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Roi is the new album from Sultan Stevenson, one of the most compelling voices emerging on the UK and European jazz scenes.Known for his ability to seamlessly merge narrative and accessibility, Stevenson’s music captures listeners both within and outsidethe jazz community. Drawing deep inspiration from legends like McCoy Tyner, Herbie Hancock, Kenny Kirkland, and Geri Allen,Stevenson’s compositions are an exploration of faith, identity, and the complexities of the human experience. His signature style,rooted in quartal harmony, vamps, pedal points, and modality, is elevated by his natural storytelling ability.Stevenson’s sound is unmistakably inclusive, with a humble approach that prioritises dramatic interplay within his trio over overlycomplex musical ideas. His music is captivating and approachable, reflecting his relationship with the Lord and his culturalheritage. Stevenson’s method of creating compositions, often starting with a central motif and building around contrasting melodicideas, highlights his deep understanding of contrast and narrative in music, resulting in compositions that resonate with a widerange of listeners.As a performer, Stevenson is quickly becoming a thrilling force in jazz, translating heritage and spirituality into an evolving andrelevant sound. With El Roi, he continues the journey he began with his debut album Faithful One, which saw each track serve aunique purpose within a larger conceptual narrative. Stevenson’s keen attention to musician selection, including his regularbandmates Jacob Gryn and Joel Waters, alongside collaborations with figures like Denys Baptiste, speaks to his commitment toboth personal and professional growth. His music is not only a reflection of his influences but also of his vision for what modernjazz can communicate to the world today.

Sunset edition - 300 copies

Driving is Sam Wilkes’ Indie Rock record. Iit is the first release on Wilkes Records, an imprint borne of the artist’s emergent need to self-release. The songs presented here exist comfortably within the ever-expanding Wilkesian cosmos, characterized as they are by virtuosity, torqued experimentalism, and collaboration with a range of talented musicians. But Driving’s influences, its sincerity, and its allegiance to a certain pop sensibility reflects a departure for an artist who has primarily staked his claim within the experimental jazz idiom.

Take the first track, “Folk Home,” which inaugurates the album’s fecundity—a bright, green, humid, summer feel. A swirling, freakout coda of reversed vocals gives way, in no short order, to a caterwaul of flute work that conjures Van Morrison’s (in)famous Astral Weeks sessions. Standing beside Morrison, the usual suspects are all present, if somewhat abstractedly. Dylan, The Dead, Joni, the Fab Four. Wilkes has developed a reputation as an experimental jazz luminary, but his deep affinity for the pop/rock/folk idiom of the latter twentieth century rings clear throughout Driving. More so than any Wilkes release to date, Driving is a collection guided by and dedicated to the man’s attention to songcraft.

Written and recorded during a period of rain-damage induced renter’s itinerance (and the attendant desire to produce a kind of therapeutic, self-soothing, home-feeling music), Driving loosely charts the trajectory/experience of “a protagonist,” both Wilkes and not, “who has figured out how to live an enlightened and fulfilled life, but is unable to do so because he thinks about it too much.” This friction is surely relatable — a symptom of our compulsively self-aware present. But Wilkes avoids the obvious pitfalls of public hand-wringing. Rather, Driving’s nine tracks evince a genuine, and mature searching-ness, both sonically and lyrically. The ending refrain of “Own” serves like something close to a thesis— “Letting go // isn’t a concept // it’s an action.” In an attempt to beat back ego, hyper-cogitation, language itself, Wilkes arrives at an axiom that feels so true and familiar, you’d swear you’d heard it one hundred times before.

Driving’s final third is, fittingly, its most emotive and cathartic. Tracks seven and eight, “Again, Again” and “And Again,” form a diptych, joined most obviously by the jangling, recursive grooves of guitarist Daryl Johns. Wilkes is said to have encouraged Johns to go “full Lindsey Buckingham” (clearly a welcome and resonant prompt), but one also catches stray Knopfler vibes, some intermittent Fripp, and (perhaps more-so in tone than technique) the spirit of DIY prophet and jangling man himself, Martin Newell (the Cleaners from Venus). Wilkes has stated that he finds joy in creating musical environments suitable to the contribution and flourishing of his favorite musicians. Throughout Driving, and in these two tracks especially, he has more than succeeded.

The record closes with the titular track: a story-song that, according to Wilkes, poured out of him (melody, composition, and lyrics) in a single sitting. The tale is told plainly, bravely, starkly; a mistake was made, regrets have been had, and all is wrapped up in the recollection of a deeply felt adolescent heartsickness—a time when the narrator was first afire with music and automotive freedom. The song captures the moment when meaning inexplicably falls into place, when a long-nagging memory suddenly assumes narrative form, and the subsequent sense of lightness and unburdening. It is fitting that Driving, a record conceived as a form of self-therapy, should culminate with a sense of humble revelation. That Wilkes is plainly eager to share the vulnerable fruits of this labor constitutes Driving’s joyful offering.

Words by Emmett Shoemaker

Although still very much a secret, Oakland, California's Justin Pinkerton has perfected and expanded his Futuropaco project to a stunning degree over the past seven years. The one-man band is deeply rooted in Pinkerton's masterful drumming, which builds on the legacy of 1960's and 1970's legends such as Tony Allen and Jaki Liebezeit. But he's an accomplished multi-instrumentalist as well, and the Futuropaco sound is a colourful fusion that sees him throw fuzz guitars, flutes, vintage synthesizers and Anatolian string instruments into the mix - seemingly without much effort. The second and final volume of the "Fortezza Di Vetro" series feels like a conclusion, the sound of an artist reaching his creative zenith. It's an experimental album, yet immediately seductive in its energy - channeling the vibey art-rock of Tortoise, Black Sabbath riffage and vintage Italian film music in equal measures. It's such a refined and esoteric blend, yet hits so directly. It's simply impossible not to crank the volume knob once this slab of vinyl is on the turntable, followed by immediate head nodding. Buy the ticket, take the ride. Justin Pinkerton is a vastly talented rhythmsmith, best known as a member of Californian stoners Golden Void. On this project he plays all the other instruments too so he can do what he blooming well feels. And it's not as if the drum solos go on for twenty minutes like those of John Bonham and his pale imitators. Nope. Into tracks that are both jam-packed and concise, Pinkerton has squeezed his love of vintage Italian library music, classic krautrock and heavy psych rock. At one point it suggests Grails have been performing super-speed cover versions of fusion-era Miles Davis with Adrian Younge on production. -The Quietus Futuropaco returns in a big way with Fortezza di Vetro, a buzzing, groove-heavy album that expands on what came before while staying true to the project's origins. Dizzying, fuzzed-out psych with just the right amount of melancholy for good measure. Justin Pinkerton and Futuropaco have done it again. Fantastico! -Complex Distractions

An air of ancient ritualism cloaks Modern Love’s midnight meeting between UK producer MOBBS and French-Egyptian spellcaster Susu Laroche, carving out a channel between hexed trip hop and shoegaze that’s one part DJ Screw, one part MBV, operating within a long shadow of influence cast by Curve, Leila, Cocteau Twins, Nearly God.

