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Der mehrfach preisgekrönte Londoner Jazz-Saxofonist startet mit seinerm neuen Soloalbum sein eigenes Label.

Multiinstrumentalist, Produzent und Künstler Shabaka (Hutchings) veröffentlicht mit "Of The Earth" sein drittes Soloalbum, das gleichzeitig das erste ist, das über sein eigenes Label Shabaka Records erscheint und komplett von ihm selbst geschrieben und produziert wurde. Auf "Of The Earth" kehrt Shabaka zu seinem charakteristischen Saxophonklang zurück, ergänzt durch ausgefeilte Elektronik und Produktion sowie traditionelle Holzblasinstrumente und Perkussion aus aller Welt. Diese Kombination unterstreicht sein vielseitiges Talent und prägt den Gesamtklang des Albums. Hutchings genießt hohes Ansehen für seine Arbeit mit The Comet Is Coming, Sons Of Kemet, Shabaka And The Ancestors sowie für die beiden jüngsten Soloprojekte "Perceive Its Beauty, Acknowledge Its Grace" (2024) und "Afrikan Culture" (2023). Als Musiker arbeitete er bereits mit einer Vielzahl namhafter Künstler zusammen, darunter Andre 3000, Floating Points, Mulatu Astatke, The Sun Ra Arkestra, Lianne La Havas, Saul Williams und viele mehr. "Of The Earth" erscheint als schwarze Vinyl-LP, als limitierte kornblumenblaue Vinyl-Edition und als CD. Beide Vinyl-Formate enthalten ein Booklet mit Hutchings' eigenem Artwork.

Mission of Mercy, the fourth full length album from celebrated guitarist and songwriter Mike Campbell (Tom Petty and The Heartbreakers, Fleetwood Mac) and his band The Dirty Knobs, is due June 12 via Soundly Music/Thirty Tigers. The album features appearances from the B-52s’ Kate Pierson and Morgane Stapleton alongside the Dirty Knobs’ Chris Holt (guitars, keys), Lance Morrison (bass) and Campbell’s fellow Heartbreaker Steve Ferrone (drums, percussion). Mission of Mercy displays Campbell’s full songwriting range, with tracks ranging from the unbridled rock & roll of “I Remember” to the Americana ballad “More Than Gold” and even the Brian Wilson-inspired psychedelia of the title track. Campbell states that “Mission Of Mercy is an action-packed collection of tunes that continue the vibe we established as well as some new directions in the songwriting. It’s full-throttle Knobs from start to finish and we look forward to playing these live this year.” Last year saw the release of Campbell’s New York Times Best Selling memoir Heartbreaker, which Rolling Stone hailed as “essential…a vividly told new autobiography,” while the Los Angeles Times praised its “tale of endurance and patience rewarded” and No Depression proclaimed it “does what the best music memoirs do: encourage readers to listen once again, or for the first time, to Tom Petty and the Heartbreakers and to Campbell’s solo works.” The Dirty Knobs (named after tech slang for a broken amp dial) were founded in 2000 by Campbell as a writing and club-date project outside the Heartbreakers. The group finally got on record with 2020's Wreckless Abandon and 2022's External Combustion. Those LPs, Campbell says, were the Knobs “trying to find our way as a rock & roll band.” “Now it’s down to great songs,” adds Campbell, “the depth in the lyrics and chords.” He recalls something Petty once told him: “Tom said, ‘I love the English language. There’s so much you can do with it.’ I'm discovering that, too. Looking for rhyme schemes, the right word. At first it was a struggle. Now that door has opened,” Campbell says. “I’ve turned a corner.” The Dirty Knobs are “still a rock band but growing into different feels.”

This auditory universe, conceived from Adel Force's 2025 'Human LP', pushes into its' outer reaches across Sacred Amulet EP. These four offerings are filtered through a more percussive and ritualistic lens, with an emphasis on physicality. Sacred Amulet marches forward across Adel Force's unmistakable landscape of symbols, emotional archetypes & sonic storytelling. It uncovers elevated harmonic motifs, unrelenting sections of percussion and esoteric influences - drawn from infinite timelines, free of borders.
Where 'Human' explored inner worlds and emotional constellations, these expressions journey outward - travelling through ancient villages, deserts & fragments of lost history. From the incantatory energy of Courage, to the triumphant victory lap of Closer, the EP carries the same narrative DNA as previous offerings - honed into its' most raw & energetic form thus far. Heavily textural and evocative to the point of transporting the listener entirely elsewhere, Sacred Amulet EP conjures up a menagerie of esoteric imagery throughout its' pages. It stands as a companion artifact to Human, two chapters of an ever-expanding story.

Following the global success of its first chapter and in that spirit, “MoBlack presents: FROM LATIN AMERICA WITH LOVE ” gathers four tracks that channel the pulse, colour and vocal character of the region. Rather than following a single stylistic path, the compilation moves through different shades of Latin-influenced club music, where percussion, groove and spanish-tinged vocals play a central role.

On his new album, Micha Acher rearranged compositions for bands such as Tied & Tickled Trio and Ms. John Soda from previous years.

Why are we interested in ghosts? What fascinates us about the eerie? According to cultural theorist Mark Fisher, the allure that the eerie possesses is not captured by the idea that we „enjoy what scares us“. It has, rather, to do with a fascination for the outside. For that which lies beyond standard perception, cognition or experience, as he writes in his book „The Weird and the Eerie“.

In fact, also none of the 15 pieces from Henry and the Ghost is really scary. On the contrary, they all feel strangely familiar. Like revenants or doppelgängers, which in fact they are. They have all been released before. But in a different form. In different line-ups. With different band projects such as Tied & Tickled Trio, The Notwist or the Alien Ensemble.

With the „Songbook“, Micha Acher's aim was, as he says, to find out how the familiar pieces sound in a chamber music instrumentation. Therefore he met with Theresa Loibl (bass clarinet, piano), Timm Kornelius (bassoon), Markus Rom (guitar, banjo, electronics) and Simon Popp (drums, percussion) in his living room for a musical séance in the summer of 2022. The séance lasted two days. Afterwards, Markus Rom (Oh No Noh), added some haunting electronical ideas.

