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Cody 'Coflo' Ferreira is hyped right now, and for all the right reasons. Spinning all over the world and producing killer tunes on all the right labels (including Local Talk).
But we think he is at his very best when he goes in the studio with US vocalist Lee Wilson. Even though they delivered some great tunes in the past, we can honestly say that this is the best one by far...yet.
The track 'We Can Make It' comes in two versions, one "soulful mix" for all the garage heads, and on the flip, there's a darker and more electronic mix (but still loaded with soul).

This project seeks connections between what is happening in biogenetics (cloning, biomechanical grafts), in art (the body as a territory to be redesigned), and all modern practices of intervention in music such as remixing, cutting and pasting, sampling.
To consider the sonic landscape as an unstable, moving cell culture, which allows experimentation on the body of musical pieces, on their chemical composition in an entirely artificial way. Surgical score, altered rhythms, reworkings.
Music is a mirror of what is happening in our time.

2025 Repress

"Cake" was a New York band formed in 1973, following a line-up tweak and a change from their previous name "Mixed Company» (referring to the racially mixed personell). At Arabellum Studios in Colony, Albany, NY, the band recorded their only 7-inch single. "Make Up Your Mind" / "Let Your Body Go» was released on Key Records in 1979.



Half a life time later, after appearing in DJ mixes and online auctions in the late 2000s, the single started gaining notoriety among DJs and diggers. Working its way up to "holy grail" status on the modern soul and disco collector scene, original copies of the sought after record would eventually sell for as high as $1000.



In 2012, Hans Jørgen Wærner (Mutual Intentions Co-Founder and notorious disco collector) got in touch with Arabellum studio owner Art Snay who produced the record. This lead him to lead singer Bob Treffiletti who had a cassette tape with unreleased long versions of the songs. The sound quality of the tape was not adequate for what Hans had in mind, and so the hunt for the original master tapes began! Unfortunately, Art Snay later passed away. At one point chances of finding the original recordings seemed so slim, the project was all but abandoned….



Luckily, Bob managed to get hold of the master tapes via Art's wife and they were sent away to legendary disco mixer / remixer John Morales, who transferred the tape to digital format. After several rounds in one of Norway's best mastering studios (Strype Audio), noise reduction and sound surgery were done while retaining the soul of the original recordings. The songs were finally ready to be pressed on the format they have always deserved: the 12-inch disco single!



The 12-inch comes with four 5 min + long songs and can be pre-ordered now. The high-quality lacquer cut pressing is produced at Optimal Media in Germany and limited to 300 copies worldwide.

Since the late 1960s, jazz drummer Takeo Moriyama has been a dominant force in the free jazz scene, initially with the Yosuke Yamashita Trio, and more recently, collaborating with the KYOTO JAZZ SEXTET, earning respect from past to present. Recorded in 1980 with his quartet featuring Fumio Itabashi, this album is renowned for being the first to include the emotionally rich Japanese masterpiece "Watarase". Other highlights include the spirited "Exchange" and the beautifully poignant "Goodbye". Each track is a standout, offering a grand-scale performance where tranquility and movement organically intertwine, making it one of the top albums in the history of Japanese jazz.

Takeo Moriyama (Drums)
Yoshio Kuniyasu (Tenor & Soprano Sax)
Fumio Itabashi (Piano)
Hideaki Mochizuki (Bass)
Koichi Matsukaze (Alto & Tenor Sax, Flute)

UK producer Tom Carruthers returns with a scorching 5-tracker for Skylax Records, diving headfirst into the primal roots of jackin’ house, proto-italo, and early machine funk. Known for his raw MPC-driven grooves on L.I.E.S., Clone Jack For Daze, Syncrophone, and Craigie Knowes, Carruthers channels the energy of the underground circa ’86—pure drum machine soul for the dancefloor faithful. Side A kicks off with the title track “Neutralise”, all sharp snares, warped synths and hypnotic repetition—a jack track in the truest sense. “Deep North” follows with ghostly pads and relentless drum programming, while “No More” brings metallic tension and stripped-down funk with a heavy nod to Chicago’s original blueprints. On the flip, “Pascals” weaves cosmic arps through rugged percussion, merging italo sensuality with bleep-era minimalism. The closer, “Cosmic Ride”, is exactly that: a journey through spacey chords, dusty rhythm boxes, and that unmistakable feeling of warehouse euphoria at 4 a.m. Neutralise EP is a raw, timeless record that strips dance music down to its essence—jacking, emotional, physical. To match the sonic purity and timeless aesthetic of the release, we enlisted the iconic H5 studio—a name synonymous with visionary design in music and culture. Known for their groundbreaking work with Daft Punk, YSL, and numerous award-winning visual campaigns, H5 brings a level of artistic sophistication that elevates this EP into a complete sensory object. Their clean, modernist design echoes the stripped yet futuristic vibe of Tom Carruthers’ sound—a perfect fusion of form and function, underground and high art. Vinyl only. No digital. No compromise. For fans of: Virgo Four, Baby Ford, Larry Heard, early Warp, Mr. Fingers, and Beppe Loda.

Molecular Recordings Presents "Structure Series 2" — Continuing a Legacy of Techno Innovation

Following the success of the first volume, Molecular Recordings returns with Structure Series 2, the next chapter in its celebrated vinyl series that honors the label’s enduring influence on underground techno.

This 12" release deepens the label’s exploration of forward-thinking sound, pairing iconic names from the Molecular archive with groundbreaking contributions from the new vanguard of producers. Each track reflects the uncompromising spirit and sonic evolution that have defined the label for over three decades.

