Suche:ph

The sonic worlds of Devon Rexi and John T. Gast collide in a vital meeting between two singular mavericks!

Following two lauded EPs on cult label South of North, Amsterdam-based Devon Rexi prepare to release their much-anticipated debut album, recorded by and featuring elusive 5 Gate Temple devotee, musician and producer John T. Gast, whose acclaimed catalogue continues to flourish.

Devon Rexi is a trio made up of Nicola Reverda (Nicolini), Nushin Naini and Goya van der Heyden (La Rat). They’ve quickly carved out their own sonic world, traversing krautfunk, post-punk and psyched-up no wave, all laced with a dub-heavy experimental mentality. Breathstep captures the band’s bass-heavy incantations, ripe with melodic chaos and rhythmic improvisation, while devilish cackles and processed vocals flirt over a jukebox of dubbed snippets and sliced textures.

The introduction of John T. Gast as producer and collaborator pulls the Devon Rexi sound deeper into bubbling dub territory, while his own palette is stretched and pushed into new terrain. Though Gast has firmly cemented his singular sound over the last decade, this interconnected process marks new ground for all involved. The result is a supreme convergence of esteemed musicians and a wickedly fine debut collaborative record.

Breathstep finds its home on Bristol imprint Accidental Meetings, whose ever-evolving sound and wide-ranging discography continue to grow. The album was recorded over the last year across Amsterdam, Lisbon and London.

The second volume of this series is as good as the first with more finely tuned twilight dubs and Balearic chuggers, expertly curated by a master of this form in Pete Herbert. Across two sides, the comp flows between low-slung grooves, deep synth atmospheres and sun-kissed dancefloor moments. Highlights include Statues' warming 'Andromeda' and a powerful synth-driven turn from Imogen Soundsystem, while side two leans further into Balearic romance, from Herbert's nostalgic 'At Zuka to Kasper Bjorke's proto-dancefloor elegance. Cohesive, tasteful sunset music with real substance.

DJ Feedback

Phil Mison/Cantoma/Ambala:
"Great tunes as always , full support. Lovingthe Zuka tune!"

Sean Johnston/ALFOS:
"Killer Petey! Next few ALFOS sets sorted"

Conrad/Idjut Boys:
"Nice selection, totem project rmx has it for me"

Sally Rogers/A Man Called Adam:
"Excellent, dependable DJ fodder from Pete and Co. Thanks for the consistency :) "

Camilo Miranda/Ibiza:
"Nice combo of tracks here ! loving these!!"

Dream Chimney/Blog:
"SF vol 2 is 10/10 every track a winner on here"

Logan Fisher/Try Outs:
"Superb comp. full of goodies"

4Trepanado/Selvagem/Brazil:
"Great compilation! the Pete Herbert Remix for Time is a great weapon to flip the switch at the dancefloor"

Simon Lee/Faze Action:
"Stunning compilation, hard to pick a winner but I'm heading for Pete Herbert - Zuka"

Marco Gallerani/Hell Yeah:
"Beautiful selection!!! loving it. Can't wait for summer now"

Dicky Trisco/File Under Disco:
"Classy release. All winners. Giselle is my fave. Nice one Pedro xxx"

Felix Joy/Rinse FM:
"Sounding great!"

Jaime Fiorito/Ibiza:
"Some cool bits! Time is my favorite!"

Ten years after the cult debut, Phil Kieran returns under his Le Carousel alias with a dazzling follow-up. The Humans Will Destroy Us blends shoegaze-inspired electronics, lush analogue textures, and dreamy synthscapes into a rich, cinematic journey. A colourful evolution of the underground classic - emotional, timeless, and deeply human.

Four classic US house vocals. Four club-ready remixes. One essential Sub-Urban EP.

Sub-Urban returns with Volume 3 in its much-loved vinyl series, a four-track, vocal-driven house EP built for DJs who want real vocals, real soul and real dancefloor impact.

Featuring iconic voices including Kathleen Murphy, Helen Bruner & Terry Jones and Ceybil Jefferies, this release delivers timeless house songwriting reworked into modern, club-ready cuts by respected underground producers.

This is a no-filler DJ tool, every track works in warm-ups, sunset sessions, peak-time soulful moments and late-night deep floors.

Adrien d'Elzius delivers a sharp blend of acid, electro, and IDM, driven by energetic rhythms, strong physical drive, and deep, atmospheric soundscapes. Tension-and-release dynamics define the EP.

The release is completed by a powerful remix from Serge Geyzel that pushes the impact even further.

Black Truffle is thrilled to announce Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith and Keith Rowe, Reichel’s rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release.

Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely centre of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. As Reichel says in the charming archival interview with Markus Müller included here, he was ‘always a cuckoo’s egg at FMP’, a label that began as an outlet for roaring European free jazz. What strikes the listener right from the opening selection on Dalbergia Retusa—‘Return of the Knödler show’, from 1987’s The Dawn of Dachsman—is the extraordinary beauty of Reichel’s music, at once alien in the shimmering sonorities and unconventional pitch relationships made possible by his invented instruments, and deeply lyrical, even romantic in its harmonic content. Growing up in West Germany in the 1960s, Reichel’s formative influences were mainly British and American rock bands, a background that shines through in many of the pieces included here: ‘An old friend passes by’ is haunted by the ghost of Hendrix’s rhythm guitar, and the wild closer ‘Heimkehr der Holzböcke’, taken from a rare 1975 7” and the only piece to use overdubbing, layers errant hammer-on and slide tones over a Canned Heat boogie chug.

Reichel was an important source for the development of Oren Ambarchi’s own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel’s work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. On a piece from his very first LP, played on an 11-string instrument (partly strung with piano strings and using a schnapps glass a slide), we hear his intensive exploration of fret-hammering to create zither-like, chiming tone, which Reichel would hone further in later years with a double fretboard guitar specifically designed to be hammered rather than fretted and picked. On a piece from 1979’s Death of the Rare Bird Ymir, Reichel uses two steel-string acoustic guitars at once, with beautiful results: ‘some even say too beautiful’, he jokes in the interview included here. Many of the pieces from the 1980s make use of varieties of the ‘pick behind the bridge guitar’, instruments of uncanny harmonic richness primarily designed to be played on the ‘wrong’ side of the bridge. At times the unexpected behaviour of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realised solely through Reichel’s unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel’s own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel. Rarely has music been at once so strange and so beautiful.

Ribe & Roll Dann serve up potent techno on Mutual Rytm with 'Virtus Occulta'.

Built around concepts of unacknowledged work and enduring merit, the release marks their first EP on SHDW's widely
respected label.

Based in Toledo and Madrid, Ribe & Roll Dann are exciting residents at Laster Madrid and Lanna Club, two of Spain's leading venues. Emerging as driving forces in their national techno scene, they have also made an impact on the global landscape, making wider moves through collaborative releases on Klockworks, and individual outings on a number of other influential labels. Having previously featured in the label's Federation of Rytm IV compilation, the pair make their full EP label on SHDW's Mutual Rytm imprint to open March with a deep dive into their expansive sound.

Opener 'Sub Terra' is a pure club tool that is direct, physical and rooted in the underground with a seriously heavy low end. 'Extra Lumen' is more restrained but still built on a steady, forceful rhythm with controlled energy that prefers to operate in the shadows. 'Ars Non Placens' stays true to the idea that music is not made to please, but to exist on its own terms with hunched drums and dubby undercurrents. Next, 'Meritum Negatum' fizzes with static electrical charge and minimal drum funk and is a direct reflection on overlooked skill and unacknowledged work, before closer 'Virtus Persistens' delivers a continuity and a steady pulse rather than an explosive ending, keeping you locked throughout.