The mood of most of the pieces is melancholic. There are surprising twists and siren-like melodies. Just as ghost stories should be. However, most of the songs sound very light-footed. With their feet in pop, folk, jazz and classical music. Pieces such as „Johanna“ with its wheezing harmonium and spooky piano, or the dreamy „Modest Farewell“ on the other hand have a cinematic flair. Immediately faces and scenes arise in the mind. But at the beginning, there is „Hamlet“. It starts with ghostly electronics and merges into a calm, almost classical guitar piece. Could it be that the ghost of Hamlet's father is hiding between the strings?

„34E“ begins with a banjo. Then the deep humming of Micha Achers sousaphone and the other brass instruments kick in. In the slow, solemn „Aelita“, the sousaphone starts a dialogue with a children's piano. With the banjo and the other wind instruments acting as mediators. The title of „All Tomorrow's Past“ brings Velvet Undergrounds „All Tomorrow's Parties“ to mind. Another ghost from the past. What connects the two pieces is free-floating percussion, which accompanies the sumptuous melodies.

„Arc“ takes us on an exhilarating voyage at sea, with the sousaphone providing powerful propulsion. Towards the end, things get quite turbulent. With the clarinet stirring up the water, before the sea calms down again. „Henry and the Ghost“ is characterised by a ghostly mood change between major and minor. In „Radio Four“ the banjo with its stoic chords keeps the lively brass section in check. „Solid Ground“ is imbued with melancholy. „Space Minor“ takes us into outer space, with the power of sousaphone and percussion.

„Tomorrows“ is filled with cautious optimism. And the concluding „Nordlead“ turns out to be a revenant of the instrumental „N.L.“ from The Notwist's legendary album „Shrink“ from 1998. In the new version, the piece sounds like a distant echo. One that also brings to mind how Micha Acher's music has evolved. Which new worlds he explored and opened up since the nineties. And yet Acher's signature is recognisable in every single note of this fascinating „Songbook“.

Ricardo Villalobos runs wild on Mohammad Reza Mortazavi’s Persian tombak hand drum actions, expanding a 4 min kernel of inspiration into 24 minutes of mesmerising polyrhythmic traction. From an original ‘Swamp’’ piece that practically recalls Ricardo’s style of slinky minimal techno sorcery to begin with, the Chilean-German maverick derives a more driving tract of rough hewn rhythmic grit bound to hypnotise ‘floors for the duration. Accentuating the undulating bass and dialling up the volume whilst retaining the frictional grind of the original, Villalobos gets right inside the groove with typically obsessive tekkerz, plucking out additional string
motifs and tempering the flow with signature, taut but sinuous, loosey goosey flex that cross-pollinates cultures and gets right under the skin of the thing.

Ricardo Villalobos (b. 1970, Chile) is a pioneering figure in minimal techno, celebrated for his hypnotic and groovy approach to rhythm. Raised in Germany after his family fled Pinochet’s regime, Villalobos was drawn early to percussion - he began playing congas and bongos at eleven, developing a tactile relationship to rhythm that would later inform his distinctive production style. Immersed in both Latin American folk traditions and the emerging house and techno scenes of late-80s Europe, he began DJing and producing in the early 1990s, quickly achieving cult status within global club culture. Mohammad Reza Mortazavi (b. 1979, Iran) is a virtuoso percussionist known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition - a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instruments. Since then, his music has continued to evolve, embracing new forms beyond tradition.

Highscore is one of the newest-and quite sensational-discoveries in funk of the 1980s out of Germany. Two tracks Breakin' Out and Girls So Fine, both recorded about 40 years ago and shelved ever since, are finally receiving a long-overdue 12" release.

Label founder DJ Scientist tells the story of how the tracks were uncovered:

"Several years ago, while researching the Crea label-after we had already licensed 'You're Not The One For Me' by Peter Patzer-I also wanted to find out more about another band on the label: Nuages, who had released the stunning jazz-funk/fusion album Cumulus.

Interestingly, a Discogs user had uploaded a hand written promo letter from one of the band members along with the LP. In it, drummer Mike Bach mentioned plans for a second album, as well as a single featuring a 'coloured singer'-which caught my attention. (A note on language: the original letter from 1985 uses the term 'coloured.' We've chosen to quote it directly as a historical document, but want to be clear that this reflects the terminology of the era and not language we would use today.)

Digging deeper, more information was found on Bach's own website, where a project called 'High Score' was mentioned. I immediately got in touch and asked if the recordings from that project still existed. Unfortunately, Bach couldn't locate any of the material at the time.

Years passed before we reconnected, when we featured 'Strange Weekend' by Nuages on our recent yacht rock compilation. I still had the Highscore project in mind and asked again. Once more, Mike had to deny-but he made another effort and reached out to former collaborators. A few weeks later, guitarist and composer Hermann Behrens discovered cassette tapes containing tracks from the Highscore project. I couldn't wait to hear them…"

To go back a bit: Nuages were a jazz-rock band from Bremerhaven, originally formed by guitarist Joachim "Fussy" Fuß in 1982. The lineup included Mike Bach (drums and percussion), Klaus Hinners (bass), and Frank Fischer (keyboards). In 1984, John Dillard, a U.S. GI stationed in Germany, joined Nuages for several live performances as a soul singer.
Around 1985/1986, Dillard and Bach then teamed up with Hermann Behrens with a new focus on electro funk and disco: Highscore was born.

When the three demo recordings were finally sent to us, they immediately blew us away. Breakin' Out stood out as an incredible electro-funk boogie gem-exactly what we had been looking for. What's more, it didn't sound like a rough demo at all, Breakin Out was a well-arranged and almost perfectly recorded track, driven by fresh, vibrant synths, drum machines and guitar. The cassette mix wasn't entirely final, but the remaining details could be refined during mastering.

The B-side, Girl So Fine, impressed just as much-equally strong and just as captivating as the A-side. Our reaction was immediate: this had to be released without delay!

Most importantly, there are a few more recordings from Highscore. However, these only exist as multi-track studio reels, which currently cannot be transferred. In the best case, more material from the band may surface soon-hopefully without another long wait.

