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The Spinning Plates imprint returns this October with Club Winston’s ‘Guzzle’ EP, comprised of four gritty club workouts from the London artist.

The UK’s Club Winston has been steadily unveiling a series of tripped-out club ready cuts via his own UKGEORGE label over the past few years along with remixes from the likes of D.Tiffany and Tim Reaper. Here though we see him join the roster of Spinning Plates with his latest collection of works, an imprint that’s played host to material from the likes of SHKN, Neksha, Andy Rantzen, DJ Spider and Bruno Schmidt since its inception in 2015.

Title-track ‘Guzzle’ leads, laid out across five minutes with a menacing arpeggio bass lead, howling atmospherics and crunchy analogue drums. ‘Hell’ follows and tips the focus over to heavy doses of sub bass, intricately dynamic, modulating drums and intense swells of processed synths throughout.

Opening the flip-side is ‘Chart’, upping the energy levels with a pacey 4/4 drum groove while twitchy resonant synth lines, low-end pulsations and cavernous reverberations ebb and flow throughout. ‘Partook’ then rounds out the release, a cinematic ambient composition which lays focus on swirling, textural pads, glitched out resonant bleeps and fluttering low end hits.

“Spirit Chaser” by DJ Life. Berlin-based, aus producer slips back onto the label through Jupiter’s Depth, landing his first full solo EP with us — almost 7 years on from his first appearance on Neptune Discs.
After a run of VA appearances here, alongside standout releases on X-Kalay and Craigie Knowes — this lands as the third on the sub. Weighty baselines, fleeting vocal fragments, lush chords from elsewhere. All slightly off-centre, in a good way.
4 pattern-led trax, percussion up front — an undulating gem.

'The Roundhouse Tapes' contains a captivating Opeth performance from
the Camden Roundhouse, London, UK, on November 9th, 2006 (a gig
which also featured Goth metal legends Paradise Lost), & sees mainman
Mikael Akerfeldt & co in scintillating form, churning out a selection of
classics from their illustrious career to date
Since their formation in 1990 in Sweden, Opeth has risen to the forefront of the
metal world over the years; bringing many aspects of progressive rock/metal to a
whole new audience by combining soft acoustic ambience with complex, melodic
& heavy guitar often familiar to forms of death/black metal, perfectly concocted
into a completely peerless sound. A constant factor of their success is that the
band have never been afraid to experiment with their song- writing, taking us
through some truly magical & hypnotic soundscapes from blackened death/prog
debut opus, 'Orchid' back in 1995, through to the highly accomplished prog/rock
outfit witnessed in recent years

PRESIDENT are an anonymous UK-based collective operating at the intersection of heavy music, electronic experimentation, and cinematic atmosphere. Refusing to conform to the traditional structures of genre or identity, PRESIDENT prioritise intent over image—shifting the spotlight away from individuals and firmly onto the work itself.





Musically, they create a hybrid sound rooted in alternative and post-rock, layered with industrial textures, programmed beats, and dynamic arrangements that lean into tension, release, and emotional weight. Their material moves with precision—considered, deliberate, and always atmospheric. Every element serves the wider vision. Having launched without fanfare and operating without personal profiles or commentary, PRESIDENT has cultivated intrigue through minimalism and control. Their visual and sonic identity is cohesive and considered—every release, image, and post feeds into a tightly held narrative. There is no chaos here. There is no guesswork. Built to exist outside the noise, PRESIDENT are not here to chase attention. They are building something that invites deeper investment—designed to be discovered, not sold. After 3 months of cryptic teasing, anonymous UK-based band PRESIDENT are taking the Rock scene by storm. Post one of the most talked about performances of Download, PRESIDENT unveiled their debut EP, King Of Terrors.

'Double Seven, released by Trojan in late 1973, was the last album Lee 'Scratch' Perry would release on the label for some considerable time, and it was essentially the final album project he put together before establishing his own Black Ark studio. Opening track 'Kentucky Skank' sets the tone with a slow creeper whose frying sounds underscore its role as a praise song to the Colonel's KFC recipes; the cosmic Moog blips come courtesy of Ken Elliott at Camden's Chalk Farm studio, also prominently featured on U-Roy's double-tracked, stereo-panned gambling ode 'Double Six.' David Isaacs' 'Just Enough' was cut a few years prior, which makes it slightly out of phase with the rest of the set, though the enigmatic 'In The Iaah' sounds mightily fresh, with its uncredited chorus said to come courtesy of the Wailers. Perry's own 'Jungle Lion' has hilarious roars from the maestro at the start, strangely grafted atop a reggae re-make of Al Green's 'Love and Happiness.'