In addition, three digital bonus cuts come alongside the vinyl package. 'Labor Inauditus' speaks to hours of technique, production and booth experience that remain invisible. Next come the taught, rubbery rhythms and unrelenting atmosphere of 'Silentium Testium', while 'Sine Aplausu' - which means without applause - brings a ghostly late night vibe that you will never want to end.

Chicago beat mathematician Toddsonic33 flipping it real durty for us...

4 tracks that are part machine yet fully fused with soul, a sound that feels as authentic Chicago as it can get. With 2 featurings from fellow Chicagoan Don's Mark Grusane and Darryn Jones, this is a real deep dive into the jackin' drum sound from the windy city.

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

VA – Parallel Sequences continues MixCult Records’ tradition of curating forward-thinking soundscapes for refined dancefloors. This four-track compilation brings together the finely tuned craftsmanship of Kirill Matveev, Genning, Overt, and Dawn Gab — producers with surgical precision and a deep understanding of space, groove, and sonic narrative. Together, they present a multi-faceted EP rooted in dub techno and tech house, designed with intention and built to navigate a wide emotional range throughout the night.

A1. Kirill Matveev – Never Losing That Track (Overt Remix) is a masterclass in momentum. It rises patiently yet confidently — perfect for steering the atmosphere toward something uplifting, with each element unfolding with deliberate purpose.

A2. Genning – Parallel shifts the energy into shadowy territory. Deep, dubby, and melancholic, it acts as a reset moment — cooling the air while preserving depth, tension, and forward motion.

On the flip, B1. Dawn Gab – Call Of The Wind moves between melodic phrases and swinging percussive patterns, offering a graceful push-and-pull that feels fluid, textured, and inviting.

Finally, B2. Genning & Kirill Matveev – Blueberry brings the release to its emotional peak with bright, expressive energy. Melodic and high-spirited, it is engineered precisely for a euphoric moment on the floor.

This EP is a toolkit for thoughtful selectors — designed to glide through introspection, propulsion, and release with clarity and finesse. Whether opening a night, shaping the arc, or closing with warmth, Parallel Sequences delivers depth, agility, and emotional charge in perfect balance.

mixed by aloisius

mastered by Amir Shoat

tracklist poem written by Isaiah Hull

releasing on digital + physical (Vinyl, CD & Cassette) 9th April 2026. Physical editions will feature a secret unlisted bonus track.

aloisius is a prolific, artist and producer, who recently produced a full length album for Pretty V, which released via life is beautiful records (and sold out at Big Love & Rough Trade). aloisius has also collaborated with artists such as: James Massiah, CTM, Nova Varnrable, DJ Spanish Fly, Cities Aviv, zukovstheworld, Kenichi Iwasa & many others.

‘vernacular’ is the debut studio album by improvisation-based artist, and founder of life beautiful, aloisius.

Built entirely from layers of improvised instrumentation recorded via laptop microphone, using various instruments such as guitar, piano, cello, trumpet, saxophone, drums & voice. vernacular is inspired by the spirit of collective improvisation, and embodies aloisius' instinctual & organic approach to musical composition.

Crafted solely by aloisius (except for track 6, which features a layer of piano by life is beautiful member, friend & collaborator Bianca Scout).

To celebrate the release of the album, a semi-improvised interpretation of the project will be performed live by ‘orchestra379’ (a collective improvisation project curated by aloisius, consisting of a fluctuating lineup that differs on each occasion of performance). Initially in London, then at a select few cities across Europe.

mixed by aloisius

mastered by Amir Shoat

tracklist poem written by Isaiah Hull

releasing on digital + physical (Vinyl, CD & Cassette) 9th April 2026. Physical editions will feature a secret unlisted bonus track.

aloisius is a prolific, artist and producer, who recently produced a full length album for Pretty V, which released via life is beautiful records (and sold out at Big Love & Rough Trade). aloisius has also collaborated with artists such as: James Massiah, CTM, Nova Varnrable, DJ Spanish Fly, Cities Aviv, zukovstheworld, Kenichi Iwasa & many others.

‘vernacular’ is the debut studio album by improvisation-based artist, and founder of life beautiful, aloisius.

Built entirely from layers of improvised instrumentation recorded via laptop microphone, using various instruments such as guitar, piano, cello, trumpet, saxophone, drums & voice. vernacular is inspired by the spirit of collective improvisation, and embodies aloisius' instinctual & organic approach to musical composition.

Crafted solely by aloisius (except for track 6, which features a layer of piano by life is beautiful member, friend & collaborator Bianca Scout).

To celebrate the release of the album, a semi-improvised interpretation of the project will be performed live by ‘orchestra379’ (a collective improvisation project curated by aloisius, consisting of a fluctuating lineup that differs on each occasion of performance). Initially in London, then at a select few cities across Europe.

For more than two decades, Eamon Harkin has helped shape New York’s communal pulse. As a founder of Mister Saturday Night, Mister Sunday, Planetarium, and Nowadays, he’s created and DJed in spaces where dance, listening, and connection blur into something deeper — places where people come together to make sense of the world through sound.

On his new album, The Place Where We Live, Harkin turns that lens inward. Drawing on 25 years as a DJ and curator, he moves between house, techno, and ambient currents with a sense of stillness and searching. The result is a record that feels both physical and introspective — the sound of the dance floor seen through memory.

The title comes from psychoanalyst D.W. Winnicott’s idea of “the place where we live,” the psychic space between the inner and outer world — where play, art, and culture help us build meaning. For Harkin, an Irish immigrant long settled in another land, that idea resonates both philosophically and personally. The Place Where We Live captures the tension and beauty of the pulse of the club and the quiet of reflection — an album about belonging, transition, and the quiet resonance of finding home somewhere in between.

Jazzprint is a curated compilation by Italian label and collec tive Beat’s Tailors featuring 20 instrumental tracks by 23 producers from around the world, connected by a shared approach to jazz-influenced beatmaking.
Blending jazz elements with hip hop, chillhop and instrumental beats, the record offers a smooth and cohesive listening experience across both sides, showcasing a wide range of moods and contemporary production styles.

Xerrox Vol. 2 is the sixth studio album, released in 2009 by German electronic artist Alva Noto. It is the second installment of the Xerrox penthalogy, based on the concept of digital replication of source material.

As with the first Xerrox album, the starting point is a set of samples culled from external sources. This time, snippets and recordings from Sunn O))) collaborator Stephen O'Malley and composer Michael Nyman are featured, as is an excerpt from the 2004 Insen tour with Ryuichi Sakamoto.

While Alva Noto's oeuvre is predominantly affiliated with pristine sound design, the Xerrox series holds more intimate gestures and emotional sensibility. This volume moves further from the conceptualism and orderliness of prior musical outputs, ranging from heart-warming elegies to mind-bending sci-fi projections in extrasolar territories.

