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The sixth Subetasch release comes from long-time friends and collaborators TakaTuka and vaZdaZ.

Side A opens with Stamina, a hard-hitting tekno track by TakaTuka, the result of his first deep dive into the DFAM synth he’d just gotten his hands on. Track two, Olga by vaZdaZ, hits just as hard - driven by the screams of a free smartphone synth, it sounds like it’s been tearing up proper parties for the past decade.

On Side B, TakaTuka and vaZdaZ join forces on both tracks, diving into their shared love for breaks, ambient and IDM. The first, Teenage Carcrash, is driven by the tiny drum sampler “PO-12,” which also inspired its (hopefully not too controversial) title. But don´t worry, your Car´s Hifi-System isn´t broken, it´s just gritty distortion and a pulsating bass, sweetened with a catchy tune.

The final track, Unknown Food Can, originated in a circuit-bending session with a trashy old electric piano. Starting out calm and melodic, it slowly unfolds - this food can was found in Kamyshovo, who knows what's hiding inside?

Vel initiates the «Cuddle Protocol», her first ambient album, set for release on October 17, 2025 on PURR.


Vel, recognized for her striking presence in the contemporary techno scene, steps into new territory with the release of her first ambient album, Cuddle Protocol (P:\URR(3)_Cuddle_Protocol), the third outing on her own label PURR. Out October 17, 2025, the 9-track record is a personal and intimate statement, delivered on vinyl and digital formats.


With Cuddle Protocol, Vel explores the paradox of intimacy in a coded world. “I like the idea of a protocol for softness,” she explains, “of codifying something that should be intimate and spontaneous.” This tension runs through the album: fragile voices and soft layers unfold against serious, carefully structured arrangements, balancing tenderness with rigor.


Ambient music has always been Vel’s “first love.” Before producing techno, she composed ambient exclusively, and this album marks a return to the form in its most sincere expression. “I know this music will follow me all my life. It’s not a phase. It’s how I express myself most truthfully.”
Cuddle Protocol is about slowing down, embracing sincerity, and reaching for deeper connection. “When I listen to ambient, I access another world. It’s charged with emotion, it makes me drift and forget everything. That’s the feeling I wanted to share.”
Mastering: Sixbitdeep / Artwork: Adone Giuntini

For the first time on Little Beat More, Sweden’s Cumbiasound deliver a vibrant 7” that expands their ever-evolving exploration of tropical soundscapes. Led by Daniel Fridell, the band has long been pushing the boundaries of cumbia while keeping its analogue heart beating strong, blending classic Colombian and Peruvian sounds with Afrobeat, reggae, jazz, funk, and beyond.

The A-side Mas Paz (Rework) breathes new life into one of Cumbiasound’s most beloved tracks, originally featured on their album Cosas del Universo. Vocalist Lis Flores Varela brings her unmistakable smoothness, while Chilean rapper Boogie Castillo lays down thoughtful verses with his signature flow in a track that captures the essence of the band: rooted, soulful, and globally connected. And to top it off, this new version has a fresh new vocal feature by Congolese singer José Pereelanga.

On the flip side, Jinsei, is a collaboration with Japanese cumbia band Mumbia y Sus Candelosos, led by composer and percussionist Mutsumi Kobayashi. With its breezy guitars, soft tropical groove, and the warm vocals of José Pereelanga, the track drifts like a slow river, effortlessly bridging continents and traditions.

With this 7”, Cumbiasound once again affirms its place among the most interesting projects in today’s nu-cumbia landscape with a vision that crosses borders with ease.

Made with Love by Little Beat More 2025 “We Dance We Think”

There are many reasons why summer always feels like the invincible season, and one certainly is its ability to sketch colorful pictures of life rife with options. Now Sebastian Mullaert and Layla Rehana are drawing one themselves. And they use solar paint for it.
Coming from completely different backgrounds - Sebastian, a sound explorer with a history of exploring musical textures and moving dancefloors while the work of vocalist Layla weaves intuitive healing and subconscious reprogramming - they were immediately ready to take creative chances as first improvised sessions already felt like everything is perfectly keeping up with their very own sensibilities.
The resulting LP for Bigamo offers a collection of patient and almost meditative tracks that feel as natural as breathing. Everything is interconnected. Glowing. Soothing. Like a memory, everything is now and then. It’s the equivalent of laying on your back and watching fair weather clouds as they gently transform and eventually disappear. It’s when you realize that love is all there is, is all you know of love. Although we’re slowly but steadily entering the annual phase of shorter and darker days, their sun clearly sets only to rise and shine again.

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

393AD returns to his own Full Range Motion records with 'Singularities EP'! On this EP, 393AD continues to explore the grey-area in between introspective yet driving techno, an area in which 393AD's well-received debut 'Doctrine EP' left such an impression. The Amsterdam-based artist playful use of sound-design and storytelling adaptations of live hardware jams are once more an excellent foundation for his second release, solidifying the distinctive sound of the artist on this young label. Opener 'Gravitational' pulsating beats are a strong anchor for slowly unfolding harmonic stabs and a strong centrifugal energy. Glimmering patterns unfold as an umbrella; a projectile shoots past; the aftermath of a near-collision - there's no running from this mind-gazing adventure. On the same side 'Technological' pushes on with dramatic effect as noise interlocks with serenity. A devious and mesmerizing track. The flip starts off with 'Mechanical', the final clever contribution to this EP by 393AD. Propulsive kicks and startling low-end call & responses manifest infectious hooks and rhythmic interplay. This track is as serious as it is facetious. Finalising this EP is Maasym's remix of 'Gravitational'. Building on the urgent dynamics of the original, Maasym conjures a magical field of rhythm, intertwining the original with his own energetic pulses. Culminating finally in a compelling resurgence of the original's main stab.