'Overall, Double Seven melds the soul, funk, reggae and dub elements that were constant in Perry's work during this phase. His enhanced audio spectrum and endless reference points would keep his music continually apart from that made by his peers.'
—David Katz (excerpt from the liner notes)

NOSUCHKEY makes a bold debut on the Art of Memory label with a deadly four track EP of masterfully reduced but stylish and evocative minimal techno. NOSUCHKEY is actually a side project from Nico Purman. He served up the first two releases on the label and this new alias is focused on straight forward techno. Over more than a decade Purman has established himself on Vakant, Crosstown Rebels and Curle, and now heads in an exciting new direction designed to make a huge impact on the floor. Opener 'Stages' is post minimal techno with a focus on mind melting melodic riffs that ripple over the rooted drums. It is sci-fi in style with a hint of Detroit greats like Jeff Mills and really takes you into the future. The excellent 'FMFMFM' is another fluid bit of deep techno that is wired up with languid synths constantly wrapping and warping round the drums. Keeping up the pressure is 'Lunch', with a stripped back but impactful techno style built on rubbery kicks and with modulated synth lines constantly shapeshifting throughout the mix. Direct but dynamic, it is excellently timeless techno that leads on to closer 'ACD RDFN'. There is urgency, paranoia and cyber tension in this one that really keeps you locked as it journeys deep into a blackened yet cinematic cosmic abyss. NOSUCHKEY is a false address, a lack of a word, a character or sign that makes a whole code unable to find its final path: The Specified Key does not exist.

East of the Valley Blues is Kevin and Patrick Cahill.

Recorded and mixed by KC in Kirkfield and Toronto, ON, January-February 2020.

Mixed and mastered by James A Toth in Toronto. Artwork by Ryan Waldron.

PURE GARAGE RETURNS WITH A CAREFULLY CURATED SELECTION OF COLLECTIBLE CLASSICS.

Pure Garage, the best-selling UKG compilation of all time, returns with a fresh stack of high value collectible classics on DJ friendly vinyl.

With a host of gold & platinum selling compilation albums under it’s belt, plus countless sold out events across the UK, Pure Garage is known and trusted by both hard-nosed purists & the casual listener.

This latest foray coincides with an incredible resurgence in interest for the UK Garage sound, bringing together 8 high collectible infectiously funky cuts, spread across a DJ Friendly 2 slices of vinyl.

Pure Garage Collectible Classics Volume 1 opens with Buggin Me by garage pioneer Zed Bias alongside Al Brown, a groovy bassline, funky beats and a great vocal hook combine perfectly to showcase the mighty Zed Bias at his funky best.

Set It Off, by Chris Mack / Flavour, is a truly collectible record. Originally only available on vinyl as a limited white label press, copies of Set It Off have been trading hands on sites such as Discogs for as much as £130… It’s worth buying this compilation purely to get hold of this track on vinyl!

Another track that is going for big money on reseller sites is Romantic 2001 by DJ Deller. With this minimal 2 step riddim having sold for up to £120. This is definitely one for the collectors.

Funkaholics aka Jeremy Sylvester rounds off the first piece of vinyl on this album with the bass heavy Down 2 Da Ground.

Vinyl 2 kicks off with the sing-a-long classic from 1998, Anthill Mobs’s track Don’t Leave Me, followed hotly by the speed garage sounds of Body Grooving by M.F. Project.

Finally, Deep Impact drops My Fantasy followed up with a regular name of the Pure Garage live event line ups, Scott Garcia drops his soulful club classic Music Takes You, rounding out an impressive batch of tracks representing everything exciting about the UK Garage genre.

PURE GARAGE COLLECTIBLE CLASSICS VOL 1 will be released on double vinyl 16th December 2022!

Following the release of the dreamy and bewitching darkwave debut single “Mirror Twin”, Harsh Symmetry announces the release of a full-length debut Display Model on Fabrika Records, home of Selofan, Lebanon Hanover, and She Past Away, whose own Doruk Öztürkcan mixed and mastered the LP. With a vocal style reminiscent of Cocteau Twins collaborator Cinder (This Mortal Coil, Cindytalk), and Ian McCulloch of Echo & The Bunnymen, Harsh Symmetry’s Julian Sharwarko is the epitome of old-school and post-punk and goth, capturing a vision that perfectly matches his sound, while physically resembling his music forebears to the point where he looks like he just stepped out of a copy of Smash Hits circa 1983. Hailing from Sacramento, California, Sharwarko’s love of music began at the tender age of 8, with parents who influenced his early music tastes by playing the music of Siouxsie and The Banshees, The Birthday Party, Iggy Pop, Depeche Mode, and Bauhaus. David Lynch’s work also made a profound impact on his style, specifically the short film The Grandmother.