This remastered version will be reissued on NOTON in 2026


Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: Xerrox Phaser Acat 1
Playtime: 00:12:11
Explicit Lyrics: No
ISRC: DE1N62500015
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2

Artist: Alva Noto
Title: Xerrox Rin
Playtime: 00:00:51
Explicit Lyrics: No
ISRC: DE1N62500016
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3

Artist: Alva Noto
Title: Xerrox Soma
Playtime: 00:07:11
Explicit Lyrics: No
ISRC: DE1N62500017
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 4

Artist: Alva Noto
Title: Xerrox Meta Phaser
Playtime: 00:06:23
Explicit Lyrics: No
ISRC: DE1N62500018
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 5

Artist: Alva Noto
Title: Xerrox Sora 1
Playtime: 00:06:54
Explicit Lyrics: No
ISRC: DE1N62500019
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 6

Artist: Alva Noto
Title: Xerrox Monophaser 1
Playtime: 00:08:04
Explicit Lyrics: No
ISRC: DE1N62500020
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 7

Artist: Alva Noto
Title: Xerrox Monophaser 2
Playtime: 00:05:31
Explicit Lyrics: No
ISRC: DE1N62500021
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 8

Artist: Alva Noto
Title: Xerrox Teion
Playtime: 00:02:03
Explicit Lyrics: No
ISRC: DE1N62500022
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 9

Artist: Alva Noto
Title: Xerrox Teion Acat
Playtime: 00:05:26
Explicit Lyrics: No
ISRC: DE1N62500023
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 10

Artist: Alva Noto
Title: Xerrox Tek Part 1
Playtime: 00:05:27
Explicit Lyrics: No
ISRC: DE1N62500024
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 11

Artist: Alva Noto
Title: Xerrox Monophaser 3
Playtime: 00:06:14
Explicit Lyrics: No
ISRC: DE1N62500025
(P): 2025 NOTON
Country: Germany

Composer: Carsten Nicolai

Boogie Vice & N-You-Up Return to Definitive Recordings with 'Decadisco EP'

Definitive Recordings continues its run of forward-thinking house releases with DEF2603, the new four-track 'Decadisco EP' from Boogie Vice and N-You-Up. Following their 2025 collaboration 'Come On Closer', the duo returns to the label with a fresh collection of groove-driven club tools that balance modern energy with classic house foundations. Recent releases on sister label Get Physical Music further underline the duo's strong creative momentum.

Boogie Vice is a French DJ and producer known for his groove-led house sound that blends funk, soul, and percussive club energy. With releases on labels such as Get Physical, Rekids, and Definitive Recordings, he has built a reputation for warm, dancefloor-focused productions supported by tastemakers worldwide. Now based in Cape Town, Boogie Vice has expanded his creative work into film scoring and executive production, adding new depth to his already rich musical palette.

N-You-Up, Southern France native Nick, brings decades of DJ experience and a deep-rooted love for jazz, funk, and disco. Formerly known as The Beatangers, he now channels those influences into a refined house fusion under his N-You-Up alias. Alongside Boogie Vice, his collaborative releases have appeared on labels such as Nervous Records and Get Physical Music, with their joint productions receiving support from key artists including Solomun, Dennis Ferrer, Jamie Jones, Pete Tong, Laurent Garnier, Radio Slave or Mita Gami, firmly establishing the duo as a reliable source of dancefloor-ready house music.

The EP opens with 'Game Concept', a driving house cut built on percussive drums, a rolling classic house bassline, and catchy vocal samples. Dreamy, deep synth chords float above the groove, creating a hypnotic yet energetic opener. 'Wurkin Like Dat' follows with a disco-infused house vibe, stacking groove upon groove as vocal snippets and disco elements take center stage, delivering pure dancefloor momentum. Rounding out the EP are two DJ-focused versions of 'Wurkin Like Dat'. The Invasion Tool strips the track back into a flexible club weapon, while the Drumapella isolates the rhythm and percussion, offering maximum versatility for creative mixing.

With 'Decadisco EP', Boogie Vice and N-You-Up once again showcase Definitive Recordings' ability to deliver modern house weapons that honor the genre's past while pushing the sound firmly forward.

AN INSTANT CLASSIC FROM ANORAX.

GARDEN OF EDEN becane an instant sensation via white label promotion copy plays,

It instantly picked up support from radio stations Mi-Soul (instant playlist), Panacea, Solar and Starpoint, became Terry Jones breakout record at the recent Southport Soul Weekender and had Modern Soul DJs begging for a copy,

A special reaction to a very special record. Produced by veteran House Heads Phil Hooton and Mark Gamble, the duo have created a monster track that straddles Soul, Jazz and House. Commentator Yogi Haughton highlighted the “ambiguous nature” of GARDEN OF EDEN as it merges Soul and Jazzy House.

The bedrock of the track is a newly recorded (with ace musos lured into the recording studio) version of Mezzoforte’s Iceland jazz-funk classic GARDEN PARTY.
Phil and Mark then composed a brand new composition to go over the top of the track,and to regally complete their new concoction got UK Soulful House royalty vocalist extraordinaire Pete Simpson to sing it. And what a performance Pete delivers!

There’s two equally beguiling mixes - on the a side the 4.37 Vocal Edit V.3 With Horns edit and flip it over for the 4.34 Vocal Trombone Mix - on this 7” single.

First press is 300 copies only.

On Psalm Funk, Bnnyhunna deepens the artistic language he first articulated on his celebrated debut Echoes of a Prayer. Rather than retracing familiar ground, the Amsterdam-based composer and producer expands his palette, allowing rhythm and space to carry as much narrative weight as harmony and lyricism.

While Echoes of a Prayer felt personal and devoted, Psalm Funk opens things up. Gospel harmonies stay central to his music, but now they are energized by smooth funk rhythms and heightened by the flexibility of jazz improvisation. Bnnyhunna moves between styles effortlessly, in a way that nothing seems borrowed, but everything feels lived in.

At the center of the record is an understanding of space. Silence acts not as an absence but as a structure. Breath, restraint, and patience shape the music just as much as basslines and backbeats. This awareness of dynamics allows the album to grow without losing its focus. It signifies a subtle but important change in Bnnyhunna as an artist, moving from inward reflection to forward momentum, from prayer as personal dialogue to prayer as a physical expression. The clarity, discipline, and emotional depth that marked his debut remain, now directed into something more rhythmically confident and spiritually uplifting.

Fusing gospel, funk, jazz, and African rhythmic traditions, Psalm Funk serves as both a meditation and an outpouring. It invites deep thought while demanding a physical response.

The album includes collaborations with American saxophonist Braxton Cook, trumpeter Sheila Maurice-Grey of Kokoroko, 3DDY, and Reggie Dartey, among others. The singles "Sorry Not Sorry" and "Waiting For You" have already hinted at the project's range, while the latest single, "The Heart Part 2," further expands on the album's dynamic and emotional scope.

To celebrate the release, Bnnyhunna will tour the Netherlands in April, with performances in Amsterdam, Rotterdam, and Nijmegen before heading to the UK for a show at The Great Escape.

Released in October 2024, Bnnyhunna's debut album Echoes of a Prayer was created as a dialogue with God, a personal call expressed through sound. The record resonated both with fans and media, gaining support from platforms like 3voor12, Rolling Stone Africa, and Afromixx. It reached the airwaves of BBC Radio 1 in the UK, KEXP in the US, J-Wave in Japan, and 3FM in the Netherlands, and landed in playlists such as BUTTER, Morning Rhythm, and Vanguard.

In 2025, Echoes of a Prayer earned the Edison Pop award for Soul/R&B/Funk and received Grammy consideration for Best Alternative Jazz Album. On stage, Bnnyhunna established his presence with performances at festivals such as Lowlands, Couleur Cafe, Brick Lane Jazz Festival, Dour, and Super Sonic Jazz, as well as his first tour in Japan.



