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2025 Repress

The Knowledge Imprint Selected Reissues series brings together handpicked tracks from the labels back catalogue to be pressed for the first time on high quality vinyl. Previously available only as digital and small-batch dubplate editions, these tracks will also be given new life with fresh remastering and simple repackaging.

This inaugural release features some of the most seminal and highly requested tracks on the label in the form of Rene Wises K-I008 productions originally released in 2019, as well as Arthur Roberts K-I012 productions originally released in 2022.

Blissfull sounds.. moving freely between drum machines & synths to more organic instrumentation with rich arrangements never losing sight of a light ethereal feel. Check!

Sjunne Ferger was a swedish jazz and blues drummer, shifting more towards jazz after working with Don Cherry. From his ‘FAT’ Studio near the central Swedish town of Örebro, Sjunne Ferger crafted a small but radical legacy of genre bending music. With an open minded ‘anything goes’ attitude born from his jazz roots, compiled here are songs charting a transition from fusion beginnings via his debut 7″ with group ‘Exit’ through to a more blissful synthetic sound palette. Hypnotic ambient pieces written for short film swirl amongst the electronic & electrified- unreleased versions of ‘Destiny’ and ‘Candlelight’ hint at his sound to come, while the album culminates in the highlights ‘Night Rituale’ and ‘Childrens Mind’ -Intoxicating mixes of Sjunne’s influences & inspiration, they unknowingly hint at Mkwaju Ensemble and other key Japanese contemporaries, and bear witness to the Swede’s deep Eastern philosophical outlook. Retaining his own unique sound throughout, ‘Childrens Mind’ is a primer for Sjunne Ferger’s ‘Mindgames’ LP reissued on Strangelove later in 2021.

Building on the subtle beauty of her last album ‘Kassi Valazza Knows Nothing’ (???? The Times, ???? Mojo) ‘Weight Of The Wheel’, the first single off her new album ‘From Newman Street’, evokes feelings of heaviness and confusion with life’s constant cycle. Delivered with what can only be described as exquisite songwriting alongside her unmistakably tender yet warm voice that conjures up thoughts of the likes of Karen Dalton, Joni Mitchell and Sandy Denny with much of the same quiet wisdom.
Kassi Valazza returns with From Newman Street on May 2 via Loose Music. Newman Street refers to the location of a friend's house in Portland where Kassi found shelter and a safe space while navigating change in 2023. Here, she wrote most of the songs for the new record and planned her move to New Orleans, Louisiana. The 10-track set is delivered through a strikingly honest lens as Valazza ponders her willingness to accept change, finding positivity where she can. From Newman Street follows 2023's Kassi Valazza Knows Nothing, which received rave reviews from NPR Music, UNCUT, No Depression, MOJO, The Times, Holler, and more.
‘Weight Of The Wheel’, the first single from the new album, evokes feelings of heaviness and confusion with life’s constant cycle. Delivered with what can only be described as exquisite songwriting alongside her unmistakably tender yet warm voice that conjures up thoughts of the likes of Karen Dalton, Joni Mitchell and Sandy Denny with much of the same quiet wisdom.

180 G. BLACK VINYL WITH LINER NOTES IN CREOLE, FRENCH, ENGLISH

Originally released in 1979, "Spiritual Sound" lives up to its name, a soaring, triumphant album, six tracks of spirit magic from Guadeloupe.

Telluric, intense, terribly alive, the gwoka drums of Guadeloupe carry the identity of a painful and fervent island. Marked forever by the crime of slavery, Guadeloupe's créolité cherishes the ka drums and their natural environment: the low-pitched boula drum with male goatskin, the high-pitched soloist makè drum with female goatskin, the chacha, ti bwa, triangle, calabash and other percussion instruments that surround them, and the voices - the fiery, proud, timbred, urgent voices of the gwoka.



This album is also a legend for its voices: in his then dazzling youth, singer Lukuber Séjor was one of the first gwoka artists to largely feminize the chorus of répondè, who converse with his text delivered in a straight and powerful voice.

