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Another DINTE tape curated by cult WFMU show and blogger Bodega Pop; Gary Sullivan's long-running project rooted in a passion for digging for music in bodegas and cell-phone stores across NYC's boroughs. This edition focuses in on late 1990s and early 00s hip-hop & rnb from across Southeastern Asia.

"While on a work trip to Chicago in the mid-2000s, I was craving a bowl of pho. A bit of sleuthing led me to hop on the red line "L" up to Argyle Street, ground zero of Chicago's Little Saigon. In the 1960s, Chicago restaurateur Jimmy Wong invested in property on Argyle Street with a vision to build the city's new Chinatown, a kind of mall with pagodas, trees, and reflecting pools. In 1971, the Hip Sing Association, a labor/criminal organization, established itself in the area, and along with Wong, they bought up 80% of the buildings on a three-block stretch of the street. Wong reportedly broke both hips in an accident, leaving his dream to wither; in 1979, Charlie Soo of the Asian American Small Business Association brought it back to life.

Soo expanded the area into a vibrant mix of Chinese, Vietnamese, and other Southeast Asian businesses, pushing for renovations, including an Argyle station facelift and the Taste of Argyle festival. At the time I exited the station and crossed the street to get a better look at a shop with a poster for A Vertical Ray of the Sun in the window, the area was home to some 37,000 Vietnamese residents.

Opening the door, I was gobsmacked by a cavernous Southeast Asian media store, bigger than any I'd been to in Dallas, Montreal, New York, or Seattle. I spent some time at the bins, pulling out collections by some of my then-favorite singers — Giao Linh, Khánh Ly, Phương Dung — before approaching the register to ask the young woman behind the counter if the they carried any Vietnamese rap. It was a longshot, I knew, but if such a thing existed on physical media and anyone carried it, it would be this place.

'Have you heard Vietnamese rap?' she replied, her tone of voice and facial expression betraying a comically exaggerated level of distaste. I admitted my ignorance but assured her that I had long cultivated a high threshold for cheesy pop music of all kinds and genuinely tended to like hip hop from around the world.

She rolled her eyes and pointed to an area I had missed. I walked toward a far corner of the store and knelt over a small box on the floor sparsely populated with CDs, VCDs, and cassettes. I pulled out half a dozen Vietnamese hip hop compilations and a strange-looking CD with a cavalcade of odd typefaces in a queasy multitude of colors: THAILAND RAP HIT, it boasted, with 泰國 "燒香" 勁歌金曲 below it. The information on the back provided an address in Kuala Lumpur and the titles in Thai and English translation. The first track included three simplified Chinese characters after the English-language version of the title, "The Chinese Association": 自己人.

WTF was going on here? Walking back to the register, I waved the CD, asking "What's up with this one?" She gave me a look. I placed it on the counter so she could bask in the cover's full glory. She shrugged. "I'm guessing it's Thai rap?" She looked disappointed in me when I said I'd take it.

It turned out to be a Malaysian pressing of half-Chinese Thai hip hop artist Joey Boy's third album, Fun Fun Fun from 1996, and it completely changed my sense what the genre could sound like. The rapper's self-assured, effortless, silly-but-cool rapid-fire delivery weaved in and out of the most bizarre, antic beats I'd ever heard. The six Vietnamese hip hop CDs were a mixed bag, mostly "serious" sounding mimicry of US rapping over predictable production, but the highs were very high. When I got home and listened to it all, I made a point to find as much hip hop from this part of the world as I could.

The tracks collected here provide a limited but potent reflection of the two-decade ascendency
and ultimate world-takeover of hip hop, as it displaced rock and its endless variants for millions of listeners. This not a fair and balanced overview of regional production: I've only included tracks from Cambodia, Indonesia, Myanmar, Philippines, Thailand, and Vietnam. Nor is this a biggest or most important artists collection; instead, I've tried to recapture the pure visceral thrill of that first time I heard Joey Boy, choosing bangers that sound like nothing else, from nowhere else."

—Gary Sullivan

Megadeth have announced their final, self titled album, for release in 2026, via Dave Mustaine’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label. The campaign is anchored by the first single “Tipping Point”, multiple variants and exclusives and and a farewell tour has been hinted for 2026 “There's so many musicians that have come to the end of their career, whether accidental or intentional,” DAVE MUSTAINE says. “Most of them don't get to go out on their own terms on top, and that's where I'm at in my life right now. I have traveled the world and have made millions upon millions of fans and the hardest part of all of this is saying goodbye to them. We can't wait for you to hear this album and see us on tour. If there was ever a perfect time for us to put out a new album, it's now."

Real Lies’ new album ‘WE WILL ANNIHILATE OUR ENEMIES’ will arrive on April 16th 2025 via Tonal. The album is about taking the hand of someone you love intensely and running headlong into the chaos and noise and grinding forces that dominate modern life. It follows gilded 2024 collaborations with Mall Grab, Kettama and Drain Gang’s YEAR0001 label. Lyricist Kevin Lee Kharas and producer Patrick King created the record in their studio, hidden away under a railway bridge somewhere in London’s Zone 3. Three pictures stared down at them from the walls throughout, including an image of a young Sasha Shulgin in the relief print style of Che Guevara t-shirts sold at Camden Market, and a photo of an orbiter fairground ride in flight, taken sometime in the early 2000s. Kharas’ lyrical inspiration comes when he steps away from the tsunami of data flooding his consciousness and paces London’s rain-soaked streets late at night. “I wanted the songs on WWAOE to confront modern reality head-on, unflinching,” he explains. “I didn’t want to whine about a lost past. I didn’t want nostalgia. I wanted to learn to love the modern world, with all its horrors and futility.” After a teenhood spent playing in hardcore bands, the duo found ecstasy at a squat party for the first time, and moved to London. Since then, they’ve made music about finding romance and fun when the moon is up, becoming a cult act in the process.

(Limited Edition 12" Silver Vinyl, 500 Individually Numbered Copies Worldwide) To mark an exceptional milestone, the legendary DJ and producer Phi Phi celebrates 40 years behind the decks with the launch of his brand-new label Mouvement Perpétuel and its inaugural release, the Forty EP, available in both vinyl and digital formats.

Early support from Forty Cats (Balance), Graziano Raffa (Sudbeat), Acid Pauli, and many more.

A true pioneer and iconic figure of the electronic music scene, Phi Phi has shaped generations of clubbers through his legendary residencies at At The Villa, Boccaccio Life, and Extreme, to name just a few. Throughout his career, he has deeply influenced the evolution of trance and progressive culture in Belgium, crafting a distinctive sound and spirit that continue to inspire today’s artists.

The Forty EP captures the very essence of this musical journey: three original tracks blending progressive house and melodic techno, where captivating harmonies and hypnotic rhythms intertwine to deliver a sound that is both timeless, powerful, and refined.

Pressed on a silver vinyl limited to 500 individually numbered copies, the record was unveiled during a special event celebrating Phi Phi’s 40-year career — making each copy not only a true collector’s item, but also a symbolic piece of his enduring musical legacy.

Over the past decade, East London artist Kojey Radical has cemented himself as one of the most creative and unique voices in British music. His debut album Reason to Smile (2022) was released to critical acclaim, and saw him emerge as one of the defining voices in UK culture. Now, the 32-year-old readies to release his second album Don’t Look Down.

“I wanted to make this album more personal and more honest,” he says, “we have to be able to accept that the messenger has flaws and all.

16-tracks long, Don’t Look Down, set for release on 19th September 2025, is a musically rich and deeply introspective reflection on the shifting tides, lows and joys that have passed through his life since his emergence into the public eye.

Sonically, the album provides the most experimental and eclectic music of his career, with influences ranging from golden age Hip Hop to disco, grime to Indie, Jazz to Ska. Together, these strings combine to give a pertinent insight into Kojey’s inner world, and a timestamp documenting the feelings, emotions and experiences that arise when many reach the milestone of their 30s.

“When you’re younger, certain ages seem so grown,” he says, “you feel like you’re supposed to have your life together and all figured out by 30. Then especially when you're in the spotlight you feel extra pressure to have it figured out because so many people are looking towards you.”

Don’t Look Down follows debut album Reason to Smile (2022). A critical success, it landed at No.11 on the UK Album Charts and was nominated for the Mercury Prize as well as two MOBO Awards. In the following year came a nomination for Best New Artist at 2023 BRIT Awards and Best Contemporary Song at the Ivor Novello Awards. He toured across the UK, as well as hitting the festival circuit.