Earlier this year, VIL and Cravo introduced Caricia Records with Caricia 001, a debut that made clear the label would not be bound by techno alone. With the second release arriving soon after, the pair show no sign of slowing down.

Caricia 002 turns to Cravo, presenting a clear statement of his own. Techno, house, dub and jazz meet here, carrying a sense of peace, harmony and hope. Cravo always prefers to let the music speak for itself; here, it certainly does, at its most assured.

London duo Babeheaven — vocalist Nancy Andersen and producer/multi- instrumentalist Jamie Travis — return after four years with their highly anticipated 5-track EP ‘Slower Than Sound’, released via Scenic Route on October 24.

Following their singles ‘Beloved’ and the 6 Music-premiered track ‘Picture This’, ‘Slower Than Sound’ marks a deeply personal and intimate turn for Babeheaven. Written and recorded largely in Nancy’s home studio, the EP embraces minimal instrumentation, acoustic textures, and spacious arrangements, capturing the emotional vulnerability and euphoria the duo describe as “Post Rave” — the music you listen to on the ride home from a
party.

“It feels like a rebirth in a lot of ways,” says Nancy. “Writing at home gave me space to experiment, make mistakes, and rebuild confidence. Once I brought the songs to Jamie, we shaped them together into what you hear now.”

The EP explores love, reflection, and personal growth. Beloved conjures a comforting, almost mythic presence, while Lost For Words reflects the struggle to connect with the world and oneself. Picture This offers snapshots of a relationship, looking back while imagining its future. The cover Tiny Demons by Todd Rundgren blends seamlessly with the EP’s introspective mood, and Loud Thoughts, featuring Samba Jean-Baptiste, captures heartbreak, burnout, and creative pressure. “I hope people can find their own meaning in these songs,” Nancy says. “I’m writing for myself, but music is for each listener to interpret.”

Since debuting with Friday Sky in 2016, Babeheaven have steadily built a loyal following through their acclaimed albums Home For Now and Sink Into Me, amassing over 65 million Spotify streams and earning support from BBC Radio 1, 6 Music, and KCRW. Their live shows have sold out Village Underground,

Bush Hall, and Jazz Cafe, and they’ve shared stages with Cigarettes After Sex, Loyle Carner, and Nilüfer Yanya. Visually, Babeheaven’s world has been shaped alongside creatives including Margot Bowman, Frank Lebon, Tegen Williams, Sacha Beeley, and Joyce Ng, cementing their reputation as one of the UK’s most distinctive acts.

After facing cancelled tours, industry pressures, and a period of creative doubt, Slower Than Sound represents a return to the core of their artistry: intimate, honest, and self-produced. Jamie reflects: “Not putting out music for so long was hard, so we hope this is the start of a more prolific period for us, reconnecting with the London music community and beyond.”

For our next physical release, FERMA welcomes back home one of the individuals running the project, Romphea. As a co-founder, he has long shaped the label’s uncompromising DIY ethos—placing experimentation, raw energy, and community at the heart of its vision. After releasing in a series of acclaimed platforms, the forward-thinking DJ and producer from Vyronas, Athens returns to vinyl with a genre-defying release. Building on the experimental pulse and reshaping the edge between electro, breaks and techno, Romphea continues that trajectory, weaving together tense polyrhythms, warped melodic fragments, and cavernous spaces.

This release features four, plus three digital bonus original tracks, aiming to provide a clear sound identity for the artist. The A-side opens with “Calls from Salem”, a dystopian slow burner that sets the tone with broken-beat percussion and dissonant synth stabs. “Steel Chair” surges forward with unrelenting force, propelled by serrated arpeggios and a barrage of fragmented vocals that rise and fall within the space, crafted for peak-time eruption.

Flipping to the B-side, “Paid Dividends” reaches full intensity, layering hammering kicks and percussion, while the low end rumbles with tectonic weight, amplifying the energy to fever pitch. Closing the record on a more contemplative note, “We Are The Universe” slows the pace, easing the tension and drifting into deeper territory. Echoing chords drift into space, layered with fragile percussive details and low, throbbing pulses. It’s a meditation on collapse and renewal, offering a moment of breath after the storm.

Straight from the source, defying the norms, devoted to the art. Do not sleep.

Berlin-based Tresor New Faces host ABRAX returns with four raw cuts on his self-titled imprint – recorded in one take. A1 Resistance – gnarled corrosive assault A2 Antidote – classic techno homage stripped to the bone B1 Counter Impulse – offbeat, rolling, fractured percussion B2 Defy – slow-burn cinematic tension, no release

RAWAX proudly presents Acid Jesus aka Roman Flügel & Jörn Elling Wuttke with her groundbreaking debut album called "Acid Jesus" from 1993

Following the title of the classic Ecstasy Club record - be it a direct influence or merely a coincidence - Acid Jesus was the first of many collaborations between Roman Flügel and Jörn Elling Wuttke.

Situated in Germany’s then blistering techno scene and especially a mirror of Frankfurt at the time, the early recordings are also a feedback loop to what was happening in the UK and the USA before and at that very time. With many definitions and interpretations of techno already in place, and while its triumphal procession slowly geared itself into exhaustion, Flügel and Wuttke succeeded with their own and unique take on it, that owned as much to Underground Resistance and the Belleville Three as it did to Sven Väth and Andrew Weatherall. Depicting the booster detonation of what was to become the holy label trinity of Playhouse, Klang and Ongaku, this is a collection of tracks and experiments in sound that won’t sound dated, yet classic, mesmerizing and eternal. Jesus loves the acid and vice versa.