Structure Series 2 is both a continuation and a progression — a curated fusion of past and future that underscores Molecular’s role as a pioneer and incubator of techno culture. It stands not only as a collector’s item but as a bold artistic statement.

With Structure Series 2, Molecular Recordings reaffirms its commitment to pushing boundaries while remaining rooted in the authenticity that has shaped its legacy since day one.

Originally released in 2005, OK Cowboy, Vitalic’s first album, is celebrating its twentieth anniversary with a reissue in several formats (box set, double vinyl, CD, digital), enriched with rare tracks and previously unreleased versions. OK Cowboy is a landmark album in electronic music, a pivotal record between eras. It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.

The electronic producer Franz Kirmann returns to Bytes for his eighth solo album. The “Almadies” are long wooden boats used by Senegalese fishermen. It is also the name of the neighborhood where Kirmann grew up, in the suburbs of Dakar, Senegal, near the Atlantic Ocean. "These new compositions are the result of sound experiments conducted over the past few months and reflections on the concept of mind-constructed geographies," Kirmann explains. "The way memories and souvenirs shape an image of a place or country that is part reality, part fantasy, part cliché, yet also deeply personal. This experience is influenced by education, social background, history, and other socio-economic factors. " The ten tracks are crafted from collages of electronic sounds blended with field recordings from various places Kirmann has visited — from Dakar to the Caribbean, as well as London and Paris. His aim is to blur the line between electronically generated sounds and real soundscapes, creating music where it becomes difficult to distinguish the real from the constructed. All the sounds on the album were produced using synthesizers and field recordings. No drum machines, percussion or traditional acoustic instruments were used. Influences include Brian Eno and John Hassell’s Fourth World, Vol. 1: Possible Musics (1980), described by Hassell as "a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques" , which also works in the context of Almadies. Another big influence was Ariel Kalma’s Le Temps Des Moissons (1975) as well as artists including O Yuki Conjugate and Robert Aiki Aubrey Lowe to Susumu Yokota and Michael Banabila.

Dive into our latest release, a tribute to the vibrant spirit of Guadeloupean music. This track, born from the improvisational magic of the '70s, weaves together the legacies of the Latour brothers and the soulful essence of jazz. With a rich history of collaboration and creativity, we honor the past while
breathing new life into cherished melodies. Experience the rhythm, feel the memories, and let the good vibes flow.
Play it loud!

R.F.I. is the first collaboration between London-based drummer Andy Baxter (Robohands) and LA-based multi-instrumentalist Jack Barone. The EP focuses on Middle Eastern scales and features 100% analog instrumentation, including guitar, bass, synth, and drums. It was recorded using fully analog gear to achieve a warm, saturated sound. Trumpeter Cesar Apolinar Hernandez and vocalist Alya Olcan appear on tracks A1 and A2. The record's title references Radio Frequency Interference, and the B-side includes an etching of radio towers as a visual nod to that concept. R.F.I. was designed with a clear structure across its tracks and highlights the artists' shared interest in analog production and global musical influences.

With over 81,000 Spotify followers and nearly 10,000 vinyl records sold worldwide, Robohands has earned widespread acclaim, including support from BBC Radio 2's Jamie Cullum (Best in Jazz), Huey Morgan (Album and Beat of the Week), KCRW's Morning Becomes Eclectic, Soho Radio, and Paste Magazine. His music—an evolving blend of jazz, krautrock, and ambient—has landed on top editorial playlists such as Jazz Vibes, State of Jazz, and Mellow Morning. A prolific artist, Robohands has released five albums since 2018, beginning with his debut LP Green on Village Live Records. He has performed at leading international festivals including London Jazz Festival, Montreal Jazz Fest, and Waking Life in Portugal. Robohands' latest project sees him collaborating with LA-based composer and producer Jack Barone, known for his film scores and commercial work.

Break 3000 - Human Nature EP

A special collaboration with Partout records from Paris. Break 3000 digged deep in the archives for this one and found some old unreleased music on his dusted DAT tapes ranging from 1993 to 2002.
Now released for the first time ever on vinyl 12” and digital.

“Human” and “Komputerok were produced in the same project in his Maastricht bedroom studio back in 2002 and reflect to great influence artists like David Caretta and The Hacker had on his sound back then, a mix of banging Electro Clash meets EBM, 80s Proto House.

“Overdrive” opens the B-side and a window to the late 90s. This track was produced together with his classic “Plastique People” around 98/99 and was an instrumental track luckily found again, Break 3000 added a new vocal and made a fresh shorter Edit. Thanks to the excellent mastering by Salz Music this one is back in todays sound standards.

The next pearl from the past is a real favourite and is the oldest track featured on this EP. “Ambizone” was recorded back in 93/94 and marks the transition from his first musical project Amazone to becoming Break 3000. Recorded in an amazing analog studio in Venray Netherlands where Break 3000 worked on a full album.
More music will follow from these old sessions! Stay tuned.

Closing out with “Nature”, a true hommage to the early Rephlex sound and produced around 97/98. Acts like Bochum Welt, D’arcangelo and µ-Ziq had an immense influence on Break 3000 and are a reason why he started to make more electro orientated music.

All tracks mastered by Salz Mastering in Cologne.