This sense of growth was not limited to music. Kojey was tapped by the British Fashion Council to host the 2023 and 2024 editions of The Fashion Awards as his stock in music and wider culture continued to rise.

The album he says, is a reflection of “the experiences I’ve had over the past few years. That shaped the direction I took going forward. It’s given me the opportunity to tell new stories from newer perspectives. It was liberating, and it was very necessary to keep me in love with the process and to keep making music.”

The result is his most innovative album yet, a project where a sense of profound personal interrogation and introspection dance in union with the rich musical tapestry. Don’t Look Down is a story of purpose lost and then found, of what happens in the aftermath of achieving your childhood dreams, and the ranging flux of emotions that rise to the surface once the music stop

1987 eroberte „Houseman“ die Tanzflächen weltweit – nun kehrt der Klassiker als exklusive, farbige Maxi-Vinyl zurück: neu abgemischt, remastered und bereit für kraftvolle ClubMomente im authentischen Vinyl-Sound.

Track-Highlights der Maxi-Vinyl:

• New Radio Edit – die kompakte Fassung für direkte, energiegeladene Einsätze.
• Oliver Bach Remix – treibender Techno mit maximaler ClubPower.
• Dominatrix Remix – hypnotischer Indie Dance für anspruchsvolle und experimentierfreudige Hörer.
• Remastered Original – der Kult-Track in frischem, modernen Klangbild, klarer und druckvoller als je zuvor.
• Germany Calling (Remastered) – die legendäre Version neu aufgelegt und perfekt für nostalgische Vinyl-Momente


In 1987, ‘Houseman’ conquered dance floors worldwide – now the classic is back as an exclusive, coloured maxi vinyl: remixed, remastered and ready for powerful club moments with authentic vinyl sound.

Track highlights of the maxi vinyl:

• New Radio Edit – the compact version for direct, energetic performances.
• Oliver Bach Remix – driving techno with maximum club power.
• Dominatrix Remix – hypnotic indie dance for discerning and adventurous listeners.
• Remastered Original – the cult track with a fresh, modern sound, clearer and more powerful than ever before.
• Germany Calling (Remastered) – the legendary version reissued and perfect for nostalgic vinyl moments.

We are thrilled to welcome back Aldo Cadiz to Beatwax Records with his brand-new EP “Amandorada.”



Years after his highly acclaimed debut album on Beatwax, Aldo returns with a stunning follow-up that once again showcases his unique sound signature — a perfect blend of hypnotic grooves, deep rhythmic precision, and timeless underground energy.



“Amandorada” captures the essence of Cadiz’s refined production style: warm textures, intricate percussion, and that unmistakable Latin-influenced pulse that has made him a favorite among DJs and music lovers worldwide.



This EP marks not only a reunion between Aldo Cadiz and Beatwax Records but also a new chapter in our shared musical journey. We couldn’t be happier to have him back on the label, delivering another powerful statement of cutting-edge electronic music.





Don`t sleep on this. Already making waves and getting hammered by all the big players in the scene.



>>> comes in 4c Sleeves

Motor city royalty Floorplan, aka Detroit techno pioneer and creator of minimal techno Robert Hood and his DJ/producer daughter Lyric Hood, announce their forthcoming inclusion in the deeply respected ‘fabric presents’ mix series with the release of their new single ‘You’re A Shining Star’, out now. The full mix drops on digital/vinyl/CD via fabric records on 28th November.

Robert has been a long-standing fabric favourite since the institution's earliest years, clocking up over 20 sets in Room 2, including a live session on New Year's Eve, 2012. In 2008, he'd turn in Fabric 39 which is among the most revered contributions to the fabric mix canon. Now, with the forthcoming ‘fabric presents Floorplan’ mix, the story comes full circle - marking both the duo’s debut on the iconic mix series and a monumental moment for the family project.

About Floorplan: Emerging from a musically rich Detroit upbringing steeped in Motown and vinyl culture, Robert Hood became an early member of the seminal ’90s collective Underground Resistance, helping to spearhead the rise of techno. Going solo, Hood created minimal techno with his Minimal Nation LP. Groundbreaking productions, acclaimed performances, and his own M-plant label followed, until in ’96 he formed Floorplan - an alter ego to expand beyond minimal techno into gospel, soul and house-infused techno. Immersed in music from an early age, Lyric eventually caught the same electronic spark that’s driven her father for decades. In 2014, after the release of Hood’s debut Floorplan album Paradise, the project evolved as the then-16-year-old Lyric joined him to perform as Floorplan, including a supreme closing set at Dekmantel’s Boiler Room stage. Two years later, Lyric officially became a full member of Floorplan, cementing their father–daughter collaboration, and they’d release their co-produced album Victorious on M-Plant that same year.

2026 repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

X-IMG presents “SEARCHING HELL” the new album by industrial body music producer SARIN, this 12” full-length LP marks his first release in six years.

SARIN (aka Emad Dabiri) has spent the last years sharpening his teeth on numerous collaborations and dozens of remixes. His evolution and development is displayed in the Gesamtkunstwerk that is “SEARCHING HELL” a nine track cybernetic joyride into oblivion; featuring his distinct militant drumwork, heat-seeking bass lines and surgically interlaced sampling, augmented by deceptively serene atmospheric pads & bloodied vocals. All this composed and assembled with an array of analog, digital and software based weaponry. “SEARCHING HELL” seeks to find meaning in an increasingly meaningless & subjugated world while maintaining a subversive & defiant autonomy.

Comes with download code.

The Éthiopiques series returns! Essential archive recordings from an extremely fruitful period in Ethiopian music.

Before “Swinging Addis” took over the world, there was Moussié Nerses Nalbandian — the Armenian-born composer who shaped modern Ethiopian music. Mentor, arranger, and pioneer, he laid the foundations of Ethio-jazz.

This Éthiopiques volume revives his forgotten legacy, recorded live by Either/ Orchestra First issue ever with new exclusive photos and in depth liner 8-page insert.

“Ethiopian jazzmen are the best musicians that we have seen so far in Africa.
They really are promising handlers of jazz instruments.”

Wilbur De Paris
(1959, after a concert in Addis Ababa)

አዲስ፡ዘመን። *Addis zèmèn* **A new era.**
The time is the mid-1950s and early 1960s, just before "Swinging Addis" bloomed – or rather boomed – onto the scene. Brass instruments are still dominant, but the advent of the electric guitar, and the very first electronic organs, are just around the corner. Rock’n'Roll, R’n’B, Soul and the Twist have not yet barged their way in. Addis Ababa is steeped in the big band atmosphere of the post-war era, with Glenn Miller's *In the* *Mood* as its world-wide theme song, neck and neck with the Latin craze that was in vogue at the same period. Life has become enjoyable once again, with the return of peace after the terrible Italian Fascist invasion of Ethiopia (1935-1941). The redeployment of modern music is part and parcel of the postwar reconstruction. *Addis zèmèn* – a new era – is the watchword of the postwar period, just as it was all across war-torn Europe.
The generation who were the young parents of baby boomers** were the first to enjoy this musical renaissance, before the baby boomers themselves took over and forever super-charged the soundtrack of the final days of imperial reign. Music is Ethiopia's most popular art form, and very often serves as the best barometer for the upsurge of energy that is critical for reconstruction. Whether it be jazz in Saint-Germain-des-Prés or the *zazous* who revolutionised both jazz and French *chanson* after the *Libération*, be it Madrid's post-Franco Movida, or Dada, the Surrealists and *les années folles* that followed World War I, the periods just after mourning and hardship always give rise to brighter and more tuneful tomorrows. Addis Ababa, as the country's capital, and the epicentre of change, was no exception to this vital rule.

