools with attitude. Taking a turn on the record flip, the B1 ups the audacity with the title track 'Friss'. Techno usually prioritising kicks is a rule that Rill sweeps aside in exchange for an intimidating bassline with an ecosystem of high frequency ambiance. A testament to balance and spatial definition, the German adopts in fitting chord stabs in the second half to up the ante in a contained manner. To conclude, celebrated Beste Hira puts her spin on the latter for a drum forward eye roller, versatile for almost any dancefloor. Reconceptualizing the rhythmic identity of 'Friss', Beste Hira is able to weather the far off atmospheres while maintaining an emphasized festivity. Combining the best of groove-focused club music with a touch of niche psychedelia, Rill and SIDE B prove that techno is very much alive no matter what side of Europe you search for it.

Words by Noah Hocker

Car Button Cloth' is an extraordinary affair of musical and emotional extremes, a soundscape spanning “the most beautiful piano-led mourning in the history of the broken heart” that switches into perky jangle-pop for fleeting moments and contains the ultimate self-deprecating classic ‘The Outdoor Type’, penned by Smudge cohort Tom Morgan, as well as a cover of the bluegrass standard ‘Knoxville Girl’ and ‘If I Could Talk I’d Tell You’ co-written with The Vaselines’ Eugene Kelly. All bases are covered. “One of the most distinctive voices of the ‘90s” The New York Times. To further unravel where Evan’s head was at during the period of its creation, this deluxe double album comes with a record of exquisite and typically eclectic scene setting covers that occupied B-sides and alternative format versions, plus other super rare offcuts, live takes and remixes. A diet of Volcano Suns, Glen Campbell, The Jacobites, The Sir Douglas Quintet and Whitney Houston influenced Evan’s thinking and added further colour to an album that remains something of a Dorian Gray-style masterpiece. The first side of extras is rounded off with the never before released ‘Arise’, originally set for the remake of Great Expectations and later realised as Rancho Santa Fe on solo album ‘Baby I’m Bored’.

John Carroll Kirby brings his signature sound tofilm scoring with the official soundtrack album forfeature film ‘The Luckiest Man in America’, whichpremiered at the Toronto Film Festival andreceived a wide theatrical release.
John Carroll Kirby’s background is steeped in jazz,but his signature sound blends genres and styles.He has collaborated with artists ranging fromsuperstars Solange, Frank Ocean, Harry Stylesand Steve Lacy (earning him a GRAMMY nod forthe smash hit ‘Bad Habit’) to beloved indiemusicians like Connan Mockasin, Yves Tumor,Eddie Chacon and Liv.e.
John Carroll Kirby has released several recordswith Stones Throw, most recently ‘Blowout’ in2023, which Pitchfork called “endlessly vibey… hismost energetic and immediately enjoyable releaseyet.”
His records have received previous support fromPitchfork, The FADER, LA Times, The Guardian,BBC Radio 1, BBC 6 Music, MOJO, Clash andVICE, among many others.
Kirby has toured extensively across NorthAmerica, Europe, Australia / NZ and Asia, and ison tour throughout Summer 2025 with Khruangbinin the US.
For fans of Duval Timothy, Sam Gendel, AlabasterdePlume

For anyone unfamiliar with Skeleton Recordings, it was started in 1992 by DJ Monita based in West London and had a quality string of releases between 92-94 like Triple 6, Luv To Luv Ya, A Classic Skank, The Razor's Edge, Nightmares, I could go on and on...

In 2014, the label started back up again & I'd been sending some of my music to Monita around this time which led to me releasing an EP called Storylines on the label in 2016, where I was able to put out some of my music that was made in a darker & more modern style than my usual oldskool inspired work. I also had a tune featured on the 25th anniversary release series called Time's Up alongside other favourite artists of mine like Threshold, Gremlinz, Antidote (R.I.P), Future, Theory, Ricky Force & many more.

In 2021, Monita announced that he would be retiring Skeleton Recordings and putting out the final releases, which were single sided represses of Luv To Luv Ya & Nightmares, nearly 30 years after they originally were made. However, I had some great unofficial remixes that Phineus II had done of The Razor's Edge & Full Cry by Steve C & Monita, which never saw the light of day officially and I took a chance by contacting Monita to see if he'd be up for one more Skeleton Recordings release, in conjunction with Future Retro London.

Thankfully, he was up for the release and on top of that, he was able to provide 2 tracks that he made in 1995 that were meant for Skeleton Recordings but never saw the light of day until they were released digitally on Hardcore Junglism for a brief period of time, but never released on vinyl.

Big thanks to DJ Monita of course for allowing me to make this happen (as well as for his work in creating such a great label) & Phineus II for his remixes.

Italian techno force Alarico makes a striking debut on KEY Vinyl with 'Sweaty Techniques', a seven-track LP that encapsulates his signature style: groove-centric, stomping and irresistibly danceable. Known for his prolific output, the Berlin-based artist delivers a fast-paced and energetic sound, interwoven by the thematic thread of the whole release: a sweaty encounter.

From the opening pulse of 'Cradle to the Grave', rhythm takes center stage-percussion-driven and primed for peak-time occasions. Snipped vocals and bouncy baselines carve out some sort of hypnotic patterns, while deep, rolling low ends keep the momentum locked in. Gritty textures collide with fragmented modulations, twisting into distorted, high-energy productions. Across the LP, tightly coiled bleeps and moaning snippets emerge, lending a sinister yet seductive edge.