Clasping chiral energies on their debut collab, MOBBS brings a history spanning shadowy production work for big name artists to the grimly stylised vein of performance art and musick explored by Susu Laroche, an Egyptian-French with strong binds to chthonic contemporary London.

Their maiden sacrifice heightens the senses to blends of monotonic, sandalwood scented incantations and carpet-burned downbeats swept in slurred dub. Songs are subtly variegated in tone to spell out shifting plays of light evoking bedsit antechambers and warehouse innards lit by iPhone candle or extractor hood and emergency light bulbs on their last lumens.

It's music that's as elaborately serrated and blemished as early MBV, but positioned in a vastly different cultural landscape, drawing from hip-hop, drone, psych and basement noise. The pair’s range of cultural obsessions maintains a precarious balance between shadowy histories and an asphyxiating present; all too often, when the past is projected it's thru a mollifying, nostalgic lens, so their critical, prudent hybrid sound is a vital, chilling corrective.

From the bell-ringing, chain-rattle jag of ‘Throne’ thru the sleepwalker drift of ‘Roam’, and concrete plangency of ‘Forest’, the marriage of MOBBS’ illusive textures with Laroche’s feel for analog image and film (as evinced in her art for the likes of Blackhaine and Mica Levi) imprints their sound in gauzy layers that leave fleeting impressions on the mind’s eye. At their heaviest, Laroche’s arcane declarations descend in impressive enactments, undressing the excesses of over-glossed trip hop to reveal and revel in the sound at its starkest, sexiest, for new waves of washed up souls.

Leony zählt zu den gefragtesten Künstlerinnen Deutschlands. Mit ihren Hits "Remedy" und "Faded Love" hat sie sich fest in der Popwelt etabliert und erfährt große Anerkennung. Mit nur 27 Jahren kann sie bereits über eine Milliarde Streams, mehr als 30 Gold- und Platin-Auszeichnungen sowie mehrfach erreichte Spitzenpositionen in den Radio-Charts vorweisen. Ihr Debütalbum "Somewhere in Between" schaffte es 2023 in die Top 20 der offi ziellen deutschen Charts. Zwei Jahre später folgt nun ihr zweites Studioalbum "Oldschool Love". Das Album erscheint im Digipack und als 1LP-Format.

OHYUNG aka Lia Ouyang Rusli describes their new album as “my trans self and my former self in conversation, from both perspectives.” The record represents their lengthy, complicated, but crucial journey between lives, strewn with both doubt and excitement. It is an ecstatic, pop-oriented shift in direction from an artist primarily known for noise, experimental hip-hop, and ambient music, but carried with sleek confidence, maturity, and a silvery, hallucinogenic shimmer that reveals Rusli’s experimental background. It is, writes Rusli, “sometimes written from a dark place and other times from a place of happiness.” Throughout, darkness and light rise and fall in layers of phased strings, trip-hop drum production, and earworming vocal lines.

Also a film score composer, Rusli’s songwriting craft is meticulous and nuanced. You Are Always On My Mind was, perhaps surprisingly, formed primarily from processed “generic string loops” found in online sample packs - a strange and wilfully jarring reminder that what seems to be is not always what is. Recontextualised, these string loops enshadow the simplicity of their origins and reveal a grace and purposefulness perhaps not even imagined by their authors, subtly drawing out euphoria and tension in equal balance.

Rusli also writes of the influence of rave culture central to their transition, and of the record’s production and theme. “It’s a declaration of love for raves and the dark hazy rooms that helped me to be free and true with myself— seeing other people who are so free and beautiful and thinking that one day that can be me— that’s me in the future.” But there is also a fear and unease present. Key moment “no good” explores “the worst version of myself as a trans person, feeding doubt to my pre-transition self” with its core lyric anyone can see / I’m no good for you, delivered over a relentless beat, swooning strings, and glistening synthesis.

Later, “i swear that i could die rn” renders a Spectreish Motown beat lamenting and lush with breathy synths and knife-edge melodies that eventually yield a hazy, gliding string section, created again from mutated, spliced, and transitioned royalty-free sample packs. The track is about “seeing my beautiful friends at raves and feeling at home appreciating the harsh noises of hardcore techno and acid. Feeling that I could die at this moment and be happy.”

After the success of Trenchtown Rock, Small Axe, and All in One, here comes the final chapter of this quadriptych dedicated to Bob Marley’s musical legacy. Side A opens with “Treat You Right,” a vibrant declaration carried by mesmerizing rhythms, while “Don’t Rock My Boat” radiates a serene, sunny vibe. On Side B, “Chances Are” shines with its melodic tenderness, leading into the energetic “Bend Down Low,” a pure call to dance. An essential album, blending incandescent grooves with universal messages, crafted by an eternal legend.

For the past couple of years, Sam Akpro has been rising as one of the brightest talents coming from the thriving UK alternative scene. Hailing from Peckham, South London, he incorporates elements of post-punk, wave, dub, jazz and trip-hop, fueled by a fascinating range of influences (from Joy Division to SAULT, through Miles Davis, Talking Heads, Cocteau Twins, Dean Blunt, Fela Kuti, Frank Ocean). Fuzzy, moody and dreamy at times, "Evenfall" paints a refreshing picture of life in the London suburbs in your twenties. It"s the light, the darkness and the slow passing of time in an accomplished, genre-defying art form. With this beautiful debut, Sam Akpro is destined to break through in 2025.

Following their acclaimed debut album The Shedding of Skin (2022), the formation has deepened their relationship through numerous live jams, intense touring and story sharing, pushing both their skills and the boundaries of the project. For its successor, État Coupable, this growth has been enriched by various collaborations, including one with Lebanese-Canadian producer Radwan Ghazi Moumneh (Jerusalem in My Heart).

The first single, Freedom, Asshole, features live drums by Spooky-J from Nihiloxica. With lead vocalist Saif singing, 'I envy you because you can close your eyes, you can choose,' the track addresses those who need to be addressed in the Western world, resulting in a gutwrenching piece of raw electronica that delves into the very definition of freedom. Alongside the launch of the record , the single will be released on Bandcamp and other streaming platforms on Wednesday, January 29.

A series of live dates have been announced including gigs at Ment Festival (SL), Rewire (NL), Donau Festival (AT) and dunk!festival (BE) among others.

Belgian multidisciplinary artist and long time collaborator of the project, Youniss Ahamad, has shared a that embodies unease through distorted images, a black-and-white palette, and abstract bird loops.