**Two generations of Nalbandian musicians**
Nersès Nalbandian belonged to a family of Armenian exiles, who had moved to Ethiopia in the mid-1920s. The uncle Kevork arrived along with the fabled "*Arba Lidjotch*", the** "*40 Kids*", young Armenian orphans and musicians that the Ras Tafari had recruited when he visited Jerusalem in 1924, intending to turn their brass band into the official imperial band. If Kevork Nalbandian was the one who first opened the way of modernism, pushing innovation so far as to invent musical theatre, it was his nephew Nersès who would go on to become, from the 1940s and until his death in 1977, a pivotal figure of modern Ethiopian music and of the heights it. Going all the way back to the 1950s. Nothing less. And it is Nersès who is largely to thank for the brassy colours that so greatly contributed to the international renown of Ethiopian groove. While the younger generations today venture timidly into the genealogy of their country's modern music, often losing their way amidst a distinctly xenophobic historiographical complacency, many survivors of the imperial period are still around to bear witness and pay tribute to the essential role that "Moussié Nersès" played in the rise of Abyssinia's musical modernity.
Given the year of his birth (15 March 1915), no one knows for sure if Nersès Nalbandian was born in Aintab, today Gaziantep (Turkiye/former Ottoman Empire) or on the other side of the border in Alep, Syria... What is certain is that his family, like the entire Armenian community, was amongst the victims of the genocide perpetrated by the Turks. Alep, the place of safety – today in ruins.
Before Nersès then, there was uncle Kevork (1887-1963). For a quarter of a century, he was a whirlwind of activity in music teaching and theatrical innovation. *Guèbrè Mariam le Gondaré* (የጎንደሬ ገብረ ማርያም አጥቶ ማግኘት, 1926 EC=1934) is his most famous creation. This play included "ten Ethiopian songs" — a totally innovative approach. According to his autobiographical notes, preserved by the Nalbandian family, Kevork indicates that he composed some 50 such pieces over the course of his career. This shows just how much he understood, very early on, the critical importance of song as Ethiopia's crowning artistic form. Indeed, for Ethiopian listeners, the most important thing is the lyrics, with all their multifarious mischief, far more than a strong melody, sophisticated arrangements or even an exceptional voice. (This is also why Ethiopians by and large, and beginning with the artists and producers themselves, believed for a long time — and wrongly — that their music could not possibly be exported, and could never win over audiences abroad, who did not speak the country's languages).

Last but not least, one of Kevork's major contributions remains composing Ethiopia's first national anthem – with lyrics by Yoftahé Negussié.
Nersès Nalbandian moved to Ethiopia at the end of the 1930s, at the behest of his ground-breaking uncle. Proficient in many instruments (pretty much everything but the drums), conductor, choir director, composer, arranger, adapter, creator, piano tuner, purveyor of rented pianos,... he was above all an energetic and influential teacher. From 1946 onwards, thanks to Kevork's connexion, Nersès was appointed musical director of the Addis Ababa Municipality Band. In just a few years, Nersès transformed it into the first truly modern ensemble, thanks to the quality of his teaching, his choice of repertoire, and the sophistication of his arrangements. It was this group that would go on to become the orchestra of the Haile Selassie Theatre shortly after its inauguration in 1955, which was a major celebration of the Emperor's jubilee, marking the 25th anniversary of his on-again-off-again reign.

At some point or other in his long career, Nersès Nalbandian had a hand in the creation of just about every institutional band (Municipality Band, Police Orchestra, Imperial Bodyguard Band, Army Band, Yared Music School…), but it was with the Haile Selassie Theatre – today the National Theatre – that his abilities were most on display, up until his death in 1977. To this must be added the development of choral singing in Ethiopia, hitherto unknown, and a sort of secret garden dedicated to the memory of Armenian sacred music, and brought together in two thick, unpublished volumes. Shortly before his death (November 13, 1977), he was appointed to lead the impressive Ethiopian delegation at Festac in Lagos, Nigeria (January-February 1977).

His status as a stateless foreigner regularly excluded him from the most senior positions, in spite of the respect he commanded (and commands to this day) from the musicians of his era. Naturally gifted and largely self-taught, Nerses was tirelessly curious about new musical developments, drawing inspiration from the very first imported records, and especially from listening intensely to the musical programmes broadcast over short-wave radio – BBC *First*. A prolific composer and arranger, he was constantly mindful of formalising and integrating Ethiopian parameters (specific “musical modes”, pentatonic scale, and the dominance of ternary rhythms) into his “modernisation” of the musical culture, rather than trying to over-westernise it. It even seems very probable that *Moussié* Nerses made a decisive contribution to the development of tighter music-teaching methods, in order to revitalise musical education during this period of prodigious cultural ferment. Flying in the face of all the historiographical and musicological evidence, it is taken as sacrosanct dogma that the four musical modes or chords officially recognised today, the *qǝñǝt* or *qiñit* (ቅኝት), are every bit as millennial as Ethiopia itself. It would appear however that some streamlining of these chords actually took place in around 1960. It was only from this time onward that music teaching was structured around these four fundamental musical modes and chords: *Ambassel*, *Bati*, *Tezeta* and *Antchi Hoyé*. A historical and musical “details” that is, apparently, difficult to swallow, especially if that should honour a *foreigner*. Modern Ethiopian music has Nersès to thank for many of its standards and, to this day, it is not unusual for the National Radio to broadcast thunderous oldies that bear unmistakable traces of his outrageously groovy touch.

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

Seeking out the inspirational intersection between free improvisation, rave and ancient mysticism, Plants Heal deliver an album of kaleidoscopic, organic beatdowns to Quindi.
Plants Heal is a collaborative project between Dan Nicholls on synths, Dave De Rose on drums and Lou Zon (aka Louise Boer) on visuals. The roots of the project are entwined with Dan and Lou's London-based event Free Movements, which began in 2018 to explore how instrumental music could merge with live electronics and DJ sets. Dave and Dan found themselves playing together frequently at the event and as part of Dave's free improv project Agile Experiments, with their accomplished track records as multi-instrumentalists reaching across many layers of music culture. The particular synergy of their partnership taps into the subliminal, surreal and transcendental soundscapes, but they're reliably anchored by instinctive rhythms and driven by a natural flow-state.
From the tentative steps of their first collaborations, Dan and Dave coalesced Plants Heal as a more pronounced project with Lou's live visuals, culminating in a first self-released album in 2021 and since organically fed and watered through continued performances across adventurous festivals and intimate club spaces. Every incremental step along the path of the project yielded new surprises and the deepening sense of a unique, powerful energy. The trio opted to pour this energy into two days of studio sessions at Sonic Playground Studios in Athens, maintaining their unplanned approach and letting the music and visuals unfold in the moment. The end result is Forest Dwellers, a sincere document of truly free music that uses the rhythmic structure of dance and trance music as a springboard into heightened consciousness.
Throughout the album you can hear hints of the familiar - dub techno shimmers, trip hop boom-bap, kosmische momentum, snarling bass modulation, new age ambience and even the odd sizzle of disco. But none of these references are explicit, and they weave in and out of less placeable expressions deeply bedded into Dan and Dave's sonic practices. The end result is a swirling tapestry of unspooling groove, wide open and agile enough to shift gears mid-flow - just as comfortable letting the propulsion melt away as locking into a four-to-the-floor throwdown. From the slippery syncopation of 'Avena Moon' to the angular bait-and-switch of 'Alien Hardware', 'Yarrow's starry-eyed reverie and the rolling, warm-hearted funk of 'Space Ballad', the Plants Heal sound world is expansive and equally enthusiastic for immediate musical motifs as much as wild abstraction.
Lou's visual practice is an intrinsic part of the project. During performances she improvises with analogue footage from her library run through video mixers and synthesisers, focused on medicinal plants such as yarrow, hawthorn, nettle and thistle. All those plants feature in processed form on the cover of the record, which was designed in collaboration with Lou's brother Arthur Boer. Meanwhile, Lou recorded additional footage in Athens during the recording sessions to feed into the continued cycle of the project's live evolution.
Forest Dwellers' meaning honours this cycle and its reflection of the eternal undulations of the natural world. It's also a sincere tribute to the spiritual importance and radical potential of the dancefloor, drawn from the freedom taught by jazz and dedicated to reclaiming lost ideas about community, agency, bodies and the enduring allure of the unknown.

lim. 150 blue transparent 180 Gr LP + 7" + Poster / incl. Silent Servant Remix

A cross-cutting label exploring the boundaries between different disciplines based on deep listening and music research, Modern Obscure Music is set to release 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) on the 1st December, the new album from Dellarge.

Inspired by the scenic beauty of his studio's surroundings at Lake Pátzcuaro in Michoacan, Mexico, Alejandro Barba, aka Dellarge, delves deep into the depths of his artistic consciousness to craft a spiritual album that encapsulates the essence of the place. 'INRI' stands for Industria Nacional del Ruido Infinito (National Industry of Infinite Noise) and serves as a vessel for Dellarge's innermost self-expression and reflections on the potential of humanity.

A multifaceted artist and veteran of the music industry for over two decades, his latest musical creation is an intimate and personal album and a departure from previous Techno/EBM-orientated Dellarge releases. 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) offers a mesmerizing blend of ambient, futuristic, and industrial sounds that transport listeners into a realm of mysticism, futurism, and duality and stands as a testament to Dellarge's artistic growth and his ability to transcend boundaries, offering listeners an immersive experience that connects them to his world.