Fobos Hailey is the sound of a new era. Reminiscent of the anti-authoritarian, boundless soundscapes of the early '90s, his music carries an infectious, ethereal flair of self-determination. Bulletproof oozes liquid confidence and swagger — it's the kind of sound that lights a fire in your belly. Throw it on your sound system, and you'll be dodging bullshit like Neo dodges bullets in The Matrix. Fobos Hailey elegantly showcases the breadth of his production — from heavy-hitting bangers to self-reflective, contemplative jams. Get ready to be dosed with some of the freshest sounds of 2025. This masterful LP reimagines the rave sound we love from the past and pushes it into a future-facing, modern form.

Als Pionier der elektronischen Musik, vereint The Bloody Beetroots seit 2005 Elemente aus Electro, Punkrock und Dance zu einem unverwechselbaren, genre-übergreifenden Sound. Hinter dem Projekt steht der italienische Musiker und Produzent Sir Bob Cornelius Rifo, der mit Tracks wie „Warp 1.9“ (feat. Steve Aoki) und Alben wie Romborama, Hide und The Great Electronic Swindle internationale Bekanntheit erlangte. Jetzt kehrt „The Baddest Man in Electronic Music“ mit seiner neuen EP “FOREVER PART ONE” zurück. „Dieses Projekt ist mein Leben“, sagt Rifo. Und das spürt man in jedem einzelnen Beat. Keine Grenzen, keine Kompromisse. Stattdessen persönliche Geschichten, Gedanken und Momente, die The Bloody Beetroots über Jahre hinweg geprägt und geformt haben. „Dieses Release ist sowohl ein Danke als auch ein Statement. Denn in einer Welt, die Anpassung belohnt, glaube ich immer noch daran, dass wahre Rebellion darin besteht, sich selbst treu zu bleiben.“ - Sir Bob Cornelius Rifo Das ist The Bloody Beetroots. FOREVER.

FOREVER PART ONE erscheint als Digipak CD und auf limitiertem Grey Marble Vinyl.ist eine Auseinandersetzung mit dem eigenen Werden: damit, was passiert, wenn man sich der verzerrten Version seiner selbst stellen muss - der Version, die durch Schmerz entstanden ist.

Pingouin Musique, relaunched after exact 30 Years - Founder Zied Jouini
Started his musical career 1992 right in the growing House and Techno era -
Since then he dedicated himself to the underground - Past releases on AFU/ Wavescape/ Music Man
Italys famous dance Label Flying Records, Great Assets URL Underground Label, also a late Force Inc, Traum Schallplatten or his other Imprint Practical Toy and other Project just to name few.

Zied produced a safe House Track with nice portion of underground called Hymn-
He knows how to keep the balance between a Dance Underground rhythms, harmonies and short concise melodies
Very enjoyable on the Dancefloor and at home :)

A1 Original: A classic house bounce with modern finesse and hypnotic effects guide
A2 Jouzie's Give Peace a chance Remix got an electro beat with a slightly breaks touch - a full rich house vibe and a well known Vocal sample in it - Floor Filler
B1 Johnny D Remix - inter alia produced e.g. for Oslo, 8Bit und Cécille, bring up an Absolut rich full tech house groove monster - Johnny D at its best
B2 Danielle Arielli Remix - Founder of Tooflez Muzik delivers a Power House, warm and hypnotic roller with a touch of Acid Remix - Banger!

Amsterdam-based Isaiah makes a striking debut on Life In Patterns with his EP "Passive Aggression." Across five stripped-back, impactful cuts, the Dutch artist delivers music designed to move dancefloors and challenge adventurous DJs.

True to his signature style, Isaiah blends old-school grit with sharp, percussive textures, crafting an atmosphere that feels both raw and forward-thinking while staying focused on the essentials.

"Passive Aggression" will be released on vinyl and digital formats on 21 November 2025. The vinyl edition comes with ten locked grooves.

A Treasure Trove of NYC Post-Disco Gems from 1980–1983

New York City, early 1980s. Post-Disco and Boogie Funk pulse through the streets, clubs, and studios—and Richie Weeks stands at the heart of it all. A true force in the scene, Richie had just dropped the now-classic “Rock Your World” in 1981. Signed to the iconic Salsoul Records, he was riding high: performing at legendary venues like Paradise Garage, Studio 54, Roseland, and Bond International, touring Europe, and recording tirelessly with top-tier vocalists and musicians in studios across the city.

With his projects The Jammers and Weeks & Co. storming the charts both in the U.S. and abroad, Richie was unstoppable. Fueled by a relentless creative drive, he spent countless hours in the studio—writing, arranging, and producing a massive catalog of dancefloor anthems, many of which never saw release. Until now.

Jerome Derradji and Past Due Records are proud to present Richie Weeks – The Love Magician Archives: Boogie & Post Disco. NYC 1980–1983 Vol. 3, the third installment from Richie’s personal archive. Spanning 1980 to 1983, this collection features eight electrifying, previously unreleased tracks from The Jammers and Weeks & Co., as well as the futuristic grooves of Kaviar and Hot Cargo. Richie shines through the entire record—his writing, production, vocals, and arrangements are absolute killers.

Housed in a deluxe double LP package with an insert featuring the second chapter of Richie’s musical journey—penned by Jerome Derradji—this volume is a vital piece of New York’s post-disco history.

Essential for fans of Salsoul, Prelude, and deep crate-digging dancefloor gold diggers.

Renegade Methodz continues its forward drive into deep, uncompromising techno with the arrival of Alexey Dunchyk and his striking new release, 'Passion/Aggression'. Known for his refined yet forceful productions, Dunchyk brings a new dimension of raw and unapologetic depth to the label's expanding catalogue of international talent.