Upcoming live shows:
10/04/26 - BIRD, Rotterdam (NL)
11/04/26 - Doornroosje, Nijmegen (NL)
12/04/26 - Tolhuistuin, Amsterdam (NL)
13/05/26 - The Great Escape, Brighton (UK)

Leuchtende Pop-Hymnen aus der diorama-Dunkelkammer. a substitute for light kreist um das Motiv des Lichts - als Verheißung, Orientierung und Täuschung. Es flackert in Monitoren, spiegelt sich in Oberflächen und lässt Erinnerungen im Schatten verschwimmen. Zwischen ausrangierter Liebe und digitaler Erstarrung suchen die Songs nach einem echten Funken - geboren aus Bewusstsein, nicht aus Strom. Auf ihrem elften Studioalbum zeigen diorama, dass weniger mehr sein kann: klare Arrangements, prägnante Melodien und Vocals mit ordentlich Punch. Zwischen clubtauglicher Wucht, hypnotischen Balladen und schwebender Melancholie entsteht ein Sound, der sofort zündet - und lange nachhallt. Trost in der Dunkelheit. Ein Ersatz für Licht.

Die Botschaft, das Wesentliche, das sich teilen lässt, ist Licht; es ist der Samen in der Erde, der zu einer Pflanze wird und dann zu einer Blume, die in voller Blüte steht und schließlich unvermeidlich verwelkt, damit der Zyklus von Neuem beginnen kann; es ist die Suche nach Schönheit im Chaos, aus dem Harmonie entsteht, um es zu überwinden. Auf Volume III kehren Mathieu David Gagnon und sein Projekt Flore Laurentienne zurück, um die Pracht des Flusses und seiner floralen und waldreichen Umgebung zu feiern.Volume III ist zudem eine tiefere Erkundung der Verbindung von akustischen und synthetischen Elementen, die den Charakter von Flore Laurentienne ausmachen. Anders als bei den ersten drei Alben wurden die meisten Stücke gemeinsam mit den Bandmitgliedern während Residenzen und Konzerten entwickelt, bevor sie aufgenommen wurden. Dies bereicherte die Kompositionen in einer Phase, in der sie sich noch im Wandel befanden. Die Band treibt das Projekt an und inspiriert Gagnons Schreibprozess, indem sie den Klang weiterentwickelt, nährt und ihm erlaubt, neue Wege zu gehen.Dieser neue Meilenstein markiert zugleich den Abschluss einer Trilogie, die 2019 mit Volume I begann - mit dem inhärenten und parallelen Bestreben, ein drittes Volume zu erreichen, um Volume 3 von L'Infonie (einem Kultkollektiv aus Québec, das Jazz, Prog, Kunstmusik und Poesie verband) zu würdigen. Letzteres beeinflusste die Musik von Flore Laurentienne nicht direkt, sondern vielmehr das Verständnis von Freiheit in der Komposition, die Klassik und Improvisation vereint.Die Entwicklung von Volume III folgt der Evolution des Projekts: Während der erste Track ,Fleurs" dem ähnelt, was Volume II bot, gibt uns der abschließende Titel ,(A travers les) Chablis" einen Vorgeschmack darauf, wie der nächste Schritt klingen könnte. Es ist ein Album, das man zusammen mit seinen beiden Vorgängern genießen sollte - und dabei gespannt auf das Kommende blickt. Flore Laurentienne entwickelt sich ständig weiter, doch die Vision ist seit Beginn dieselbe geblieben: Musik zu schaffen, die lebendig, wahrhaftig, menschlich und kompromisslos ist.

Die Botschaft, das Wesentliche, das sich teilen lässt, ist Licht; es ist der Samen in der Erde, der zu einer Pflanze wird und dann zu einer Blume, die in voller Blüte steht und schließlich unvermeidlich verwelkt, damit der Zyklus von Neuem beginnen kann; es ist die Suche nach Schönheit im Chaos, aus dem Harmonie entsteht, um es zu überwinden. Auf Volume III kehren Mathieu David Gagnon und sein Projekt Flore Laurentienne zurück, um die Pracht des Flusses und seiner floralen und waldreichen Umgebung zu feiern.Volume III ist zudem eine tiefere Erkundung der Verbindung von akustischen und synthetischen Elementen, die den Charakter von Flore Laurentienne ausmachen. Anders als bei den ersten drei Alben wurden die meisten Stücke gemeinsam mit den Bandmitgliedern während Residenzen und Konzerten entwickelt, bevor sie aufgenommen wurden. Dies bereicherte die Kompositionen in einer Phase, in der sie sich noch im Wandel befanden. Die Band treibt das Projekt an und inspiriert Gagnons Schreibprozess, indem sie den Klang weiterentwickelt, nährt und ihm erlaubt, neue Wege zu gehen.Dieser neue Meilenstein markiert zugleich den Abschluss einer Trilogie, die 2019 mit Volume I begann - mit dem inhärenten und parallelen Bestreben, ein drittes Volume zu erreichen, um Volume 3 von L'Infonie (einem Kultkollektiv aus Québec, das Jazz, Prog, Kunstmusik und Poesie verband) zu würdigen. Letzteres beeinflusste die Musik von Flore Laurentienne nicht direkt, sondern vielmehr das Verständnis von Freiheit in der Komposition, die Klassik und Improvisation vereint.Die Entwicklung von Volume III folgt der Evolution des Projekts: Während der erste Track ,Fleurs" dem ähnelt, was Volume II bot, gibt uns der abschließende Titel ,(A travers les) Chablis" einen Vorgeschmack darauf, wie der nächste Schritt klingen könnte. Es ist ein Album, das man zusammen mit seinen beiden Vorgängern genießen sollte - und dabei gespannt auf das Kommende blickt. Flore Laurentienne entwickelt sich ständig weiter, doch die Vision ist seit Beginn dieselbe geblieben: Musik zu schaffen, die lebendig, wahrhaftig, menschlich und kompromisslos ist.

DISPLACES represents Fabris' most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic, temporal, and emotional memory.

The sonic ecosystem expands on the image of navigating a path through a set of places, from the microcosm of quanta to the macro force of dark matter, from underwater depths to overland terrains, encapsulating the cyclical flow between birth and death, both in ecological and anthropological sense. The intersection of these shifting states is explored through the extensive processing of the langspil, Iceland's only traditional instrument, intertwined with manipulated field recordings of biophonies and geophonies captured across Icelandic and Venetian territories. These recordings form the backdrop for a meditative process that relocate familiar objects into unfamiliar realms, reflecting on the transformative power of self-reflection while encapsulating the fragmentation and entanglement found in nature and the human state. The record plunges the listener into a disconcerting and physical soundscape, as a “ghostly spectrality that comes in and out of phase with normalized human spacetime,” evoking sensations of suffocation and release as each layer continuously unfolds the palimpsest of the enclosed labyrinth.

“Extraction of the I” embodies a subatomic reaction—erupting as a molecular force that rises, only to re-submerge with a solitary exhale underwater. In this mutated dark space, beluga whales breathe into "Xanadu Phasing," creating a pulsating tension that releases only to unveil a frozen landscape.

In “Barricading the Ice Sheets” the glacial material morphs into a liquid tunnel of digital artifacts, building a wall of noise that shatters into scattered fragments of ice, resembling bird calls from another world.