Drawing inspiration from numerous sources, Dellarge found creative fuel in books such as 'El Arte de los Ruidos' by Luigi Russolo, 'Manifiestos y Textos Futuristas' by F.T. Marinetti, and science fiction classics including 'Congreso de Futurología' by Stanislaw Lem, 'Neuromancer' by William Gibson, and 'Dune' by Frank Herbert. Musically, he delved into the works of Coil, Michael Bundt, The Threshold Houseboys Choir, krautrock legends CAN and Popol Vuh, early Kraftwerk, Arthur Brown, Yello, Esquivel, The Residents, and Hector Lavoe for inspiration.

When asked about the creative process behind the album, Dellarge revealed a disciplined routine that involved immersing himself in the sounds, focusing on minute details that connected with the vivid world he envisioned. Ethereal tracks such as 'Viento Androide' and 'Viaje al Sol' offer a glimpse of a hopeful future, while darker compositions such as 'Corpus de Sangre' and 'Toro de Falaris', explore the wickedness and compassion within humanity. Each piece in the album represents a unique sonic journey.

'Viaje al Sol', the first single to be taken from the album, is set for release on the 27th October, and is also available as an EP which includes a remix from Juan Mendez aka Silent Servant. The remix is also included on the digital version of the album and available on 7" vinyl alongside an exclusive reworking of 'Cascabel' by the founder of Modern Obscure Music, Pedro Vian.

Welcoming London-based artist House on the Strand to the Eastern Nurseries fold following his impressive 2024 debut, "Heroine", Ruben Elbrond-Palmer channels a sombre, cinematic sense of sound with "Unrest".

Interpolating the visual sensibilities of some of his favourite artists, filmmakers, and photographers into the sonic field, Elbrond-Palmer’s palette cuts loose from the percussive elements of his previous work, blending analogue synthesis with repurposed guitars, haunting melodies, and field recordings that call to mind the hazy delirium of a dusty summer’s day. Sitting at its core, "Unrest" places harmony front and centre, with each sombre movement rising and falling as electric fences hum, helicopters hover overhead, and unknown events are set in motion.

Deceptively simple, the resultant album is gestalt—an elegy of melancholic moments, lost to the world.

Mastered by Ike Zwanniken of Hysterical Love Project - mainstay mastering engineer behind majority of INDEX, Co:Clear & Theory Therapy Releases

Established in 2019, Eastern Nurseries is a platform for deeply emotional contemporary electronic music based between Porto and Newcastle upon Tyne. Curated by Rui P. Andrade (aka Canadian Rifles) and Christopher Macarthur Owen (aka Burning Pyre).

The label has released a steady yet considered magna of records from Hasfeldt, Emma Acs, innerinnerlife and VAs encompassing the likes of Conna Harraway, Severin Black & Slowfoam.

Eastern Nurseries no. 41

Written & produced by Ruben Elbrond-Palmer

Recorded in London, Kobaek & Aude, 2019-2024

Mastered by Ike Zwanikken

Cover photo by Andrew Weathers

Intersecting sharpness and passion. An innovative work born from the collision of two rare and extraordinary talents.

On one side was Hiroshi Suzuki, a trombonist in such demand that people said, “If you want to record a good work, secure his schedule.” On the other hand was Masahiko Togashi, a drummer who rose to prominence at a young age and dominated the jazz world, from modern jazz to free jazz. The collision of these two personalities and talents created a new current in the Japanese jazz scene. From "Castle Cats," which moves between jazz rock and free jazz, to "Suzu No Uta," where Yuji Ohno’s piano spins a beautiful melody amid the sound of bells falling like rain, and "Passion," where each musician cuts in with sharp intensity, the entire work is filled with creativity and passion. Recorded in 1969, this is said to be the first work in Japan in which new jazz and free jazz were recorded and released as an album. From this turning point, Japanese jazz began to move in a major way.

Hiroshi Suzuki (Trombone)
Masahiko Togashi (Drums)
Yuji Ohno (Piano)
Jun Suzuki (Bass)
Tetsuo Fushimi (Trumpet)

Repress!

Belgian tastemaker Charlotte de Witte returns to her own KNTXT to serve up the well regarded label's seventh EP. Rave On Time is about reminding us of the joys of being lost on the dance floor and is another hard hitting EP filled with her distinctive techno energy.

Charlotte is at the centre of her own musical movement, with a hard hitting, no frills style. Her powerful grooves, whether solo or in collaboration with the likes of Chris Liebing, come laced with ambient and synth beauty. She has mesmerised crowds all over the world as well as at her own special KNTXT events, and has been as creative as ever during lockdown, as this new EP shows.

Says the artist herself of this latest offering, "Rave On Time. Three words that probably have never been more relevant. In a time where raving feels like a distant memory, it seems increasingly important to bring music back in our lives, in reverse. Let's not forget where we came from and let's not lose hope. We'll be together again soon. Rave On Time."

Opener Rave On Time is built on hammering, distorted kicks that bend you to their whim. Freaky vocals and monstrous hits add extra pressure and ensure you stay locked before shooting laser synths and retro hoover sounds bring the rave. There's No One Left To Trust keeps up the energy with scintillating synths rattling over rock solid drum programming that never lets up. The World Inside is brain frying material, with serrated synths firing out and growing ever more acid as the groove pounds on. Common Era is brilliant hands in the air acid-trance-techno that froths with energy and flashing strobes. Finally, vinyl only track 'Wahr Ist Sie Dann’ is a distorted, brain melting techno workout with brutalist kicks and vast walls of synths that are hugely powerful.

As ever from de Witte, this is pure, unadulterated club music that makes a gargantuan impact.

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

‘Açid Blüüs Räägs Vol.2’ is the latest evolution of the sound of last year’s Volume 1. The debut album was described by Joe Banks for Shindig! Magazine as; “Shivering slabs of drone blues transcendentalism…a burning junkyard of sheet metal blues… Hot stuff.” Volume 2 builds on the skronk blues guitar, sax and electronic drones of it’s predecessor, to explore cosmic free jazz, concrete exotica and dub, channelling influences of Moondog, Terry Riley, 75 Dollar Bill and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's ‘Stalker’ and ’Solaris’, Jodorowsky's surreal desert western ‘El Topo’, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever evolving Invocation band, plus some superstar guest contributors.
Featuring five brand new tracks, including the forthcoming single; ‘Cosmic Fanfare’, has already picked up BBC 6 Music support from Gideon Coe. The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. “….Acid fried kosmiche blues meets drone raag transcendentalism”. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt’s avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3’s contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. THE JONNY HALIFAX INVOCATION follows Jonny’s junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall’s Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck and Melting Hand.

Two years after he first appeared on Balmat with 1977, Mike Paradinas returns with 1979. The sense of continuity between the two records is clear, and not just from their titles. Both capture the Planet Mu head venturing into the wilderness, seeking something—half-formed memories, thoughts caught in midair—in some of the most abstract, searching music he has released.

Just like 1977, 1979 surveys a synth-heavy array of ethereal soundscapes, ominous crevasses, and strange, psychedelic fugues. Like its predecessor, the new album’s atmospheric cast sets it apart from much of the work Paradinas has released as μ-Ziq on Planet Mu. It’s not strictly an ambient record, but it’s close, as close as this famously mutable artist ever comes to inhabiting a particular genre.

Paradinas’ inspiration for the record began on visits to the Spanish cities of Ávila and Majadahona, where his family hails from. That might account for the sense that there are spirits flitting through this music, presences you can intuit if not quite grasp. But 1979 is also a record to meet on your own terms, and to find your own meanings in.

It’s a stunning record, every track a world unto itself: the mysterious contours of “Majadahonda at Dawn”; the playful melodic fillips of “Clari”; the airy melancholy of “Galletas”; the full-scale breakbeat abandon (yes, you read that right) of “Houzz 14,” the rarest of dancefloor detours for Balmat. There are echoes of classic braindance and isolationist ambient and golden-age IDM; there are easter eggs and recurring themes and hidden symmetries. Every time we listen, we discover something new. Despite what the title might suggest, it’s less a trip back in time than a portal to another universe, a destination for(to?) which only Mike Paradinas knows the exact coordinates. – Philip Sherburne, Balmat

Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Enrico Sangiuliano)

Pioneering, avant garde yet chart-storming sound designer/producer/live performer Enrico Sangiuliano drops EP ‘Order In Chaos’ as release #1 in his self-destructing countdown imprint ‘NINETOZERO’, out 20th November. The EP’s three tracks respectively represent a triptych of sound exploring tension, release, and dissolution, with violinist and composer Vito Gatto joining Italian techno/melodic maestro Sangiuliano for tracks 1 and 3. The EP blends electronic, classical and electro-acoustic genres, resulting in a fresh, unique product that defies typical techno expectation, as Sangiuliano and Gatto explore the concept of disorder as a creative playground.