The result is a record that cuts through the noise of modern techno, built for DJs who care about substance not hype and shaped with the kind of lasting weight that keeps the true spirit of this music alive.

2025 Repress

When people think of Tough Gong they usually think of Bob Marley and rightly so, as he was nicknamed and often called Tough Gong and from this his early releases which came out on the Tough Gong label. But Tough Gong was also the name of a recording complex named after Bob Marley hat included a top level recording studio, pressing plant and distribution centre that would allow reggae music to carry on many years after his sad and too early demise.

Bob Marley had take over the former residence of Island Records boss Chris Blackwell the Island House, 56 Hope Road around 1974. Just before the 'Smile Jamaica' concert on 03rd December the same year the house was ambushed by gunmen. Bob's manager Don Taylor was hit 5 times AND Bob was shot in the arm and his wife Rita Marley was hit in the head by a stray bullet. How no one was fatally injured is staggering. Immediately after the concert Bob Marley started his self imposed exile from Jamaica, settling in London, England. This would lead to the aptly named exodus album being recorded there in the summer of 1977. It would not be until the 'One Love' peace concert in Kingston's national arena on the 22nd April 1978 that would see Bob's return to the island. Marley felt is was important to show his commitment to the people of Jamaica and on his return to 56 Hope Road he began construction of his own recording studio with the help of music mogul Tommy Cowen. Unfortunately Bob Marley's short life would end on the 11th May 1981 from cancer which originated form a football injury. His passing would lead to 56 Hope Road being turned into a museum to the legend of reggae music.

A new location would have to be found to carry on Bob's work which was 220 Marcus Garvey Drive, Kingston 11. The buyer would be Rita Marley and the Tough Gong International Organisation.

Engineers working at the new facility included Errol Browne who had worked at Treasure Isle studios and Hopeton Overton Browne known as 'Scientist', named by the great producer Bunny 'Striker' Lee who worked with him previously at King Tubbie's and Channel One's studios described his ground breaking style as being like that of a scientist.

We focus for this release on the work carried out by the great Scientist on the songs of the Black Solidarity Label run by Ossie Thomas (aka Joe The Boss) recorded at Tough Gong studios. One of the foremost recording, pressing and distribution facilities on the Jamaican island set up from the work of Bob Marley to carry forward reggae music. Hope you enjoy this set......

“Coming To You Love” is a classic and ever popular jazz funk and soul release from 1980. From its original release, the LP and 12” versions have dominated, this 7” version only recently coming to light as a different take on the track with a bonus Charles Earland organ solo. Since the realization of its existence, the previously styrene only US Columbia 7” has exchanged hands for increasingly higher amounts.
Charles came from Philadelphia, played sax first with Jimmy McGriff before turning to organ in the late 60s and earning a nickname ‘The Mighty Burner’
During his time at Mercury records he scored a hit song with the disco record “Let The Music Play”, building an audience with a jazz funk and soul crowd which exists to this day through numerous other releases on Mercury and then Columbia through to his passing in 1999.

Reintroducing Soar - the alias of Christian Aebi, serial DIY taper and one-man orchestra from Langenthal, a fog-shrouded town in the Swiss provinces. Krautophobia, ambient lo-fi agriculture, analogue soul balm and slowspeed psych gelati-blitz cardboard pop only gesture towards the sound world he coaxed from his broken Tascam four-track recorder, in attics, churches, junkyards and at the kitchen table.

The spark for Soar was likely time and space, somewhere in the autumn of 1994. Armed with a cable salad of Sixties guitar/bass, fairground drums, mould-speckled organs and toy instruments, Aebi coaxed five albums, an unverified run of 25 cassettes, and a handful of gigs. Mostly issued through Zurich label Corazoo, the records arrived in hand-pasted sleeves, rough-cut reproductions of his teddy bear-fixated artwork that carried the same imperfect immediacy as the music. With Rudi Steiner, performances in galleries, clubs and halls bent into live sound-image happenings - part installation, part film, part flea-market-instrument theatre - invariably leaving the house engineers bewildered.

At the time of his untimely death in 2021, Aebi remained a village secret, his music passed quietly between friends and local ears. Now, Swiss graphic designer and Ghost Riders compiler Ivan Liechti has pieced together a portrait from the afterglow, gathering tangled audio formats, paintings, illustrations, photographs and notebooks with his family, former label and peers. What emerges is a first glimpse of Soar's intimate cosmos - brushing against Füxa, Spectrum, Dump, Stereolab and King Crimson, but orbiting a dimension entirely his own.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

Heralding 10 years of relentless club futurism, Timedance strikes forward once more with TD10. Batu's label has nurtured experimentation between techno propulsion, soundsystem pressure and innovative sound design since the beginning, rarely resting in one space and always reaching for new ideas. Across 23 forward-facing cuts, this compilation continues that tradition with a strong cast of scene-leading heavyweights and crucial emergent talent.

The wide-ranging styles across TD10 are bound together by a shared affinity for bassweight presence and vibrant, three-dimensional production. Fractured, artful deconstruction from Daisy Moon, Marco Shuttle and Verraco sits alongside the snarling half-step pressure of re:ni and Lurka and the jagged drum intensity of Lechuga Zafiro, 33EMYBW, Ayesha, and Jabes. There's space for big room anti-anthems from Pearson Sound, Bambounou and Batu himself, wildcard swerves from Minor Science and Skee Mask and more emotive melodic sensibilities from Polygonia, El irreal Veintiuno and BADSISTA. At every turn, the ideas are fresh, toying with the idea of an all-encompassing sound for the label and throwing open the possibilities for what it might represent in the future.