Then there's 'Dammelo'-Italian for 'give it to me'-which subsumes the album's thematic essence into pure physicality, embracing its vocal motif with a knowing smirk. As the record progresses, Alarico shifts between functional, stripped-back rhythms and more tension-driven moments, culminating in 'Touch My Heart', where sharper drum programming meets hypnotic vocal loops. Closing on a high, 'Jamira' encapsulates the album's crisp percussive edge, rounding off a release that is as relentless as it is intoxicating.
With 'Sweaty Techniques', Alarico solidifies his place as one of techno's most electrifying new voices-an LP made of steel, but definitely built to move.

Alanis Morissette Delivers the Equivalent of a Spiritual Awakening on Supposed Former Infatuation Junkie:
Introspective Themes and Compassionate Emotions on Eastern-Tinged Album Have Grown More Relevant
1998 Smash Plays with Enhanced Detail, Rich Textures, and Sharp Focus on Mobile Fidelity’s 180g 33RPM 2LP Set:
First-Ever Audiophile Edition Strictly Limited to 3,000 Numbered Copies
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe

Alanis Morissette refuses to adhere to convention on Supposed Former Infatuation Junkie. While most artists follow-up their breakthrough with an album that closely parallels the approaches that helped make them famous, the maverick singer-songwriter stayed true to herself and drew inspiration from travel to India before she began the recording sessions. As much as the preceding Jagged Little Pill put her on the global radar, Supposed Former Infatuation Junkie confirmed her role as a vital generational voice — and proved her blockbuster success was no fluke. Having set a mark for most sales of an LP in its debut week by a female artist, the 1998 smash remains a pop-rock staple.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s 180g 33RPM 2LP set of Supposed Former Infatuation Junkie presents the triple-platinum LP in audiophile sound for the first time. Benefitting from defined grooves that befit the album’s nearly 72-minute length, this pressing plays with enhanced detail, refined clarity, sharper focus, and broader dynamics than prior versions.

Those traits are key given Morissette’s use of more textured and atmospheric soundscapes, not to mention her evolution into a more nuanced and controlled singer. Similarly, the scale and reach of David Campbell’s string arrangements come across as orchestrations should. Ditto the synth-based architecture shaped by producer and principal Morissette collaborator Glen Ballard. All in all, Mobile Fidelity’s collectible edition simply delivers more information via transparent means.

Notable for its balance, sophistication, and richness, Supposed Former Infatuation Junkie at heart finds Morissette pausing, taking a breath, and learning how to navigate life in a healthy manner after enduring one of the most exhausting and rocket-to-fame stretches any musician ever experienced. It’s the sonic equivalent of a spiritual awakening, a call to betterment, a brave assessment of the self and humanity as a whole. As such, the tunes on her second international (and fourth Canadian) release teem with gratitude, compassion, love, empathy — emotions that lend themselves to the largely mellow, contoured scope and Eastern-tinged melodies of the songs themselves.

“How ‘bout how good it feels to finally forgive you,” Morissette sings on the lead single “Thank U.” “How ‘bout grieving it all one at a time.” Those sentiments, and the vocalist’s embrace of concepts such as divinity and acceptance, not only provide a foundation on which Supposed Former Infatuation Junkie rests. They also reflect the personal maturation she gained from her embrace of Buddhist culture in India and a mindset bent toward notions of reconciliation, peace, and sensuality that were nearly absent in popular music in the late ‘90s.

Those themes continue on “That I Would Be Good,” a confident reflection that takes stock of one’s mental, physical, and emotional state in the face of both changing and unpleasant circumstances — and concludes with Morissette performing a flute solo, further exposing the raw intimacy of the introspective tune. She channels relatable simplicity and joy on “So Pure,” with her invocations of “dance” and “freestyle” speaking to the freedom of expression that courses throughout Supposed Former Infatuation Junkie. And perhaps no song finds Morissette showcasing her refreshed attitude toward life and opening up more than the relationship-themed “Unsent,” whose unconventional structures and lack of a chorus only add to its directness.

Akin to many albums that were ahead of their time, and despite the critical and commercial accolades afforded it upon release, Supposed Former Infatuation Junkie attracted new appreciation and perspective as it got older. Issued during an era where its ideas of serenity, absolution, tranquility, and contentment seemed largely alien, the record — akin to the ways its predecessor foreshadowed a movement — now functions as a visionary beacon that foretells of way to maintain sanity, dignity, and goodness amid a contemporary landscape filled with constant distractions, polarizing views, and incessant calls to purchase, promote, and produce without questioning the what-for purpose.

Supposed Former Infatuation Junkie dares to ask the questions and, at its best, supplies meaningful answers and alternatives that lead to longed-for enlightenment, healing, and laughter. For these reasons alone, it’s a record that never goes out of style.

The extroverted blend of attitude, energy, and ostentatiousness that spills from the New York Dolls’ self-titled debut can be seen in full view on the album cover. Depicting the quintet in its hallmark flash-and-trash apparel and in drag appearance, the 1973 album scared away a considerable amount of potential listeners while capturing the attention of a sizable audience that recognized the band for what it was: zeitgeist pioneers who helped develop the punk and glam rock movements.