‘With this chapter, we dive into chaos – something that can be uncomfortable, but is the place in which you can find unexpected or new ideas. Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Sangiuliano)

The ‘Order In Chaos’ EP continues a momentous year for Enrico Sangiuliano, and heralds his upcoming all-night-long SOLO show at Nitsa in Barcelona (Nov 28th, tickets here). His highly acclaimed NINETOZERO label has also previously featured Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX, Zimmz, Secret Cinema and About Sofiya.

Vito Gatto is a Milan-based violinist, composer and sound explorer. He is the founder of label/collective NeMu (‘Neutral Mutation’) producing Italian projects at the interface of electronic and organic sound. His self-description as ‘Making sounds, looking for silence’ makes him the perfect collab partner for ‘Order In Chaos’, which ‘embraces the paradox: chaos births order, and order dissolves back into chaos.’

‘Whilst classically trained, I have always been fascinated by the world of electronic music, in all its expressive forms’ Gatto says. ‘I use real instruments and natural sound sources processing them through electronics to enhance their unpredictability, always remembering that the core of music - whether classical or electronic - is communication and storytelling. This philosophy guided our creative synthesis on this release.’

The collaborative workflow combined remote and in-person studio work over roughly a year, culminating in these three key tracks reflecting different musical and conceptual layers.

‘Order In Chaos’ EP tracks:
Enrico Sangiuliano & Vito Gatto ‘Adaptation for Strings and 909’: A cinematic overture built from the raw intimacy of Vito Gatto’s violin, processed and layered with unquantized 909 drums. Out of grid, out of rules. Drama and turbulence surge until thunderous kicks strike like sudden storms. ‘This track symbolises both of us. Vito sent the strings, I added the iconic Roland 909. It has no structure and no grid, the arrangement is not precise, it’s a very pure track and a great example of disorder and freedom.’
Enrico Sangiuliano ‘Order in Chaos’: The title track is a pure techno weapon and dancefloor igniter: rolling, stripped, euphoric. A shape-shifting lead synth constantly mutates, flirting with disorder until the kick restores gravity. Chaos becomes dancefloor order.
Enrico Sangiuliano & Vito Gatto ‘Dissolution’: The closing moment. Strings and drums dissolve into a weightless drone. Beatless and infinite, it invites surrender into space. ‘This cinematic track slowly melts ‘Order in Chaos’, adding processed organic sounds and field recordings from the mountains.. coming back to nature, and silence.’ (Gatto).

Still #0 to go in the NINETOZERO countdown… And then what? With Sangiuliano, it’ll be something unexpected and brilliantly innovative.

Finally out is this eagerly-awaited release of SUNANDBASS Recordings, Hits Me In Waves EP by Mark System. Friends and close members of the SAB family know it's been brewing for the last decade, appearing in bits in aftermovies and we are beyond excited to now share it with the world.

'Hits Me In Waves' unveils three currents at once, the surging pull of inspiration, the sweep of new love, and the beautiful embrace of La Cinta's waters, all washing over in unison. Thus, each track of the EP explores a wide range of emotions and moods, expressed in multiple styles within drum & bass; the lead single 'On An Island', sets the tone with unmatched sound design, rich musical elements, and raw, uncompromising production. Next comes 'Point Of Reference', built for the dancefloor and eternally young in its refined appeal. 'Celebration' follows, a powerful track that ties the listening journey together, pairing heavy low-end weight with slick musicality to keep it both melodic and full of energy. 'Where's The Dog' stands out for its playability and tough bass synthesis, making it the hardest-hitting cut on the record. Closing the EP is the beautiful and introspective 'Started At The End', a deep dive into Mark's musical mind, offering a classic, emotive finale.

Hits Me In Waves is more than just a collection of tracks, it's a reflection of Mark's long-standing relationship with SUNANDBASS and our shared vision for music that speaks to the soul and stands the test of time. Spanning from Ibiza, this release embodies the SAB spirit: pushing the boundaries of drum & bass while fostering connection through rhythm, movement, and community.

Venice, Italy – 2025 Paolo Mosca, the Italian producer, composer, and DJ acclaimed for his soulful approach to electronic music, unveils his new alias I.O.N with the forthcoming debut EP Signals, set to be released on Ritmotherapy. Known for releases on Slow Life, Altered Circuits, and a recent collaboration with Alex Neri, Mosca now steps into uncharted territory fusing experimental electronics with rock-inspired textures and raw energy for the dancefloor.

Signals is a daring reimagining of 90s sonic aesthetics, drawing inspiration from the breakbeat and hip-hop influences of cult films like Blade & The Matrix. Each track on the EP blurs the line between nostalgia and innovation, layering hypnotic riffs, rolling basslines, and gripping vocal samples with futuristic precision.

The EP kicks off with “Camouflage” , where breakbeat rhythms and hip-hop flavors meet futuristic atmospheres. A grabbing vocal, heavy low-end, and hypnotic riff drive the track into a world of cinematic tension and release.

“Escape” follows with a slower tempo, but its restrained pulse only builds anticipation. Classical violin lines cut through break-driven drums, leading to a long-awaited drop that delivers an overwhelming yet deeply satisfying release.

Next, “Neo” builds momentum with a gritty 303 bassline and sharp synths, locked into a relentless 4x4 rhythm. The track feels like an expedition through acid-soaked landscapes, equal parts raw and refined.

“They Are Looking at You” closes the EP with explosive energy, bursting with hip-hop vocals that command “don’t stop. ” Propelled by a nasty bassline and oriental-inspired synth melodies, it’s a track built to ignite dancefloors and spark spontaneous breakdance energy.

With Signals, I.O.N presents more than just an EP; It's a manifesto for a new era of club music. It’s heavy yet soulful, experimental yet deeply physical, and above all, a fresh signal to the global electronic scene that something new has arrived. Reserved for their official release on Ritmotherapy, the anticipation around this project signals a bold new chapter for both artist and label.

2024 Repress.

Chicha Libre’s debut album, Sonido Amazonico is finally available on vinyl in Europe. The double album contains all original tracks first published as a CD back in 2008. The vinyl edition is comprised of 3 sides of music, and a fourth side with an etching of iconic Venezuelan saint Jose Gregorio.

Chicha, Peruvian psychedelic cumbia, was first popularized outside of Peru by a compilation released by Chicha Libre's own Olivier Conan and entitled "The Roots of Chicha." The music proved popular around the world, being championed by people such as Elijah Wood, Matt Groening, Alex Kapranos and director Almadovar.

The Brooklyn band Chicha Libre started out as a tribute to Peruvian pioneers but quickly evolved into an original project which MTV has called “one of the world's preeminent Tropical Psychedelic band”. Indeed, while they remain true to their Chicha roots, Chicha Libre's quickly took a more psychedelic turn drawing from its members' alternative background.

Made up of Mexican, Venezuelan, French and American the band used surf guitar, organ sounds and Latin percussion to play a mixture of borrowed and homegrown sounds – but its music remains a freeform reinvention, not an exercise in nostalgic duplication.

The re-release coincides with the release of a new EP “Tequila y Aguardiente”, in collaboration with Son Rompe Pera and La Sonora Mazuren.

The first act signed to The Neptunes' newly formed Star Trak label was a Virginia based duo known as the Clipse. The first single “Grindin’” impacted the streets with its bare boned but infectious drum beat in the same way that “Sucker MC’s” did almost 20 years earlier. These brothers - Pusha T and Malice combined with The Neptunes groundbreaking production sent a clear message to the rap world – “we are not the same” (as rapped by Malice on his opening verse on “Cot’ Dam”). Clipse brings an authentic Virginia sound into the game and created a movement, with not only their darkly layered raps but The Neptunes as well. Pharrell Williams and Chad Hugo were able to combine their cyberpunk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z, and Mobb Deep, the Clipse offer the Virginia hustler's viewpoint with clever, hard-hitting lyrics that is sprinkled throughout the entire album. With so many standout tracks on Lord Willin’ the album starts pulling no punches. On Track 1 simply (or maybe not) titled “Intro” you get a very personal and deep testament of crack and the drug game, a theme that is throughout this album…HEAVY. Songs like “Virginia” or “I’m Not You” (featuring Jadakiss, Styles P and Roscoe P Coldchain), have lyrics that play as a musical notes alongside The Neptunes tailored beats. “Young Boy”, “Comedy Central”… all fit perfectly alongside “When the Last Time” and “Cot Dam” as each song plays its part as chapters to the Lord Wilin’ masterpiece. “Gangsta Lean” (another one of the albums standout tracks) features a slightly lighter feel while paired with Pharrell's trademark falsetto hook. The truth of it is, it’s hard to just pick one track, or point out which is the albums star. Each song on Lord Willin’ is essential to making it the classic that it is. The Neptunes (who were busy turning out every other Pop hit on the radio) crafted an album that was deemed an instant classic, and cemented Clipse as Rap’s newest superstars.