The first Jet Set series is back in print and now repressed on colored vinyl. St. Louis producer Bonus Points scores high with Off Topic, an outstanding four-song EP for the Cold Busted label. With previous appearances on Chillhop Records, Sundae Sauuce, Horizon, and others, Bonus Points delivers a dazzling take on boom-bap beats and future funk. Bonus Points is a graphic designer by day and, in turn, his musical compositions reflect attention to color, form, and detail. These beats are visual. The release’s title cut opens things with a spacey intro before delving into some serious sunshine lounge vibes. A cool breeze wafts through these melodies. “Zoned Out” follows with a distant, romantic guitar and a lonesome, pensive feeling that’s perfect for seaside pondering. Next up is the old-timey jazz bop of “Coffee Lounge,” recalling the St. Louis swing of yesteryear over some phat beats. Off Topic closes with “Back And Forth

Genesis' Foxtrot is the band's fourth studio album, released in 1972. Regarded as one of the seminal albums of the progressive rock genre, it marked a significant milestone in Genesis' discography.

AllMusic's Stephen Thomas Erlewine says Foxtrot is where where Genesis began to pull all of its varied inspirations into a cohesive sound. The startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power, he writes, giving the album a 5-star review.

"There's might and majesty here, and it, along with 'Get 'Em Out by Friday,' is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer "Supper's Ready," a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose." — AllMusic

This is the rare art-rock album that excels at both the art and the rock, and it's rightly celebrated for its enduring impact on the progressive rock genre, making it an essential listen for Genesis fans.

Analogue Productions has given Foxtrot the deserving full reissue treatment: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

A few words for the album
Moment’s Aeternity:
a 12/8 composition celebrating the raw power of the “moment”, marked by whirling improvised moments between drums, bass clarinet and Harris P’s Armenian duduk.

Pajko, fire in the forest on the mountain:
in Sokratis own words: “I have a really vivid memory as a child. I was staring at the Djena mountain from my window in Archangellos which sits on the Pajko mountain. A little beam of light shone far in the horizon; it was a fire that in my little eyes looked as if the giants of Almopia were trying to communicate with each other using phryktoria (a way of contacting through fire in Ancient Greece).”

Footprints of some Giant Steps:
While the classic compositions of two true Jazz Giants- Wayne Shorter and John Coltrane- are certainly different, they do both connect in a mystical way. Rearranged in 5/8 combining half of each melody and half of each one’s chord progression, keeping the form of the piece for improvisation, still in 5.

Oson Zeis Fainou (Seikilo’s Epitaph):
found in a tomb stone in the Northeast of Greece, this is the only melody saved from the ancient times. It is accompanied by lyrics contemplating the meaning of life:
Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ πρὸς ὀλίγον ἐστὶ τὸ ζῆν τὸ τέλος ὁ xρόνος ἀπαιτεῖ.
‘’While you live, shine
don’t feel blue for anything because our life is short and time demands an end.’’

Here is to Oghene K:
’’Hey man, where is the groove?’’, he would say, just to trigger another wave of inspiration for Sokratis. Oghene was a true force of nature, a well of kindness, a masterful artist that left this world too early. This one is for him.

Balkan Riff (for Milcho Leviev):
Milcho Leviev (1936-2019), was a long-time friend and collaborator and a true inspiration for expression, creativity and colorfulness. Expressing the deep sentiments evoked by the Balkan sound and history, this is a sorrowful dialogue between bass clarinet and contrabass.

Spirits of Djena:
one of the most esoteric and personal moments of the album. Composed and recorded during the challenging times of the COVID-era, you can hear the baritone and tenor saxophone firmly grounded on a crispy, hypnotizing contrabass groove.

Sokratis Votskos Quartet
Kostas Anastasiadis / Giorgos Klountzos - Chrysidis: Drums
Leandros Pasias: Piano
Vaggelis Vrachnos: Contrabass
Sokratis Votskos: Soprano Saxophone, Bass Clarinet and Compositions


Sokratis Votskos is a jazz saxophonist, clarinetist, composer, educator, and bandleader from Greece. Deeply invested in unearthing the folk sounds and heritage music of Greece and Eastern Europe, he weaves these into modern jazz compositions though the use of melodies, polyrhythms, and his reedy, timeless tone. He leads the Sokratis Votskos Quartet, he is one half of Kolida Babo and member of the Reggetiko Project. A highly regarded sideman and ensemble player, he has worked extensively with renowned jazz musicians with several highly acclaimed releases (MiC, Jazzman, Walt Disney and now Fair Weather Friends Records).

He has performed his music in numerous venues and festivals worldwide from Vinterjazz in Copenhagen, to the EFG London Jazz Festival where he performed at the legendary Ronnie Scott’s alongside Greg Foat.