Timedance has thrived in an era where technology has eroded the boundaries between the generic formulae of dance music's past, helping set the pace for innovation and presenting compelling, immediate music across the tempo range. TD10 responds to that legacy with its gaze fixed firmly forwards, ushering in the label's next chapter in proudly unpredictable style.

Glimmers of a missing link in the connective tissue between the hardcore continuum and Dub-Spectrum arts. A tome all its own, as if one is sifting through an archeological dig in aural form, hearing layers of the past, present, and future.

France via Hong Kong, Taiwan and now Lisbon–based producer and DJ Romain FX delivers his Memory Muscle label debut, Floating World EP. As a true kid of the world, Romain FX draws on a life across continents to create a sound that fuses global influences with overground club sensibilities.

A prolific name on the scene over the past few years, he has released on Sound Metaphor’s Bless You, Sound of Vast, Kalahari Oyster Kult, Toy Tonics, and his own label Fauve. The EP opens with the title track Floating World, a percussive roller packed with drums, colourful synth stabs, and hypnotic swirling melodies that build into an ethereal vocal hook. Who Knows takes things further with crunchy acid lines locked to a pummelling breakbeat groove.

On the flip, Track ID? channels classic 90s house vibes with a stomping 909, bubbling basslines, organ stabs, and euphoric vocal samples. Rounding out the release, Memory Muscle’s London duo deliver a direct club remix of Who Knows, featuring filtered pads, driving breaks, 808 thump, and their signature M1 organ bass.

Das Avant-Rock-Sextett aus Beirut verschmilzt auf diesem großartigen Nachfolger seines gefeierten 2023er Debüts "Mais Um" Psych/Kraut, Improv/Skronk, Elektronik, Gothic und Jazzelemente mit traditionellem ägyptischem Gesang und moderner arabischer Poesie. Produziert von Radwan Moumneh (Matana Roberts, Sarah Davachi, Jerusalem In My Heart). Der Titel des zweiten SANAM-Albums ist ebenso vielversprechend wie die Musik der libanesischen Band. "Sametou Sawtan" bedeutet aus dem Arabischen übersetzt "Ich habe eine Stimme gehört". Spukhaft oder spirituell, wie auch immer man die Phrase liest, sie spricht von der Fähigkeit von Klang und Sprache, innezuhalten, Aufmerksamkeit zu stehlen und uns für den Moment zu öffnen. In ähnlicher Weise vermischt die Musik von SANAM zarte Rasereien und feuerverbrannte Balladen, indem sie frei fließende Rock- und Jazzgerüste mit der tief verwurzelten arabischen Tradition verbindet. Sie in vollem Flug zu hören bedeutet, in der Gegenwart gehalten zu werden und sich neu zu orientieren, um einen offenen Horizont zu eröffnen. Die Arbeit an "Sametou Sawtan" begann im Frühjahr 2024. Die ersten Ideen, die in den Tunefork Studios in Beirut entstanden, wurden im April während eines Aufenthalts in Beit Faris, einem mittelalterlichen Haus in der Küstenstadt Byblos, weiter ausgearbeitet. Das Sextett: Sandy Chamoun (Gesang), Antonio Hajj (Bass), Farah Kaddour (Buzuq), Anthony Sahyoun (Gitarre, Synthesizer), Pascal Semerdjian (Schlagzeug) und Marwan Tohme (Gitarren), wurde vom Produzenten Radwan Ghazi Moumneh (Jerusalem In My Heart) unterstützt. Die letzten beiden Tracks des Albums sind Aufnahmen aus den Beit Faris-Sessions, während der Rest in den La Frette Studios in Paris während der Europareise der Band im Sommer 2024 aufgenommen wurde. Die Platte verarbeitet Gefühle der Distanz und der Entwurzelung. "In den letzten fünf Jahren hatte ich das Gefühl, dass jeder den Libanon verlässt", erklärt Chamoun. "Das Album handelt nicht wortwörtlich davon, sondern von der Vorstellung, dass dich etwas verlässt. Eine Distanz zu den Ereignissen, obwohl du in ihnen lebst, eine Distanz zu deinem Haus, obwohl du in ihm wohnst." Ob in der sehnsüchtigen Ballade "Goblin" oder dem langsam brennenden, autotune-überladenen Freakout von "Habibon", Sametou Sawtan fängt das Streben nach festem Boden in einer Welt ein, die diesen nur selten bieten kann . Das Album hat die hypnotisierende Intensität des SANAM-Live-Erlebnisses, während es der Musik Nuancen, Tiefe und eine enorme dynamische Bandbreite verleiht. Wie bei ihrem Debüt sind die Texte vieler Tracks entliehen, Worte, die in neue Kontexte gestellt werden, um die Gegenwart zu verarbeiten. "Hamam" interpretiert ein ägyptisches Volkslied neu. In "Hadikat Al Ams" treibt der krachende Hardrock-Stampfer den Text des zeitgenössischen libanesischen Schriftstellers Paul Shaoul an. Und sowohl "Sayl Damei" als auch der Titeltrack verwenden Gedichte des iranischen Dichters und bahnbrechenden Mathematikers Omar Khayyam aus dem zwölften Jahrhundert. "Wenn man etwas von Omar liest, fühlt man eine Verbindung zur Gegenwart", sagt Chamoun. "Das Gefühl, dass es keinen klaren Weg gibt." "Sametou Sawtan" enthält auch zwei Lieder mit Chamouns eigenen Texten, darunter den Opener "Harik". Es war die Keimzelle des Albums, geschrieben von Chamoun im Februar 2024, wobei die Band den Track um ihre Worte herum aufbaute. Es beginnt mit einem Schauder, zerfetzter Elektronik und einer keuchenden Stimme, die das Schlagzeug durchdringt, bevor sich die Band zu einem triumphalen Aufstieg aufschwingt. Es geht um Eintauchen in "ein unendliches Feuer", verrät Chamoun. Den Text zu "Tatayoum" schrieb sie allein, bevor sie ihn der Band vorlegte. Er spiegelt eine andere Art von Intensität wider, "eine Schleife, eine Besessenheit", wie sie sagt. Buzuq webt durch schwebende Elektronik und drängende Trommeln, während Chamoun arabische Worte rezitiert, die die Liebe beschreiben. Die unaufhörlichen Energien, die in diesen Tracks erforscht werden, sind nicht unbedingt negativ. Sie vergleicht deren Intensität mit der eines Schriftstellers, der in einem Gedankengang gefangen ist, im Guten wie im Schlechten. "Es geht nicht darum, deprimiert oder traurig zu sein", sagt Chamoun. "Es ist eine Falle, aber sie kann auch magisch sein." "Sametou Sawtan" wurde von Farah Fayyad mit ikonischen Grafiken und Design versehen.