“For me ‘Freedom, Asshole’ is about fighting for freedom even when everything seems bleak”
– Youniss Ahamad

Bei Stepptanz denkt der Musikfreund natürlich zunächst an Gene Kelly und Fred Astaire. Auch wenn nicht mehr so populär wie in der ersten Hälfte des 20. Jahrhunderts, findet der Tapdance nach wie vor in den Shows am Broadway statt. Die perkussive Ausdrucksform mit den schnellen rhythmischen Beinbewegungen ist die Spezialität des Wiener Musiker Thomas Marek, der zu den gefragten Tapdancern in Europa zählt. Der 52jährige Choreograf und Schlagzeuger hat diese Tradition schon vor einigen Jahren aufgegriffen und zeigt seine expressive Tanzkunst in vielen Theatershows. Gemeinsam mit dem Pianisten Patrick Bebelaar und dem Bassisten Jan Roder hat Marek jetzt Tapdance, Perkussion und Schlagzeug im Rahmen einer LP-Aufnahme integriert, die sowohl ausgewählte Jazzstandards, als auch ausdrucksstarke Improvisationen beinhaltet. "Footprints" heißt die im Frühjahr 2024 in Wien aufgenommene Musik, die wir nun im Rahmen unserer Vinyl-Edition als LP präsentieren. Altbekannte Standards wie "Tea For Two" und "Softly As In The Morning Sunrise" sind ebenso zu hören, wie emotional geprägte Balladen von Bebelaar und rhythmisch vielschichtige Improvisationen von Thomas Marek. Entstanden ist mit "Footprints" ein musikalisches Kaleidoskop mit Elementen von Swing bis Free, das von drei erstklassigen Musikern eingespielte wurde. Pianist Bebelaar, hat viele Jahre mit dem Trompeter Herbert Joos und dem französischen Tubisten Michel Godard zusammengearbeitet und ist zudem ein ausdrucksstarker Komponist. Bassist Jan Roder ist fester Bestandteil der Jazzszene Berlin und Bandleader Thomas Marek ist sowohl als Drummer, wie als Tapdancer auf dieser LP zu hören.

Rock and Rock roots, deep down under You'd better believe it! The roots of Australian rockers AC/DC lie in the whirlwind of original fifties rock and roll.
In the early days the group would cut their teeth on the club circuit with a live set that would include a handful of band originals,a few Rolling Stones numbers plus many crowd pleasing Rock and Roll classics.
The Sydney club and bar scene was rough so you had to get the punters on your side.
With their original singer Dave Evans at the helm the group who play residencies at the likes of the New Hampton Court Hotel in Sydney entertaining with their own brand of loud guitar takes of 'Carol' and 'Bye Bye Johnny'by Chuck Berry,'Tutti Frutti'by Little Richard,as well as rocking standards like 'Shake,rattle and roll' and 'Blue Suede Shoes'.
Cranking out cover versions didn't die even when the group composed more original material,a version of 'School Days' by Chuck Berry would appear on their second album' TNT',whilst 'Baby Please Don't Go' would be pulled from their original 1975 debut album'High Voltage' and issued as a single in America.
These roots are the reason that AC/DC have become one of the best loved bands on the planet who never fail to deliver the goods everytime.......

'001-015' is a "best of" compilation celebrating the first 15 sample packs made by Frollen Music Library. Launching in late 2021, the sample house has since been featured in productions by ScHoolboy Q, Leon Thomas, Devin Malik and more. This retrospective "best of" traverses a wide range of styles and moods to appeal to every music enthusiast as well as producers and songwriters alike. Whether it's bouncing Hip Hop beats or evocative cinematic etudes, FML's 3- piece house band, comprising Henry Jenkins, Darvid Thor and Hudson Whitlock have a deep love and respect for many musical styles. FML'sdiverse catalogue takes cues from the 'Third Stream' composer David Axelrod, as well as drawing upon cinematic themes from 60's and 70's Italian film score composers a la Ennio Morricone and Riz Ortolani. There are 90's New York boom bap beats, as well as synthesiser music inspired by Tonto, , utilising a locally made synthesiser from Melbourne Instruments. Jenkins, Thor and Whitlock have been playing in bands and producing music for their local music scene for the last 15 years. Recording and performing with The Cactus Channel, Karate Boogaloo, Mo'Ju, Surprise Chef and many many more. Not only is this brand-new LP a great musical collage worthy of any music library enthusiast, but also functions as a tremendous sampler demonstrating the many styles of FML. Fast, slow, sweet AND sour!

'001-015' is a "best of" compilation celebrating the first 15 sample packs made by Frollen Music Library. Launching in late 2021, the sample house has since been featured in productions by ScHoolboy Q, Leon Thomas, Devin Malik and more. This retrospective "best of" traverses a wide range of styles and moods to appeal to every music enthusiast as well as producers and songwriters alike. Whether it's bouncing Hip Hop beats or evocative cinematic etudes, FML's 3- piece house band, comprising Henry Jenkins, Darvid Thor and Hudson Whitlock have a deep love and respect for many musical styles. FML'sdiverse catalogue takes cues from the 'Third Stream' composer David Axelrod, as well as drawing upon cinematic themes from 60's and 70's Italian film score composers a la Ennio Morricone and Riz Ortolani. There are 90's New York boom bap beats, as well as synthesiser music inspired by Tonto, , utilising a locally made synthesiser from Melbourne Instruments. Jenkins, Thor and Whitlock have been playing in bands and producing music for their local music scene for the last 15 years. Recording and performing with The Cactus Channel, Karate Boogaloo, Mo'Ju, Surprise Chef and many many more. Not only is this brand-new LP a great musical collage worthy of any music library enthusiast, but also functions as a tremendous sampler demonstrating the many styles of FML. Fast, slow, sweet AND sour!