A moment of stasis is offered with the appearance of an asymmetrical loop in Monolith I, evoking a primitive rite before an unknown force emerges.

The physical intensity of subsonic material in "A Quake in Being" interrupts the hieratic tone, detuning into polluted sonic matter sourced from relics of the First World War in the Venetian Prealps. The geography of this place reconciles with the original homeland in "The Map is the Territory," blending negative space with anthropogenic elements and exploited sounds of the langspil.

The burning density of "Wolf-Rayet" projects into the void, echoing the residual sounds of a local church as relics of fossilized religions. Wolf tones are the remains in Monolith II, introducing the final track, "Topography of Extinction," where evolving psilocin textures invite the listener to uncover deeper layers of meaning and dislocation.

DIG! is the 6th studio album by UK 5-piece band Mamas Gun, a rare creative brotherhood of passionate musicians making soul music that sounds and feels timeless. Recorded by engineer Neil Innes straight to 16-track analogue tape at All Things Analogue Studios in Leeds, the album captures the sound of five musicians at the very top of their game, coming together to bring 11 lovingly crafted songs to life. The result is intimate performances that put you in the room with the band as the music unfolds.
Andy Platts’ golden falsetto leads songs that explore universal themes of love, family, hope, and redemption, finding uplift in times of downturn. Drummer Chris Boot provides grooves with jazz-like lightness, Cameron Dawson’s melodic bass echoes the spirit of James Jamerson, Terry Lewis brings warm, old-school guitar authenticity, and Dave Oliver connects jazz, gospel, and soul with piano, Wurlitzer, and Hammond organ.
The album features a standout collaboration with legendary Brian Jackson on the jazz-funk title track “DIG!”, as well as fan favourites like “Food For The Flames”, “The Proof”, and “Joy.” Deeply soulful and authentic, DIG! is Mamas Gun at their most accomplished.

Auf ,Reflections Vol. 3: Water Poems" bringen Félicia Atkinson und Christina Vantzou ihre Freundschaft und ihre atmosphärische Kunstfertigkeit in einem feierlichen Fokus zusammen. Gesprochene Worte und orchestrale Fantasie fließen wie Nebenflüsse in einen einheitlichen Strom und ergeben eine Sammlung traumhafter Lieder und Klanglandschaften, die im Meer, im Himmel und in den Steinen verankert sind. Mit elektroakustischen Instrumenten, Gesang und Umgebungsgeräuschen lädt Water Poems die Zuhörer in einen unbewussten Raum ein, irgendwo zwischen alltäglicher Intimität und dem Geheimnis des Ozeans, aus dem alles Leben entsteht. Atkinson und Vantzou haben sich 2009 kennengelernt und seitdem immer mal wieder zusammengearbeitet, aber ein Konzert 2019 in der Philharmonie in Paris hat dieses Projekt richtig in Gang gebracht. Da beide jetzt an der Küste leben (Félicia am Ärmelkanal, Christina am Mittelmeer), wurde das Meer natürlich zu ihrer Muse. ,Das Meer wurde nicht als monolithische Postkarte betrachtet", erklärt Atkinson, ,sondern eher als eine Person an sich; eine Energie, ein Geheimnis, ein komplexer Charakter, dem wir als Menschen, die am Meer leben, jeden Tag begegnen." Im Dialog mit dem Land und der Küste nahmen ihre Sprache und ihre Klänge einen sakramentalen Charakter an. ,Ein feierliches Gefühl, ein Gefühl des Dienens, zieht sich tief durch dieses Album", bemerkt Vantzou, ,ich habe das schon einmal gespürt, aber hier, in der Zusammenarbeit mit Félicia, ist es stärker." Stimme, Atem und wässrige Texturen prägen den Ton des maritimen Mysteriums von Water Poems. Neu in Vantzous Praxis und seit langem ein prägendes Merkmal von Atkinsons Werk, gewinnen ihre gesprochenen Worte hier an relationaler Intimität, indem sie sich gegenseitig und die Uferpromenade ansprechen. Die Texte wurden über zwei Jahre hinweg gemeinsam zusammengestellt. Mit radikaler Unschuld lenken sie das Bewusstsein auf die verborgene Auftriebskraft und die unbewussten Strömungen, die durch das Leben fließen: ,Wie kann ein Boot schwimmen? Wie kann ein Flugzeug fliegen? Wie kann ein Körper schwimmen? Wie kann ein Mensch träumen?" Was mit nah aufgenommenen Stimmen und Feldaufnahmen begann, wurde um Synthesizer, Gongs und Metallophone, Klavier, Vibraphon, Rhodes, Gitarren und Mellotron erweitert. Das Gezeitenklavier des Eröffnungstracks ,Film Still / The Sea" zieht uns in die unbewussten Gewässer des Albums. Enthalten sind Feldaufnahmen, die Vantzou in Delphi in der Nähe des legendären Orakels von Pythia aufgenommen hat - ihr griechisches Erbe verleiht diesem Ort der Vorfahren eine zusätzliche Dimension. Dieser Track und ,Water Poems" als Ganzes sind Ausdruck unseres geologischen Erbes und rufen zum Schutz der Küsten und zu einer Vertiefung unserer Beziehung zu unseren Küsten auf. Ein Teil der Einnahmen aus dem Album geht an Arion, ein gemeinnütziges Naturschutzprogramm für das griechische Mittelmeer. Der langjährige Freund und Mitstreiter John Also Bennett hat bei ,Scorpio Purple Skies", dem kosmischen Finale des Albums, mit E-Gitarre, Lap-Steel-Gitarre und Gesang mitgewirkt. Diese üppige Instrumentierung passt super zu den Science-Fiction-Visionen und der feierlichen Atmosphäre des Albums. Water Poems wurde in The Old Carpet Factory, einem Herrenhaus aus dem 18. Jahrhundert auf der griechischen Insel Hydra, in der Villa Medici aus dem 16. Jahrhundert in Rom und in Les Dunes, Atkinsons Heimstudio in der Normandie, aufgenommen. Mehr als das historische Prestige dieser Orte war es die spürbare Geschichte ihrer Landschaft, die die Musik geprägt hat. Atkinson sagt, dass sie sich zu ,Orten mit seltsamer Anziehungskraft" hingezogen fühlten. In der Villa Medici ,haben Steine und Mineralien das gesprochene Wort beeinflusst", bemerkt sie. ,Wir beide legen Wert auf Gefühl, Atmosphäre und Klang", fügt Vantzou hinzu, ,was er hervorruft und was er bewirkt. In unserem Fall konzentrieren wir uns auf die grundlegenden Elemente: Wasser, Luft, Fels, Kosmos - allesamt lebenswichtig.» Von der Insel Kreta aus arbeitete Vantzou den finalen Mix fertig und tauschte dabei Dateien mit Atkinson aus. Immer noch mit der Küste verbunden, verlief der Mixing-Prozess geduldig und wurde von wichtigen Pausen geprägt. Water Poems spiegelt wider, was die Meeresbiologin Rachel Carson uns in Erinnerung ruft: ,Am Rande des Meeres zu stehen bedeutet, Wissen über Dinge zu haben, die so nahezu ewig sind, wie es das irdische Leben nur sein kann." Es zelebriert rituell dieses ozeanische Gefühl als wichtige Quelle der Gelassenheit und Intelligenz. In einer Welt, die von hitzigen Meinungen und ökologischer Vernachlässigung geprägt ist, lenkt Water Poems unsere Aufmerksamkeit auf ,die Quellen der Quellen". Damit schafft es Raum, um uns wieder mit unseren elementaren, animalischen Instinkten zu verbinden und uns auf tiefere Strömungen einzustimmen. Water Poems von Félicia Atkinson und Christina Vantzou ist der dritte Band von Reflections, einer Reihe zeitgenössischer Kollaborationen von RVNG Intl..