Named by Rolling Stone the 301st Greatest Album of All Time and by Mojo the 49th greatest album of all time, New York Dolls receives long-overdue audiophile treatment on Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set. Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, this collectible version marks the first time the group’s career-making statement is available to be experienced in audiophile quality.

Far from harboring the crude elements that became associated with the punk scene, New York Dolls benefits from keen production overseen by none other than Todd Rundgren. Though more accustomed to working far higher-caliber musicians, Rundgren — taken by the New York Dolls’ charisma and cool, if not their instrumental approach — fully understood the ensemble’s aesthetic. He captured what went down at New York City’s Record Plant with an astute blend of live-on-the-floor feel, raw authenticity, and professional acumen.

On Mobile Fidelity’s definitive-sounding reissue, you can hear those facets as well as key details, dynamics, and textures with previously unimaginable insight. Rundgren preserved generous degrees of grit, grime, and grease while bestowing the raucous music with elevated levels of separation, solidity, and impact every landmark recording deserves. His vision extends to introducing choice accents — barroom piano notes, Moog synthesizer passages, Buddy Bowser’s honking saxophones — that add to the songs’ appeal without interfering with the primary architecture.

Afforded extra groove space on this pressing, the tenor, presentation, and attack of both vocalist David Johansen and now-iconic guitarists Johnny Thunders and Sylvain Sylvain come across with stunning vibrancy and vitality. The New York Dolls often seem headed off the rails and into the red, but somehow, the strut, swagger, and sloppiness — and the associated sleaze and scruff, scrape and snarl, frenzy and feverishness those characteristics entail — remain together as a whole that shakes its collective fist at the frustrations, isolation, disarray, and disillusionment of youth chaos and urban decay.

Kicking off its debut with “Personality Crisis,” cited by Rolling Stone as one of the 500 Greatest Songs of All Time, the band makes obvious its grasp of alienation, deviance, displacement, and suburban disaffection — as well as its capacity to play hanging-by-a-thread boogie, noisy rock ‘n’ roll, and Brill Building-inspired pop. The lipstick-kissed New York Dolls possesses traits many of its harsher predecessors would overlook: joyfulness and melody, topped with a knack for knowing how and where to take a song inside of three-and-a-half minutes.

Dive and dash with the belligerent “Looking for a Kiss”; stomp your feet and clap your hands to the big choruses of “Jet Boy”; surrender to the demands and provocations of the coded “Vietnamese Baby”; decide whether “Bad Girl” yearns to explode or implode. It’s one of several tunes here that allude to the world coming to end. Of course, that doesn’t mean there isn’t time for a fling before everything burns. “There’s no place I gotta go,” yowls Johansen. And he means it.

Adorned with tonal crunch, glitter, and gristle, New York Dolls takes pride in its brashness and brattiness. The rambunctious effort, which earned the band the distinction of being voted both “Best New Group of the Year” and “Worst New Group of the Year” in the pages of Creem, displays knowing reverence for the blues without calling attention to the style. The folk-laden “Lonely Planet Boy” is nothing if not a collision of heart-on-the-sleeve emotions and the desire in the face of challenges to maintain a tough-skinned exterior. An interpretation of Bo Diddley’s “Pills,” complete with shivering harmonica and clattering rhythms, announces there’s no cure for what infects this band. It’s that contagious. And how.

His deliveries gushing with campy fun, playful irreverence, and sheer decadence, Johansen doubles as the equivalent of an open fire hydrant that spouts at will. He’s at once tender and vicious, serious and tongue-in-cheek. On arguably his finest hour on the album, Johansen’s phrasing, passion, and lyrical ambiguity alone turn “Trash” into an insistent glam-rock gem whose echoing harmonies and girl-group references stamp it a pop classic.

Too much, too soon? Only for those averse to some of the finest rock ‘n’ roll ever put on tape.

Always one to command your attention with his multi layered grooves, this EP features an old Juan Atkins sample ''Buy some shit from Detroit'' that has been part of Beroshima's live sets for years. Excellent opener 'Encounter' reflects a recent idea Jeff Mills and Muller had to produce tracks together for a not yet produced sci-fi movie. It is an eight-minute astral techno trip with smooth, driving drums and plenty of intergalactic synth lines. 'The Passion of Lovers' transfers the organic Beroshima style into 2018 and shows off Frank's passion for spaced out electronica. It's a brilliantly bumping cut with lithe synths and melodies adding that soul and colour as it races through the galaxies. Limited quantities!

Experience the Double-Platinum 1996 Album in Audiophile Sound for the First Time
Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Is Sourced from the Original Analogue Tapes
1/2” / 30 IPS analogue master to DSD 256 to analogue console to lathe

If great art, as many believe, is inherently polarizing, then the Stone Temple Pilots’ Tiny Music… Songs from the Vatican Gift Shop easily ranks as the California-based band’s finest album. Simultaneously celebrated and castigated upon release in spring 1996, the group’s third full-length finds vocalist Scott Weiland and company expanding their “grunge” palette with a smart blend of glam rock, psychedelia, jangle pop, and other related styles. Having benefited from long-view reassessments that shed the biases and meanness of initial criticisms, the double-platinum effort is now largely and rightly seen as a creative masterwork. All the more reason why it deserves reference-grade production.