'Through Today' is the sophomore album for rising Australian band Chimers. A husband / wife duo comprising life partners Padraic Skehan (vocals / guitar) and Binx (drums / vocals). Recorded by Jono Boulet (Party Dozen) over two days at Stranded Studios, Wollongong and mixed at Boulet’s Sydney home studio, produced by the band and veteran manager / promoter / producer Tim Pittman (Feel Presents), 'Through Today' features ten tracks of tightly-coiled intensity that barely lets up for all of its 34 mins. In enlisting Boulet, the band were confident that due to his own experience of being one half of Party Dozen, they had someone who understood the confines of working within the structure of a two-piece but also the possibilities that creates. Boulet, in turn, rewarding that trust by capturing a powerful bedrock of sound that allowed the band's taught rhythms to circle and permeate and yet give full breathing space for the melody within. For Pittman’s part, having a third ear on hand to devote serious listening time and critical commentary was an added bonus. It’s a major step forward from the band’s 2021 self-titled debut. A twelve track effort that snuck out during covid and only hinted at the power within. "Our debut felt more like just trying to capture the songs we had at the time, we weren’t sure if we’d even release it or if it would be our only album" "This time around we were intent on capturing the energy and intensity of our live show on the recording but with a more produced sound than self-titled. We worked more on song structure previous to the sessions. We rehearsed a lot playing quietly so we could actually talk to each other whilst playing the song and iron out any kinks.” “Jono turned the whole live room into a drum room, mics everywhere. The guitar amps were situated outside to prevent too much spill but still recorded live along with about half of the vocals. Second guitar and the rest of the vocals were recorded the next day. Jono was super quick and had the same work ethic and mindset, get in, get it done. If the first take was good enough, move on.” - Padraic Lyrically Chimers maintain the intensity as they tackle the themes of love, life, death and relationships, distance from home (Padraic is Irish, moving to Australia in 2001) and the current political climate providing enough drama to fuel a forest fire. Guest musicians on the album include saxophonist Kirsty Tickle - also of Party Dozen - and violinist Jordan Ireland of The Middle East. Both of whom were invited in on short notice adding their respective parts in just 1-2 takes each without any prior knowledge of the material. Binx too showing added versatility contributing lead vocals to An Echo and sharing lead across 3AM, Generator and others. “Singing is not something that comes naturally to me, and it was at the last minute before we went into the studio that Padraic suggested I sing the lead in An Echo. Having very minimal musical instruments within the band I think having the two different vocals adds a nice dynamic to the record.” - Binx 'Through Today' is a great album. Solid and confident from the get go. No waste. No unnecessary fat. Should it be Chimers last it would remain a defining statement of originality and intent. But it’s not the last, it’s just the beginning. And there’s plenty more where that came from. BIO Like many good bands Chimers are a band born of isolation, not geographically though, via the pandemic. Irish born Padraic Skehan and his life partner Binx, formed the band in their Wollongong backyard during the initial lockdown of 2020. Veterans and drummers both of the ‘Gong’s vibrant garage-scene – The Pink Fits, The Drop Offs, Evol and more – Chimers is an altogether different beast, Padraic taking a giant leap forward by removing himself from the back-seat and assuming the role of driver; singing, playing guitar and writing the songs that would eventually become their 2021 self-titled debut album. It’s a sound and album that draws heavily on Skehan’s time as a youth in Ireland and the post-hardcore sounds of Dischord Records, Husker Du, The Wipers and which has seen the band find friends and favour in like-minds The Mark Of Cain, Henry Rollins, Guy Picciotto and Mudhoney. This is no mere nostalgia though, the band instead landing at the vanguard of a new generation of Sydney and surrounds bands – Body Type, Second Idol, Dust, Private Wives, R.M.F.C – borrowing from the past in order to create a future.

Whipped up in the dust of Rene & Rene’s Tejano tornado “Angelito,” the Dynamic label was just one among San Antonio record and real estate mogul Abe Epstein’s enterprises. Dynamic’s flagship outfit, the Commands, marched “No Time For You” up to the middle of the charts in 1966 with performance chops honed jet-sharp by the demanding Air Force Base circuit. That take off paved a runway for 20 more soulful Dynamic singles over an impressive 30-month campaign. Epstein’s open-door policy brought a diverse cross-section of Texas talent into convergence within his General McMullan Drive studio, as whites, blacks, and Latinos alike suited up for service in whichever new group the call of duty called for. Epstein’s Alamo City melting pot is ladled out here in 21 (28 on the 2LP) of Dynamic’s most intriguing dishes by the Tonettes, Little Jr. Jesse & the Tear Drops, Don & the Doves, Willie Cooper & the Webs, Bobby Blackmon & His Soul Express, and Doc & Sal. Lone Star pic sleeves, full-color dancehall photography, and rich ephemera plant a new flag for soul in soil that’s seen its share of hoisted banners.

Some record crates deserve a sub-category called 'play it again, Sam'. tracks that spin on the turntables without a push. Funk Kraut, Zombie Zombie's second LP on Born Bad, is of this kind. This well-proportioned classic is a fine example of the style the trio has been embodying: instrumental for synths and drums music played live. This time it was a quick affair, recorded by Laurent Deboisgisson in the studio of Cheveu's singer. A pretty straightforward job, and a far cry from their previous concept album. Let us praise Krikor Kouchian's mix: drums have been resampled with some restraint, and that Linn Drum kick lightens up the overall mix. It marks a notable evolution in the band's sound, and adds some dynamic. The album kicks off with 'No cruise control', a big bad sedan that effortlessly eats up the distance at 120 BPM. Kraut as can be, with a twist. And as far as funk goes, it's not Bootsy Collins, but there's a whiff. Space is structured by synth patterns, for optimized drumming : forward, straight and fluid, top-notch suspension (Cosmic Neman / Dr Scho?nberg take care of business on drums). They treat themselves to a diversion via Darmstadt to take some musique concrete on board : mechanical birds chirp, the odd atonal piano here and there. Nerds will appreciate liner notes detailing the equipment used : about twenty synths and they still describe it as minimal. With 'Densite?', we've just passed a polyphonic milestone: outright chords ! Long, suspended pads, pierced only by fat claps. Clapping hands are not far off. The band shows it has mastered concise pop formats. That same vibe can be found in 'Jungle the Jungle', paradoxical tune, catchy and moody at once. You'll get some brass riffs in 'Helix', which takes off on a synth moving from one speaker to another to herald the crash of syncopated drums to come.Zombie Zombie sounds ready to write themes for niche TV series.'Aurillac Accident' documents a haphazard soundcheck which, once in the studio, became a bitter ballad, breaking apart into dubby gravy. Live with two drummers performing, this aspect showcases in 'Snare Attack' and 'Double Z', with its jogging hi-hats and creepy little toy piano motifs. Cardio levels are high on 'Dodorian', perfect track for depraved spinning classes, with its moving filter, disco arpeggios and flashes of synthetic brass. 'Magnavox Odyssey', a nostalgic but bouncy synth lasagna, brings this album to a majestic close. The cover by Dddixie sets the tone with its 'Motorik Vibes & Stereo Grooves' sticker. Motorik, absolutely, it's autobahn time for 45 minutes. And when it comes to stereo grooving, the acoustic image is as wide as the canyons of Mars. DO NOT MISS THIS ALBUM (or the previous Vae Vobis)!

2025 Repress

Don't let this one go over yo head son! The final repress from Sound Signature HQ is an essential slab of late 90s Motor City deepness from Theo, presented once again for contemporary reassessment and sounding every bit as jaw dropping 14 years on. Dropping back in 1999, title cut "Overyohead" came to be regarded as a quintessential Theo Parrish track; strings incandescent with soul and lovingly off centre Rhodes riding those heavy drum arrangements towards a sweet piano infused crescendo. Face down, "Dance Of The Drunken Drums" is a prime example of Theo's own distinct brand of cavernous beatdown.

2025 Repress

"Hydroplane reinstate their formidable 1997 debut of sublime guitar atmospherics, fragile lyricism and droning incidentals with an overdue vinyl and digital reissue.

An offshoot of the now-féted The Cat’s Miaow, the trio formed after drummer Cameron Smith decamped to London, charting new territory with tape loops, manipulated samples and a borrowed Jupiter 4 in the wake of Endtroducing. Adopting a handle that Dean Wareham once considered calling Luna, Hydroplane intended to only ever release Excerpts From Forthcoming LP, a single-sided 7” sonic collage, before imploding in mystery. Their label however insisted they deliver their taunted album. From the comfort of a Brunswick flat, they continued to record soaring melodies and restrained song structures to 4-track, sculpting dramatic Radiophonic Workshop cues weighted in reverb and near-perfect dream pop lead by Kerrie Bolton’s empyrean vocals.