2026 Repress

Deadbeat & Tikiman's occasional collaborative performances have since blown the minds of many audiences

Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate.

Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order.

Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement.

If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

Returning to Peak Oil for a second expedition, veteran Russian producer Kirill Vasin, aka Hoavi, explores an untrodden path on 'architectonics', drawing from his lifelong appreciation of Indonesian gamelan musics to mastermind a rhythmelodic hybrid sound that's sinuous, subtle and remarkably dubby. Over the last three and a half years, Vasin has used the music's methodologies and rhythmic forms to evolve his existing processes and signatures and transform his musical philosophy. To start the exercise, he knew he needed percussion, so used his phone and a contact microphone to pick up nearby sounds, drumming on various tables, railings, empty glasses and other objects to create a library of textured, tonally complex percussive sounds. But the work wasn't done yet - in fact, it was just the beginning of a long process of trial and error: Vasin created two full versions of the album before 'architectonics' was finished.

There are still echoes of the chrome-plated sci-fi atmospheres and complex, stuttering beatscapes that underpinned 2021's 'Invariant', but 'architectonics' asks very different questions, prompting fresher, more innovative responses. Leaning on his bank of organic percussive sounds, Vasin is able to concoct a tactile aura that he fills with eerie fluctuating repetitions that shift subtly, sometimes imperceptibly. The cavernous reverb and booming bass that supported his last few albums is still present, now employed as scaffolding for different architectures: skittering sequences and ornamented overlapping phrases that owe as much to Steve Reich's hallowed minimalist compositions as they do to Indonesian traditional forms. Lulling, almost hypnotic tessellations appear like fractals on the polished surfaces, morphing from jazz to techno and dub while retaining gamelan's haunting xenharmonic resonances and Vasin's concept becomes crystal clear. 'architectonics' isn't an attempt to make a gamelan album, it's Vasin's way of developing his own artistic process by looking far beyond the traditional boundaries of electronic music.

“One foot out the door, another in the otherworld…”
So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in.

Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once.

Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting.

On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind… in decline, I take my time…” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up.

In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday…” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take.

Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.

Our latest Holy Grail reissue is this private press spiritual jazz gem out of California from Rickey Kelly and his vibes & marimba. Features Diane Reeves (vocals) & Adele Sebastian (flute)!

Heavyweight 180g LP with tip-on sleeve, individually numbered 1-1000, card enclosed for liner notes & audio download

"Rickey, I know these are your friends, the guys you went to school with, but if you wanna record an album, you record with musicians who have been playing their whole life; whatever you write, they'll put their whole life into it. You play with your friends; they may not even play in tune."

These are the words of Slave guitarist Kevin Johnson, and they were to change the course of young Rickey Kelly's life.

It was 1978, and music student Kelly had approached Johnson with a tape of rough demos of some songs he'd written. A San Francisco native, Kelly had recently moved the short distance south to study music at LA City College in East Hollywood. He was a member of E.W. Wainwright Jr.'s African Roots of Jazz, and was spending up to 10 hours a day in practice on both vibes and marimba. He also played with Horace Tapscott, and had his own band made up of fellow students, but it was his ambition to make an album that led to the conversation with Johnson. It was a turning point in his education, and a decision was looming.

The next thing Johnson said was "You call the best jazz musicians. How'd you like to play with Billy Higgins?", a line that would seal it for anyone; for a youngster like Rickey just starting out in the business, you just don't turn down the opportunity to play with the likes of highly accomplished musicians, especially those of the calibre of legendary jazz drummer Billy Higgins.

Some calls were made and the date was set to record at Studio Masters on Beverly Blvd, a studio set up just a few years previous in 1973, owned and operated by Dot Records founder Randy Wood with his son John. Some of the other music professionals set to record with Kelley that day were flautist Adele Sebastian, bass player Tony Dumas, saxophonist Charles Owens and vocalist Diane Reeves, none of whom had previously played with Kelly before.

Kelly was impressed with the studio, with the gold records displayed on the walls and the famous musicians hanging out. 'It took a lot of humility for me to record with them, I mean I was nobody, nothing, and for not a lot of money either' remembers Rickey in a later interview with Calvin Lincoln, 'It taught me a lot, to practice hard, and study for the rest of your life, to give your all, and there's a lot of all to give'.

As the recording session took place, John Wood was listening in. He was impressed. Kelly didn't have the funds to manufacture and release the album himself, so Wood suggested it was pressed up on his in-house studio label, Los Angeles Phonograph Records, and thus the LP 'My Kind of Music' was released early in 1979. The album also saw a subsequent pressing soon afterwards on Dennis Sullivan's New Note label.

Kelly remains humble and proud of his debut album to this day. 'I was still a beginner' he says, 'These masters walked in, smiling, and gave me something worth gold'.

A cocktail of rebellious queer vocal fragments, deceptive percussive granules and swaying hammered vibrations, upsammy and Valentina Magaletti's first collaboration trembles with suspense. The seeds of 'Seismo' were sown following a commission from Amsterdam's Rijksmuseum to soundtrack an exhibition of work from the Museum Boijmans van Beuningen in Rotterdam and the duo didn't want to approach their collaboration flippantly. So, wandering the museum's maze of rooms, they recorded various improvised percussive sounds with their arsenal of microphones, using the space to inform various rhythms and textures that were sculpted later into electroacoustic vignettes. This was just the starting point, though; as Magaletti and upsammy began performing together, the project evolved and 'Seismo' began to take shape. The duo had struck on a salient aesthetic concept, using mostly digital and acoustic mallet instruments to blur the boundary between their roles and create friction between the synthetic and the authentic. And the finished record is a phantasmagoric push-and-pull between its various conflicting elements: harmony and dissonance, randomness and predictability, openness and constraint. 'Seismo' isn't the first time that upsammy has studied her environment in search of revelation. On her acclaimed second album, 2024's 'Germ in a Population of Buildings', the Amsterdam-based DJ, producer and multidisciplinary artist erected her complex, unorthodox rhythms and eerie melodies around a modernist frame of field recordings collected in various cityscapes, countering heavyweight basslines with subtle, microscopic sounds. London-based Italian vanguard Magaletti, meanwhile, has applied her unique logic to innumerable projects at this point, working with everyone from batida icon Nídia and hardcore-dub outfit Moin to French writer Fanny Chiarello and British bass scientist Shackleton. For years she's approached the drums with criticism, attempting to challenge any preconceptions, something that's most visible on 2020's 'A Queer Anthology of Drums'. And both artists' thoughtful perspectives are welded together seamlessly on 'Seismo', a dizzying suite of eight eccentric statements that's fragile but never insecure, gauzy but not indistinct. An unnerving sense of space characterizes 'It Comes to an End' as Magaletti's in situ improvisations herald for upsammy's microscopic glitches and chiming pitch-bent melodies. It's almost unbalancing to witness the track's impossible dimensionality, the interplay between reverberant marimba hits and bone-dry synths, or percussion that's been recorded and processed in consciously different settings. A new architecture emerges in the sound itself that the two artists scan and explore meticulously, testing its boundaries with undulating hybridized rhythms on the invigorating 'Superimposed' and offsetting the powdery drums with liquified smacks and alien voices. The duo's vibrations are knotted with piano flourishes on 'Hyperlocalize', balanced with artificial clanks and clangs that disappear into the track's sonorous atmosphere, replaced by whispers and half-hallucinated insectoid chirps. 'Seismo' is an album that feeds off the energy generated by its juxtapositions: the tension and anticipation that's melted by rapid, hyperactive movement and the finely drawn rhythms disrupted by a layer of indistinct, barely perceptible microsounds. It's a collaboration that sounds like two minds challenging each other but not wrestling, each peering from their own distinct vantage point and imagining a third landscape shaped by optimistic, queer vibrations.