He is also an archaeoacoustics researcher and enthusiast, having completed his Master studies on the field of ancient ritualistic caves of Greece research.

Leandros Pasias was born in Thessaloniki, Greece. At age 10 was introduced to piano, continuing his studies at the Modern Conservatory of Thessaloniki and later at the Conservatorium van Amsterdam in the department of jazz piano.Ηe holds a classical harmony diploma and a BA at the Department of Music Studies at the Aristotle University of Thessaloniki. In 2020 he received jazz improvisation lessons from Aaron Parks.

With a series of appearances in multiple international jazz festivals, Leandros has collaborated with a wide range of musicians from Nicolas Masson and James Wylie to Marina Osk, Ivo Papasov and Haris Lambrakis, among others.

A member of the Yako Trio, he released “OdesSea” on Fair Weather Friends Records (2021).

Vangelis Vrachnos was born in Thessaloniki, Greece, in 1989. While he started playing the bass at the age of 12, alongside his brother, his studies would commence a few years later. Introduced to double bass at the age of 23, he undertook jazz double bass studies at the Codarts Αcademy of Rotterdam. He has participated in several festivals such as the Technopolis and Odessa international jazz festivals. Since returning to his hometown, in 2015, he has been a founding member of Mordana and Yako Trio and has collaborated with a series of musicians like James Wyllie, Sokrates Votskos and Dimitis Agelakis, among others.

Kostas Anastasiadis is a tireless researcher, that has been diligently studying Tradition and its evolution, creating a fresh amalgam of sound moods. His mature improvisational virtuosity highlights a uniquely individual artistic expression and was recognized with the ̈Unique Individual Stylist" award by the PIT (Percussion Institute of Technology) in Los Angeles, California. He has been associated with various ensembles that have garnered significant interest in the global music scene. As an educator, he is the founder of "The Harmony of Rhythm" musical method, which aims to explore and establish the elements that constitute the concept of rhythm.

Giorgos Klountzos-Chrysidis was born in Thessaloniki in 1991. Following studies at the Modern Conservatory of Thessaloniki, he moved to France and the Conservatoire de Nice. With performances at well-known festivals like Nice Jazz Festival, Nuits du Sud and Jazz à Vienne, he had the opportunity to meet the American drummer Leon Parker, who encouraged him to move to Paris, where he spent the next two years under his tutoring and guidance.

In 2016, came a defining moment in his career as he traveled to New York for the first time. He participated in the quartet of saxophonist Diego Rivera for a series of performances and attended lessons by Rodney Whitaker and Randy "Uncle G" Gelispie at Michigan's State University.

Collaborations include Xavier Davis, Ricky Ford, Nicolas Masson, Diego Rivera, Craig Bailey, Baptiste Herbin, Marc Abrams, Pantelis Stoikos, Antonis Anissegos, David Lynch, Ziad Rajab and Ivo Papasov, among others.

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

“Onomatopeikoa II” follows on from Irazoki's 2017 Gitarra Onomatopeikoa release, and that album's sense of untethered, questing curiosity is not only carried over but expanded upon even further here. Combining a fully committed approach to the guitar with an almost egoless lightness of touch, this album builds upon the already impressively scopious range of Gitarra Onomatopeikoa to dizzying effect.

Irazoki makes full use of an impressively broad palette. Yet nothing feels forced, nothing is for show – there’s just a sense of open-hearted generosity.

In lesser hands such a whirlwind tour of style and form might risk failing to get its hooks in deep enough, yet not only does Irazoki have the imaginative scope to tackle these varying approaches to the instrument, he has the technical chops to pull it off. Each composition seems to have an openness of intent that is utterly disarming; all cards are on the table and nothing is held back, resulting in a creative tour de force that builds, piece by piece, to a unifying cohesiveness that makes the whole far greater than the sum of its parts.

Featuring contributions from long-time OTO favourites Rhodri Davies and Raphael Roginski,

“Onomatopeikoa II” is nevertheless unmistakably a work of singular craft and vision.

FFO: Jeff Parker, Loren Connors, Keiji Haino

Limited edition vinyl of 250 copies

presented by Hegoa with a cover designed by Pablo Mirón.

Since 1992, Robin Storey (founding member of the pioneering post-industrial band Zoviet*France) has been creating innovative and thought-provoking music under the Rapoon moniker. Drawing inspiration from his early days with Z*F, he continues to push the boundaries of ambient, industrial, and world music genres, earning him a dedicated following across the globe.

Originally available in 1994 as a limited-edition DAT tape through Staalplaat Records, Cidar was later included as a bonus CD in the reissue of another Rapoon classic, Fallen Gods. Now, after years of anticipation, fans can experience this mesmerizing work as a stand-alone release – remastered and expanded with three previously unreleased tracks from the original 1994 recording sessions.