Operating on the fringes of pure improv, organised chaos, minimal composition, lo-fi electronics and Italian spaghetti westerns, wide-eyed and with a healthy dose of DIY aesthetics lies the world of Jaan. It’s a poetic & cosmic universe, exploring “discreet music” whilst wandering on the edges of the Cat People soundtrack & Brian Eno’s more experimental output, in which you might yourself find floating, wandering or in the middle of a market place.

Jaan is a collective of one, a deliberately anonymous activistic unit with strong ties to the international art scene. Purposefully bypassing the know-it-all of the the internet & embracing the bygone mystery of dusty old archives and deep-dive searching, remarkably little is known about this project. Jaan is lead by veteran experimental sonic alchemist Jaan; they operate between Greenland, the Middle East and Europe, with frequent associates Lisqa, Mashid & Schneorr N. acting as local hubs for collaboration and exploration.

The purpose of this wilful obscurity: full focus on the actual music, whether live events or on recordings. Which brings us to Baghali, their first for World of Echo. It’s a deeply personal album, much like slowly browsing old family albums filled with vaguely remembered tales, some still very much present, some faded, leaving but a ghost-like reflection of what once was. Baghali was compiled over the course of a year on the road, trapped in snow storms, waiting for cancelled flights and stuck rides. It’s made up of snippets of diary, quick recordings on road sides, abandoned buildings, garden ruins, vast desert and focussed studio sessions, following a collage-like aesthetic and steeped in an exploration of non-lineair storytelling. There’s broken memories, a sense of displacement and an occasional yearning for what can’t be again, clouded in fever and unrest, but there is also hope, wonderment and bright colours seeping through the cracks in the wall. Jaan weaves home-made instruments, old tape loops, broken synths, beat-up reeds, dusty beat boxes and the occasional doom guitar squall into a tapestry of fractured sound, with tracks following their own inherent logic rather than following formats. Sounds crash in and out, field recordings placing the listener firmly in an environment then throwing several perspectives at once onto them, with individual elements - a wandering clarinet, a lone mandoline, a beat out of place yet perfectly in place - slowly walking in and out & doing their thing.

The whole album is alive, breathes, takes a wrong turn, gets lost, somehow finds its way again - effortless and with a unique sense of space and flow.

Baghali is released digitally and on vinyl in an edition of 300 on 3rd October 2025.

Bread&Butter Records celebrates its 10th EP with a powerful statement from Romanian duo NTFO, a name synonymous with precision minimalism and timeless groove. The release unfolds across four masterfully produced tracks, each one engineered for those moments when the dancefloor turns into something deeper, heavier, and unforgettable.

Calibre sets the tone in classic NTFO fashion. Its stripped-bacb bassline rolls with hypnotic intent, carrying just enough weight to lock the floor in. By the three-minute mark, subtle shifts into a trance-like state, gently elevating the room into waves of euphoric release. It’s understated yet devastatingly effective, the type of cut that DJs treasure for its power to transform the atmosphere without ever shouting too loud.

Electr pares things back even further, pushing into pure minimal territory. Built on a sleek harmonic groove, it’s a masterclass in restraint, every sound feels perfectly placed, every movement precise. This is a track that thrives in the early hours, where tension, patience and subtle shifts in rhythm rule the floor.

Forap flips the script, injecting an upbeat energy that hits with instant impact. Around the three-to-four minute mark, a vocal element cuts through, commanding attention before the groove locks back in with unstoppable momentum. Hypnotic yet uplifting, it’s the perfect peak-time tool a track that lifts the room into a collective high, as though flying on pure feeling.

Nanomos closes the EP with finesse. A deeper, darker exploration, it glides through murky textures and intricate percussive details, carrying an otherworldly atmosphere that keeps the listener suspended in motion. It’s a slow-burner that lingers long after the last note fades, a testament to NTFO’s ability to balance groove and emotion in equal measure.

With this release, Bread&Butter not only cements its reputation as one of London’s most exciting underground imprints but also showcases NTFO at their most refined. Four cuts, four moods, all bound by that unmistakable Romanian touch that continues to set standards worldwide.

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

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

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

“The high priest of country cool” - Rolling Stone

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

“A conscious, soulful brother” - Horace Andy

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

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

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

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

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

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

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

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

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

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

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

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

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

After a feature on last year’s VA Family Affair comp, Tokyo-based producer Yuu Udagawa drops her first solo EP on Razor-N-Tape. With releases on Freerange and Compost under her belt, Yuu has been developing a subtle and moody deep house sound that she displays across the 3 original songs of the Urban Physicality EP. Each track vibrates with dark chordal textures, pulsating drums and chopped vocal samples, beautifully layered to develop and slowly build. To round out the record, Tokyo producer Takuya Matsumoto turns in a throbbing late-nite remix of the EP’s title track, with a tougher drum profile, cavernous bass and masterful sound design.