The 12" release Breakin' Out / Girl So Fine" comes with a newly designed picture sleeve, featuring an original photo of the band members, including background singer Ruben Hopkins who does not appear on these two recordings.

The vinyl edition is limited to 400 copies.

Jazz-fusion, disco-funk, Latin jazz and batucada rhythms get the Filipino treatment onAfter Midnight, the sublime second album from keyboardist Boy Katindig. Originally released in 1980, After Midnight draws heavy influence from soul and funk contemporaries in the US as well as Latin America, in particular the famed Brazilian percussionist Paulinho da Costa.

It’s a testament to his musical prowess that Katindig weaves effortlessly between styles and tempos. His reverence for Paulinho da Costa extends far, with covers of several songs from the latter’s 1979 Happy People album. This includes slow-burner ‘Déjà Vu’ written by Isaac Hayes originally for Dionne Warwick; on the Filipino instrumental version, local legends Jun Regalado and Roger Herrera (from Regalado’s ‘Pinoy Funk’ single) are reunited on drums and bass respectively.

But Katindig’s original compositions hold just as much weight and unique personality: title track ‘After Midnight’ opens with a sultry funk serenade reminiscent of The Isley Brothers, and quickly transforms into a catchy, blistering, saxophone chorus that brims with swagger. Hidden B-side gem ‘Got The Need’ is an uptempo tribute to batucada that would not be out of place in a jazzy house set, and boasts increasingly elaborate and psychedelic solos from Katindig on keys and Ben Concepcion on soprano sax.

Meanwhile, ‘Love Till the End of Time’ is a masterclass in instrumental disco funk, penned by the prolific Greg Phillanganes who at that same time was writing for many of the greats including Chaka Khan, George Benson, Stevie Wonder, The Jacksons and Cheryl Lynn.

This album is lovingly reissued by Sama Sama Records, a boutique label from DJ and collector Norsicaa, who ran the esteemed Soundway Records for 8 years and released the compilation Ayo Ke Disco in late 2024.

Constant Black is one of the many, many labels that Burnski heads up. It's where he focuses on stripped-back minimal and tech house with a moody undercurrent. Kerouac is a mainstay in his orbit and here takes one side of a new 12" that opens with 'This Method,' a rigid thumper with an eerie edge. 'Produce To The Max' has a dark bassline and ghoulish vocal sounds, while 'Talking About' is a more light and bumpy percussive number. Mees Mattern takes care of the flip with the dusty, garage-y loops of 'Sloppy Tekniic,' rubbery bass minimalism of 'Reeses Pieces' and grittier '404 Not Found. Six fresh tools for rewiring a dancefloor.

Gap Mangione's monumentally influential Diana In The Autumn Wind. AKA BEWITH200LP. And, without question, Be With's White Whale.

They said it could never be done. And with good reason.

We've spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.

It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.

But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.

With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.

The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music."

Opener "Boy With Toys" triumphantly swaggers out the gate, all big band horns, flutes and dextrous organ work. The synthesis of everything going on is nothing short of stunning. When one wise YouTube commentator called this tune "old school superhero music", Gap agreed. Rap luminaries did, too, amongst them Talib Kweli, who rapped over DJ Scratch's chopped up intro for "Shock Body" on his Quality album back in 2002.

You've barely recovered from that incredibly affecting opener when you get hit over the head with the exquisite title-track. And now you see how two of the greatest beats of all time emerged from one single track produced nearly 50 years earlier. Unforgettably utilised by Dilla for Slum Village's heartbreakingly good "Fall In Love" and then Madlib for his "Official" beat for Dilla to rap over, on the Jaylib record. Regardless of the records it went on to spawn, this is just a staggering tune in its own right. Be beguiled by the flutes and the flutter tonguing, the counter-melody from the trombones, the soprano sax solo. All of it. Simply beautiful.

The questing organ and horn workout "Long Hair Soulful" deserves a lot more attention, overshadowed somewhat by the opening two monsters but no less fantastic. It swings, it grooves and Gadd and Levin truly cook. Up next, Gap's wonderfully percussive, mellifluously piano-heavy cover of "Yesterday" by some fellas called The Beatles. It's a subtly arresting gem. "The XIth Commandment" is damn fine, with thick, gorgeous electric piano and snappy drum work underpinning chaotic soundtracky horns. To close out the side, "St. Thomas" showcases the "fourth" member of the Gap Mangione Trio, conga drummer Dhui Mandingo. Having performed with the Trio since 1965, Dhui‘s African-based and jazz-latin-influenced style amazed listeners and its way to hear why.

Opening the B-Side, standard "You're Nobody Till Somebody Loves You" breezes along in the late-night jazz club fashion before things get super deep with the outstanding and - up to now - un-sampled "Pond With Swans". It's simply heavenly, and how its moody, melancholic intro has yet to be pilfered is anybody's guess. It oscillates between gentle, sombre movements and bombastic grooves, equally hypnotic and joyous. The rendition of "You Are My Sunshine" is yet another showcase for Gap's virtuoso playing and Gadd's mastery of the pocket. Indeed Gadd's drumming on "Free Again" is nothing short of neck-SNAPPING! Ghostface took it for not one but two "Iron's Theme" tracks across his seminal Supreme Clientele. It's got that Galt MacDermot "Coffee Cold" feel. Suuuuuper cool. The frantic "Dream On Little Dreamer" hurtles along and must've surely had the whole room absolutely swinging from the chandeliers back in Rochester in the late 60s. The album closes with the magnificent Graduate Medley, featuring memorable renditions of "Scarborough Fair", "The Sounds of Silence" and "Mrs. Robinson". The warm electric piano lines of the former were sampled by The Ummah (Dilla again!) for Tribe's "Pad & Pen" from their reappraised final album, The Love Movement, as well as by Large Professor on his much-loved "The LP (For My People)".

Under the watchful eye - and extremely attentive ears - of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland. The artwork restoration has taken place here at Be With HQ and has that drop-dead gorgeous cover artwork popping like new. Buy on sight!