Overseen by producer Brendan O’Brien, Stone Temple Pilots used bedrooms, hallways, bathrooms, and the lawn to capture a broad blend of textures, spaciousness, and ambience that helped underline the group’s obvious (and somewhat unexpected) leap from normal “alternative” status to an artist whose aspirations went beyond that of many of its contemporaries. You can hear the multitude of details and tonalities with previously unattained clarity, presence, and scope on this fantastic reissue, which also delivers the impact and punch every rock record deserves. Another tremendous asset: The depth, grain, and pitch of Weiland’s voice.

For all the contagious choruses and glossy melodies that help make Tiny Music… Songs from the Vatican Gift Shop sparkle, the vocal performances of the late singer arguably rank as the best that the much-missed Weiland committed to tape. None other than the Smashing Pumpkins’ Billy Corgan — who, like many peers and critics, felt a pressing need to reevaluate the record as both time marched on and the self-importance attached to the “alternative” scene faded — praised Weiland’s efforts by noting: “Like Bowie can and does, it was Scott's phrasing that pushed his music into a unique, and hard to pin down, aesthetic sonicsphere.”

Smooth and diverse, those traits are everywhere on Tiny Music… Songs from the Vatican Gift Shop. From the clever combination of emotional closeness and distance he brings to the catchy albeit ultimately melancholic “Lady Picture Show”; to the lounge-fly balladeering that causes “And So I Know” to lightly swing akin to a bleary-eyed house band’s final number at a 4 A.M. bar; to the effortless cool and laissez-faire casualness he articulates on the grinding “Pop’s Love Suicide”; to the dimensional raspiness, defiant energy, and let-loose wail that sail through the crunchy “Big Bang Baby.”

The latter tune, the record’s first single and per Weiland a conscious attempt by the band to deconstruct its prior approaches, clearly borrows from the Rolling Stones’ “Jumpin’ Jack Flash.” Because of it, the song drew all kinds of barbs from naysayers. Their disdain extended to most material on Tiny Music… Songs from the Vatican Gift Shop, which indirectly references other prized acts such as the Beatles, Cheap Trick, T. Rex, and Lush. Those cynics failed to grasp that Stone Temple Pilots were paying homage and having a blast, with even Weiland, then battling serious substance-abuse and legal issues, getting in on the action.

Stone Temple Pilots’ skeptics also turned a deaf ear to the records’ stellar pop craftsmanship, sticky hooks, and sly commentary on music-industry machinations and fame. Not to mention the band’s intent, made clear from the outset. In an interview conducted in 1994, guitarist Robert DeLeo stated: “The last thing I wanted to do with this band was make everybody believe we invented something.”

Seen through that lens and the hindsight afforded history, and appreciated independent of the self-righteous authenticity standards of the day, Tiny Music… Songs from the Vatican Gift Shop sounds borderline fearless while authoritatively checking all the right boxes for fun, flavor, and finesse. Part winking send-up, part tribute to the glitter rock age, and part middle finger towards the hip crowd that didn’t know what they were missing, this mid-90s classic repeatedly invites you to drop the needle and press play.

Anile returns with his first release since the 2019 No Code. Ceremonial represents a welcome return for the UK based producer. The 4 track EP reflects the varied style of the producer who has previously released albums on Hospital Records imprint ‘Med School’ as well as releases on The North Quarter and this represents the return to footnotes.

An understated return avoiding the over exposed nature of modern music promotion the EP has already received DJ support from DJ’s such as Marky, Workforce, Jubei, LSB and Pola & Bryson

Friss is a turntablist at heart. Inspired by legends like C2C, The X-Ecutioners, Cut Chemist, A-Trak, D-Styles and many more, he always dreamed of creating music in that same spirit. For years, he searched for his own unique sound. The search is over, it’s been found.

GENERATION CMD+Z is a tribute to the art of turntablism, filled with battle record references. Soulful, jazzy hiphop beats accompanied with scratches by friss., DJ Robert Smith and Kypski. The warm, distinctive touch of Amsterdam-based keys wizard Soul Supreme shines through on "Beep Aaah Fresh" and "Use Head. After years of rocking clubs and touring with side projects, Friss is taking it back to the roots: beats and scratches, turntables and a mixer, a computer and CMD+Z. At the end of the record there is a "hidden" scratch sentence containing all scratch samples used on the record to complete the turntablism feel.

Following his journey into the 45 scene with Deejay Irie as It Takes Two since 2020, this marks Friss’s first-ever solo release — a personal and powerful debut.

Limited to just 200 copies.

Biga Ranx is a major artist of the international Dub Scene, he has been acclaimed by the biggest Jamaican MC's over the years for his unique flow and style. From the age of 14, Biga has been working on his lyrics and his compositions. After 5 albums and 1000 gigs over the world, Biga Ranx his still evolving his style by mixing Dub with Electronic, Lo-Fi and Hip Hop sounds.

1988 is his 4th album and the most successful one, it sold 80 000 units around the world and tens millions of streams.

Following a string of a successful string of collaboration albums with V Don and Harry Fraud, and after dropping his 3rd album "Charlie Pope" back in July & being sentenced to 7½ years in prison a few weeks later due to witness tampering, Dark Lo releases his 4th full-length outing from behind bars produced entirely by Havoc. Featuring guest appearances by Styles P and Vado, and an exclusive artwork illustrated by Roman artist Claudio Scialabba.