Limited Cassette

67 minutes (A side:35" / B side: 32")

Originally released in 1996

Compiled and DJ Mixed by Jeff Mills

Recorded at Liquid Room- Shinjuku, Tokyo October 28, 1995

Mastering: Ron Murphy at Studio Enterprises, Detroit



This year marks a major milestone in the history of electronic music: the 30th anniversary of Jeff Mills’ legendary Live at Liquid Room, recorded in 1995 in Tokyo and widely regarded as one of the greatest DJ mixes of all time. A true techno anthology, this set made history with its boldness and intensity, inspiring generations of DJs and producers around the world.“30 years ago, Techno music was still in its infancy, still formulating itself and attempting to find firm footing in the genre of Dance Music. Many new artists and records labels were introduced to the World as many DJs were justifiably recognized. This Liquid Room mix marks a cornerstone of the genre. The crossing and never returning back to way things were. Techno could only move forward and it did. “-Jeff Mills

With centuries of history, traditional instruments carry physical vibrations shaped by human breath and touch. In contrast, electronic music generates vibrations through inorganic principles such as electrical signals and circuits. When the subtle tremors of traditional instruments resonate with the intricate tones of electronic sounds in an improvised dialogue, performers from distinct realms expand each other’s languages, creating a new sensory experience. The project album Ancient Moment marks the first collaboration between the Korean contemporary music ensemble WhatWhy Art and the Seoul underground electronic music collective vurt.. It is a record of a free journey where two different worlds collide and merge,

In Part 1 of the album, you will hear boundless performances by daegeum player Hong Yoo with electronic musician Unjin, and gayageum player Hwayoung Lee with ambient duo Hosoo. The recording was done in an improvised one-take format at STUDIO Y in Seoul, and Giuseppe Tillieci mastering enhanced the sonic quality.

British-Brazilian jungle artist Janaway announces his brand new EP International Luv via Up Ya Archives Records.

‘50/50 Vision’ is the defining statement of Janaway’s upcoming EP, a single that captures the project’s full essence in one. Blending pulsing jungle rhythms with the rich textures of Brazilian vocals, together, with his UK-centric underground lens, he creates this rolling, dancefloor-ready track that bridges continents and culture.

The title, a play on “20/20 vision,” reflects Janaway’s experience as a dual-heritage artist who views each of his cultures from a balanced perspective. This sense of duality runs throughout his work, expressed through a distinctive fusion of sounds, stories, and collaborations that mirror his own world. The accompanying visuals deepen this connection, featuring Janaway alongside his collaborators and friends, not only adding a personal and authentic layer but providing a snapshot of the community that shapes his music.

‘50/50 Vision’ is a collaboration with two incredible artists that represent each side of his heritage. MC Tchelinho’s (Rio’s Heavy Baile collective), dynamic flow injects raw Brazilian energy and is enhanced by Arinola’s signature mix of UK funk and Ragga vocals which layer in an infectious groove. Together, they create a dynamic intersection of contrasting sound that feels both global and grounded - full of rhythm, movement and connection.

Growing up between cultures, Janaway has always gravitated toward sounds without borders. Now based in Bristol, he’s part of the new wave pushing jungle forward while keeping its essence alive. His signature blend of heavyweight basslines and sharp breakbeats has earned support from Nia Archives, Tim Reaper, Sherelle and Fracture. His acclaimed high-octane DJ sets packed with unreleased tracks, move effortlessly through jungle, footwork, and jungle funk, keeping crowds locked in and dancefloors moving. After a European tour and standout appearances at Boomtown, Glastonbury, and Outlook Festival, Janaway is fast becoming one of the most exciting names shaping the next gen of jungle.

From out of the dark, sparks of feedback birdsong signal a return to the singular sonic environments of Rafael Toral"s sound-world. A year after Spectral Evolution, his acclaimed album of electric guitar conceptions, comes the companion work Traveling Light. Sharpening his focus around a set of jazz standards, his move from abstract form to solid song elicits glints from beyond time and space, crafting a unique listening lens for deep listeners. In the early years of his practice, Toral used the guitar as a generator to create discreet texture and droning tones. Later, he abandoned the guitar entirely, focusing on self-made electronics to render his music with a post-free jazz perspective. For the music of Spectral Evolution and Traveling Light, Toral has combined his methodologies: radically expanding the space within their harmonies with his self-made machines, while engaging directly with his instrument and the chords of the material. In addition to Toral"s proxy orchestra of guitars, sine wave, feedback and bass guitar, Traveling Light features the sounds of clarinetist José Bruno Parrinha, tenor saxophonist Rodrigo Amado, flügelhorn player Yaw Tembe, flautist Clara Saleiro, who each guest on one song. In every contour of Traveling Light"s path - arrangement, improvisation and production - the spring of the old pours through the new in an unstoppable flow. The result is a listening experience of these standards that remains "in the tradition", even as the elongated harmonies seem to alter time such that, as Toral notes, "the chords become events on their own."

Vel initiates the «Cuddle Protocol», her first ambient album, set for release on October 17, 2025 on PURR.


Vel, recognized for her striking presence in the contemporary techno scene, steps into new territory with the release of her first ambient album, Cuddle Protocol (P:\URR(3)_Cuddle_Protocol), the third outing on her own label PURR. Out October 17, 2025, the 9-track record is a personal and intimate statement, delivered on vinyl and digital formats.


With Cuddle Protocol, Vel explores the paradox of intimacy in a coded world. “I like the idea of a protocol for softness,” she explains, “of codifying something that should be intimate and spontaneous.” This tension runs through the album: fragile voices and soft layers unfold against serious, carefully structured arrangements, balancing tenderness with rigor.


Ambient music has always been Vel’s “first love.” Before producing techno, she composed ambient exclusively, and this album marks a return to the form in its most sincere expression. “I know this music will follow me all my life. It’s not a phase. It’s how I express myself most truthfully.”
Cuddle Protocol is about slowing down, embracing sincerity, and reaching for deeper connection. “When I listen to ambient, I access another world. It’s charged with emotion, it makes me drift and forget everything. That’s the feeling I wanted to share.”
Mastering: Sixbitdeep / Artwork: Adone Giuntini

With his new offering"The Stone Tablet", New Jersey native Brainorchestra solidifies his legacy in underground hip-hop, carving out a raw and unfiltered masterpiece that feels as timeless as it is bold. Produced entirely by Brainorchestra himself, the album is a testament to his relentless pursuit of authenticity and artistry, drawing listeners into a world where intricate beats meet introspective bars, and sticking to his proudly independent operation.

Featuring guest appearances from UK’s SonnyJim and Toronto's Raz Fresco, "The Stone Tablet" brings together diverse voices that seamlessly blend with Brainorchestra’s visionary beats. Each track adds to the album’s mystique, with moments of reflection, hustle, and sharp wit, all contributing to Brainorchestra’s mark on the modern hip-hop landscape.

The album cover, crafted by Italian artist Claudio Scialabba, embodies the album’s theme with its raw, textured feel — reflecting Brainorchestra’s relentless, chiseled approach to his craft. "The Stone Tablet" is a statement, a monument that etches Brainorchestra's name alongside the genre’s most revered creatives.

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations

Blue note / Schema / Far Out recordings artist shares a new compilation of golden age italian library music.

Following his acclaimed five-part Viagem compilation series celebrating Brazil's forgotten bossa nova and samba jazz, Far Out, Blue Note and Schema recording artist and international DJ Nicola Conte turns his curatorial attention homeward with Viaggio, an extraordinary exploration of Italy's library music renaissance 1970-79.

The 12-track compilation spotlights the remarkable creative explosion that occurred during the seventies: when some of the greatest yet most historically overlooked composers, including Amedeo Tommasi, Alessandro Alessandroni and Max Rocci, were composing and recording huge amounts of original music for film and television libraries.

Unlike commercial releases designed for mass consumption, library music was created specifically to accompany images on screen. This meant creative freedom for composers who imagined scenarios, feelings and worlds to soundtrack. Pressed in limited quantities, these recordings were distributed only to internal circles of music supervisors, journalists, and television professionals – making them virtually invisible to the general public for decades.