Barely six months after the debut, the paths of the label and the artist converge once more — at their intersection, TECH039 emerges. This work significantly expands the musical language of Andy Martin: evolution is audible within every single recording. Tonally, rhythmically, and accent-wise, the release becomes a deep exploration of how personal experience transforms artistic signature, turning it into a new legacy for the local and global scene.

We see the author in a moment of artistic self-determination, on his path to international recognition. This is the sound of a master who cares about context, yet fundamentally refuses to meet outside expectations. At the core of TECH039 lies the concept of techno-futurism — sound projected forward, yet anchored in the fundamental laws of nature.

On the record: a transit from atmospheric harmonies and complex percussive structures to near-ambient variations, followed by gripping, mind-piercing sounds set against a functional bassline. This is a story of five distinct states, conceptually unified by a shared relation to the outer world, rather than the rigid boundaries of style.

- Mechanical Vals — fully positions the spirit of the record, referencing the incomparable signature of Andy Martin.
- The Paths of Rhythm — creates a rhythmic hypnotic structure, inviting DJs to uncover additional layers.
- Toltequidad – serves as a reminder that even the darkest night has its limits, and lighter hours inevitably arrive.

The integrity of the statement is completed by two interpretations:
- Vardae Reinterpretation — a reinterpretation deepening the original's hypnotic component.- Feral Reshape — a structural transformation emphasizing natural, organic power.

A substantial record for the collector’s archive and home listening, as well as a functional tool for the club night.

»Cosmogonical Ears« is Amosphère's first album for Hallow Ground. Following her contribution to the Swiss label’s »Epiphanies« compilation and her 2021 full-length debut »More Die of Heartbreak« on 33-33, it features three expansive pieces. The Paris-based composer and multidisciplinary artist delves deeper into themes of time, space, cosmology, human perception, and psycho-physical effects, crafting profound sonic meditations. Drawing on a minimalist approach while blending electronic and acoustic elements, Amosphère’s long-form compositions are living, breathing entities whose sonic richness and evocative power unfold gradually over time, putting »Cosmogonical Ears« in direct kinship with previous Hallow Ground releases by artists such as Kali Malone and FUJI|||||||||||TA.

The album opens with its longest piece, »Land of eternal delight,« composed for the Buddha10 exhibition at the Museo d'Arte Orientale in Turin. Written during three years of isolation—a period in which Amosphère explored meditation practices and diverse belief systems—it merges mythology with personal transcendental experiences, reflecting on a challenging time for humanity. »By blending Buddhist philosophy and sculpture with my own meditation practices, I sought to explore a way for people to transcend the boundaries of space and time—not as a believer, but as an observer,« she explains. Featuring handmade ceramic instruments and recorded by Thomas Lefevre, the piece combines Amosphère’s electronic organ with Marc Lochner’s flute contributions, creating a sound that is simultaneously minimalist and expansive.

The concept of teleportation and how it challenges traditional notions of time and space serves as the foundation for the second piece. »Recent advances in quantum physics suggest that teleportation might be possible through quantum entanglement,« Amosphère notes. »What if science fiction is becoming reality—or has already existed in ancient times?« Drawing inspiration from theories proposed by physicists such as Roger Penrose, Amosphère again worked together with flutist Lochner, this time using her VCS 3 synthesizer. »Teleportation« weaves single notes into intricate, non-linear patterns that defy conventional logic, creating a complex auditory tapestry. The last piece »Black hole in, white hole out« was recorded on Corsica and features Miao Zhao’s bass clarinet drones alongside Amosphère’s church organ. It imagines the possible sound of crossing a black hole while also suggesting the study of its theoretical exit and its potential applications for large-scale time and space travel.

The questions posed by »Cosmogonical Ears« do not yield straightforward answers. Instead, Amosphère’s restrained yet intricately layered compositions require full immersion and concentration from the listener. As expressed by the album’s title—which envisions the birth of a new universe through listening—»Cosmogonical Ears« offers an experimental approach to auditory perception as a tool for seeking truth, freedom, and harmony between the outer world and the inner self.

New single by Romperayo on 7-inch vinyl spinning at 45 rpm, released by the Austrian label discos
elgozo.
This record is a tribute to the sound of Cumbia Sabanera de Acordeón from Colombia, in dialogue with
Mexico’s Cumbia Sonidera. It also pays homage to the melodic line of the first generation of
Colombian accordion masters of Cumbia Sabanera such as Joaquín Betín, Emiro Caicedo, and
Policarpo Calle.

The two tracks are built on a solid rhythmic foundation of bass and percussion, accompanying a
melodic interplay between accordion and analog synthesizer.Mixed and produced by Pedro Ojeda Acosta at Romperayo Studios, both songs were recorded live, in
quartet format, at Mambo Negro Studios in Bogotá, Colombia, by Daniel Michel, featuring Iván
Medellín on accordion, Nicolás Eckardt on electric bass, Juan Manuel Toro on analog synth, and Pedro
Ojeda on percussion.
This single offers a first taste of Romperayo’s upcoming LP, set for release in early 2026 — once again
on discos elgozo.

There is a kinetic energy that binds drummer and producer Karriem Riggins and singer-songwriter, rapper, and producer Liv.e, the spark that happens when instinct meets flow and spirit finds rhythm.

Their collaborative debut as GENA (short for “God Energy, Naturally Amazing,” and loosely inspired by Gina from Martin), The Pleasure Is Yours feels like a playful, soulful conversation between two kindred improvisers: Liv.e’s smoky, unpolished vocals glide through Riggins’ warm, percussive universe. Rooted in jazz, soul, and hip-hop, Liv.e brings a raw, experimental approach to R&B, while Riggins known for his work with Common, Erykah Badu, The Roots, Madlib, and his close kinship with J Dilla, extends his lifelong dialogue between jazz improvisation and beat science.

Together they create a world that’s analog and ethereal, percussive and poetic, bridging eras without settling in one, the sound of two artists finding a new shared language rooted in rhythm, vulnerability, and exuberance.

Pressed on 180g vinyl, the album comes in an embossed sleeve and is avaible in red and black splatter.