Tooflie's shadowy crate-diggers return for their sixth expedition, this time unearthingmelodic relics from the sands and stone of the SWANA region. The A-side opens with acharismatic locally-well-known Boris Timur from Azerbaijan, reshaping his half-crimechanson half folk music into a slinky, percussion-driven anthem that sways betweenmysticism and dancefloor intent. A2 dives deeper into the vaults: a cryptic cut built onearly hip-hop and electro intonations, stitched together from dusty Middle Easterngroove samples, looping like a mirage between past and future.
Turn to the B-side and the spotlight falls on a modern folk icon turned global cult heroOmar Souleyman. The first interpretation is a peak-time techno weapon, packed withfrenetic energy and built for ecstatic release. The closing track shifts gears in a slower,contemplative breakbeat journey that delves more deeply into the dabke tradition,stretching its spiraling melodies and communal pulse into a pre-dawn dreamstate.Once again, Tooflie fuses archival echoes and electronic invention into a spellbindingvinyl-only dispatch for dancers and diggers alike.

Following a promising debut, Cosada returns with its second release, “Astral Destiny” a four-track, vinyl-only EP from label head Laseech. Inspired by the peaceful yet rugged nature of life on the Adriatic, the record blends calm atmospheres with a raw, textured edge. EP opens with the title track on A1 — a warm, transportive deep house journey. A2, “Dreams,” blends lush pads and broken beats with a soulful voice from Swaylo, delivering a dreamy, introspective mood. On the B-side, “Abyss” explores bold, abstract sound design and experimental club rhythms. Closing the EP, B2’s “Evolving Depths” is a slow-burning, downtempo song rich in atmosphere and deep groove. A refined and versatile release, showcasing Laseech’s range while marking another strong chapter in Cosada’s growing catalog.

Dot / Stephan Bazbaz - Split EP Vol. 2 (Depthful002)

Depthful returns with its second release, following the success of the first release by label owner and artist Dotan Bibi aka Dot.

In the second release, Dot returns to collaborate with his close friend and artist Stephan Bazbaz for their second split EP, following the great success of the first one released back in 2017 on Stephan's label, "No waves"

A1. opening With Dot's track 'Hoag’s Object'. is an intriguing fusion of house and dub influences, balancing the pulsating energy of house with the relaxed, spatial vibes of dub. From the start, listeners are greeted with a deep, groovy bassline and lovely acid line, that immediately establishes a rich foundation for the track.The rhythm section and congas is tight and persistent, with the signature rolling beats of Dot's sound laying the perfect backdrop for the track's sonic landscape.

A2. 'Fading Fast' isn't just a track; it's an experience. If Hoag’s Object laid down the groove with subtlety, 'Fading Fast' fully submerges you in its rich, atmospheric depths. From the very beginning, there’s a sense of movement - like something slowly emerging from the mist, with deep, resonating bass frequencies that pull you into the track.The rhythm section feels almost submerged, like you’re hearing it from underwater. The inclusion of short, scattered vocal samples in 'Fading Fast' adds an extra layer of intrigue and emotional depth, without pulling focus from the track's atmospheric core. Rather than traditional, lyrical verses, these vocals appear like fleeting whispers - fragments of a larger story, almost like half remembered phrases.

B1. opening with Stephan's track 'Overload' and it feels like an immediate shift in energy, where the vibe ramps up with pure house power. This track is all about the rhythm, the groove, and, most importantly, that bassline that keeps you locked in.
From the first beat, it’s clear 'Overload' isn’t messing around. The drums hit with a sharp, punchy attack, but it’s the bassline that truly makes this track shine. Deep, low, and relentless, the bassline pulses in a way that feels almost like it’s driving the entire track forward. There’s something about the way the low end sits in this track that makes it feel alive especially with the warmth of the lovely deep pad Holding the whole track underneath.

B2.'Better in Space' is the closing track of the record, it feels like a natural continuation of the vibe that’s been built, but also a final statement that allows the listener to fully sink into the deep, spacious world Stephan is known for. With this track, we’re stepping into a place where dub and deep house collide seamlessly, creating an atmosphere that's both expansive and intimate - taking us out there but also pulling us inward. From the very first moment, 'Better in Space' sets the stage with a warm, enveloping bassline that instantly grounds you.

Mastered By Pheek
Designed By Idan Am-Shalem

DJ Support: Axel Boman, Coyote, Rune Lindbaek, Dr Rob (Ban Ban Ton Ton), Lefto, Johan Blende, Feel Fly, Marco Gallerani and many more

Secret Soul Society, aka South Wales's Cal Gibson, continues his red-hot streak of form with four original jams for Hell Yeah that effortlessly weave decades of influences into intimate, unusual sounds that go from Balearic daydreams to after-hours soul burners.

Gibson was one-half of Nottingham's deep house and downtempo outfit Neon Heights back in the 2000s, a collective that label head Marco has long admired. He has landed here before with the superb Keep The Mystique in 2023, a 15-track collection of brand new curveball cuts built from lovingly sourced samples. Since then, he has continued to collide jazz, funk, Afro, beats, dub, soul and reggae on Paper Wave and Magic Wand.

'To Be Happy' opens with gentle, sun-soaked grooves, swirling keys and dreamy pads that evoke a hazy Mediterranean sunset. Nostalgic soul samples tug at the heart while the track’s laid-back vibe is perfect for golden-hour moments. 'Orange Surprise' is a magical slice of downtempo bliss with hints of romantic vocals. It's built on soft broken rhythms and drifts between ambient soul and laid-back electronica, perfect for introspective moments or late-night winding down.

'Keep On Trying' flips the script with more texture. The synths are crystalline, the pads are sugary, and the meandering bassline unfolds in wonky fashion while soft male vocals bring a steamy edge. Last but not least, 'What You Do To Me' is funky and slow motion disco with 80s synths and reverb that drowns you in good vibes.