Cidar showcases Robin’s signature sound – a seamless blend of Z*F-inspired drones and loops intertwined with vibrant African percussion and hauntingly beautiful Asian string instruments. This combination creates an immersive, trance-like atmosphere that transports listeners into a world of meditative sonic exploration.

With its enchanting rhythms and deeply textured layers, Cidar stands as a testament to Robin’s unparalleled ability to craft music that defies genre boundaries while remaining instantly recognizable. Fans of both Zoviet*France and Rapoon will find themselves drawn into the hypnotic sounds of this timeless masterpiece.

The standalone release of Cidar marks an important milestone in the history of experimental music, offering audiences worldwide the opportunity to rediscover or experience for the first time one of Robin Storey’s most influential works.

Demilitarize follows Nazar’s remarkable 2020 debut Guerrilla, which reprocessed Angolan kuduro music with rough textures, field recordings and media clips, telling a personal story of the civil war that exiled his family to Europe, while his father, a rebel General, fought a losing battle in the jungle back home. After Guerrilla, and an extended period of serious illness, now Demilitarize is motivated by a reckoning with mortality and the flowering of new love, turning the ‘rough kuduro’ of Guerrilla inside out.This is a deep sound world, genuinely dreamy, the arc of the album describing shedding the armour of trauma and surrendering to this new situation. A constant and unexpected aspect of Demilitarize is Nazar's gentle, submerged vocal. Insistent and mantra-like, it’s like a cross between Elisabeth Frazer, Arthur Russell and Frank Ocean, and the music is fragile and opaque in response. The rhythms of kuduro are still here,but move around his voice like fish around a swimmer, while precise sound design illuminates from different angles. Chords spiral, ripple and shoot through the beats giving tracks the loosest of settings; songs disassemble; vocals float off-centre.

Gravity Pleasure's inaugural release is a rippling compilation of womxn, trans, and non-binary artists and
collaborators that invites listeners into an aqueous paraworld of fluid resistance and sonic kinship. Across 21 tracks from the likes of Yetsuby, Flora Yin Wong, Felisha Ledesma, Ursula Sereghy, tibslc, and more, Water Bodies spans a post-genre miasma of ethereal mermaid music, cathartic flows, and glistening sibilants. Inspired by a poetic prompt from Lou Croff Blake, each track is an exquisite message in a bottle of deep diving emotionality. Pulling from a wide range of musical perspectives – field recording, lovesick ballads, shimmering downtempo, post-party comedown, and percolating ambient – the compilation contains multitudes yet maintains deep sentimental coherence. Like a wave crashing in slow motion, each artist sonifies possible ways of being, insisting on the porous, the interdependent, and the deep and unruly. Water Bodies reminds us that home is a body made of water, to which we all belong.


Credits Curated by Ashlynn White & Madelyn Byrd
Artwork by Dre Roelandt
Layout by Madelyn Byrd Mastered by Estle
Distributed by Rubadub
Published by Gravity Pleasure ❊ GP01 ❊ 2025

An ode to a very good girl, Luna. It is my hope this record is soothing and trippy because it is trippy how soothing she is to me ºo∞Oº

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

Venus Flux is a new four-track EP by Lord Of The Isles on Amsterdam’s Far Blue label. The record opens with Mushroom Talk, a beatless ambient piece built from slow-moving analog tones, inspired by the honesty of altered states. Two live-improvised dub techno tracks, Betuladub and Pedaldub, form the core of the EP, shaped by intuition and in-the-moment connection rather than fixed arrangements. The closing track, Venus Flux, is an electro piece that feels reflective and unresolved.

Deeppa Records kicks off a new 7" series here that aims to pair emerging artists with established names from the label's artistic circle. The opening release introduces Tolyatti producer Pasadena with 'Vodichka Nice', a laid-back, groove-led gem that recalls 'Stepoing Into Tomorrow' era Donald Byrd with its seductive drums, squelchy slow-bass and soft-focus melodic wonder. It's already becoming a fave on the scene and on the reverse, respected producers Scruscru and Tony Lavrutz reshape the original with a remix that leans into deeper club territory, though keeps the bright melodies and inviting horizontal feel. Two sides, two moods, two essential cuts.