"This is a journey through a largely forgotten world," explains Conte. "While major jazz recording opportunities were scarce, an incredible network of small labels owned by publishing companies – often created by the composers themselves – began to flourish. This created an open space where musicians could express more experimental and free thinking sounds."

At the heart of Viaggio stands Amedeo Tommasi, the sophisticated jazz pianist who emerged in 1960 backing international stars like Chet Baker, Bobby Jaspar, and Jacques Pelzer. Tommasi was among Italy's earliest artists to introduce Black US modal jazz influences, and when traditional recording opportunities dwindled, he pivoted to soundtrack and library music, helping define a distinctly Italian sound that bridged experimental jazz with the emerging possibilities afforded by developments in synthesizer and recording technologies.

The compilation features rare gems from small label outputs, namely the Cenacolo and Rotary label catalogs. Tommasi's contemporaries include the great Alessandro Alessandroni and his vocalist wife Giulia De Mutiis (Kema), Stefano Torrosi (under the alias Farlocco - meaning fake/phony), and Belgian composer Joël Vandroogenbroeck. The recordings capture the technological evolution of the era as beguiling synthesis often combines with global influences spanning Brazilian rhythms, jazz-funk explorations, and Middle Eastern scales.

"You can hear both the haunting melodies and sun-kissed atmospheres so typical of Italian culture from that era," Conte observes. "Some of these albums could have been proper artist releases, while others were specifically designed for accompanying images on screen, yet all were crafted with exploratory creativity that still resonates powerfully today."

Vibe Ride is the sixth release of Adam Rudolph's Hu Vibrational project and marks his 60th release as a leader or co-leader. Comes with insert and download code.

“With every record, the goal is to explore new creative territory,” explains Rudolph. Vibe Ride continues a deeper exploration of a trance-like groove and a conceptual framework known as Sonic Mandala. This album marks the most complete realization of that idea, partly due to the group's experience touring beforehand. That time on the road helped to refine ideas and strengthen musical chemistry. The recording process unfolded organically—likely due to the long-standing collaboration within ensembles like Go: Organic Orchestra and Moving Pictures, where the musicians have developed a deep familiarity with the shared musical language.

Sonic Mandala refers to a musical approach distinct from traditional linear structures of theme and development. Found in cultures across the globe, it may represent one of the oldest forms of musical expression—predating written history by tens of thousands of years. Today, it is most vividly preserved in the music of the Ituri Forest peoples (Aka, Baka, Ba Benzele, Mbuti), whose sound traditions revolve in cyclical, orbit-like patterns. Vibe Ride seeks to bring that ancient sense of circularity into a contemporary—and perhaps even futuristic—context.

The ensemble of Vibe Ride—Alexis Marcelo, Jerome Harris, Harris Eisenstadt, Neel Murgai, Tim Kieper, and Tripp Dudley—brings exceptional creativity and skill to the project. While grounded in the sonic languages of today, their performance channels an ancient vibrational lineage, connecting with ancestral sound makers who were attuned to the rhythms of the sun, moon, stars, and seasons. Human beings have always been deeply responsive to natural cycles.

Like a mandala, where the circle reveals itself as a spiral—always returning, but never to the exact same point—the Sonic Mandala musical experience spirals through motion. Refined signal patterns emerge through overtone-rich instrumentation. The groove becomes a threshold, shifting the listener from passive observation into active, even transcendent, participation. With open ears and an open mind, the sound spirals inward—toward a primal center—and outward into the cosmos. When this elevated state is shared among participants, it creates what mystics describe as resonance.

Vibe Ride thrives on the distinctive sonic voices of its players, interwoven with care and nuance into the compositions. Hu Vibrational merges elements of world music, electronica, and improvised jazz into something both funky and spiritual, intense and soothing.

Using signature techniques of organic orchestration, layered arrangement, and electronic processing, the compositions are sculpted from percussion, electronics, and ethereal textures. Rhythmic foundations drawn from diverse traditions serve not as endpoints, but as building blocks. As the saying goes, “Orchestration is the key.” In shaping the sound, the aim was to discover fresh ways of balancing structure and sonic color. As Don Cherry once said: “The swing is in the sound.”

The audiophile LP was carefully recorded, mixed, and mastered by James Dellatacoma—longtime engineer for both Bill Laswell and Rudolph—at Laswell’s Orange Studio.

“This crew artfully blends together to create a seamless tapestry of rhythm… the end results are mesmerizing. Hu Vibrational is all about communing with the groove spirits and creating worlds where earthy rhythms and other-worldly sounds are one.”
— Dan Bilawsky, All Music Guide

“You can be sure that when Adam Rudolph and an ensemble of breathtaking drummers get together mystical and wonderful things will happen.”
— Raul da Gama,

“A stunning effort, enjoyable and grows with repeated listening.”
— Stefan Wood, Freejazzcollective

During the 35 years of making music, Dave Lee has constantly been searching for new singers and writers to work with. A search that’s ended up with many fantastic collaborations and releases with the likes of Thelma Houston, Taka Boom, Dianne Charlemagne and Seal. More recently this quest led him to Maurissa Rose and the creation of their album ‘London / Detroit’. After hearing Maurissa's voice on a Theo Parrish record Dave reached out to her and after a few long phone conversations and mp3 swaps they both agreed a visit to London would be much more fun than trying to work together remotely. Maurissa made the journey from her home in Detroit to write and record an album with Dave at his studio in March 2022 - as they both feel that creating music together in the same room is always better. The fruits of their labour yielded 11 brand new songs (and 1 cover) tapping into their collective love of Soul, Disco and R&B, with a sprinkle of Soulful House. This album is a special one for Dave Lee as it’s the first time in his career he’s recorded an entire album with same singer on every track.

In the album’s liner notes Dave talks of how Maurissa is a naturally creative person, full of ideas, warm & unpretentious which is reflected in her vocal performances throughout ‘London / Detroit’. Dave’s expertly crafted music is backed up with a deeply passionate yet effortless delivery from the Detroiter, a marker of someone who has honed and perfected their art. When it comes to the music side of this LP, Dave Lee is once again proving he’s still at the top of his game and shows no sign of relenting. Drawing from his encyclopaedic knowledge of all things Soul/Funk/Disco, we are treated to a range of styles, BPMs and influences from 95bpm street soul to more uptempo disco and boogie flavours. Be it the rippling synth voyage opener of ‘You Decide’, taking the Johnnie Taylor classic ‘What About My Love’ into a modern Boogie realm, upping the tempo on the soulful houser ‘I Feel the Sun” or bringing the tempo back down to the bassy acidic chug of ‘You’re Giving Me Life’. Mr Lee is truly adept at creating a modern disco soul sound without the usage of samples.

London and Detroit might be two very different cities on opposite sides of the Atlantic but this album is proof that creative synergy knows no distance.

Out everywhere on Feb 28th on Gatefold Vinyl, CD and Digital/Streaming.

South Street International return with the house goodness once again, reissuing Vick Lavender’s house anthem “The L.O.V.E. Song (From Chicago To New York)”. Originally self-released on his label Sophisticado Recordings by the Chicago producer and musician, this is one of those timeless deep house gems that’s become an underrated weapon for discerning DJs worldwide.

Lavender – known for his work with Glenn Underground as part of the legendary Strictly Jaz Unit – has been shaping deep and soulful house for over three decades, blending world music, jazz fusion, R&B and more into a sound that’s both spiritual and deeply rooted in the dancefloor. Here he brings the best of both cities into one track: the soulful musicality of Chicago, the cosmopolitan polish of New York. Warm Rhodes, fluid percussion, and vocal refrains ride over a groove that’s equally at home in a dark basement session or a sunrise terrace set.

With originals changing hands for eye-watering prices on Discogs, this official reissue makes this must have record accessible again. Lovingly remastered by The Bakehouse and presented on South Street International, This record is a must-have for fans of deep house, and anyone who believes in the eternal conversation between Chicago and New York.

Magnificent Fall, The Notwist's new rarities compilation, compiles some special and wild moments from this unique German indie group's rich history. They've always snuck gorgeous songs and thrilling remixes onto split singles, extended plays, and other formats, across their career, and pieced together here – compiled thoughtfully, with sensitivity to flow and the listening experience – these thirteen selections work as a kind of ‘shadow narrative’ of The Notwist, an alternative index of the possibilities this shape-shifting group uncovered during their time together.