Das Debütalbum von My New Band Believe entstand unter ungewöhnlichen Umständen: Während eines Aufenthalts in einem chinesischen Hotel fühlte sich Cameron Picton plötzlich krank. In seinem delirierenden Zustand entstanden Bilder und Textfragmente, aus denen später Songs wurden - darunter auch der Ausdruck "My New Band Believe", der zum Projekt- und Albumnamen wurde. Picton empfindet den Titel zugleich als kitschig und brillant: eine bewusste Wiedervorstellung, ein Neuanfang, der zwischen Ich-Bezug und kollektivem Anspruch oszilliert. Als Bassist und zweiter Frontmann von black midi war Picton Teil einer Band, die für komplexe Strukturen und kontrolliertes Chaos stand. Nach deren Auflösung 2023 begann er ohne festen Plan mit Studioarbeiten. Aus dieser offenen Phase heraus formierte sich My New Band Believe, unterstützt von Musiker:innen wie Kiran Leonard, Caius Williams, Steve Noble, Andrew Cheetham und Mitgliedern von caroline. Das Album bewegt sich assoziativ durch unterschiedliche emotionale Ebenen. Klanglich setzt es überwiegend auf akustische Arrangements statt auf elektronische Effekte, bleibt dabei jedoch dynamisch. Einflüsse wie Bert Jansch oder Judee Sill sind spürbar. Songs wie "Actress" oder "Opposite Teacher" verbinden Zurückhaltung mit plötzlichen Ausbrüchen. "Target Practice" verwandelt Vigilantismus in eine theatralische Mitsing-Hymne, während "One Night" und "Heart of Darkness" intime, suchende Figuren zeigen. Picton gelingt es, diffuse Ängste in eindringliche, mehrdeutige Popmusik zu übersetzen.

London-based musician, composer, and NTS resident Kit Grill presents his extraordinary new album 'Andøya', inspired by a solo residency on the eponymous Norwegian island, a profoundly dramatic territory situated in the Vesterålen archipelago, inside the Arctic circle.

With evocative, sonorous ambient, drone, minimalism, experimentalism, and modern classical music, Grill captures the environmental essence of a remarkable region; an isolated Nordic landscape of small coastline villages, raw peatlands and sublime mountain ranges, surrounded by wide, open views of the Arctic ocean.

Drawn from his experience on solitary excursions around the island - hiking, exploring, and encountering the locals - 'Andøya' is a beautifully stark, stirring exploration of acoustic phenomena, seclusion in nature, and the expressive power of unique landscapes. For Grill, the trip entailed a surreal day-night cycle, and his experience has had far-reaching, existential implications, both for his practice and his perspective:

"On the 8th January 2025 I travelled to the Norwegian island of Andøya, in the Arctic Circle for a three week solo residency. Surrounded by sea, snow, and mountains, I lived in isolation and travelled around the island each day documenting the landscape. At 10am, the background light of the sun beneath the horizon would light the day and in the 4 hour window of light, I would hike into the mountains and explore the wilderness. It was a profound experience that changed the way I thought about sound, solitude, and what it means to be alone in nature."

"Since returning, I created a body of music informed by that time to try and capture the vastness and unpredictability of the Arctic landscape. The album moves through the sensory extremes: ice cracking, storms forming and fading, the rumble of tectonic plates, waves crashing, harsh winds, trudging through snow, and the sharpness of freezing air. The album aims to reflect both the landscape itself and the shifting emotions that came with living in isolation and the Arctic environment. The music and photography serve as a recorded diary of my time there, documenting the experience."

2ND LP PRESSING

Cosmic Ear is a new group bringing together Christer Bothén, Mats Gustafsson, Goran Kajfeš, Kansan Zetterberg and Juan Romero. Their debut album TRACES is released by We Jazz Records on 23rd of May, 2025. Including 6 deep cuts, TRACES is an album that sees Cosmic Ear tracking down the "traces" of the legendary Don Cherry's legacy while paving their own way in contemporary creative music expression.

Christer Bothén, a collaborator with Don Cherry during his Swedish period in the 1970s, brings depth to the history of the band, while his bandmates each belong at the top of the game in Scandinavian jazz. Their music is meditative and deep, much recommended for fans of the likes of Don Cherry, Alice Coltrane, and Pharoah. That being said, listeners should approach Cosmic Ear only with openness and curiosity, without set stylistic boundaries, as it's the group's natural flow and togetherness that brings their music into a fresh territory of their own.

As John Corbett writes in his liner notes:

"The Cosmic Ear. Five souls, sometimes six, on the same road. The pied piper path of Mr. Cherry. Christer Bothén, one of Cherry's main collaborators in his Swedish period and one of the most beautiful bass clarinetists on planet earth, together with next-gen saxophonist Mats Gustafsson, who has carried so many torches in Cherry's procession, and younger Swedish stars trumpeter Goran Kajfes, bassist Kansan Zetterberg, and percussionist Juan Romero. Together a tempo is set, a path is charted. There are global grooves. A berimbau, a karignan (metal scraper from Guinea), donso n'goni. There are ET grooves. Synth, live-electronics, slide flute. The globe is a glove, a hand warmer that radiates with extraterrestrial power, returning the fingers to their place at the center of the galaxy; the Cherry path is a balm that restores essential moisture to the lips that blow life back into the megacosm. Let us all praise warm fingers and moist mouths."

Lucciole ist Silvia Tarozzis leuchtendes Nachfolgealbum zu den intimen Reflexionen von "Mi specchio e rifletto" und den tief verwurzelten Folk-Dialogen von "Canti di guerra, di lavoro e d'amore" mit Deborah Walker. Hier bringt Tarozzi Stimmen, Erinnerungen und musikalische Traditionen zusammen, um ein Album zu schaffen, auf dem avantgardistische Kompositionen, persönliche Erzählungen und kollektive Resonanz frei miteinander verschmelzen. Das Album beginnt mit einem strahlenden Blechbläserensemble, das wegen seines populären, feierlichen und spirituellen Klangs ausgewählt wurde, und endet mit dem Piccolo Coro Angelico, dem Kinderchor, mit dem sie seit über fünfzehn Jahren zusammenarbeitet und den sie als ,meine beste Kompositionsschule und ständige Quelle der Hoffnung" bezeichnet. Zwischen diesen beiden Eckpunkten zeichnen Tarozzis Lieder mit seltener Zärtlichkeit die Übergänge des Lebens nach: von der Kindheit zum Jugendalter, von Gesundheit zu Gebrechlichkeit, von Anwesenheit zu Abwesenheit. Die Streicher, Stimmen und melodischen Konturen, die "Mi specchio e rifletto" prägen, tauchen hier mit neuer Wärme und Tiefe wieder auf. Produziert von Tarozzi in enger Zusammenarbeit mit Marta Salogni, die das Album technisch umgesetzt und abgemischt hat, strahlt Lucciole eine Klarheit, Intimität und klangliche Großzügigkeit aus, die ihre gemeinsame Reise durch den Aufnahmeprozess widerspiegeln. Im Kern ist Lucciole ein Album über kleine Lichter, die durch Momente des Übergangs tragen - eine Einladung, genau hinzuhören auf die Orte, an denen sich das Leben verändert, und auf die Menschen, die leben und in Erinnerung bleiben und den Weg erhellen.