When you’re immersed into something you never actually realize if the essence will project as bright as the efforts, as deep as the process and as loud as the intentions. WOW, the Roma Est duo of China and Leo Non, have never had to create magic or delve into mystique along their meandering path, it’s just been a long solemn wait for what life throws at them and actually sticks. Cause and reaction, because the essence is quietly there when the clamour fades away. Their new album ‘Rosa di Luce’ is as pure as they come, a crystalline documentation of a new family, new meanings and new languages where the only rule is to gently adapt and just let things flow.

Welcoming Mina Wow, a tiny creature, into the fold was never going to be easy for a life lead on the road and for a band as radical as WOW where nothing is sugar-coated or constructed behind the scene, a different approach was desperately wanted, needed and searched. Almost total disarm, doing the small things, undress, get rid of the unnecessary feedback. That’s why ‘Rosa di Luce’ more than ever showcases WOW’s other-worldy spectral capability of creating songs that contain immense and minimal emotions, raw but welcoming, sincere but cutting and could play out to be a career defining album. Loosely recorded between their house in Rome and a campsite in Southern Puglia (where WOW organizes their yearly Shawala Festival) these songs are masqued my a minimalist entendre that leaves space for China’s stellar vocal delivery, a haunted range with frequencies to tickle a soul and pierce hearts, with Leo’s resolute guitar playing leading a timeless revolution.

The center-piece ‘Le Montagne E Noi’ is a perfect example of their stripped-back nakedness hiding complex arrangements (the beautiful sax played by Ryan Spring Dooley and celestial flutes by Alessandra Lazzarini) that sound effortless and imperative. Spiritual orchestrations that match our times and most importantly their new family and definition of space. Peaks that can always be reached, forests that need crossing (La Radura) in order to find a sound. There is no pretension or conceit to WOW’s style, it is entrancingly vibrant yet melancholy, taking notes from the most visceral strand of Italian traditional music, yet, still, walking down a trail that is very much their own. A planet where Branko Mataja and Alice Coltrane are backed by Emahoy Tsege Mariam Gebru and Mina on a perennial quest for the ethereal. Music to remember the essence, this is what we are, like the ocean. “

Balmat 17 marks both a return and a new frontier. It is the second album on the label from Patricia Wolf, whose 2022 album See-Through is one of the most beloved in Balmat’s catalog; it also marks the first time that Wolf has turned her hand to a film soundtrack. The results are every bit as magical as fans of the Portland, Oregon, composer’s music might expect.

Hrafnamynd—Icelandic for “raven film”—is a new feature-length documentary by experimental filmmaker Edward Pack Davee. Shot on a mix of film and digital formats, and incorporating his father’s Ektachrome slides from the 1970s, the autobiographical film works on multiple levels at once: a reminiscence of his childhood in Iceland, an exploration of landscape and folklore, and a documentary study of the island nation’s ravens—including a talking raven named Krummi.

Wolf is the perfect artist to score such an unusual film. Mixing ambient music and field recording—including extensive experience documenting bird song—Wolf brings an unusually empathic perspective to her music. In the context of Hrafnamynd, her airy melodies, pensive atmospheres, and vivid textures intuitively complement the film’s grainy film stock and blown-out colors. Friends for years, the two artists further bonded when Wolf asked Pack to film music videos for her songs “Woodland Encounter” (from See-Through) and “The Culmination Of” (from I'll Look For You In Others). Pack used Wolf’s previously recorded music as placeholders as he began assembling a rough cut of the film, which made her a natural choice to help him complete his idiosyncratic vision with an all-new, bespoke score.

But Wolf’s soundtrack also indisputably stands alone as a full-length album. Largely created using the UDO Super 6 synthesizer, it features a carefully distilled palette of warm, string-like pads and darkly glistening mallets, rounded out with the very occasional introduction of nylon string guitar. Musically and stylistically, the album’s 11 tracks represent both a continuation of the ruminative sound of See-Through and also an extension into new expressive modes. Few musicians, ambient or otherwise, are as skilled at balancing melody with atmosphere, or at finding ways to eke fresh at finding ways to eke fresh, surprising sounds out of an intentionally reduced toolkit. Meditative, immersive, and emotionally generous Wolf’s Hrafnamynd soundtrack evokes a range of ambient classics from decades past while confidently marking out its own verdant patch of ground.


Artist’s Statement:
Edward and I have been friends for years, but we really started to get to know one another better after I hired him to make music videos for my songs “Woodland Encounter” and “The Culmination Of.” For those projects we got to spend a lot of time hiking in various locations around the Pacific Northwest with his camera, very nice lenses, and tripod. Keeping quiet, hidden, and vigilant we searched for wildlife, good light on the trees, meadows, lakes, rivers, and skies. Edward was already an appreciator of my music and I was already in awe of his filmmaking talents so it felt like a great fit. Although we work in different areas of art our styles compliment one another. We both tend toward slow and careful pacing, with a focus on emotion and introspective reflections on life and the landscapes around us. For this reason, Iknew that I could trust Edward to create videos for my music. We saw so many beautiful and unexpected things on our filming days, but I was moved to tears once I saw how magnificent and poetic it all was. His video work from the cinematography, to the editing, and color correction helped bring my inner vision to life.