This EP is Secret Soul Society at his most expressive and emotive.

Hasvat Informant's debut album, Pluripotent XII, is a 12-track journey that reads between the lines of psychedelic electronics and contemporary techno. From driving, precise grooves to slow, textured explorations, the album carries the organic resonance of Australian underground culture while threading sharp influences from Detroit and beyond into a singular, unmistakably distinctive sound.

On this dual release, Naarm-based artist alternates between his Hasvat and Intellegama personas, moving between them like a figure navigating parallel realities. Each track balances mechanical precision with expansive, trance-infused textures, creating a liminal space where urban and natural influences converge.

More than a display of technical skill, this debut conveys a sense of place, heritage, and lineage. Dwelling in both conflict and harmony, Pluripotent XII invites listeners into an otherworldly, lysergic landscape - complex, evolving, and fully realized.

Techno stalwart Mike Vinyl from Austria returns with Bloodline – a timeless, high-energy techno track that masterfully blends warmth and raw power. It’s a track that breathes – deep, rolling, and relentless – fusing emotional depth with a driving, physical intensity. With RDL, the pressure builds even further, a no-compromise peak-time tool that keeps the heat on. The release closes with Fading Lights, a slow-burning downtempo piece that drifts into atmospheric, introspective terrain.

The prolific, party-starting Det Gode Selskab collective continues to strengthen its wax artillery with another spaced-out exploration from label affiliate A:G. Based in Oslo, the label and artist have built a strong affinity over the years, with DGS regularly releasing his music and inviting him to perform at a host of events. His “Time Factor” EP is essential electro listening, wandering between rippling shades of acid and tripped-out minimalistic movements, synonymous with the Norwegian beatmaker’s sound. It’s a hazy quest through four original cuts, packed with raw and gritty attitude.

The slinky first outing of the EP goes by the name “Crash.” Anticipation builds as the winding bassline and quirky drum patterns create a sense of retro gaming exploration. “Sleepwalking” is another diverse entry from the talented producer—a pensive yet driven motion propels the track’s energy, laced with slick hi-hats and acid-laden beats.

On the B-side, outer-galaxy transmissions go full steam ahead with the title track “Time Factor”, animated grooves and continuous evolution, climaxing with bright, uplifting synths. Plucky, tight drums lead the way in the final frontier, “Cognitive Resonance”—another classy dance floor outing from A:G, once again showcasing why he’s a producer to keep close tabs on.

Striking while it’s hot, A:G delivers another heater on a label that shows no signs of slowing down in the years to come, and if their previous releases are anything to go by, this one will be moving fast!

Mieko Shimizu returns with a powerfully cinematic EP, Breathe Out 'Breathe Out' is an intricately crafted double offering that explores stillness and intensity in equal measure and further cements Mieko Shimizu's place at the forefront of experimental electronic music.

The new EP features two immersive tracks that showcase her signature blend of emotional depth and sonic experimentation. Opening with a soft exhale, unfolding slowly with airy textures and gentle pulses that create a sense of calm introspection. 'Breathe In' has a more urgent and restless tone, with shifting textures and a deeper emotional edge that draws the listener inward. Paired together, the two tracks form a striking contrast: Breathe Out will also be released alongside a captivating music video, featuring elegant and expressive movement by rising contemporary dance star Violet Savage, directed by diz_qo. Dropping alongside the visuals, this EP promises to captivate both ears and eyes.



BBC Radio 2 Support Live EP Launch Show in London, UK Press Campaign - with support from Electronic Sound, The Wire & Earmilk

Bringing together the elder statesman of the Zulu guitar Madala Kunene and internationally acclaimed Sibusile Xaba, kwaNTU pulls two generations of South African guitar mastery into a single point of focus. Under-represented on recordings outside of South Africa, Madala Kunene (b. 1951), the ‘King of the Zulu Guitar’, is revered as the greatest living master of the Zulu guitar tradition. Sibusile Xaba, whose collaboration with Mushroom Hour Half Hour reaches back to his first recording in 2017 (Open Letter To Adoniah/Unlearning), has garnered international acclaim for his unique voice and virtuoso guitar stylings, which bring together multiple South African guitar lineages in an original, spiritualised fusion. Collaborating with Mushroom Hour and New Soil for kwaNTU, the two players come together to weave a filigree sonic fabric which reaches down to the heartwood of Zulu guitar music but moves resolutely outward, building on the past to create a deeply rooted statement about present conditions and future travels. kwaNTU – which can be roughly translated ‘the place of the life-spirit’ – is also conclave of teacher and student, as Xaba has been taught by Kunene for the last decade. Meditative, rich and sonically sui generis, kwaNTU finds these two musicians linking up within the inimitable space of sound and spirit that they share through Kunene’s teaching.

The great masters of South African music have not all had equal exposure. For many years the generation of musicians who were exiled during apartheid took centre stage, as the regime made it very difficult for those at home to be heard. More recently, a new cohort of important voices, especially in jazz, has broken through to international consciousness. But for the generation of musicians in between – those who shone like beacons in the most difficult final years of apartheid and immediately afterward – international recognition has been slow in coming.