And everything here sets new standards. In 1979, Mizik Filamonik - Spiritual Sound proclaimed a spiritual patriotism of ferocious intensity. The album by Lukuber Séjor - whose spelling alone is a battle - sets out to give Guadeloupe the intangible weapons of self-respect and self-knowledge, through a singular practice of traditional music.

The genesis of gwoka music is less straightforward than one might imagine... The drums performed the servile task of accompanying the work of slaves in the fields and during the “corvées” imposed by the administration, before being freely practiced by the common people after the abolition of 1848. At the heart of the conviviality of the Guadeloupeans furthest from the cities - geographically and socially - the gwoka drums come out for carnival, funeral wakes and neighborhood celebrations, but also during strikes, fits of anger and armed vigils of the riots and revolts that have punctuated the island's history. For generations, governors of the colony and then the prefects of the overseas department of Guadeloupe have been viewing the gwoka as a potential for turbulence and a threat to public order.

But as the Beatlesmania, “chanson engagée” and rock revolutions unfolded in Europe, young people turned to the drums of mizik a vié nèg (“bad negro music”, in Creole), which Guadeloupeans had learned to despise by following the “assimilation” process advocated by the school system and most of the political class. At the end of the sixties, in a Guadeloupe mourning the deadly repression of the May 1967 social movement, they played traditional music, refusing to wrap it up in tourist prettiness and madras folk costumes. Instinctively, they played a rough and contemporary gwoka, led by the incendiary Guy Konkèt. This was the era of decisive 45 rpm records such as Robert Loyson's Kann a la richès, which brought to light the fieriest words of union rallies.

At his home in Sainte-Anne, Lukuber Séjor played with flautist Olivier Vamur and his brother Claude Vamur, who cobbled together a drum kit from tin crockery and became, a few years later, the most influential drummer in Kassav'.

These were the years of the Bumidom program, when young Guadeloupeans were encouraged to emigrate to mainland France. At the age of twenty, Lukuber Séjor embarked on the liner Irpinia, disembarking at Le Havre and taking the train to the Gare Saint-Lazare - the route taken by thousands of young West Indians who went on to study or looked for work, all the while trying to maintain a link with their homeland. In this case, it's at the Antony university residence, where Lukuber played the drum and participated in a thousand gwoka updates and aggiornamentos, while exile reinforced the need for a spiritual link with the native land.

In 1978, Guy Konkèt played at the Salle Wagram, a historic event for West Indian music. After serving as répondè - i.e. backing vocalist - on one of his home-recorded albums, Lukuber joined his live band. Little by little, he became one of the key artists on a circuit parallel to French show business. At a student party in Caen, he met a young woman from Martinique who, at the time, was more motivated by her ambitions as a visual artist than by her vocation as a musician. Her name was Jocelyne Béroard and, a few years before she plunged into the Kassav' adventure and became the greatest West Indian singer of her generation, she designed the cover of Lukuber Séjor's LP.

This ambition was obvious and imposed its will. A more or less regular band was formed, with Roger Raspail, Rudy Mompière and Éric Danquin on ka drums, Claude Vamur on ti bwa, Olivier Vamur and Françoise Lancréot on flutes and Annick Noël on keyboards. Lukuber Séjor is set on wanting to extend the gwoka palette to other instruments, as the jazz-rock revolution opens a thousand new doors. Annick Noël will play a wide range of timbres and textures on electric piano and synthesizer. Another novelty: the répondè are two men and two women, Roger Raspail, Olivier Vamur, Françoise Lancréot and Maryann Mathéus ...

Mizik Filamonik - Spiritual Sound is a self-production in which the singer and leader sank all his savings, allowing him no more than a single day in the studio. The first side is more of a musical manifesto, with the first two tracks, Éritage and Penn é plézi, being instrumentals. The third, Son, forcefully celebrates the need for Guadeloupeans to connect with the gwoka. In fact, Jocelyne Béroard's cover shows a tambouyé in the shadow of a cloudy sky, against which a radiant sun is rising and whose light will soon flood the entire landscape. The silhouette and face of this man strongly evoke the immense Vélo, master of the ka, rejected at the time on the fringes of society.