In 1979, Neil Fraser (artistically known as Mad Professor) founded Ariwa Sounds, the longest-serving and one of the most influential independently owned Reggae studios and record labels in the UK. From humble beginnings set up in the front room of Neil's home in South London recording on 4-track and homemade equipment, Ariwa would go on to record and release over 300 albums including works from some of the most impactful and storied artists of their time in the genres of Reggae, Dub, and Lovers Rock

Whilst our previous release in collaboration with Ariwa captured the label's early sound, a shared performance with Neil in Osaka and regular visits to his South London studio inspired us to assemble this 15-track compilation, showcasing the label's output across 45 years. Our release emphasizes some of the label's greatest vocalists: Johnny Clarke, Sandra Cross, Kofi, U Roy, Sister Nancy, Queen Omega, Aisha, Garnett Cross, Abel Miller, Horace Andy and more — presenting the Motown and Stax influences in the Lovers Rock, but also provides a glimpse into the dubbier and more experimental side of the label, showcasing Ariwa's commitment to quality but also their personality, philosophy and their humour. Love songs, break-up songs, socially engaged songs, dub experimentations — this compilation is not a "best of" Ariwa but a diverse and honest celebration of the label through the lens of Melodies International.

The compilation will be out in July in vinyl 2xLP, CD, digital formats, mastered from the original tapes by Frank Merritt (the Carvery), pressed at Optimal, artwork created by Jason Evans with design and assembly contributions from Nevil Bernard and Will Sweeney, animated teaser by Nevil Bernard and Melozine designed by Mafalda Meireles.

Cultivated Electronics Ltd For The Floor series began in 2022 and features split EPs available on vinyl (only) with Electro tracks aimed strictly at the dance floor, bringing together CE regulars and new artists. Volume 5 features Umwelt on the A- side and DJ MELL G x Unklevon on the flip, as well as a remix by label head, Sync 24 alongside Controlled Weirdness. New Flesh founder, Umwelt is known for his dark, industrial-leaning techno that blends dystopian atmospheres with driving rhythms. Here, the French producer delivers two hard-hitting cuts in Memoryscape & Morphing Sequence to open the EP. DJ MELL G from Juicy Gang Records brings a raw, high-energy fusion of electro, breakbeat and techno; fast paced and with bold sound design. She teams up with Unklevon who produces sleek, futuristic electro with crisp drum programming most notably for Boysnoize Records, on Get Down. While Sync 24 & Controlled Weirdness close out the EP with their tough and wonky rework.

For the label’s new series (BOOEP), and it’s the founder BOOH who opens the dance. Precise, minimalist grooves, crushing bass, robotic vocals and a dark atmosphere form the signature of this EP, which erases the boundaries between techno and tech‑house.

Written Produced & mix by BOOH
mastering By DDA
Artwork by Antoine Provost
Distributed by One Eye Witness

Twenty years ago, somewhere in Scotland, an album that was the missing link between The Black Dog, Chain Reaction and Irdial was released by an enigmatic Glasgow producer called Pub, on his equally mysterious label Ampoule.

The album ‘Do You Ever Regret Pantomime?’ (2000) has become the stuff of local folklore, a key work in the UK’s rich history of IDM and ambient, and one of the most celebrated albums of the early noughties. Bizarrely, it even infiltrated the Billboard Top 100.

‘Do You Ever Regret Pantomime?’ is also very much a key statement from a producer who has chosen to stay in their own space, where everyone is welcome. Records like these are about losing yourself in the sound and creating your own universe to explore.

Over the record's 70 minutes or so you’re instantly wrapped in a deep matrix of spacious chords, abstract textures and gently shifting rhythms.

The 2020 reissue has been re-mastered and cut at Berlin’s Dubplates & Mastering, pressed as a 2x12” and features new artwork and a bonus track.

This release also heralds the return of Ampoule, the Glasgow label which released music from the likes of Lucky & Easy, Omens Jot and Moped Endo among others. Forthcoming releases will be a mixture of new music and re-issues from the archives.

BOOH opens the record with a slow subterranean rumble before the machine locks in with full force. Welding Groove is a dense and relentless techno tool, built on a heavy low-end foundation and punctuated by sharp breaks that release tension only to snap back harder. A floor-ready opener that sets the tone for what follows.

Powder wastes no time. The groove hits from the first bar, driving forward with precision and urgency through a series of tightly chopped breaks before the bass reclaims the floor. Physical, direct, and built for the peak hours.

BOOH flips the record with Spectrum, the most patient track of the four. A long, layered intro slowly stacks elements one by one before the groove finally takes over and holds its ground without letting up. Wide and immersive, it carries the energy of a long set deep into the night.

Jackson Poliakov is the most unpredictable of the bunch. Opening with a wide, full-spectrum groove, it shifts midway into darker, more hypnotic territory before a final break brings everything back for the closing stretch. Two faces in one track, and the perfect way to close this chapter.

Kercha’s debut album ‘Open The Door’ arrives this April via DNO Records. The Black Sea artist’s mystical, disorienting style has set the tone for the label since he dropped the inaugural release six years ago. Now, across 16 tracks — including collabs with Mystic State, Congi, NST, Khromi and Finnoh — his smoky sampledelic dubstep is tighter, heavier, and more curious than ever, with a new sense of danger and bubbling rage that feels fit for our chaotic times.