Madala Kunene, ‘the King of the Zulu Guitar’, is among this number. A revered figure for current generations of South African musicians, Kunene began his recording career in 1990, at the bitter end of apartheid, with a now classic self-titled LP for David Marks’ storied Third Ear imprint. Born in 1951 in Cato Manor, near Durban, he had determined to be a musician from early childhood, and by the time he first entered a recording studio he had already had a long career as a popular performer. His virtuoso absorption and transformation of the venerable Zulu maskanda guitar tradition and his richly spiritualised approach to music immediately marked him out as someone special, and in the years that followed, Kunene cemented his position as one of South Africa’s musical elders. He is without doubt the grand master of the Zulu guitar tradition, but his sound and sensibility ranges far beyond it into varied sonic terrain, and he has collaborated with a wide range of musicians both at home and abroad. Now in his mid-seventies, he remains a shining light for those that are making music in contemporary South Africa.

‘He is really an amazing person,’ says the guitarist Sibusile Xaba, who has been mentored by Kunene for over a decade, and now invites a collaboration with him on kwaNTU. ‘As a mentor, he's really powerful in showing us the way. For us to have this opportunity to make music together and have a project together is really a blessing to me.’

Xaba himself grew up in Newcastle, KwaZulu-Natal, where his mother had been in a band and his father sang in a church choir, and from early childhood Xaba played homemade tin guitars. He only later realised that music was his calling. ‘I just loved music. I was fortunate. My parents loved music. And when it was time for me to leave home and go to study outside Newcastle, I knew that music was what I wanted to do. There was no second option. It was just music.’ Moving to Pretoria to study music formally, Xaba committed himself to his craft, developing a unique style that draws on both US jazz masters such as Wes Montgomery and Jim Hall, and the rich and varied heritage of the South African guitar, from inspirational jazz players such as Allen Kwela and Enoch Mthalane, to the music of the Malombo groups and Dr. Philip Tabane (Xaba has previously collaborated with Dr. Tabane’s late son, Thabang), and the Zulu guitar tradition embodied by Kunene.

‘I was really in love with the jazz guitar, I really admired it, and I was digging a lot in that direction,’ says Xaba, recalling his first encounter with Kunene’s music, over a decade ago. ‘And then one day on my timeline, Kunene popped up, and I was like – “What's this sound?” I was so connected to it. It really touched me deep. I started checking out his records, and then I found out he's from the same region as I am, which is Zululand.’ After Kunene played a show at the Afrikan Freedom Station in Johannesburg, Xaba make contact with him, and visited him at home in Durban. They struck up a friendship, and Xaba became the elder’s student, as Kunene began to pass on his knowledge and his inimitable way of playing.

kwaNTU is a tribute to this relationship and the deep learning that has defined it. The album was recorded in Zululand in the town of Utrecht, at a cultural centre called Kwantu Village, which gives its name to the album. ‘It's such a broad word,’ Xaba says, ‘but the elders teach us that Ntu is basically an energy, almost chi, an energy, a force that all living beings have within them. It's a living energy, so kwaNTU is like, almost the place of this energy.’ The two men sequestered themselves for five days of jamming, improvising and planning, and then the session was recorded in one take over a single night, with Gontse Makhene joining on percussion and backing vocals and Fakazile on vocals. Other voices and overdubs were later added in the studio in Johannesburg.

The result is a rich and meditative recording that finds two generations in a deeply engaged dialogue. Teaching and passing on his knowledge, the elder Kunene has brought Xaba into a space of sound and knowledge that they now share; Xaba’s own practice of deep communion with nature and his dedication to his musical craft make him the perfect interlocutor for Kunene. The result is an album that foregrounds the two musicians engaged at the highest levels of responsive listening, sympathetic unity, and collaborative concentration. Bringing an elder statesman of South African music to an international listening audience for the first time in decades by pairing him with one of South Africa’s most important new voices, kwaNTU is a meeting of generations and a powerful demonstration of musical lineage and continuity.

‘Before music, there is sound,’ Xaba observes, speaking of Kunene’s unique approach to music. ‘And sound is like a common compartment…it's not restricted to particular people or particular geographic places, you know what I mean? It's sound. Everybody can hear it. So when he constructs that sound into music, I think everybody resonates with the energy behind his construction of sound into song. Here at home, we really love him for preserving our history through the guitar, through his stories as well the music, the songs that he writes. We really, really admire him.’

DJ Support: Gilles Peterson, Admin

This release is built around a Bossa Nova cover of a well-known Gospel hit. Comb made an edit, then expanded it with musicians and vocalists to take it in a Reggae direction.

The title track is the new Comb Version, with words to lift spirits and ignite dancefloors. Alongside it are two deeper Dub explorations, and the slower sun-drenched Brazilian cover. Four different takes of a floor-filler, suitable for all occasions.

Following on from Andres aka DJ Dez's well received last outing on David A-P's Hot Pot label, it is now veteran DJ and producer Marc Meistro from DC's Sol Power All-Stars who now brings the class. To kick off he brings his own spin to a Latin funk classic 'Mas Que Nada' and then turns the sunshine up to 112 on the shuffling samba sounds of 'El Platanal De Bartolo'. It's a pure party starter for Latin lovers and then comes some more drum-forward funk on 'I Wanna Go Downtown' with its rolling percussion and funky bass twangs. 'Make Your Mind Up' slows down to dubby disco bliss with leggy riffs teasing and pleasing. Four effective, charming essentials from Meistro.

Introducing OBI02 – Plight of the Gifted EP by TB Shine, the second release on
Dutch-label OBI Trackz.

Operating under various aliases since the early 2000s, TB Shine is one of the many expressions of Norwegian artist Terje Bakke. Plight of the Gifted EP holds five tracks that drift between hypnotic minimalism and raw percussive workouts, told through disjointed rhythms, haunting atmospheres, and layered tension.