Better Together Records is pleased to welcome the duo Hiworld into the BTR family with their etheral and multi genre project “Temple do Sol”.

Hiworld is the collaborative project of Eora based artists Mondowun and Toaka. Born from a long-standing friendship and shared passion for the world of electronic music. Inspired by their Portuguese and Polynesian backgrounds, nostalgic 90s culture, and reality-altering records. Their forthcoming EP ‘Temple Do Sol’ captures a world where technology does NOT reign supreme and people’s bonds are built through reality and NOT the digital realm. The record builds evocative atmospheres and distinct worlds, offering listeners a space to access personal memories and create new experiences.

As always, Solace in unity at the end of eternity.

Natural Element proudly presents the long-awaited album The Paradigm Shift by one of Amsterdam’s finest and most prolific producers, Kid Sublime. Following on from the 12” single ‘You Got Me Runnin’’ which dropped in the summer, this 8 track, double LP offering is a special piece of work crafted during the pandemic years and Turbulence recording sessions with maestros Beka Gochiashvili and Mishulino.

The album showcases the evolution of Kid Sublime’s sound and the influence of London’s vibrant broken beat scene, with him having connected with some of the artists around the time of the passing of the legendary Phil Asher. It touches on house, bruk and even techno, with his signature soulful touch palpable across the whole record. Features include talented London artist Oliver Night, Sydney-based vocalist Natalie Slade and long time collaborator, flautist Han Litz, amongst others.

The Paradigm Shift takes you on a deep sonic journey straight from the heart, celebrating love, connection, spirituality and human evolution. There’s introspective moments with the jazzy house drifter ‘The Awakening’ and the dubbed out bass of ‘Kingz’, as well as joyful moments such as the uplifting ‘Heaven’s Glory’ and the romantic ‘Stay Over’, which is as soulful as it gets. ‘Bring It Come’ brings some minimal bruk flavours reminiscent of Bugz in the Attic, and the title track takes things a bit darker with a club-ready roller.

Sitting somewhere between the living room and the dancefloor, this album is sure to enliven the spirits of many a discerning listener and bring some much needed radiance and hope into people’s lives.

Fragments was a completely new way of working for us. We’ve always worked with an internal brief, creating documents, pictures and videos, simply because keeping an idea on track with three individuals can be difficult. It's easy for someone to be edged out of the creative process when the focus is not clearly defined.
It’s a formula we’ve used since the early 2000s, but things have changed a lot since then, particularly when we decided to dip our collective toes into supporter memberships with Patreon. It made us think about what we could do directly for our support- ers rather than just the next album or project. At first, the whole thing felt odd and uncomfortable, but we decided that we’d try a few things and ask for feedback.
"Fragments" was initially a way for us to see how we could include others in an ongoing creative process. There was no over-arching concept, no defined characteristics or purpose, just the promise that there would be at least one new track for members to download every month. Consequently, we never knew what was coming next, so the old, very focused working method was irrelevant. It was difficult for us to let individual tracks go without knowing what was coming next, but this also made the project more interesting.
And then C19 hit and we were forced to continue the project remotely from our home studios. As difficult as the disruption was, it was during this period that we realised we could re-organise and remaster the individual tracks into a coherent album, captur- ing a specific moment in time and drawing a line under the first phase of the project.
Like our "Allegory" EPs, we’ve tried to keep everything stripped back. We used to hide many subtle elements within the layers, but not so much this time.
Fragments is our journey through many changes, both self-im- posed and those imposed upon us, and it ultimately led us to create things differently. We hope you like it.




b A2















r D1 b Yes Hello (Remastered BONUS) 1:53
s D2 No JuJu (Man Power Version - Remastered BONUS) 4:27
t D3 Cup Noodle (Unemployed Youth Version - Remastered [BONUS]) 5:43
[u] D4 Black Smoke (They Never Got Started) (Remastered [BONUS]) 2:18
[v] D5 Concrete Concentration (Remastered [BONUS]) 3:21
[b] They All Live In The Past (Remastered [BONUS]) 1:06

After several years of existence Rite Of Passage have naturally progressed into the launch of their vinyl label. Based between Rotterdam & Slovenia the label called on four intriguing characters to assist with the soundtrack of RoP01, "I Want To Shower With Your Emotions". A nod to the Dutch underground as the VA features DJ Tjizza, new kids on the block Young Adults, Nathan Homan and the sought after Eversines.