Themes of movement and change course through the LP. On the opening gambit ‘A Path Into The Unknown’, twinkling arpeggios emerge from the gloom like stars lighting the way. Tracks like the eponymous ‘Open The Door’ and ‘Mind Extraction’ deliver that classic Kercha sound, where left-field samples dart in at right angles. ‘Dangerous Road’ weaves between the call and response action of grotty stabs and devilish subs. ‘Take A Break’, featuring Mystic State, goes on the attack with searing acid. ‘Can’t Wait For Today’, though lethargic in its pace, sees San Francisco-based rapper Finnoh deliver stream-of-consciousness bars that skewer our present and nudge us to revolution.

Work took place over the course of several years, during which Kercha relocated with his family from Russia to Georgia, where he now resides in the capital, Tbilisi. “Sometimes I wrote music while travelling on a bus, sometimes late at night while my family was asleep, sometimes just sitting on the grass in a park, and of course in my home studio as well,” he says. “By the time the album was finished, it included music from different periods, and it may vary in sound and concept.”

Any major upheaval in life will result in moments of hardship, but also hope. Both can be found throughout ‘Open The Door’. There’s times when the darkness threatens to envelope everything: during the cold, crackling ‘Disclosed’ and the eerie, dystopian ‘Infection Of Lies’; on ‘Trigger Activation’, with its grunting lows and broken glass hook, and ‘Ballistics’, where a wall of sub-bass is pierced by shrapnel stabs.

The balancing light comes on ‘4 AM’, featuring Nottingham duo Congi, when clashing swords and cinematic strings, meet a soft Rhodes piano — the juxtaposition between heavy low-end and floaty keys and vox reflecting those moments of transcendence often found in the early hours. From the injection of garage energy on ‘Bubs’, with Edinburgh’s Khromi. And on with ‘My Feeling’, featuring South Russian vocalist NST, which closes the album on a deep but expansive note, bookending the experience with more starlight synth tones.

“It’s a reflection of my life journey and the changes connected with emigration and overcoming various difficulties,” explains Kercha. “This period means a lot to me, which is why the album includes tracks from the time of preparing to leave up to adapting to a new country.”

Still, he wants listeners to be able to derive their own understanding. “I think the essence lies in the ability to contemplate, not in any predetermined meaning,” he says. “I can only say one thing: thank you for appreciating what I do and for your support. I hope it inspires you to make the same firm decisions to change for the better as it did for me.”

Out via 4 x 12” vinyl, ‘Open The Door’ is a captivating artistic statement, showcasing the journey of an artist with a truly original signature sound — a rarity that should be treasured and celebrated.

Rhythms of postmodern realism at the very bottom of the DNO.

Opponents Stims has two cuts from his current live show, the blistering, pummeling, nominatively deterministic Relentless Opponent and the euphoric / cathartic Who Booed the Geese, maxing out Goose intensity. They nestle up against two coy vignettes, Uxor Cut and My Crow Life and then Frisky Mellows. That’s an addictive, briskly paced 4/4 Detroit-tinted number that could almost be a lost Carl Craig classic.

Cinna Peyghamy unveils new album fusing Persian tombak and modular synthesis Five years in the making, "Music For Tombak & Synth" bridges heritage, technology, and personal identity. The project, initiated in 2019 during Peyghamy's master's thesis research on contact microphones, was conceived as a means to reconnect with his Persian roots while exploringexperimental sound design. In the album, Peyghamy seamlessly blends the traditional Persian tombak with modular synthesis and digital signal processing, creating a distinctive musical landscape that bridges live improvisation and studio production. The album’s genesis traces back to Peyghamy’s exploration of improvised electronic music and his desire to craft a performance-ready setup. Over
several years, the project evolved from capturing the energy of his live shows into a fully composed studio work.

"Music For Tombak & Synth" stands as the first record where Peyghamy unites his dual identities as a live performer and producer, resulting in a body of work that reflects his deep connection to family, memory, and cultural heritage. The album features personal elements such as his father’s voice reciting the poetry of Ahmad Shamlo on the track Dar Shab ,?? ??collaborations with long-time friend Quelque Bourdon on clarinet, and the evocative sounds of the Persian setar, all anchored by the physicality and rhythms of the tombak. A sentiment further reflected in the album cover; a photograph taken by his father, Khosrow ‘Payram’ Peyghamy, picturing both his parents and grandparents.

With this release, Peyghamy moves beyond conventional boundaries of "traditional versus contemporary" or "acoustic versus electronic," instead offering a nuanced exploration of identity through sound. Each track serves as a keepsake, referencing cherished memories, emotions, and musical influences that define his experience as a French-born artist of Iranian descent, unable to visit his home country. "Music For Tombak & Synth" invites listeners to engage with a deeply personal narrative, rooted in both cultural history and sonic innovation.