There is a kinetic energy that binds drummer and producer Karriem Riggins and singer-songwriter, rapper, and producer Liv.e, the spark that happens when instinct meets flow and spirit finds rhythm.

Their collaborative debut as GENA (short for “God Energy, Naturally Amazing,” and loosely inspired by Gina from Martin), The Pleasure Is Yours feels like a playful, soulful conversation between two kindred improvisers: Liv.e’s smoky, unpolished vocals glide through Riggins’ warm, percussive universe. Rooted in jazz, soul, and hip-hop, Liv.e brings a raw, experimental approach to R&B, while Riggins known for his work with Common, Erykah Badu, The Roots, Madlib, and his close kinship with J Dilla, extends his lifelong dialogue between jazz improvisation and beat science.

Together they create a world that’s analog and ethereal, percussive and poetic, bridging eras without settling in one, the sound of two artists finding a new shared language rooted in rhythm, vulnerability, and exuberance.

Pressed on 180g vinyl, the album comes in an embossed sleeve and is avaible in red and black splatter.

After running a sound system and studying electronics overseas, Spanish Town-based Harry Mudie began releasing rhythm and blues recordings by local performers, enjoying more concerted success during the reggae era of the late 1960s and mid-1970s, crafting lasting hits with artists like Dennis Walks and the Spanish Town-based toaster I Roy.

The first volume of the Dub Conference series, made with King Tubby, has stripped-down cuts of some of Mudie’s greatest productions, including ‘Lorna’s Dance,’ a percussion and horns take of ‘Caught You In A Lie’, and a strings cut of the Heptones’ ‘Love Without Feeling.’

Dez Andrés, Detroit’s underground legend and genre-blurring maestro is back with another batch of reworked old skool bangers.

Since the late '90s, Dez has built a respectable catalog that blurs the boundaries between genres. One of motor city’s most prolific artists, his music can be summed up in one word: quality. Now he returns to DFM with a two-sided heater.


Dez flips Odyssey’s classic Native New Yorker into a gritty dembow style club weapon. With iconic vocal lines and signature piano riff, Dez injects his signature bounce and percussive punch, turning this disco anthem into a raw dancefloor destroyer.
Diving deeper, Dez revives Dr. Buzzard's Original Savannah Band’s classic Sun Showers, transforming it into a rhythmic, power groove tailor-made for sweaty basements, rooftop sets and smoke filled dance floors on red-lit nights that refuse to end.

Alcides Neto is a Brazilian composer and multi-instrumentalist based in Narrm/Melbourne. Drawing inspiration from the folk traditions of his homeland, Alcides offers a fresh perspective on Brazilian music by blending traditional rhythms with contemporary Brazilian jazz, samba, bossa and more. Known for his distinctive percussive guitar playing and warm, soothing vocals, he brings an authentic Brazilian vibe to every performance. Alcides is set to release his debut album Amú via the Music in Exile label in early 2026, featuring eight original compositions recorded at Head Gap Studios, Melbourne. For fans of Gilberto Gil, Jorge Ben Jor, and all the Brazilian samba greats.

French producer Yse Saint Laur'ant is exactly the sort of artist you want to hear from as the sun begins to shine more often. He's a master of escapist, beauty, classy grooves that marry disco and Balearic into pure magic. 'Space Ride' does that on a bubbly groove with a cosmic edge and 'Saint Tropez' brings loose-limbed funk and boho percussion to a Provencal sound. 'Monaco' is bathed in sunlight and made all the more classy with some gorgeous stings and mellifluous chord work then 'Esplanade' shuts down with a dubby, flute-led sound with a whimsical charm. Twenty First release on the much sought after Vinyl Only label.

Shep is back on his People Pleaser's label with a fourth transmission of groovy tech house that blends drive, cosmic atmospheres and just the right amount of vocal and melodic hookiness. 'Reach For The Tongs' is warm and dubby, one to get the head down and lock into. 'Pulver Zimmer' has warped synths and glassy percussion, bringing the early Terry Francis style drums to life and 'Rave Gravel Drive' gets more unhinged. The synths are wonky, the sound designs more trippy and abstract and the groove is minimal and synthetic. 'Mutzki' closes with a subtle, warming rush of low-key joy thanks to the muted chords that ride a slick groove.

Tropidelicos is the electrifying new album from Houston/Denver powerhouse duo Gio Chamba, a kaleidoscopic fusion of cumbia, psych-funk, and global bass. Fueled by hypnotic percussion and cosmic guitar lines , the record embodies the next wave of Latin futurism — rooted in tradition yet exploding into vibrant, genre-defying sound.
Pressed on limited-edition 1×LP “Mango Viper Swirl” colored vinyl, Tropidelicos captures the radiant heat and joy of Gio Chamba’s live energy—music made for movement, community, and spiritual release. From sweaty dance floors to desert sunsets, every groove invites you deeper into the tropidelic revolution.

Adeen Records is next to give weight to the rising profile of Paolo Aniello aka New Digital Fidelity, an accomplished house producer who heads up his own Scopic label which this release is in collaboration with. Raised in Bari and now based in London, Aniello shows this love of Midwestern classics with a release that is slow burning and soulful rather than extroverted in its grooves. The A-side cruiser '4 Hours Away From Southside' sets a smooth tone with gentle chords awakening your soul then '9 Hours Landing' has a jumbled percussive element and heavy, almost beatdown kicks. 'Lake Shore Drive' glides into candlelit late-night territory with dusty drums and frayed analogue edges that get reworked by Ge-Ology into something more busy and futuristic.

This is a super funky double A by the Swedish Dino Ögon - A side “MELLAN SLAGE” is a mellow summer feel groove, lovely melodic vocals full of beats and feeling.
On the flip is an explosion of drums – just want I needed.

B-boys and B-Girls, let’s get the lino to the ready, this one is gonna get you Movin “PUMPAN” is a happy uplifting groove that drops into one of the best drums and percussion grooves I’ve heard for years

Making his first appearance on Flat White Records, NYC’s Malik Hendricks arrives with Stretching, a four-track EP that leans comfortably into the grey space between Deep House and Techno. Across three original cuts, Hendricks delivers warm, hypnotic, and quietly confident sounds that are unmistakably his own.