Matching brooding, tense undercurrents of drone with strained soulfulness, Malcolm Pardon makes a notable shift in his creative approach on his third album.

Leaving his piano behind, the Stockholm-based artist explores the richly varied tones lingering in the background of his past compositions.

Born from his extended live improvisation for Gustaf Broms’ Köttinspektionen exhibition in Uppsala, Flesh & Bonesbecomes a haunting suite of compositions focused on texture and spatial processing, mixed by longtime collaborators Aasthma (Peder Mannerfelt & Pär Grindvik). From Hidden Path’s cavernous wells of low-frequency tone to Under Over’s sustained synth blooms, and the woozy two-chord refrain of Speaking In Tongues, Pardon's seasoned approach to dramatic scene-setting leads his music into its own captivating, compelling sphere, where emotions entwine and conjure strange new plains of expression.

Burgos and Page's sophomore album, A Long Short Story, is a conceptual journey through the rise and fall of a fleeting yet profound love—one that blossomed, thrived, and withered within the span of four seasons. Each track unfolds like a page torn from Johnny's mind, capturing every stage of the relationship's evolution in raw, chronological detail. From the euphoric highs of newfound passion to the crushing weight of unreciprocated love and the bittersweet process of healing, A Long Short Story weaves a sonic tapestry of grand emotions, immersing listeners in the beauty, pain, and impermanence of love.

First Word Records are very proud to bring you 'Ghouls', the 6th studio album from Bastien Keb.

Through the reflective and introspective multi-mood journey of its 19-tracks, this album spans psychedelic-chamber-funk, warped anti-ballads, cinematic instrumentals, Ethio-jazz & ethereal ambience.

Part soundtrack, part beat-tape, part memoir, this is a dreamlike soundscape sewn together from half-forgotten memories & late night breakdowns.

Entirely sample-free, this album is full to the brim with musical experimentation, with Keb's compulsion to make all the individual pieces of music independently; combining strings, harps, saxophones, theremins, clarinets, flutes and trumpets.

He signals to the fuzzy, nostalgic nebulous of mid '90s skate videos, as well as harking back to the scores & moods of movies like The French Connection, Taxi Driver, The Warriors and La Haine. There are whispers of sounds in the air from jazz clubs, street preachers & Turkish restaurants.

Keb describes the sonic experience of this album simply as this… "You're half awake, and half asleep, but you're warm…"

For this 19-track opus, Keb is joined extensively by Malik Ameer Crumpler; a poet, composer, editor and professor based in Paris, who's been involved in numerous albums while writing for various forms of experimental media.

A multi-instrumentalist originally from the Midlands, Bastien Keb (aka Sebastian Jones) previously released his highly-acclaimed album '22.02.85' on First Word back in 2017; this new album being a very welcome return to the Worldwide Award-winning UK independent label.

His music has been widely supported across BBC Radio in the past by DJs including Gilles Peterson, Huey Morgan, Huw Stephens, Jamie Cullum, Lauren Laverne, Mary Anne Hobbs, Nemone and Tom Ravenscroft. This is in addition to glowing press reviews from the likes of Pitchfork, The Guardian and The Line Of Best Fit.

He's built up a steady fanbase through his extensive catalogue over the years, with material for labels like Def Pressé, Gearbox, One-Handed Music and most recently for Shabaka Hutchings' Native Rebel Recordings imprint, on a collaborative project with South London's Confucius MC (Speakers Corner Quartet).

Keb concludes "this record is for anyone feeling lost in a world that seems to have lost itself without knowing it. It's for the people who know that the world is missing the beauty of the lights in the distance, whilst being distracted by new shoes and flashy phones..."

'Ghouls' is due to be released on vinyl & digital worldwide, November 14th 2025.

"Tranquilizer is, Ambience by force" - Oneohtrix Point Never

"Tranquilizer" klingt nicht nach Beruhigung, sondern nach Wiederauftauchen. Daniel Lopatin verurteilt nicht unser Bedürfnis nach Flucht, sondern erkundet vielmehr, was danach passiert. Sein neues Album zeichnet eine Bewegung von schwereloser Ruhe hin zu etwas Bodenständigerem nach – keine Heldenreise, sondern der notwendige Kreislauf von Rückzug und Rückkehr, der uns in einer ebenso überwältigenden wie banalen Welt den Verstand bewahrt.

Wir stürzen aus der triefenden Glückseligkeit von "Lifeworld" in die traurige Melancholie von "Cherry Blue" und die spastischen Grooves von "Rodl Glide". Wie immer bei OPN kollidiert das Reale mit dem Unwirklichen. Wer genau hinhört, hört das Kratzen von Fingern auf einem Griffbrett, einen Stein, der über einen Kerkerboden gleitet, das Quietschen einer sich öffnenden Tür. Lopatins Musik war nie ein abstraktes Farbfeld; sie hat Gewicht, Kanten, Schatten. Während "R Plus Seven" nur aus kristallinen Arpeggiatoren bestand und "Garden Of Delete" ein fieberhaftes Erbrechen gurgelnder Synthesizer war, fühlt sich "Tranquilizer" an, als würde man aus einem Traum fallen, den man noch berühren kann.