A few months after that, Edward surprised me with an invitation to work on the soundtrack for his new film, Hrafnamynd. I enthusiastically said yes. I had always wanted to work on a film, and I knew that his filmmaking style would be inspiring to write music for. I had recently acquired an UDO Super 6 synthesizer but hadn't used it much. I decided that this would be the synth that I'd use for the film. It has the ability to sound very modern, but can also sound so warm and fuzzy, like a synth from the 1970s. It turned out to be the perfect instrument for this project as the film itself straddles time from the ’70s to today.

When Edward sent me the rough cut of the film, he used placeholder music to help give me an idea of the emotion and energy that he was hoping to achieve for each scene. For many of the scenes, Edward used music from my albums as temporary tracks. This told me that he trusted my work and style and therefore I should just trust my intuition with how to proceed. I wanted to make sure that everything that I made was a direct reflection of what was happening on screen, a mirror of its emotion and energy so people could really lock into the film psychologically. This process took my composing to unexpected places—like being led by a strange cat or a raven that seemed to have something to show me. I found that the approach made the music so much more dynamic than my usual style. I really enjoyed being influenced by the action and dialog on the screen. Thankfully, Edward was very happy with the work. I made sure to handle this project with the utmost care because this is about his life and his family, and an exploration of the experiences that made him an artist and filmmaker. While watching the film many times over, I found myself thinking about my own family and my early memories with them and how the place where I grew up has influenced who I have become. I found that his film invites the viewer to reflect on their own lives in a similar way. I hope that this music and film can guide others to contemplate on the history of their beingness and the people and places that shaped them.

Another aspect to this project is the splendor and wonder of Iceland itself. I had the opportunity to visit Iceland for the first time in 2023. I got to play a show there for the Extreme Chill Festival and met many friendly and brilliant Icelanders. I also got to collect field recordings that I used in the film. It's a fascinating place and culture that easily captures the hearts and imaginations of anyone who visits. Whether you spend your time in the city immersed in its impressive arts scene, or venture out into the wilderness to behold its wondrous landscape, it will leave a lasting impression. The soundtrack is also a love letter to Iceland itself.

Experience the magic of a timeless classic reborn: this exclusive 7" vinyl features a brand-new remake of the iconic "I Believe in Miracles", produced by French groove maestro MonsieurWilly and performed by the radiant soul vocalist Natalie Nova. With a perfect balance of vintage disco vibes and fresh production finesse, this release breathes new life into the legendary track, making it both nostalgic and clubready. Adding to its irresistible charm, the remake is infused with a Latin summerinspired rhythm—a driving, syncopated beat that designs the heartbeat of Latin music. Ment to be upbeat and danceable, the track incorporates percussive grooves, rhythmic guitars, and tasteful electronic elements to create a vibrant, sun-soaked atmosphere that feels right at home from beach bars to dancefloors. The collaboration between MonsieurWilly and Natalie Nova delivers a unique blend of soulful warmth, infectious energy, and rhythmic flair. Natalie Nova’s powerful vocals shine with emotion and style, while MonsieurWilly’s production wraps it all in a groove-heavy, analog-inspired soundscape. This 7" is pressed on high-quality vinyl and is ideal for collectors, DJs, and lovers of soul, disco, and feel-good summer anthems. Don't miss this limited edition release - proof that miracles still happen on wax.

Japanese acid pop outfit Cho Co Pa Co Cho Co Quin Quin channel the globe-trotting spirit of Haruomi Hosono’s 1970s tropical boogie on their debut album, Tradition.

Named after one of the basic rhythms of Cuban folk music and drawing on influences from across the globe, Cho Co Pa Co Cho Co Quin Quin are quite simply a world unto itself.

Comprised of three childhood friends, Daido, Yuta and So, who reconnected during the coronavirus pandemic, Cho Co Pa initially emerged as a playful way for the three 23-year-olds to pass the time. Tapping into their youthful connection, they created a sound that exudes confidence and curiosity, a homage to the masterful world of YMO’s and Happy End’s Haruomi Hosono, rooted in the trio’s own idiosyncratic experience of the present.

Recorded at home and promoted on hugely popular DIY TikTok videos, their debut album Tradition is a technicolour exercise in armchair travelling – a kind of lockdown exotica for the housebound whose nostalgic flights of fancy are laced with a sense of whimsical melancholy for the lost freedoms of youth.

Referencing everything from Afro-Cuban percussion to lo-fi beats, Buddhist spirituality to trap, each member of the band brings different musical inspirations to the table. Latin American and Middle Eastern styles sit adjacent to a fascination for the electronic music of Aphex Twin, Dorian Concept, Underworld and Daft Punk. At times, the music verges on acid pop bliss, at others, it grooves with the instrumental funk sensibility of BADBADNOTGOOD.

“In the first place, when I create a song, my goal is to transport the listener to a mysterious place,” vocalist Daido explained in a recent magazine interview. Using lyrics as another sonic texture in the composition of ideas, Cho Co Pa paint beguiling sonic postcards of far-flung moods across 12 highly original tracks.