Rounding out the release is a remix from London-based, Spain-born producer Beringei. Known for his broken-beat excursions, Beringei with a 4x4 workout that still carries his unmistakable percussive touch, proving that even when stepping outside his usual lane, his identity remains firmly intact.

With previous releases on respected imprints like Eglo, Darker Than Wax, and Phuture Shock Muzik, Hendricks arrives in trusted company, thus making it an easy call to hand him the reins for our 15th release.

Born in the ’80s and raised in the ’90s, Malik Hendricks is a product of transatlantic club culture, drawing inspiration from Detroit’s futurism, New York’s grit, and the UK’s rhythmic experimentation. A DJ for over a decade, he approaches music with an almost academic curiosity, seeing the dancefloor as a shared space for cultural exchange.

Recently, his work has caught the attention of heavyweights like Eli Escobar, Byron the Aquarius, James Bangura, and Roy Vision, all stepping in to remix his material. With Stretching, Hendricks continues to prove that subtlety, craft, and groove still go a very long way.

Early DJ Support from: Shy One, LDLDN, Louise Chen, Dam Swindle, LTJ Bukem, Christophe Salin, Franck Roger, Jazzanova, Mr Redley, Last Nubian, Glenn Davis, Seven Davis Jr, Stonie Blue, Stu Clark (WOLF), Adriatique, Marco Weibel, Mr Ties, Tereza, Cottam, Joyce Muniz + MORE

A raw, groove-driven selection of previously overlooked 1990s recordings by legendary Turkish jazz impresario Okay Temiz, compiled here for the first time.



As the story goes, throughout the 1990s, Okay Temiz roamed the nights of İstanbul in search of rhythm — moving through its far corners, from the seedy underbelly to gypsy neighborhoods, from the outskirts of the city to smoke-filled taverns where cigarette haze turns into a living cloud atlas — capturing a largely unknown and maverick period of his work.



Compiled by long-time producers Haluk Damar and Erinç Güzel, the album brings together Turkish folk textures, İstanbul tavern sound, spiritual jazz, raw street groove, and flashes of Turkish psychedelia — with moments shaped by Temiz’s own distinctive vocals. The result is a deep, percussive, and highly playable set.



Positioned between global jazz, rare groove, and dancefloor material, İstanbul Groove is a strong crossover release with appeal across both listening and DJ set contexts.

A Lisbon classic by now, Paraiso (a label, a radio show, a party and now also a documentary) is back for its 19th release with a pairing who's no stranger to the label or the portuguese techno underground: lucky for us, head honcho Shcuro got back in the studio with techno legend in the making Vil to make Repercussions part 2 - and they invited iconic Spanish producer Annie Hall (Delsin, CPU) as a remixer. The record opens with a tour de force, the relentless yet perfectly in control, mutanting and experimental yet elegant and timeless 'Motorik'. In it, you can hear echoes of Detroit groove sense, but also a generous splash of dub sonics seamlessly merging into pure peak time, closed eyes, layers of ear-candy hypnotizing you type of stuff. Things strip back a little in 'Emergence Dub' - still immersive fast techno ammunition, but there is a playful, experimental and sometimes ravey spirit to it, with a wonky mutating key, vocal pads and cheeky percussion working together to create a stunning modern dance piece. Side B is inaugurated by 'Origins', a deep bow to dub traditions with delay-drenched stabs and a bouncy bassline for days. An energetic yet dreamy piece with spoken word samples that will have your heart melt, it perfectly mirrors the duo's influences in a beautiful closing original. Annie Hall steps in for the remix, taking A2 'Emergence Dub' into Breaks geographies, with a talking bassline fit for an electro banger, and the ever-present pads sending us off in zen mode after a delightful ride.

Auntie Flo delivers two extended versions of Costa Rica based singer-songwriter Doe Paoro. If you liked Auntie Flo's 'Green City', check these...

Doe Paoro approached Brian d’Souza aka Auntie Flo to do a remix for her album 'Living Through Collapse' last year. He loved the parts she sent so much he asked her if he could do two remixes, press onto vinyl and release via A State Of Flo.

We're doing a limited run of 300 copies only, orange vinyl - so buy today if you don't want to miss out.

The tracks... Teach Us Of Endings - a classic balearic groove, gloriously uplifting disco-style strings and complete with Green City-style drum rolls and a killer Ziggy Funk bass line ... just waiting for those strings to come in...bliss

Maya - exotic, deep, hypnotic. Centred around a Ziggy Funk groove with analogue washes and Middle Eastern sounding instrumentation.

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be paid to environmental charities.

Support from Colleen ‘Cosmo’ Murphy, Luke Una, Dar Disku, Paula Tape, Sean Johnston, Gabriels, Batida etc

Alina Valentina ignores rule books. When it comes to making music, she bends genres to her own sound and vision. Acid, electro, synth wave, vocoders. All are melted to produce a bracing style that is floor focussed and strikingly individual. It is this distinctive perspective that The Hague based artist brings to Schrödinger’s Box for NPC Dream, eight tracks that map a journey that disregards genre limitations. The intent and mood are immediately set with the fierce “Air Slasher” plunging through the fog as kicks roll and beads of acid bulge. Raw electro is further coarsened by scything keys and vicious vocoder words in the title piece before the technoid mutations and pain-streaked “Echo of Ecco.” The ground is never stable, the direction and ideas darting and shifting to new sonic territory. Punishing and pure, “Mine Cart Madness” is EBM-encrusted cruelty. Tempos shift on the flip, the slow and cinematic atmosphere of “Pixel Swamp” feeding into the sinister and snarling snares of “Wishing Engine.” Paranoia and tension collide in the stabbing chiptune chords and spiking percussion of “Come Get Some”, acid barbs ballooning into a blistering barrage in this warped wrecking ball. “Light Warrior” is cut from the same raucous cloth. Knobs splinter against machined lyrics, sirens blare as kicks thump in this basement lurking beast.

NPC Dream is a relentless record. From the needle drop, Alina Valentina enforces her sound as she teases and taunts styles. Fiery and brimming with energy, this 12” encapsulates the sound of an exciting talent who carves their music with a truly unique ear.