The A side kicks off with Dopamine Dungeon—a slippery, low-end-driven roller wrapped in hazy textures and unstable euphoria. The track traps the listener in a quirky haunt, like the title describes accordingly. Red Army Moody Troopers follows with a tougher edge: straight drums, spectral pads, and an undercurrent of unrest. It’s a track that marches forward but never fully lands, suspended in an unresolved urgency.

On the B side, Plight of the Gifted appears in two versions. The original leans into emotional melodic motifs and fragmented structures, evoking both vulnerability and defiance. The Haunted Version strips things back further—bleeding with space, odd grooves, and a kind of post-club phychosis that lingers long after. Closing the EP is Plague Doctor, a slow-burning piece where a hopeful melody echoes and distant percussion round off the release with a sense of closure while being wrapped in a warm blanket.

With Plight of the Gifted EP, TB Shine offers a layered and personal collection— one that walks the tightrope between control and collapse, rhythm and mood. A fitting next step for Obi Trackz: cryptic, cinematic, and carved with intent.

Regarded as one of London's "leading disco labels" The Disco Express is one of the most consistent and influential forces in the modern nu-disco scene.

A record label, international event series and DJ collective, TDE is dedicated to original, soul-infused house and disco music. With a global family of artists, the label blends vintage warmth with modern energy to honour the past whilst envisioning the future.

TDE100 is a 15 track compilation that distills the label's essence. Packed with fresh originals and hand-picked gems, the compilation blends funk, soul, nu-disco, house, and electronica. Crafted to move seamlessly from peak-time dance floors to laid-back Sunday listening, it's both timeless and forward-thinking.

Pressed across 2 X LP’s in a Gatefold Sleeve featuring John Morales / Derrick Carter & Inaya day.

This is original house & disco for 21st century dance floors and this train ain't slowing down anytime soon…

Georgian artist and FACTION co-founder Uvall debuts on Conundrum Records with the Vertigo EP - a tightly crafted collection of four techno cuts built for the club.

With previous releases on WSNWG, FLOAT, INGUMA, OECUS, and CANTICLE, Uvall brings deep low-end pressure, precise percussion, and atmospheric tension across a versatile set. From driving grooves to slower, chugging rhythms, Vertigo delivers a dynamic snapshot of his evolving sound.

Carefully arranged jazzy cuts circle the first appearance of the enigmatic Edrift. For sure a future classic to fill your colorful afternoons, or to serve as a tapestry for late night conversations, will most likely end up on your forever loved records. Lovely melodies drift in perfect balance on top of some of the coolest beats. Unpack, throw it on the turntable, and enjoy it in the most relaxed way, as it was intended.

Pingipung proudly introduces Iko Chérie, the experimental pop project of French multiinstrumentalist Marie Merlet. The 7"" single "Ghosted Ghosters of the Holy G" offers a first glimpse into her forthcoming LP, Soft Centre (Nov 2025) - a hypnotic blend of dub-infused songwriting and blissful noise. On the flipside, French electro-dub visionaries Froid Dub unravel the track into a shadowy, slow-motion version, with a solid sub-bass, flickering delays and half-heard whispers. Trained in classical piano as a child, Marie Merlet shifted to teaching herself the guitar when she discovered the DIY indie punk scene. She then studied jazz singing and electro acoustic composition in Bordeaux before moving to London to play bass in Monade alongside Laetitia Sadier (Stereolab). With her solo project Iko Chérie, she crafts a surreal sound world of woozy incantations, Casio drones, and reverb-drenched guitars, woven with processed spoken-word samples. Beyond Iko Chérie, Marie Merlet tours globally and records with Gina Birch (The Raincoats) and is the guitarist in psychedelic cumbia outfit Malphino. She also hosts a monthly Soho Radio show championing women in music and curates a film & performance series at London"s Cinema Museum.

In the heart of a post-apocalyptic city, Spacelunch was making his way through the ruins, wearing a heavy armour of metal plates and flickering circuitry. Cat settled on his shoulder, listening intently to every sound. This time, they weren't just looking for an artefact — their target was the Singularity Echo, a mysterious device created right before the catastrophe. Legend had it that the scientists of the past, sensing the impending collapse, had put all their accumulated experience and knowledge together to create it. It was said that one day “Echo” would awaken and allow descendants to touch the wisdom of the ancients, learn the secrets of forgotten technologies and, perhaps, avoid the fatal mistakes of the past.

— We’ve been wandering around for how long? — muttered Cat, looking around warily. — And nothing.

— Sitting up there complaining, aren’t you? — Spacelunch grinned, deftly bypassing the debris and intertwined roots that poked out from under the asphalt.



Suddenly, a glow flashed before them, gradually taking the form of a palm-sized transparent crystal. It floated in the air, surrounded by silver lining that wove into intricate patterns, like a network of ancient runes. The symbols on its facets, flickering, cast soft reflections on the debris around them. As the professor slowly reached out his hand, the crystal shone brighter, and the low whisper of distant voices cut through the silence. Their minds were enveloped by the echoes of past events, filling their minds with images of the vanished world.

The friends froze for a moment, overwhelmed by shock and a sense of profound change.

— Well, — said Cat, not hiding his surprise. — It seems we've gotten a little smarter.

— A little? Now we have what has been lost for an era.

— So, we have a new adventure ahead of us. Where do we start?

The ghost town, once seemingly lifeless, now seemed to come to life: every collapsed building and every corner sparked with traces and clues as if the world itself was holding its breath, waiting for a sign.