This relatively new Stockholm duo have been making waves with their latest vinyl output. This EP coneys their love for the disco house sounds of Chicago, spearheaded by the likes of DJ Sneak. ‘Spoon Bait’ leads the way using an almost dreamlike vocal hook over a deep bass led groove with dub effects to boot. ‘Tuborg Translate’ picks up the tempo, chopping up a Philly style hook, underpinned by crisp beats and otherworldly space effects. Title track ‘Silja Line Superstar’ keeps the peak-time action going utilising warm emotive strings and brass whilst ‘Kenneth Knaster’ bounces along on a sublime disco ride bringing the EP to a close.

Building a temple of sound from reduced elements, Decoder's Alchemy EP on T3R allows selected components to generate a strong and steady drive. Using a distinctly organic sound palette, the tone of the release is wordly, sometimes almost wooden with space taking the role of an active element. When melodies or chords appear, they introduce a subtle sense of melancholy, adding emotional weight without pulling the music away from its physicality. In its unfolding storyline, the EP suggests a broader narrative. While each piece explores a slightly different soundscaping approach, a consistent DNA runs through the release - reinforced by Sanskrit and Hindu references as an underlying conceptual thread. Percussion is handled with precision and imagination: Grooves shift, evolve, and reconfigure. Dark, driving sequences are softened by airy pads and atmospheric layers, creating a dual feeling of intensity and serenity. Filters and reverbs are applied with restraint, giving the music a sense of movement and breath. Alchemy showcases an emerging artistic voice driven by aspiration and exploration. Through confident craftsmanship, genuineness and self-reflection translate into a perfectly balanced, inspiring release. ? 2026 The Third Room Written and Produced by Gautham Gaug Mixdown and Mastering by Ahmet Sisman (The Third Room Studios) Artwork by Daniel Bornmann & Lennard Makosch (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

2026 Repress

London based composer, multi-instrumentalist and producer Akusmi announces 'Lines', an exhilarating new collection of works born from the desire to take where the acclaimed debut album 'Fleeting Future' left off - in search of new forms.

" 'Secant', I must have listened to this tune 3 times in a row, this one soundtracked my night drive through the winding roads" - Benji B, BBC Radio 1

'Lines' is presented as a Limited edition clear vinyl (500 copies only worldwide), printed in heavy-weight reverse board sleeve with a hand-numbered edition sticker. The vinyl edition also features 'Oblique' (A2), an exclusive version for the vinyl format, plus the now revered 'Longing for Tomorrow' - (Brandt Brauer Frick Remix), previously unreleased physically and now pressed on vinyl format, ending side B. The cover artwork features another collaboration with Dutch visual artist Sigrid Calon and design by label founder Adam Heron.

Formed with a sense of urgency and a reductive approach 'Lines' is almost entirely comprised of alto saxophone, clarinet and piano with embellishments of ambience and minimal percussive elements. Recorded in full at his home studio in London, Pascal Bideau speaks about the process:

"I wanted to go a bit more a bit more horizontal and ambient, work with layers of lines, might they be dotted or straight, and leave them to unfold and see where they would take me."

Akusmi uniquely finds the spaces in between experimental jazz, crossover classical and ambient music.

Phantasy transports back to 1982 for a faithful reissue of the highly sought after ‘Fools Are Friendly’ from Xclusiv, carefully re-mastered from the original tapes.

The alias of sisters Karen and Maxine Berlinski, Xclusiv emerged inconspicuously from the London borough of Croydon with a sophisticated vision of cosmic disco pop, linking the suburbs with Soho’s neon-tinted nightlife. Decades later, and in close collaboration with the sisters, this highly sought-after record arrives lovingly reissued by Phantasy in its original, sensuous form.

Originally self-released on Le Maitre Music, a record label spun-off from their family-run fireworks and pyrotechnics company, ‘Fools Are Friendly’ has the irresistible sense of a radio hit that never was. A brilliant DIY reflection of the disco and soul that dominated the charts of the time, its glossy, primitive electronics echo the synth experiments of Giorgio Moroder or Didier Marouani, pioneers that were transforming pop music.

The extended mix provides an overture to the sisters’ twinned vocals, unfolding with delectable disco drama. In contrast, the Instrumental Mix lets the record’s blend of elements truly breathe, a synthesised version of Xclusiv’s irresistible vocal hook holding court between timeless arpeggios and subtle modulation.

Colophon creates electronic music using synthesizers and drum machines from the '80s and '90s that are no longer in production. Everything beeps and crackles, shaping atmospheric soundscapes layered with deep basslines and melancholic pads full of character.

'Dimension Six EP' delivers a six-track journey, moving through techno, acid, slow burners, and ambient. Imperfections are left intact, giving the music a raw, human feel rather than something overly clean, clinical, or artificial. It's the meeting point between old and new technology that makes the process so fascinating and inspiring - the endless places you can go, discovering new sounds within sounds.

Alongside producing music, Colophon also runs 'Loop of Life', a record label where music, fine art, and graphic design converge, releasing limited-edition vinyl with handmade artwork covers.

Reviews
'The excellent, excellent sounds of Colophon' Ben Sims on NTS Radio, London
'My favourite tracks of the moment' ASOK on Rinse FM, London

Oath sub-label Last Year At Marienbad is proud to present the latest spellbinding work from producer Holo, 'Astro', a record that emulates never-ending ethereal, emotively pure, and endlessly danceable frequencies…
Berlin-based Holo makes dance music that speaks in carefree whispers, through a brilliantly constructed sound that leans as much on the hypnotically emotive as on the core fundamentals of composition.
'Astro' is the next phase of his musical journey, and as a contained experience, it gives over all that Holo has become celebrated for, alongside explorations of invigorating spaces in which his sound has grown. The title track is an airy, free-flowing affair, with its semi-stepping drum pattern providing the frame for the light chimes of the keys to set the soul going. 'Spirits' ups the ante with its tempo change, its direction more towards a dancefloor in some faraway paradise.
'Sympatika' kicks off the B-side in a similar fashion, with its extensive groove fuelling bated breath for the arrival of the synths. 'Cycles' wraps up the EP, which again shifts focus to a more cavernous, absorbing kind of sound. A final blend of audio excellence that wraps up a one-of-a-kind record from a one-of-a-kind producer.

Remixed With Love has set the benchmark for disco reworks for over a decade, with Dave Lee universally recognised as the most trusted name in the field when it comes to respectfully updating dancefloor classics from the original multi-tracks.

With original vinyl editions long deleted and constant demand from DJs and collectors, this brand-new one-off, vinyl-only release has been made possible via a fresh licensing deal with Sony Music, allowing eight of the most requested mixes from the catalogue to be pressed together for the first time.

This is not a repress; it is a bespoke, limited selection, and once the pressing has sold through, it cannot be repeated.