The second side of the LP is surprising. Formally, three tracks are explicitly linked like the three parts of a triptych. Primyé voyaj evokes the appalling tribulation of Africans deported as slaves to Guadeloupe; dézyèm voyaj speaks of the Bumidom program and the economic, political and social forces driving young Guadeloupeans towards the mirage of prosperity in France; twazyèm voyaj closes the cycle with the emigrants' return from Europe after years away from their island...

This gwoka, obsessed with the need to save Guadeloupe spiritually, appeals far beyond the politicized audience. Mizik Filamonik - Spiritual Sound instantly became a classic, although Lukuber Séjor never really made a career for himself as a musician.

After all, the album was released in 1980, with no promotional resources in France or Guadeloupe - and therefore no concerts. The thirty-two-year-old author, composer and performer made his own third trip back to Guadeloupe. He set up a small woodworking business, which he lost in Hurricane Hugo in 1989. His other activity, teaching in a medical-educational institute, became the core of his professional life. He continued to be an active campaigner - a campaigner for the Creole language, a campaigner for the reawakening of identity, a campaigner for special education, a campaigner for a thousand causes that he ignited with his generous and perceptive enthusiasm, such as the defense of breadfruit fries...

The echoes of his 1979 album have not died down. Of course, the use of Penn é plézi as the theme tune for Radio Guadeloupe's funeral notices from 1980 to 1992 kept him in the collective memory, but he continues to sing and compose sporadically, as with his all-female

vocal group Vwapoulouéka... Still convinced that music is a means of liberating the spirit, he continues the journey of a young man eager to deploy the power of Creole music and language.

Bertrand Dicale

Skylax Records proudly presents "Winter Sequences", the debut EP by Arnaud Rebotini on the label and the launch of the Skylax Black series, dedicated to bold, sophisticated electronic productions. For over two decades, Arnaud Rebotini has been a defining figure in electronic music. As a producer, composer, and master of analog live performances, he bridges the worlds of techno, electro, and cinematic scores. Winner of the César Award for Best Original Score for Robin Campillo’s "120 Beats Per Minute", his talent transcends the dancefloor, captivating audiences in both clubs and cinemas. Rebotini is also a master of the remix, collaborating with legendary acts like Depeche Mode, Rammstein, Nitzer Ebb, and Bloc Party amongst others, and delivering a standout reinterpretation of Bronski Beat’s "Smalltown Boy" for the "120 Beats Per Minute" soundtrack. His remix work blends respect for the originals with his own creative power, placing him among the most revered names in electronic music.

The EP opens with “Snowy Sunday Smile”, a track that combines melodic depth with techno power, showcasing Rebotini's mastery of analog live performance in a compelling and emotional way. “Abnegation Electronique” follows with a subtle homage to Drexciya’s universe, fusing deep basslines and hypnotic layers to create a pure and immersive electro experience. On the B-side, “December in G” delivers a live improvisation featuring SH101 and TB303, seamlessly shifting between G minor and G major chords, evoking life’s contrasts between shadow and light. Closing the EP, “Echo Park’s Bells” conjures the enigmatic magic of Los Angeles with dreamy bells and ethereal textures that capture the city’s endless nights. Staying true to his raw, analog aesthetic, Rebotini’s music embodies timelessness and cutting-edge innovation. "Winter Sequences" captures this duality perfectly, blending raw energy with melodic sophistication. An iconic release, "Winter Sequences" is more than an EP—it’s an analog masterpiece, a sonic exploration, and a bold statement cementing the collaboration between Arnaud Rebotini and Skylax Record



Artwork by H5: The cover art, designed by the legendary H5 studio (Daft Punk, Air, Logorama), adds a unique visual dimension to the EP. Known for their globally acclaimed graphic work, H5 enhances the identity of this release with their unmatched creative touch. Available on 12” vinyl. Head to Bandcamp to secure your copy. A must-have for electronic music aficionados.