Parisian label Chuwanaga announces the upcoming release of Inner Circle Vol. 1, the first installment in a series of house music releases bringing together artists from the label’s close circle. Available on limited 12" vinyl (300 copies) and digital.

The VA opens with “We All Got To Feel” by Argentine producer J. Koen (Nervous Records / Nite Grooves), a track that encapsulates the essence of deep house. Classy, colorful stabs, refined melodies, and a warm, funky bassline come together in a club-ready cut. It's exactly what you expect when you need a track that delivers — just drop it.

It is followed by “Sunny California” from French producer Kaffe Crème (Floors Records), an ode to the sun — both a celebration and a form of incantation recalling the spiritual energy of Ron Trent and Joe Claussell. The track builds toward a break filled with deep, jazz-inflected harmonies before returning with an electrifying melody carried by layered percussion, leading to an emotional climax.

On the flip side, “It’s A Feeling (House Music)” by the French duo Milk & Honey (Chuwanaga) draws clear inspiration from the Chicago lineage, in the vein of Boo Williams. A looping bassline, deep silky chords, and steady drums create a hypnotic, flowing texture with a myriad of ear candy. It's a feeling, it's a vibe!

The record closes with “The Gatekeeper” by French producers Saint-James (Chuwanaga) & KX9000 (Pont-Neuf Records), a track influenced by the London boogie sound and its broken beat scene. Fans of Dego and Kaidi Tatham will recognize its syncopated grooves and percussive depth, bridging house and broken beat aesthetics.

This 12" introduces Maajo Soundsystem, the electronic, dancefloor-focused sub-project of Maajo, presenting stripped-down, club-ready versions of their 2022 album 'Water of Life' that go beyond standard remixes through newly recorded balafons, percussion, and vocals from Senegalese artist Ismaila Sané and Mauritian vocalist/drummer Gilbert K. Sané began his career in the 1970s as a percussionist and African ballet dancer before relocating to Finland in 1999, later becoming the first emigrant to receive the country's Citizen of the Year award. While Maajo tours as a six-piece live band, Maajo Soundsystem offers a flexible electronic configuration that retains live vocals and percussion. The group has released multiple LPs and EPs on Queen Nanny and Permanent Vacation, scored the silent film Lost World, received remixes from Luke Vibert and Call Super, and toured internationally, with strong radio and press support from BBC Radio 6, Worldwide FM, KEXP, Resident Advisor, WFMU, and more.

An’archives presents 'sensitive', a new album, and the first solo vinyl release, by Japanese keyboardist and synth player, Mitsuhisa Sakaguchi. A deftly assembled suite of glistening electronic tonalities, 'sensitive' is the latest in a lengthy run of excellent, idiosyncratic albums by Sakaguchi. A low-key yet productive artist, Sakaguchi has released banks of solo titles via his own Bandcamp page, and is also an in-demand improvisor for electronics: see, for example, recent collaborations with Yoshiki Ichihara ('TO(R)RI INFRANTA', 'Ftarri', 2025), Tatsuhisa Yamamoto ('non equal mad', self-released, 2020), and the - trio with Yamamoto and Uchihashi Kazuhisa ('self-titled', Modern Obscure, 2023).

'sensitive' is a startling album for many reasons, not least its rich attention to detail. Sakaguchi’s ear is sensitized to the complexity of electronic sonority, something he’s developed through decades of performance and improvisation, though he’s not limited to that language. “I mainly use multiple synthesizers and process the sounds with effects,” he clarifies, detailing his approach to his music. “I also use a lot of acoustic sounds such as field recordings and percussion; sometimes I also use sounds such as prepared piano.”

Indeed, you can hear this see-sawing balance between the electronic and acoustic written across 'sensitive' – see the activated cymbals that twist and stutter through the first half of “metatoxic”, which are soon replaced by a similar stream of burbling synth-flow. The opening “sensitive rot” folds field recordings into Sakaguchi’s electronic kit to such a degree that the differing forms dissolve into each other; on “green shrine”, the field recordings are more present, yet still poetically framed, taken as they are “from the mountains of my hometown, Yawata City, Kyoto,” Sakaguchi explains.

The tender balance achieved by Sakaguchi as he moves between practices, tonalities and temporalities helps manifest the guiding conceptual force behind 'sensitive', where Sakaguchi explores a cleansing reverie. “What I wanted to portray with this album was to create an album of sounds that shattered and reassembled my current ‘sense’ and ‘toxins’,” he nods, “along with the ‘nature’ around me. Electronic sounds, our bodies, the environment around us, and nature all blend.”

From there, Sakaguchi attempts a transformation, or transmutation – an alchemical process of exchange. “I am attempting to explore whether it might be possible for the sounds to come closer to each other,” he concludes, “or perhaps even to interchange places.” On the five pieces that comprise 'sensitive', you can hear this fusing and exchange. Inhabiting similar spaces as the music of Nuno Canavarro, Asmus Tietchens, Omit, and other like-minded visionaries, 'sensitive' traverses curious, quixotic terrain between electronic composition, electro-acoustics, and improvisation.

black.round.twelve returns with Dancing Tiger EP, a new vinyl release from Tagir exploring the deeper edges of Minimal House and Tech House. Rooted in the label’s vinyl-only ethos and focused curation, the record leans into long-form grooves, subtle detail and controlled movement.

The title track “Dancing Tiger” is a slow-burning minimal piece stretching across twelve minutes. Oboe-like tones and modular textures sit alongside processed vocal fragments and acoustic percussion, anchored by a steady low-end that develops with patience.
“Break It Love” moves into a more direct framework, combining vocal loops with an elastic bassline and a steady 4/4 pulse, while modular elements add texture and forward motion.
On “Off Smoke”, the structure becomes more abstract, with a repeated vocal phrase stretched, pitched and fragmented across a pumping groove. Subtle variations and underlying swing create a controlled but fluid sense of movement.

With Dancing Tiger EP, Tagir delivers a groove-led record that aligns closely with black.round.twelve’s approach, balancing functionality with detail and maintaining a clear focus on the dancefloor.