The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop’s smoothest figures.

The new recordings from The Dengie Hundred unfurl on Tain Records after a busy year releasing a solo tape on Sagome and a collaborative LP and tape with Japan Blues on Demdike Stare's DDS imprint.

Lammas Land is an album which meditates on the Walthamstow Marshes, an ever-changing watery landscape, rich with history and wildlife. The Dengie Hundred writes:

"I am sitting at my table overlooking the marshes listening to Lammas Land in November 2023, watching crows fight a never-ending aerial battle with the gulls. In summer, you can see bats from here every evening, fluttering around the windows as the light begins to fade, but today it is colder so there is smoke rising from the boats on the River Lea and the dog walkers are wrapped up tight against the wind.
Most of Lammas Land was made sitting right here, playing guitar and recording the sounds passing by. I would hang a microphone out of the window to capture the ‘putput’ boat which delivers provisions, or the trains that rattle along the tracks that cut across the marshes and up to Stanstead, carrying passengers to the airport and away.
I wonder what tourists make of the marshes as they cross them, the landscape opening up for a moment between the urban sprawl of the East End and the rampant development of Tottenham. They offer a jarring pause of green and sky. I feel very lucky to be living in that pause, a resident, for now…

The album contains a whole year of found sounds recorded from the window and while out walking. It is full of bird song and radio sounds, singing, life.

Many others have been inspired by this space, this pause. The author Esther Kinsky who wrote River, published by Fitzcarraldo Editions, captures this area so perfectly. I borrowed the two track names for this album from her book. I hope she doesn’t mind.

Also, the photographer Paul Fuller whose work reflects the atmosphere I feel here precisely. On hearing the music he wanted to collaborate on the Lammas Land project, He spent a year filming the marsh through the seasons. Some of his images are included with the vinyl release, and there is an accompanying film close to completion. I am so pleased this project is continuing in new forms.

The vinyl also contains a piece of writing, ‘Sound Fishing’, by Gemma Blackshaw, an author, art historian and curator who in a twist of fate also found herself spending time on the marshes, but that is her story, for another day."




The Dengie Hundred
Lammas Land
LP, with essay insert + five photographic prints
Cat No: TAIN02
Price: £14.49
Due next week

A: A hand full of ever thickening twilight
(Sample clips 1 / 2 / 3)

B: A string of pearls pulling
the night away
(Sample clips 1 / 2 / 3)

Germany's most exciting new indie voice BROCKHOFF opens a bold new chapter and announces her debut album Easy Peeler, out June 5th 2026 via PIAS Recordings. “Easy Peeler” is the ambitious culmination of BROCKHOFF’s musical coming-of-age journey. It's an album that bridges grunge-laced indie rock and early-2000s pop textures, wrapped in a deeply authentic songwriting voice. It’s a reminder that even when life feels uncomfortable, there’s beauty in being an easy peeler. For Fans of: Modern indie acts Phoebe Bridgers, Snail Mail, Soccer Mommy as well as 90s bands such as Weezer or The Cardigans Tracklist: 01. Easy Peeler 02. The Carpet Song 03. Willows 04. Sunny Day (Deadline) 05. Blue Star 06. Front Row 07. Nothing Can Be Fixed In This Place 08. Dirty Dream 09. Japanese Garden# 10. I've Stopped Getting Chills For A While Now 11. Cruel 12. Sleep It Off 13. It Never Happened 14. Hot Wheels

Few producers age into deep house with this level of ease. From Switzerland, Shaka's latest EP feels authentic and lived-in rather than retro while drawing on 90s jazz-inflected house without leaning on pastiche. The opener main vocal mix drifts in on flutes, soft keys and Eve's voice, setting a loose, late-night mood that favours feel over flash. The instrumental flute version pares things back, letting swing and detail breathe. Flip it and 'As If Eternity Belonged To Us', featuring Cate Acupar, locks into a warmer, early-2000s pulse, while 'Life Is Brighter With You' cools the room with sax, piano and patient restraint. Dancefloor-ready but also nice and reflective.

Cody Ferreira aka CoFlo has been operating in classy deep house circles for a while on labels like Freerange and Ocha. The San Fran man has already dropped one EP on Cataleya Music this year and now backs it up with more for Spanish outlet Mate. 'Won't Help It' is pure vibes - shimmering steel drums, cosmic synth breeziness and percussive grooves that bring to mind the classic Body and Soul sound out of New York. On the flip, 'Tell No Lies' is just as magical and elegant, with fluttering melodies and cuddly deep drums all making for life-affirming and positive vibrations of the highest order.