The 3rd release from this fun label series by LEGRAM VG & Rubber Ducky Records. Musically mixed as always; smooth warm rollers to dark club cuts. Game of Tunes strikes yet again!

Artwork and Typography by Stefan Marx

Four new and ultra deep italo-deephouse cuts from Jacy aka Giacy Bozzi from Bari in Southern Italy.

Jacy is running his own label Home Of House Records and is well-known in his comfort-zone, the very Underground. May it be for his contributions to the amazing „Welcome To Paradise“ Compilation Series on Safe Trip, being featured on Volume I, II and III or his records on Kalahari Oyster or Hot Haus Records.

All of these come with Jacy signature sound– timeless and deep tunes to stay, intense balearic feels that guide you through the night and revive the golden-era of House music.

Smallville 68 as always comes with a Full Cover Artwork by Stefan Marx.

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy."

Written and recorded in singer-poet Karsyn Henderson, guitarist-banjoist Paul Lecours and percussionist Ryley Klima’s basement alongside bassist Chris Clegg, then mixed and mastered by longtime collaborator Noah Baxter, this self-produced introductory effort from the Montréal four-piece stylishly amalgamates elements from hardcore, punk, shoegaze, sludge, and folk.

Violence is a brazenly poetic homage to small town roots, a mashing of modern Western Canadian hardcore and folk. Extensive in scope, this debut full-length by Truck Violence takes the listener through wide-ranging dynamics, from solemn acoustic ballads to wrathful electric anthems. Deftly fractured rhythms and breakdowns, complex harmonic entanglements, emphatic screams of discontent, are met with hopeful, melodic tracks musing about the steady grip of a tight-knit community.

From somber, deceivingly happy banjo sequences to crashing noise and cries, Violence uses expression as a mirror, looking upon oneself with clarity, aiming to attain a sense of unadulterated truth of the matter. There is little modern music taking an honest look at the Western Canadian countryside, tackling themes such as addiction, abuse and dysfunction.

Truck Violence’s first album does just that, uniquely capturing this involuted setting through a wide lens to both contextualize and emphasize what it means to be overwhelmed, to feel shame, to struggle with self-destructive ways, to thrust oneself into art as an escape.

The fifth album from H. Hawkline (Huw Evans), ‘Milk For
Flowers’, is released via Heavenly Recordings.
Following the 2017 album, ‘I Romanticize’, and 2015’s ‘In
The Pink of Condition’, the album was produced and
features musical contributions from long-time collaborator
and celebrated solo artist Cate Le Bon. Artwork is
designed by H. Hawkline.
Recorded at Rockfield Studios in Monmouthshire, the
album features a host of musical collaborators - Davey
Newington (Boy Azooga) on drums, Paul Jones (Group
Listening) on piano, Tim Presley (White Fence, DRINKS,
The Fall) on guitar, Stephen Black (Sweet Baboo) and
Euan Hinshelwood (Younghusband, Cate Le Bon) on sax,
Harry Bohay (Aldous Harding) on pedal steel and John
Parish (PJ Harvey, Aldous Harding) on infrequent bongo.
The record was then engineered by Joe Jones (Aldous
Harding, Parquet Courts) and mixed, after an unlikely and
fortuitous crossing of paths, by the Grammy-nominated
Patrik Berger (Charli XCX, Robyn, Lana Del Rey), and
mastered by Heba Kadry (Deerhunter, Cass McCombs,
Cate Le Bon).
‘Milk For Flowers’ is at once visceral and enlightened, its
soundscapes verdant yet delicately rendered, and with this
latest, most intimate work, H. Hawkline bares his blood,
bones and soul beautifully. And quietly, along with the
entrails and rubble held in ‘Milk For Flowers’’ reliquary,
there hides a small, green kernel of life; hope, perhaps,
that today’s decay might nourish tomorrow’s blooms.
Available on CD and LP with rigid ‘tip-on’ sleeve with antiscratch matt lamination and digital download code.