When Henry Street & Sacred Rhythm Music join forces for a remix outing, it should be obvious the source material and resulting productions are of the utmost caliber. This record proves such a case in point: Johnny "D" DeMairo & Joe Claussell team up for two takes on Candi Staton’s 1979 disco opus 'When You Wake Up Tomorrow.’ The original, whose pedigree could be inferred simply by reading Patrick Adams’ and Jimmy Simpson’s names on the label, is a faultless dance floor cut featuring all the elements you’d expect—lavish horn and string arrangements, sparkling synthesizer accents, and plenty of hand-beat drumming—along with with Staton’s peerless voice. Johnny D’s mix starts carefully, the vocal refrain accented with auxiliary percussion until the rug is pulled out from under us, the ensuing chasm making the following thrust of the track that much more powerful. On the flip.

Claussell’s take starts with reinforced four-on-the-floor, along with a studio count-in, perhaps alluding back to his previous ‘It Seems To Hang On’ edit. As the track establishes itself, ample room is afforded for interplay between bass and guitar, with all the interlacing elements aggrandizing the mood with careful shots of delay and expertly-timed pivots in atmosphere. Both sides are proof of what shouldn’t need evidence: two masters of their craft assembling two wholly new mixes that far surpass the banal copy and paste, add and subtract methodology slung by the less blessed. Pressed on white vinyl, with a custom jacket to boot.

Produced through live jam sessions with machines and gear, Omar Akhrif’s music embraces the small imperfections that naturally emerge during the creative process. Tiny timing shifts, unstable textures and unexpected movements — what could be perceived as an error becomes the soul of the track, the human value inside the machine.

This journey officially debuts with a Various Artists EP that perfectly embodies our sonic research, transcending musical genres and form to focus on pure feeling and connect to a timeless energy.

Opening the EP is Dismal with Holocryptic Woods, a 'psychedelic jungle' progressing vortex that challenges perception. Following is Little Sea with Jaguaro, a journey that evokes the golden-age aesthetic of progressive trance, balancing hypnotic structures and organic references to nature.

On the B side, Rambal Cochet presents Unreal Engine, a dark ritual at 135 BPM where Memphis rap meets acid spirals and neon atmospheres. Closing the VA, Electrodynamique delivers Ezo, an immersive electro trance dedication to the magic festivals’ nights feelings, rounding out the mosaic of identities of this project.

Surrender to the flow.

With ADT026, Adroit Recordings deliver a focused, high-impact techno 12" built for late-night floors and proper sound systems. Remco Beekwilder leads the release with a driving, groove-forward aesthetic, tight percussion, raw pressure and hypnotic movement, while Tarkno, Toni Dextor and Unconformist add complementary perspectives that expand the EP’s range without losing its functional, club-ready edge.
Pressed on orange transparent vinyl, Skindeep EP is a straight-to-the-point tool for DJs: energetic, lean, and designed for momentum from start to finish.

Stanz Amor delivers a five-track EP that blends crunchy sound design, tribal influences and driving grooves into a cohesive statement of energy, movement and atmosphere. Hailing from Blackpool UK, Stanz Amor emerged in 2023 with a distinctly old-school approach, channeling groove, rhythm and intensity into a modern context, which he showcases on his Backspin Records debut EP 'Mercurial'. ??Opening with 'Kong', the EP sets the tone with an old school spirit reimagined through a contemporary lens. Loopy structures, banging percussion and textured, gritty elements create a hypnotic flow designed for peak-time moments. 'Mercurial' raises the intensity, propelled by fast-paced hi-hats and shimmering rides that injectconstant motion, while a rolling low end gives the track serious weight. A striking Latin vocal lingers throughout, leaving a lasting impression long after the track fades. On the B-side 'Count' shifts the energy into a groove led by rolling bongos, underpinned by a heavy sub and catchy, repeating vocals that lock into a tight, circular rhythm. 'Yawhoo' follows with a punchy kick, rumbling foundation and driving percussion, elevated by a cheeky vocal and a whistle straight out of the 90s rave era, adding a playful, nostalgic edge. The closing track is a remix of 'Count' by Steve Redhead, who reinterprets the original with forceful yet hypnotic percussion and finely detailed vocal work. A Belgian techno mainstay since the early 2000s, Redhead is known for his uncompromising, groove-driven sound and lasting influence within the underground. ??With this release, Stanz Amor delivers a focused and effective collection built on groove, repetition and dancefloor functionality. Released on Regal's Backspin Records, a label rooted in the underground and dedicated to honoring techno's origins while pushing its future, the project balances nostalgia with modern clarity, designed to resonate in clubs and leave a lasting impact.

araviglia, the sixth album by Italian percussionist and producer Gabriele Poso, celebrates collective musicianship through a vibrant, groove-driven sound. Inspired by late 70s Italian disco and global rhythms, the record blends Mediterranean warmth, Afro Caribbean percussion and jazz sensibility, with one foot firmly on the dancefloor. Recorded live to tape in an analog studio in southern Italy, with heavy percussion, Rhodes, Hammond and a full brass section, the album delivers an organic, joyful sound built for both deep listening and global dance floors.

araviglia, the sixth album by Italian percussionist and producer Gabriele Poso, celebrates collective musicianship through a vibrant, groove-driven sound. Inspired by late 70s Italian disco and global rhythms, the record blends Mediterranean warmth, Afro Caribbean percussion and jazz sensibility, with one foot firmly on the dancefloor. Recorded live to tape in an analog studio in southern Italy, with heavy percussion, Rhodes, Hammond and a full brass section, the album delivers an organic, joyful sound built for both deep listening and global dance floors.

Continuing its faithful documentation of the early years of Monolake, Field Records proudly present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record — and created an electronica landmark in the process.

Monolake's evolution from their earlier dub-techno-tinted works saw their exploration of Max/MSP go further out. The duo yielded greater complexity in the behaviour of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures.

There's a house-like undulation to the low-end driving 'Tangent-I' and 'Tangent-II', but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum & bass driving 'Ginza', but here it's used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart.

After Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner — but no less pioneering — sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it's an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.