Bored of industry expectation and largely ignored by local audiences, the reluctant performers followed the way of The Cannanes and formed meaningful overseas alliances by mail and phone, securing releases on Michigan outpost Drive-In and Broadcast launching pad Wurlitzer Jukebox. Championed by John Peel with twenty spins on his converted Radio One slot and even polling in Festive Fifty of 1997, the humble three-piece still walked to their neighbourhood shops undetected.

Mess Esque is an Australian duo who sound like they literally dreamed themselves into being, made up of Helen Franzmann (McKisko) and Mick Turner (Dirty Three, Tren Brothers). The two enjoy moving at an unhurried pace, but what: here"s their third album in less than five years! "Jay Marie, Comfort Me" feels a hemisphere away from Mess Esque"s first efforts, and a whole new atmospheric level above. The duo began as a correspondence course in 2020, swapping tracks remotely between Melbourne and Brisbane to experiment with pairing Mick"s guitar, keys and loops with Helen"s ruminative vocals. Their third effort arrives after the two actualised into the same space - that is, touring and performing together! - but they"ve continued the absentee ballot as before, collaborating from some 800 miles apart to write another great album. One with an edge... rocking, we daresay! Along with Keeley Young and Kishore Ryan from the live band, the album features cellist Stephanie Arnold and a couple of Australia"s living legends of percussion: Bree van Reyk and Mick"s ol" Dirty Three partner-in-crime, Jim White.

A once shocking 1962 LP of love songs…by men, for men. A long lost treasure featuring the cool & sophisticated vocals of Gene Howard and a cast of prime studio jazz musicians, performing a set of standards sung to a male suitor. Ahead of its time in every way. Decades ago, JD Doyle, renowned LGBT music historian and archivist, happened upon a copy of Love Is A Drag. Doyle would often play cuts from it on his radio show, Queer Music Heritage. He remained intrigued by the lack of either artist or producer credited on the album. A vague line of jacket text ambiguously announced, “For Adult Listeners Only - Sultry Stylings by a Most Unusual Vocalist.” And, the facts behind the album would have most likely remained unclear if it were not for one Murray Garrett Out of the blue, Murray Garrett contacted JD Doyle and wanted to talk about the album. According to Garrett, through his photography career, he had forged a friendship and partnership with prolific big band vocalist, Gene Howard. The two worked together on projects, eventually teaming with Jack Ames, founder of Edison International Records. When queried for ideas for a potential Edison International release, Garrett recalled a performance he had once seen in Greenwich Village - a performance of a man singing love songs to another man, in serious fashion, i.e., not at all campy or overly-dramatic. Gene Howard (straight and happily married!) agreed to sing on the record, accompanied by a who’s-who of Los Angeles A-list session men. Upon release, the record sold well in Hollywood, with Frank Sinatra, Liberace, and Bob Hope among its biggest advocates.

London-based DJ and producer Steven Julien returns to his Apron Records imprint with a double A-side 12" , bringing together the new gospel and R&B-influenced EP TIME and previously digital-only EP Wraap't.

Bridging sonic worlds together, from the soulful anthem TIME and the glossy rap hit ULTRA ft. James Massiah to the old-school house sound of UP and Julien's driving club remix of Wraap't ft. Fatima. Rounding off the EP with the instrumental BALLAD, a dreamy jazz-inspired excursion, further highlights the unique contrast of Steven Juliens' work.

Available in two vinyl colours, limited Red and a classic black vinyl printed with the TIME EP artwork on the cover and Wraap't EP artwork on the inner sleeves. Two EPs, one record.

More than a decade ago, dub legend Lee “Scratch” Perry (1936–2021) walked into a Quasi Dub Development recording session in New York. His signature freestyle lyrics — dadaist and quirky as only the Upsetter could deliver — became part of their Little Twister album, released in 2014. Looking back on Pingipung's 22-year history, “Let’s Communicate” is certainly one of the highlights on the label, but it remained under the radar as part of the LP. In 2025, this standout track will receive this special 7’’ re-release, paired with a version by UK dub wizard Elijah Minnelli.

The Quasi Dub Development is an Italian-German-American collective around Luca Fadda and F.S.Blumm. The musicians are mostly renowned for their ambient, neo-classical and experimental music, and they share a passion for dub. They explore the genre using their acoustic instruments, creating a unique, playful, and atmospheric approach to dub, with only sparse use of electronics.

To coincide with the 7’’ single, a revisited version of the Little Twister album from 2014 will also be released on all digital platforms. This new edition includes the instrumentals of the vocal tracks that originally featured contributions not only from Lee Perry but also Lady Ann

"“We can still hold the line of beauty, form, and beat. No small accomplishment in a world as challenging as this one... hard times require furious dancing. Each of us is proof” Alice Walker, Hard Times Require Furious Dancing

Snapped Ankles have given up trying to make sense of it all. The forest only offers so much protection. Feeding on a diet of fractured narratives, meme culture, viral moments and the very worst of human impulses weighs heavy. The woodwose hold up a mirror to the absurdity of modern life once again. The only sane response is to dance. Make your way to the clearing, gather around the megalith of speakers, drum machines, amps and synthesisers and dance like there’s no tomorrow.

Hard Times Furious Dancing is an invitation to all those lost in the unrelenting noise of the present, to leave it all behind and come together in the forest. Driven by the primitive thrust of their single-oscillator ‘log’ synths, high and low culture collide in a surreal, free flowing narrative - but the rhythm is universal. This is easily the closest Snapped Ankles have come to capturing their rapturous live energy in the studio.

The sound of Hard Times Furious Dancing evolved at Snapped Ankles’ South London ‘Forest Rayve’ club nights in 2024 in response to that age-old primal urge to bring people together and make them move. It’s the first time the woodwose have road tested new material to this extent before committing it to tape since debut album Come Play The Trees, and in doing so have harnessed that feral energy once again. This surreal human/woodwose connection is the very best release from an algorithm that knows you better than you know yourself. Dance it all loose."

After a year-long creative process fueled by collective composition and live jam sessions, Gin Tonic Orchestra returns with "Let The Children House" on Floors Records. The EP is a testament to their ever-evolving sound, deeply rooted in live improvisation and the spirit of club music.

Recorded in the heart of the Alps at "Maison des Artistes" in Chamonix, the band surrounded themselves with legendary analog synthesizers—ARP 2600, ARP Odyssey, Clavinet D6, Fender Rhodes MKII, Jupiter 4, Jupiter 8, JX-8P, Korg M1, Moog Subsequent 37, OB-X, Oberheim SEM, Roland MV8000, Wurlitzer—to sculpt a sound pulsating with the hypnotic grooves, euphoric synths, and raw underground spirit of '90s house music. Each track was shaped with care, influenced by the group's diverse influences and their shared vision of an immersive dancefloor experience, embracing the hypnotic trance of repetitive music that blurs the line between consciousness and surrender.