This album is not just a homage — it’s a gentle act of remembrance. A way of tuning in to what Lucier showed us: that listening is an art in itself. A meditation on resonance, memory, and the quiet power of pure sound. Or to quote Alvin Lucier himself: “I guess I’m trying to help people hold shells up to their ears, and listen to the ocean again.”

The influence of Alvin Lucier’s work on acoustic phenomena and the interplay between sound and space is difficult to overstate. His legacy continues to echo through the work of countless composers and sound artists today. Lucier’s music is marked by a sense of childlike wonder and sonic simplicity - shifting our perception from what we hear to how we listen.

At the heart of his compositions lies the sine wave: the purest, most elemental form of sound. Clarinetist Dries Tack pays tribute to this master of minimalism with an album centered around two works Lucier composed as intimate ‘In Memoriams’ for friends. Both pieces explore a single, elegant idea: the interaction between an instrumental tone and a sine wave.

Out of that interaction, ‘beatings’ emerge — a pulsating rhythm that accelerates or decelerates as the waves draw nearer or drift apart. Though built on the same concept, the two works are like mirrored reflections of one another: In Memoriam Jon Higgins, the sine wave glides in a slow glissando while the clarinet holds steady tones. In Memoriam Stuart Marshall, it’s the clarinet that dances around a fixed sine wave.

Dries Tack is a clarinetist specializing in contemporary performance practices. He performs with ensembles such as Nadar Ensemble, Curious Chamber Players, and Ensemble Fractales. As co-artistic director of the GLoW Collective, he explores collaborative practices across artistic disciplines in the broadest sense. In addition to his ensemble work, Dries curates solo projects that offer fresh perspectives on existing repertoire or give rise to entirely new works at the intersection of composition and improvisation.

Eden Burns releasing his debut Album titled „Eden Burns & The Makebelievers“. The dance musics prophet, notorious for his ingenious string of club tracks (if you don’t follow —> check the „Big Beat Manifesto“), is gifting the world with yet another, cult creating musical
adventure. Ecstatic beats, melodies that cast a spell on you, if there ever was something to truly, blindly believe in: it’s the power of music? Be Free, set foot into the garden of Eden. All apples are to be bitten, the snakes venom is mildly hallucinogenic. Get your eyes opened for everything that is true enough and beyond. Bless.

Stepping forward with 'Owebimataeto', the new four-track EP by Colombian producer Zemog. Drawing influences from the Sikuani language and the traditions of the Guahibo people, the EP channels a raw, propulsive energy anchored in its ancestral references.
'Alai' sets the tone with a driving bassline and metallic overtones, punctuated by fluid, organic sounds that twist through shifting layers of rhythm and resonance. 'Biaba' follows with a tribal current of dense, interlocking patterns within a steadily unfolding pulse. The momentum bends sideways with 'Beaxayo', a half- time whirlwind of swirling patterns and psychedelic pull, before 'Wako' sinks into a slow, sludgy finale.
'Owebimataeto' stands as a statement of Zemog's approach to techno- immersive, bold, and steeped in Colombia's indigenous world, transforming ancient cadence into something unmistakably alive.

With a multi-decade spanning back catalogue behind him, Bearface aka Raj Panasa shows no signs of slowing down. Over the years he has built a sturdy reputation around his distinct and innovative feel-good touch whether that be on his own Beartone Records, or the many other labels he has shared his classy sound with.

“Remakes and Raw Cuts Vol. 1” is the launch of a new vinyl series from the London-based producer, a safe place for him to showcase his eclectic sound, alongside edits and remakes of some of his favourites over the years, all finding a home on his Beartone label.

Starting off on the A side Bearface provides a funk fuelled latin explosion with his version of the classic “Tudo Que Você Podia Ser”, sassy disco attitude ready for the summer months, presenting some unforgivable dance floor mania. The A2 “Got To Be” is an original cut, meandering between playful guitar licks, and stripped back, hypnotic percussion, there is a curious atmosphere as the track continues to simmer.

On the flip side an edit from the revered beatmaker. First up he edits “Tell Me I’m Not Dreamin’” by Jermaine Jackson, the infectious vocal injects a zesty life into a killer electro groove, a playful and animated trip ready to rock the floor! Closing out the EP is the retro sounding “Everything”, the robotic vocal flashes in and out, nodding towards Daft Punk, boasting beautiful strings and crispy hi-hats bringing that day time energy.

Bearface teasing those summer moments with a jam packed EP brimming with sunshine and positivity, dive in and feel the fun!

Peek of Normal is the new label from disco veteran Stevie Kotey, whose productions have graced the Bear Funk, Ambassador's Reception, Strut, Electric Minds and many more labels in the past. Pretty much its first move was to ink a deal with Dutch master Mark du Mosch, who'd been friends with Kotey since the latter moved to Rotterdam in 2005 and discovered his neighbour had similar tastes in disco. This new label's inaugural release, Sterling Melody, is quite the labour of love, and with eight tracks spread across a double vinyl pack collection lean more towards the coldwave, electro and synthpop of the early 80s rather than 70s disco. There are echoes of some pretty classic sounds here, from the Vince Clarke-esque throb of '77777st' and 'A5G Neowise' - not unlike the soundtrack work of mid period Tangerine Dream - to the slower motioning Italo-tinged shininess of 'Soluzio'. Our favourite is the title track itself, perky and full of sparkle, like the incidental music for a lost series about a mullet-clad, white linen suited detective who doesn't play by the rules, only much, much better. Definitely worth a Peek.