They've been smart to let go of chronology when sequencing Magnificent Fall, so the songs here move across phases and stages of The Notwist's career, helmed by brothers Markus and Micha Acher. This approach makes plenty of sense, as this music compiled here abstracts from two impulses – to push forward and not repeat what has come before, while building from the group's very specific musical language. Just one example: the loveliness of the instrumental “Avalanche”, from 2020's Ship, follows elegantly from the happy-sad glitch-pop of “Blank Air”, from a 2010 split with former member Martin Gretschmann's project Console. Different phases, different memberships, shared concerns.

The Notwist have always been interested in and open to community, and one of the many ways they reach out to others is through the remix. There are three here, sent back to The Notwist from different corners of the world, both aesthetically and geographically: Grizzly Bear take on “Boneless”, Ada tackles “Run Run Run”, and Odd Nosdam submerges “Sleep” in noise and clatter. Another connection, of course: Odd Nosdam is part of The Notwist's extended family, through Markus and Micha Acher's 13 & God project with fellow Anticon artists Themselves and Subtle.

So, the music on Magnificent Fall traverses varying terrain – abstract hip-hop, chamber pop, sweet and simple folk song, indietronica, free-floating improvisation. There are several unreleased songs, as well, drawn from across the group's history. Core to it all, though, the thing that makes The Notwist so singular, is the thumbprint of the Acher brothers, their gently poetic way of moving through the world and welcoming other musicians and artists into the fold, expressively and with generosity.

Historically aware without being nostalgic, Magnificent Fall is the perfect way to introduce The Notwist's reissue programme with Morr Music, too, including a box set, and the group's eight albums, documenting their three-and-a-half decades of music and community-making. Looking back to move forward? It's a very good idea.

Samuel Kerridge, with his signature sonic arsenal, stands alone in the worlds of rhythm and noise. A singular artist, his music is to be appreciated on its own terms. Here, he returns to James Ruskin's Blueprint Records with the eleven track album, "Memoir Of Disintegration".

The British producer has been carefully turning techno inside-out for over a decade. Taking a distinctly post-punk approach to the genre, he has become an integral part of Regis' legendary imprint Downwards. Kerridge has helped to define the label's contemporary sound: broken techno and snarling punk, informed by industrial music and metal.

Samuel Kerridge has released seven EPs and five albums (including a collaboration with Dva Damas' Taylor Burch) and his recent, "Kick To Kill", has become something of a statement of intent, blossoming into a new label and event series with a focus that broadens beyond techno tracks into full-blown song writing. Aside from his solo work, he collaborates with OAKE in what he describes as the "power metal techno" duo UF, and has recently started his own guitar band, Death Disco.

Kerridge ran the Berlin-based Contort label and party series and curated the legendary Berlin Atonal festival for three years, underlining his credentials as a stalwart figure in the world of experimental, boundary-pushing techno. He's also an accomplished live performer, most recently developing a hybrid live-DJ set that dismantles hundreds of tracks into a sampler to make new music in real time. It's an inventive process that places him in the lineage of iconic and ground-breaking techno acts, while still carrying the flag for the darkest corners of underground electronic music.

‘3' saw the core Lifted duo of Max D & Matt Papich unravel their visions of excess into their most divergent and wide-eyed collection to date. Presented here by Peak Oil in a vinyl edition featuring the painting of Jordan Kasey (yes, related to Martin Kasey, saxophonist on 2019’s LP 2) and packaged for a seamless listen.

First scene ‘Chefs’ places us squarely off-center, landing in a cinematic environment that feels a bit like steadycam Luis Bunuel , wine bottle whoo-ing and horn fanfare. Its music without a hard surface, defined more by its fluidity and characters, found sounds and performed dialogue. “Cymbecko” shifts gears into blissful ambient dub, and paves the way for a Luke Stewart led excursion into the uncanny that is ‘Trip Tongue’. Stewart’s upright bass never stops seeking, while Jordan GCZs Rhodes barely touches down before lifting back up into and out of Jacob Long’s (Earthen Sea, Esau) liquid tone sheets. An outside world of percussion accompanies.

The mood morphs and the scene cuts in hard with “Born in the Roof”, slacker techno that grows shimmering parts, Perlon for potheads. Voiceover slacks right with it, a half-convo caught in the billowing chorus of fx. “Macarena” snaps things into focus, working almost like an open window to airing out the heady fog. Simplicity in the vignette.

After “Mecha Perfume & Variety”, “Snow Dancing” reignites the drama, with burning guitar by Jonny Nash taking a plucky and sliding lead over wildly fused drums by Max D, we get a test of new depths for Lifted with the somber and exuberant “Whipped Cream”. Crackling like a radio but with modern propulsion in the form of richly evocative pads courtesy of Motion Graphics, it sounds like a dinner, a space trip, a storyboard, a scene, threaded together in bouncing, oblique ways.

"Bobby V" drops refreshingly, timed like a credit roll and leaving an afterglow that feels more tuned-in than ever.

Players on this album include: Luke Stewart (Irreversible Entanglements, Blacks Myths), Jeremy Hyman, Jonny Nash (Melody As Truth), Jordan GCZ, Matt Papich, Josh Levi, Mezey, Hirama, Dawit Eklund (1432 R), Motion Graphics, Max D, Jacob Long (Earthen Sea, Esau)




d 4.Born In The Roof Radio Mix
e 5.Macarena Radio Edit

In the late summer of 1994, Upadhmanyia (John Mackaay & Michel Rehatta) invited Leo Verhoef (LFU) to collaborate on a track. They met a few more times afterward at a power station converted into a studio in IJsselstein, The Netherlands. "Hasiya" was quickly born and was already in stores by early November 1994. John & Leo drove to house club iT in Amsterdam, where they gave the track to DJ Marcello, resulting in an iT hit! The track was quickly picked up by DJs worldwide, and Richie Hawtin used it in a live set in Denver on November 19th of that year, which can be heard on SoundCloud (Hasiya is mixed around 43:00). The track was also a huge hit on dance floors in England and Spain.
In late 1994, Hasiya appeared on a CNR Music EP titled "Welcome To The Club," along with four other hits from producers like Pete Lazonby, The Shaker, and Drum Club. A double CD of the same name followed in early 1995, released in Belgium, featuring Hasiya alongside artists like Robert Miles, Digital Express, Aura, Natural Born Grooves, and other hits of the era. In early 1995, Arcade released "House Party '95 the Kinky Klubmixx," mixed by Koen Groeneveld & Addy van der Zwan. The same CD was released in Scandinavia as "House Party '95 (5)." Hasiya flourished among the most popular house tracks of the time. The record spent three weeks in the Dance Music Mega Top 30 and peaked at number 22 around the holidays of late 1994.
For 31 years, Hasiya was only available on record, CD, tape, or YouTube. Starting November 21, 2025, it will be resurrected from the underground into the world of digital downloads and streaming. The 2025 Remaster, along with five new mixes, will be widely available, including a limited vinyl release of 350 copies. The 30 test pressings have already been received with open arms by various DJs and received immediate support from Eris Drew and Octa Octa during ADE.
Because Hasiya was created in 1994, the only available remix material is the original DAT tape, which, thankfully, was still stored in an old box in a dusty attic. Most of the sounds for the new versions have been recreated and re-recorded.
Rehatta's Reanimated Mix:
This remix - created by one of the two founders of Upadhmaniya - combines driving, percussive beats with a thrilling, progressive break featuring ascending, dizzying strings. This trick returns shortly afterward to rev things up again. An accessible remix for dance floors worldwide.
LFU 2025 Version:
This straightforward, raw techno version with a touch of acid is ready to rock dance floors. LFU's updated version of the 1994 original, which he created with Michel & John, will undoubtedly remain a head shaker from here on out.
John Consemulder Metaphysical Mix:
With a pumping groove and a funky bassline as an intro, John Consemulder's remix immediately strikes a chord. A refined and elegant approach to the original, with sounds as mysterious and exciting as the flowing lava in the 'Gruta das Torres' - a cave in the Azores - the setting where this tech-trance remix was created.
Davje Remix:
Davje's version begins with the typical club and hard-trance bassline of the late '90s. You're drawn into a trance journey where beat changes sometimes try to throw you off track. Davje's creative Hammond organ interpretation of the Hasiya theme surprises and transports you back to the hippie era by the end of his remix.
Bojcot Remix:
Junglist Bojcot creates an exciting, nuanced, and mathematical remix with a beat that feels like jungle and half-tempo. He conjures up the sounds of LFU's 2025 Version, creates a bassline that sounds like a disturbed bumblebee, and adds a surprising string section. Massive!