Much like children lost in play, Gin Tonic Orchestra embraced chaos, letting their creativity flow freely, drawing inspiration from their mentors, and the stories passed down through club culture. The result is an EP that not only embodies their musical identity but also carries a bold statement: "Let The Children House" is a call to let artists create without constraints, a message of artistic freedom in an industry often driven by formulas.

With a background that includes a debut EP on Mother Tongue, a standout performance at Nuits Sonores ranked in Resident Advisor's Top 5, and collaborations with UK jazz-funk legend Kaidi Tatham, deep house master Ron Trent, and the H2H project led by Chez Damier & Ben Vedren, Gin Tonic Orchestra continues to push boundaries between live music and electronic culture. Their new release is both a tribute to the past and a step into the future—a journey where house music is not just played, but lived

• Earliest known full concert recording of Buck and his Buckaroos!
• Mastered from the original tape by Grammy®-winning engineer Michael Graves.
• Extensive liner note from co-producer Scott B. Bomar.
• First pressing on Strawberry Jam-colored vinyl.

Buck Owens and his Buckaroos were a phenomenon when they burst onto the scene in the early 1960s. in 1963–1964, they had five #1 Country hits including “Act Naturally,” “Love’s Gonna Live Here,” “I Don’t Care (Just As Long As You Love Me),” and “My Heart Skips A Beat.”

Their live Carnegie Hall Concert release hit #1 in 1966, but how exciting they were onstage before that was largely unheard. Unless you were there. Until now. The Exciting Sounds Of Buck Owens And His Buckaroos Live From Richmond, Virginia, 1964 is the recently discovered, earliest full-concert recording of The Buckaroos onstage. The band, performing the aforementioned #1 hits and more, shows how their presence and performance in front of a live audience cemented their status as one of the greatest acts of all time—in person and on record.

Painstakingly restored and mastered by multiple Grammy-winning engineer Michael Graves, The Exciting Sounds Of Buck Owens And His Buckaroos Live From Richmond, Virginia, 1964 shows a band ready to take over the world. (Even showing appreciation to their new labelmates, The Beatles, with a cover of “Twist And Shout.”) With a first pressing on strawberry jam colored vinyl, The Exciting Sounds Of Buck Owens And His Buckaroos Live From Richmond, Virginia, 1964 looks and sounds like it could and should have appeared in 1964, but with 21st century style and technology.

So, head to Richmond and hear Buck Owens And His Buckaroos firing on all cylinders. It may have happened over six decades ago, but it sounds as vital and important to music history now as ever.

All aboard! Ketiov’s Rhythm Trainx Vol. 6 pulls into the station, delivering another batch of rhythmic delights to keep DJs and dancers on track. This isn’t just a drum tool EP; it’s a rhythmic Swiss Army knife designed to break the monotony, shake the staleness disease, and maybe even help you discover that long-lost dance move from 2003.New Release Information True to form, Ketiov goes above and beyond the call of percussion. These tracks aren’t your average drum loops—they’re living, breathing organisms. With real drum sounds recorded live and sprinkled with a touch of his own playing, the result is an earthy, organic feel that’ll make any drum machine feel like it has some catching up to do.

Spanning tempos and moods, Rhythm Trainx Vol. 6 offers something for every moment, from warm-up whispers to mid-set movers and late-night wigglers. It’s the ultimate utility belt for DJs who like to mix it up and keep their crowd guessing. Bonus points: these tracks have been rail-tested harder than a new set of railway-wheels, ensuring maximum reliability when it counts.

Whether you’re layering textures or cruising through extended sets, Ketiov’s latest will keep any train rolling. Dance floors beware—this one’s got serious rhythm!

180g black vinyl - limited to 200 numbered copies.

"What is my heart now"is the debut solo album by Ziemowit Klimek, known so far from bands such as Immortal Onion, Hania Rani, and Magda Kuraś Quintet. It is a cycle of five improvised compositions – "What," "Is," "My," "Heart," and "Now" – unified by a unique artistic concept, with each piece created in collaboration with a different musician.

The creative process for each of the five duets began with a conversation between Ziemowit, the guest artist, and the video team. Deconstructing the title word into its fundamental elements through questions like "What does 'What' mean? What emotions and associations does this word evoke in us? How can we capture its essence in sound and image?" became the starting point for artistic exploration.

To preserve the authenticity of the material as much as possible, both sound and image were recorded live, with no cuts or post-production editing. Equally important was the choice of spaces that corresponded to the meaning of each title word. Instead of sterile studios, the recordings took place in a variety of unique locations – "Heart" was captured in Ziemowit's most personal space, his bedroom, while "Now" was recorded inside a car during a dynamic drive, where the physical forces acting on the musicians significantly influenced their decisions while playing.

The album resonates with dialogue – not only musical but also emotional and intellectual. It is a meeting of individualities who, for Ziemowit, are not only inspirations as artists but also significant people in his life."What is my heart now"is an album about defining one's identity and capturing the moment, created in an atmosphere of honesty and trust. Ultimately, the question arises: is it even possible to definitively answer the question posed in the album's title?

"What Is My Heart Now"

Ziemowit Klimek (Double bass, Bass, Piano, Moog)

feat.

Krzysztof Hadrych - Guitar

Michał Jan Ciesielski - Saxophon, Volca

Hania Rani - Piano

Mikołaj Kostka - Violin

Jacek Prościński - Drums

Mr. K with two slices of Philadelphia disco, from smooth and slinky on our A-side to all-out floor pounding disco madness on the B.

Janice McClain, rightly adored for her Garage classic “Smack Dab In The Middle” (feat. on MXMRK-2068) but her second single is a real under-the-radar treat. The comfortably laid back groove somewhere between a stepper and simmering midtempo disco, classy and danceable as the finest Philly soul. Originally on a small LA-based label in 1983 (and sounding like it could have come out a good five years earlier), written and produced by McClain’s uncle Milt Tennant and his writing partner Thom Page, the same team responsible for “Smack Dab” — all Philadelphia rooted, so the sound should come as no surprise. Add McClain’s heartfelt and uplifting vocal and we easily have a lost classic. Mr. K’s edit trims the rare 12-inch version down for maximum sonic fidelity for its first appearance in a 7-inch format.

The flip side vibe goes in a completely different direction, although once again has its roots in Philly. The disco remake of the standard “Brazil” was a massive hit for the Ritchie Family in 1975, topping Billboard’s dance charts and getting deep into the Top 20 on the Hot 100. The group itself was a studio concoction led by veteran producer Richie Rome, with legendary trio Sweethearts of Sigma handling vocals — you’ll recognize their trademark harmonies from other huge classics like “Ain’t No Stoppin’ Us Now” and “Love Is The Message", studious listeners will detect a lot of similarities in the vamp section of “Brazil” and “Love Is…” as the MFSB house band launches into their trademark groove. This vamp section is unfortunately truncated on the original 7-inch single, but the always-attentive ear of Mr. K picks this point to begin his edit, starting where the original single faded out and giving us a full four-plus minutes of galloping disco delight.