Marrying the organic and the electronic on rhythmically sophisticated compositions like ‘Chichibu’ and ‘Watatsumi’, it is on the album’s standout track ‘Gandhara’ that the experimental sound of Cho Co Pa comes to the fore. Referencing the ancient city of Gandhara through which Buddhism made its way from India to China, the track is a vocoder-trap-inspired, Udu drum-driven pop jam that lilts with unmistakable Balearic flair. If that’s difficult to imagine, then know simply that ‘Gandhara’ sounds like nothing else on this side of Saturn. Even Daido seemed surprised by the outcome: “I feel like we were able to create something that exceeded our abilities. That was huge!”

Hugely popular in Japan, with festival appearances lined up alongside BADBADNOTGOOD at Asagiri Jam in October, it's safe to say the success of Tradition has taken Cho Co Pa by surprise. You won’t have heard anything like it."

Bebedera takes the style of Tarraxo to a heightened awareness of its sexual nature. Tight, wicked layers of percussion, a suggestive ID ("Drinking is his life"), a slow pace that's not only perceptively slow, it sounds charged with intent, even malice, dissolution. Letting go of morality may be the big attraction in the music, permission to get down, this time in a heavy, conspicuous manner instead of a spiritual, breezy floatation. One has to recognize the impulse in ourselves. Once at peace with this rough nature, there are sublime grooves to follow, mind-boggling arrangements, a freedom from judgement in connecting with what may seem to be at first a very masculine take on dancefloor sensuality but which is in fact only human. Just with less filters.

In other ways, an aural combination of metal and flesh produces this notion of a cyborg, a very expressive physical body making its weight known to everybody around, a sort of walking fortress as in the "Moderan" group of sci-fi short stories. A glorious rattle of lata percussion, scraps from the junkyard. A sense of unease, even slight danger starts a flow of adrenalin. According to DJ Marfox, it's not the only thing flowing, there's also a strong desire for intercourse when a Bebedera tarraxo is playing. His very distinctive style has been a cult favourite for years. Accordingly, it took years to make contact, to reach an agreement, and the result is a set of classics that stretch as far back as 2014. Still the same punch, still the feeling no one has really stepped into this territory with such force.

Flipping the construct on its head, there's two Bebedera house tracks, we'd say almost an oddity, an abrupt change from the previous density of atmosphere, though they retain all the percussive bounce. Sensual, sure, a different tempo also letting through a romantic disposition other than the sheer physical attraction. One of the titles sums up the aesthetical power at play: "I Will Beat The Top High". As in reaching further out, further up. Wanting to. Time freezes - 2014 and 2016 (production years of these two tracks), fold up and melt into the Present. Where it matters.

Demdike Stare & Cherrystones unveil a long-in-the-making darkside fantasy weaving atmospheric and loose-limbed cuts recorded at labs in London and Manchester, brilliantly shaking a bush of ghostly trig points ranging from the Mars rehearsal tapes to Minimal Man, Randy Greif’s cut-ups, Conrad Schnitzler’s industrial prototypes and ‘70s ECM sides – with vocal contributions from Ssabae’s mesmerising Laura Lippie.

In dazed pursuit of styles heard on Cherrystones’ DDS tape ‘Peregrinations in SHQ (Super High Quality)’, the renowned London digger properly hexes sonic leylines with his label bosses on 10 wickedly grubby and hazed sound experiments. They tumble down the rabbit hole like some sixth sense-guided call-and-response, resulting in an exquisite unfolding of psychoacoustic spaces familiar to their mutually spirited sounds.

Honestly it's some of the dirtiest and most esoteric gear we've heard from Demdike; you can sense a lifetime of incessant digging drip through every loop and crack; grotty no-wave, industrial noise, DIY psych, proto-techno and gnarled concrète, further bolstered by Cherrystones’ perpendicular, equally insatiable and fathoms-deep areas of interest. With a focus on scrappy, feral cuts and hastily recorded edits, the trio roughly re-draw wordless chants and hyper-compressed knocks over a vortex of found sounds that curdle in rhythmic heat. Never staying sill for long, the trio get drowned by watery ambience, then shredded loops, Technoid shrapnel and electric bass prangs dancing into the aether.

The crankiest spirit perfuses the whole thing, evoking states of unravel and psychic distress as they pit a near-peerless collective knowledge into the void. Laura Lippie acts as human ligature to sanity, a fleeting constant found smudged into the hip hop chops of ‘Familiar Unfamiliarity’, spectral incantations of ‘Prophet in View’, or a channelling of Ozzy in ‘Thee Oath’, among more deranged tongues on ‘Observing the Crux’.

It’s the missing link between ECM, Earth and Dilloway we didn’t know we needed - up there with some of the most satisfyingly deep and frazzled gear this century.

2025 Repress

Hector Couto joins Cécille Records this summer for the heavy hitting ‘Hot Stuff’ EP, comprising one collaboration with Alejandro Paz and three solo jams.

Spain’s Hector Couto has long been at the forefront of the underground house scene now, since the early 2000’s he’s racked up releases on Hot Creations, BPitch, Defected, Solä, Saved, ElRow and of course his own Roush among others. Here we see Couto add another reputed label to his affiliations, namely Nick Curly and Marc Scholl’s Cécille, the powerhouse German label that’s also been a staple platform in the scene since the early 2000’s.