Monolith 45 series I

A new chapter emerges within Organic Signs.Conceived as a vessel dedicated to a single frequency, Monolith 45 is born to trace the lineage of progressive trance — that tribal, hypnotic, and ceremonial sound that carved its path during the early 2000s, and which today we reclaim with reverence.

Each release stands as a stone marker along this continuum: timeless signals that resonate equally with memory and vision. As with the broader work of Organic Signs, this new line will follow a dual path: rescuing forgotten gems from the past while also curating new music that embodies the same spirit.

Monolith 45 becomes the place where past and present intertwine, shaping a narrative that honors tradition while opening new doors for exploration.

The first monolith in the series carries with it two totems of the genre:
On the A-side, Magnetrixx – Intraferences, originally released in the year 2000 on the legendary Tatsu Records. Behind this moniker stands Stefan Lewin, not only a key architect of the progressive trance sound but also the mind behind ACL (Audiophile Circuits League), one of the most special modular synthesizer brands..

His work bridges eras: from shaping the trancefloor at the turn of the millennium to designing instruments that define modern electronic creation.On the B-side, Ticon – Lo Mi Hi, a track that saw the light in 2001 on Digital Structures, one of the most influential labels of that era.

Ticon are nothing short of mythical within this universe — pioneers whose sound blurred borders between deep grooves, psychedelic textures, and progressive structures, leaving an indelible mark that still resonates with dancers and producers worldwide.

With Monolith 45, we seek not only to preserve these transmissions but to project them into the present: to reawaken a sound that was always more than music, a tribal pulse, a ritual language that invited bodies and minds into collective trance.
This is our homage, our offering, and our way of extending the path forward.

Für einige ist Pavement die vielleicht größte Band der Welt, oder zumindest Nordamerikas, ganz sicher aber die beste Band der amerikanischen Westküste. Nun veröffentlicht die mindestens mal Kultband ein "Best of"- Album für alle die, die sich immer noch Fragen wer zur Hölle eigentlich Pavement sind. "Hecklers Choice", so der Name des "Best of" leistet dabei Aufklärung und führt den Hörer aus dem Tal der Ahnungslosen in einen Garten Eden voller blühender Gitarren-Feedbacks und sprießender Indie-Riffs. "Hecklers Choice" ist die bereits zweite "Best of"-Kompilation der Band. Es ist schließlich mehr als ein Jahrzehnt vergangen und man kann nie genug gute Pavement-Songs kompakt in der Sammlung besitzen. Als "Quarantine the Past" 2010 erschien, gab es TikTok noch nicht. Diese neu überarbeitete Titelliste berücksichtigt alle viralen Seltsamkeiten der letzten Jahre ("Harness Your Hopes"), und repräsentiert gleichzeitig die zeitlosen Stücke, die über Generationen hinweg fester Bestandteil von Playlisten und Mixtapes für Liebhaber der Band geblieben sind.

The Legacy Continues… Pure Garage is back with an exclusive 25th Anniversary Special Edition, created for the true heads, collectors, and DJs who know the value of vinyl.

A Different Kind of Compilation - Unlike the landmark CD series, this anniversary edition digs deep into the underground, unearthing rarities and iconic tunes that captured the essence of UK Garage. Many of these cuts change hands for hundreds of pounds on the resale market; now they’re finally available again, newly remastered.

Vinyl, Built for DJs - Each edition is pressed with only two tracks per side, giving maximum groove depth and unbeatable audio fidelity. Designed with vinyl DJs in mind, these are records built to be worked into the mix, not just left on the shelf.

Collector’s Item Value - This isn’t just another compilation, it’s a celebration of 25 years of Pure Garage, pressed with care and purpose. Expect limited availability, high demand, and guaranteed collectability.

- Iconic Pure Garage brand with loyal following.
- Highly collectible, limited-run vinyl editions.
- Features tracks long out of print, remastered to top quality.
- Essential for DJs, collectors, and garage fans alike.

Pure Garage 25 – A tribute to the underground. A future classic in the making.

Polar Park – Three Producers, One Unique Sound ! Stefan Müller, Andreas Thoma, and Ralph Grieco - united by a deep passion for electronic sound. Drawing from decades of experience, their music blends Minimal and House, driven by rich textures and hypnotic grooves. Each track is created
with analog synthesizers in their private Studio in Switzerland, capturing an unmistakably warm and organic tone. With all future releases coming out on vinyl, Polar Park stands for authenticity, quality, and the timeless appeal of handcrafted music in a digital world.

Effortlessly charming, inquisitive and generous in spirit: 'Total internal reflection' is the beautifully crafted debut album from DJ ojo, returning to Blank Mind, following his acclaimed 2023 EP ‘Coiled up’.

The vivid sound design, irreverent flourishes and elastic rhythms of his past work remain, yet here he leans further into his enduring love of house and techno music. An impressionistic take on the forms, with a light, considered touch that allows his idiosyncrasies to shine through. There’s a synaesthetic quality here, that implies a gestural play between sound, colour and form.

It is functionality that is the key embrace: eight tracks, two discs, two tracks per side. A cohesive body of work purposefully presented to be played out. These guiding principles complement the uniquely skewed style of ojo: there’s always a groove, but it might trip over itself; there’s always a sense of cohesiveness, but it’s never clear; there’s always a dancefloor, but it’s slippery when wet.

The record features art by photographer Thomas Steineder, who interprets the record visually, by bouncing light through analogue film wrapped around a prism, capturing a reflection turned inward.

With ‘Total internal reflection’, ojo has somehow become even more himself, refining his vision into something playful, profound and enduring.