Two flavors, both as tasty as it gets, all on one compact piece of wax! Another essential addition to your collection.

With breakneck rifs and explosive dynamics already earning a formidable reputation for avant-garde post-metal quartet Telepathy, their fourth album `Transmissions' sees the band turn their gaze inward to explore the rich sonic landscape of their creative and cultural origins. A new arsenal of cinematic synth textures and alien soundscapes pushes the band's genre-defying ethos towards more nostalgic and introspective ter- rain as they come to terms with the unknown. The band's latest ofering `Transmissions' marks the culmination of four years of introspection, experimentation and revitalisation for Telepathy, representing the band at its expressive core. Inspired by faded photographs unearthed in the brother's family home and the surprise discovery of a long lost relic, `Transmissions' is a cluster of musical messages that hurtles between nostalgic snapshots of the past and the everyday chaos of the present. Amongst precious memories and family treasures, the Turek brothers stumbled upon a recording of the frst radio broadcast of statesman Jo'zef Pilsudski, widely regarded as the founder of modern Poland. The wonder and optimism in his voice, captured over 100 years ago, ignited an inspirational drive to refect this time- less sense of awe in the present by pushing their musical creativity further than ever before. This revolutionary reinvention is immediately apparent on the opening track and lead single `Oath', which poured efortlessly out of the band in just one day. A recreation of that famous radio transmission introduces eight formidable minutes of widescreen rifs, thundering drums and otherworldly synth work that simultaneously feels like the blink of an eye. Subsequent track `Augury' rises from the dying whispers of `Oath', signalling Telepathy's renewed focus on composition and storytelling. The sense of open space and weightlessness from the song's halftime groove, soaring guitar arpeggios and an audio sample declaring that "the answer lies in the future" pushes the band beyond the familiar into exciting, uncharted territory. FOR FANS OF Tool, Russian Circles, The Ocean (Collective), Hans Zimmer, Mogwai, Kokomo

With breakneck rifs and explosive dynamics already earning a formidable reputation for avant-garde post-metal quartet Telepathy, their fourth album `Transmissions' sees the band turn their gaze inward to explore the rich sonic landscape of their creative and cultural origins. A new arsenal of cinematic synth textures and alien soundscapes pushes the band's genre-defying ethos towards more nostalgic and introspective ter- rain as they come to terms with the unknown. The band's latest ofering `Transmissions' marks the culmination of four years of introspection, experimentation and revitalisation for Telepathy, representing the band at its expressive core. Inspired by faded photographs unearthed in the brother's family home and the surprise discovery of a long lost relic, `Transmissions' is a cluster of musical messages that hurtles between nostalgic snapshots of the past and the everyday chaos of the present. Amongst precious memories and family treasures, the Turek brothers stumbled upon a recording of the frst radio broadcast of statesman Jo'zef Pilsudski, widely regarded as the founder of modern Poland. The wonder and optimism in his voice, captured over 100 years ago, ignited an inspirational drive to refect this time- less sense of awe in the present by pushing their musical creativity further than ever before. This revolutionary reinvention is immediately apparent on the opening track and lead single `Oath', which poured efortlessly out of the band in just one day. A recreation of that famous radio transmission introduces eight formidable minutes of widescreen rifs, thundering drums and otherworldly synth work that simultaneously feels like the blink of an eye. Subsequent track `Augury' rises from the dying whispers of `Oath', signalling Telepathy's renewed focus on composition and storytelling. The sense of open space and weightlessness from the song's halftime groove, soaring guitar arpeggios and an audio sample declaring that "the answer lies in the future" pushes the band beyond the familiar into exciting, uncharted territory. FOR FANS OF Tool, Russian Circles, The Ocean (Collective), Hans Zimmer, Mogwai, Kokomo

It is a huge honour to announce the publication of Peter Brotzmann’s final concerts on OTOROKU. When we invited Peter to do a residency at Cafe OTO back in February 2023 we had no idea these would be his last ever shows and he played with such power it would have been hard for anyone present to believe he would never play publicly again.

Recorded over two nights this grouping of Jason Adasiewicz on vibraphone, John Edwards on bass and Steve Noble on drums feels especially resonant and personal to Cafe OTO. The first time Peter performed at the venue back in 2010 it was in a trio with John and Steve, (released as The Worse The Better kick starting our in-house record label) so it feels fitting that the last shows he ever played here should also have that trio at its core.

The quartet last played together at OTO back in 2013, (released as Mental Shake on OTOROKU), and Brotzmann humbly opened the return of the group saying, "it's a pleasure to be back” before launching straight into a long blast on the alto sax, swiftly met by the relentless energy and engagement of Adasiewicz, Edwards and Noble.

There are moments of tenderness to Brotzmann’s playing that feels specific to this small group - one that cuts across three generations - and in a space that’s come to feel like home. Of course, there is dizzying, forceful, singleminded playing, but even amongst a relentless chorus of cymbal splashes and busy vibraphone clusters the lyrical, spacious moments are savoured and held onto. As he remarked at the end of the group's first visit to OTO, “the Quartet is, for us, a great adventure.”

Peter clearly wanted to play to the end. Did he know these might be his last shows? We will never know. What is clear is he wanted to go out in style and on his terms. For anyone in the room at the time or listening to these recordings it’s clear he achieved that.

It was Peter’s wish that these recordings should be made public and he was due to finalise the cover design on the week he passed away. We would like to thank Peter’s family for working with us to fulfil Peter’s wishes to release this material but more than anything we would like to thank Peter himself for all the extraordinary memories, his generosity and all he has given the music. On a personal level for us, like so many, he meant a huge amount and we miss him deeply.

The Quartet will be released as a complete recording on 2CD and as a special edit version on 2LP. Both feature artwork by Peter Brotzmann and UNTIET and are complete with photographs by Dawid Laskowski.
OTOROKU will also release a special 4LP boxset edition, limited to 250 copies and only available direct from us. Pre-orders are on the website now and Cafe OTO members will receive a 20% discount.

Look At Us Now: the long-awaited debut album from Song Festival sensation Gustaph!

"I wanted to make a record that makes people feel good about themselves."

Good things come to those who wait: after more than 20 years as a musician, Gustaph is releasing his debut album, Look At Us Now. The title is a phrase from the song Because Of You, which won him seventh place at the Eurovision Song Contest in 2023.

"Look At Us Now may be taken literally," Gustaph explains. "Look where we are now after 20 years of hardwork. And look where we are with the queer movement: as a queer artist, I can openly be myself and sing about the things that are important to me."

Gustaph's soulful voice takes us through various themes, from believing in yourself and fickle lovers to chosen family and loss.

Look At Us Now is a pop record infused with nineties house, dance and disco, but we also spot a ballad (Miss You The Most) and two Scandi-pop tracks: Like You, an ode to love and Darker Days, an epic track that will pull you through bleak periods with panache.

"I wanted to make a record that makes people feel good about themselves," Gustaph says. "One that they put on while getting ready to go out or just to start the day. A little pick-me-up that makes them think: Yes, now I can kick ass."