Opening up the EP is a special collaboration that’s already been causing a stir across South America, Alejandro Paz’s original vocal of ‘El House’ was released on the beloved Cómeme 12 years ago and became a cult classic. Here Hector revisits it, stirring in the vocal alongside his own robust, stripped-back house style. ‘Cami’s House’ follows with vacillating sub bass tones, shuffled snares, crisp percussion and resonant flutters running
alongside dubbed out chords and hypnotic vocal hooks. Opening the B-Side is ‘Hot Stuff’ , leaning into a more filter-house aesthetic with sweeping, choppy soul samples and swinging drums before ‘Red Velvet’ concludes the release, laying down funk-infused guitar licks, organic percussive grooves, bulbous low-end tones and twitchy synth stabs.

Congratulations, Electro connoisseur! You are about to enter the Electrifying Dojo. A place where Sifu pdqb and Sensei Rolando teach a transcendental, one-of-a-kind neo-futuristic martial art that does not use hands but something far more delicate and powerful: MUSIC.

Blending martial discipline with the art of electronic music is something deeper, something that no words can properly describe. The skills you will be taught here are feeling music, embodying it. pdqb and Rolando believe that true harmony comes when the mind, body, and soul are united in the sounds that vibrate through the air.

The sounds of this first lesson are soft at first, almost imperceptible. But then they grow into a delicate, trembling melody that fills the room with an emotion that is difficult to place. It isn’t sadness, nor is it joy, but something in between. The more you listen, the more you will be aware of something strange: tears will fall gently, silently. They are not forced, nor are they out of sorrow - it is simply because the music feels so beautiful. Your deepest emotions will be triggered, every note will carry out an old truth, a secret truth, buried deep in your heart.

Another quality drop from Synaptic Cliffs. 4 dark and beautiful signature-style Electrocognition journeys from pdqb, playful with a modern twist while still remaining loyal to its roots. And on the flipside: two stunning, classic Rolando remixes, each with the potential to be the crowning moment in the club.

Unlike other broadcasts from this tour, this recording captured their entire
performance that night. What makes this release so special, is that Talk Talk sleeve
designer James Mash, has designed the artwork. This is a very special limited edition
on blue and orange vinyl.
Talk Talk was an English band formed in 1981, initially gaining recognition for their
synth- pop sound in the early 1980s. The band was fronted by Mark Hollis, whose
distinctive voice and introspective lyrics became a defning feature of their music.
Their early hits, such as "Talk Talk" and "It's My Life," showcased a polished, new wave
style that earned them commercial success and a place in the burgeoning pop scene
of the era. However, Talk Talk's true artistic legacy lies in their later work, where they
transitioned from pop- oriented music to pioneering a more experimental and
atmospheric sound, embracing a more ambitious and avant-garde approach. Albums
like 'The Colour of Spring' (1986) marked a turning point, blending lush
instrumentation with deeply emotional themes. This evolution culminated in their
critically acclaimed masterpieces, 'Spirit of Eden' (1988) and 'Laughing Stock' (1991).
These albums, characterised by their improvisational style, sparse arrangements, and
use of silence as a musical element, are often credited with laying the groundwork for
the post-rock genre

HO, HO, HOWDY! Cowboys also celebrate Christmas! The biggest country stars present the most beautiful Christmas songs in country style, of course. A treat for all country fans, as well as for lovers of cozy Christmas atmosphere in the style of American Nashville romance. With punch and turkey, banjo and harmonica, fiddle and mandolin, Santa Claus can set off in a good mood. If you‘ve always wan- ted to spend the most wonderful time of the year with Johnny Cash, Marty Robbins, Chet Atkins and many other country greats, The Country Christmas Album will fulfill your Christmas wish

For two decades, Trad Vibe Records has been exploring and celebrating the many facets of hip-hop, funk and soul music, always driven by a passion for authentic, organic sounds. Founded in 2005, this independent French label has made its mark on the underground scene with cult releases, transatlantic collaborations and a loyalty to vinyl culture. In 20 years, Trad Vibe has brought together beatmakers, MCs and DJs around a musical vision that is both timeless and audacious. To celebrate this anniversary, the label unveils a limited vinyl edition of 300 copies, a veritable digest of its musical universe.

Side A kicks off with "Boom Bap Introduction", a track mixing jazz and boom bap in a characteristic old-school instrumentation by DJ Vince.
This is followed by the West Coast energy of DJ King Flow & Lex Lakaiser on "Money".
The soulful groove of Moar, Raashan Ahmad and Kohndo explodes on "Stand Up (Soul
Train Mix)".
Juliano concludes the side with his blues-inspired "Nothing or All".
The B-side kicks off with the classic “Rock It Feel The Groove”, a funky bomb orchestrated and scratched by Dee Nasty, a historic figure in French hip-hop.
Moar and Raashan Ahmad return with "Sky High", a track reminiscent of the golden age of 80's Disco Rap.
Followed by LS Brigandes with the sensual "You Make Me Feel", bathed in New York, Hip-Hop, Soul and Jazzy influences.
To round off the album in style, DJ Clyde concludes with a positive message on Boom Bap sounds and Lofi with “More Love”.
This anniversary compilation is available on vinyl only, in an ultra-limited edition of 300 copies. A must-have collector's item for fans of polished beats and authentic vibes.