When you play the record for the first time, you'll already be able to sing along to a bunch of tracks: there's Because Of You of course, butalso more recent singles like Already Know, Faith In What You Feel and Calls Your Name.

The record was produced in London with Richard X, known for his work with Róisín Murphy, Alison Goldfrapp and Pet Shop Boys, among others. "That's very close to who I am as an artist, so that collaboration just made sense," Gustaph explains.

Look At Me Now sounds like a party where everyone is welcome. The club tour kicks off at Ancienne Belgique. Come celebrate!

The Jazz scene pays tribute to one of the greatest artist of all time. This time the IN JAZZ Collection focusses on Paul Mac Cartney with smooth jazz covers of some of the best titles composed by the great Macca !

Makin' Moves is back with the latest edition of unreleased tracks “Unreleased Volume 3” that might one day see the light of day digital but for now they will stay in the vinyl vault !

First up on the A side we deliver two choice cuts from one of New York’s underground producers Conway Kasey as he returns to Makin Moves with two tracks that will work dance floors in equal measure.

On the flip Johnny Melek brings us Manifestations with Juliet Mendosa on vocals. This one is much anticipated following Johnny’s colossal debut release on Your records that was number one in the Traxsource charts for a long time! Finishing off this classy 4 track EP is David Harness’s unreleased remix of Reggie’s Steele’s “Vulnerable” which was a huge track in 2024. Harness uses his trademark beats to take this one to peacetime floors!

TYRON is a tale of two halves exposing human complexity. Just as with the narrative of his own life, there are always two sides to every story. Side one re-introduces us to the classic hubris, machismo, and braggadocio typical of rap music. Side two takes what you thought you knew about slowthai and flips on its head. ‘feel away’ and ‘nhs’ go some way to dip a toe inside the complexities of his mind but delve deeper and you’ll be left with a clearer understanding of who he truly is. Honesty is paramount as ultimately Ty wants listeners to know that “it’s ok to be yourself”.

TYRON was formed against the backdrop of an unforgiving climate where judgement, shaming and underdeveloped and simplistic conceptions of other people are fashionable. Instead of succumbing to such simplicity, TYRON presents an artist who is unabashedly complicated and willing to explore themes of loneliness, identity, self-acceptance, and the difficulties in becoming an individual. Unlike the political overtone of slowthai’s debut album ‘Nothing Great About Britain’ which took listeners on a journey through slowthai’s turbulent upbringing and his stance on British life – this self-titled follow up, TYRON is a melodic dive through the expansive landscape of his feelings. His ability to bear his imperfections and contradictions makes TYRON an album that is the antithesis of a culture of purity. A resistance to the rising tide of moral one-upmanship and the pervasive self-righteousness that blinds us to our own fallibility.

DJ Support: Erol Alkan, Kenneth Bager, Leo Mas, FFan, Sean Johnston (ALFOS), Max Essa, Coyote, Ban Ban Ton Ton, Chris Coco

Hell Yeah series File Under Balearic Gabba continues its mission to bring some vital, previously digital-only Balearic Gabba weaponry to vinyl for the first time. This second volume has artwork by Planet Luke and features Wallace next to new school stars SIRS and Pedro Bertho.

Tartan Records label head and British talent Wallace opens up with a remix of Sewell And The Gong's 'Better Words' that has been a real summer hit for label head Marco Gallerani.

The original came on Jason Boardman's fine Before I Die label and is one of those jams that transcends genre and wins over techno heads, Adriatic beach groovers and festival main stages alike. It is 'proper Balearic Gabba' says Marco with its tropical percussion, humid pads and watery droplets all adding lush atmosphere to the dubby drums. The chords and reedy leads are beautifully delicate but get floors in a blissed-out, loved-up trance.

SIRS is an artist on fire right now and already impressed on this label with his remix of Aura Safari which is one of the year's standout Balearic house jams. He has a new single on the way for Hell Yeah but first flips label mate My Friend Dario's 'Tellaro' into a wobbly, psyched-out dub disco and breakbeat chugger. The zippy synths and shimmering keys are underpinned with a taught bassline and playful vocals that bring great fun and irresistible party vibes to any set.

Hell Yeah mainstay Verdo then has his 'Boulevardier' remixed by Pedro Bertho, a rising talent from Brazil with a steamy South American style. This one is a modern beach classic that unites both young and old heads with its frayed analogue drums and snappy percussion joining the dots between 80s Chicago house, new age and Balearic with its big piano chords and phased bass all getting hands the air.

QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.

The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.

"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.

Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.

"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.

"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.

Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.

QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.

Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.

Transport yourself to the enchanting Brazilian seaside with our latest release, BOSSA LOFI COMPILATION! Each track in this collection embodies the spirit of summer, immersing you in the rhythmic sway of sambas and the soulful strumming of guitars. Picture yourself at a lively beach party, dancing beneath the stars, or relaxing with friends on sun-kissed sands, savoring each moment. This compilation promises a perfect soundtrack for unforgettable experiences, filled with warmth, joy, and the timeless charm of Brazil's musical landscape.

Five Green Moons is the brand new project from the legendary Justin Robertson and here he drops the first fruits of that project with the incredible Moon 1.

This isn't Justin at his house controls. This is Justin delving into his roots and digging around through the likes of P.I.L, Gang Of Four, On-U-Sound, Current 93, Coil, Sabres Of Paradise and all manner of post punk echoes and basement electronics. As the man himself puts it - Moon 1 is a haunted ballroom full of memories. The sound of a dystopian disco. An object on a wonky orbit. A spectral visitation. And it is alive.

Pierre Bujeau is an expert at creating temporary escape zones—musical structures to evade the everyday. Sometimes he works collectively as part of the mysterious French groups Omertà and Tanz Mein Herz. But it’s when he’s on his own, performing as Megabasse, that he offers the most complete break from reality. His kit is simple: a few bottles of cheap lager, twin Fender amps, and his double-necked guitar. An instrument like this normally signals maximum rockist excess—think Jimmy Page, Geddy Lee, or that dude from the Eagles. In Pierre’s hands, it becomes more like a zither or a dulcimer, producing soft chiming patterns that build against themselves until the sound of the room, passed back and forth between his two amps, starts to blur everything, and we are away in another world. Wait, though—let down your yoga bun and don’t light the palo santo yet. The new space he creates has nothing to do with smug wellness. It’s a rough, do-it-yourself psychedelia, scuffed but hopeful. Not a perfect blank space to be your best self in, but instead a communal dreaming, an uncanny place where all are welcome.

Until now, without catching him live, the Megabasse experience has been difficult to find: CD-Rs, short-run tapes, and one blink-and-you-missed-it LP. Thankfully, this record on Efficient Space, a reissue of some pieces that were previously only available on a small cassette edition, will put that right. Here are two long, intricate pieces, and something new—a shorter track that hints at a move toward beautiful, burnt-out guitar soli.

Unless you are very lucky, wise, or rich, life imposes its structures on you. Maybe a record of shimmering, tranced guitar is all you need to get out from underneath?