Romanian producer and DJ, Cîmpian Mark Alexandru, known as Cim Pian, proudly presents his milestone vinyl release, Chronosphere, on Phonichouse1. Hailing from Reghin, Romania, Cim Pian has been a dedicated figure in the electronic music scene, with a deep connection to the country’s influential minimal house movement. Over the years, he has released multiple tracks on Phonichouse1, a respected Romanian label known for curating refined underground sounds.

The release features two original tracks that highlight his distinct artistic vision. The title track, Chronosphere, is a profound minimal breakbeat composition, enveloped in textured, dark atmospheres, guiding listeners through an immersive sonic journey. Complementing this is Djinn, a classic 4/4 minimal house track infused with oriental influences, building tension with its ghostly textures and hypnotic groove.

Adding an extra layer of depth to the project is a masterful remix of Chronosphere by Barac, one of the most revered artists in the minimal scene. His interpretation brings a fresh perspective to the track, reinforcing the release’s impact.

The mastering has been handled by Rob Small, ensuring a refined and high-quality sonic experience.

The artwork is an original drawing by Andrei Ardelean, with layout design contributions from Cim Pian himself, visually capturing the essence of the music.

Chronosphere marks a pivotal moment in Cim Pian’s journey, showcasing his evolution and dedication to pushing the boundaries of minimal house. Released on Phonichouse1, this vinyl is a testament to his enduring presence in the underground scene.

Depthful is the new label runs by Dotan Bibi aka Dot - dedicated to the exploration of the vibrant and immersive worlds of house and techno music. strive to unearth tracks that resonate with both the mind and body, creating an auditory experience that transports listeners to a deeper state of being. You can expect releases from Dot himself and close friends who share the same style & vision.

first release comes from label owner Dot :

A1.'The Setting Of The Sunrise' opens with an ethereal atmosphere, inviting listeners into a world where time seems to stretch and bend striking a perfect balance that encourages movement on the dance floor while also inviting moments of reflection. Along with the vocal pieces that are scattered throughout the section and create a lovely flow.

A2.'That Place' is a vibrant house track that radiates energy and warmth from the very first beat. The pulsating bassline sets a solid foundation, driving the rhythm forward with an infectious groove that invites movement.
From the outset, the track features lush synth chords that create a euphoric atmosphere, transporting listeners to a sun-soaked dance floor.

B1.'Past And Future' is a captivating deep duby track that immerses listeners in a rich, atmospheric soundscape. From the very beginning, the track unfolds slowly, enveloping you in its lush textures and resonant basslines and small pieces of vocals that connect amazingly with the atmosphere of the track. deep, hypnotic rhythms that create a sense of space and time, inviting introspection and exploration.

B2.'Hide & Seek is the closing track of the EP and is a mesmerizing breakbeat deep track that masterfully weaves intricate rhythms with atmospheric soundscapes. From the first beat, listeners are drawn into a world where playful breaks and deep basslines create an engaging and dynamic listening experience.“Hide & Seek” is a standout track that perfectly highlighting Dot’s innovative approach. It’s ideal for both the dance floor and intimate listening sessions.

An imperial phase Actress commits a lushly amorphous installation piece made for the Berliner Festspiele to vinyl, rendering a post-industrial symphony full of iridescent shifts in gyring, OOBE-like spatial coordinates landing somewhere between nutopian ambient, kankyō ongaku and sawn-off bass science.

‘Grey Interiors’ was made in collaboration with Actual Objects and is an absorbing animation and navigation of those post-human ideals that have prompted Darren J. Cunningham to his best work across the preceding two decades. In its hypnagogic symphony of the elements, he short-circuits distinctions of classical music’s metric freedoms and the hyperspatial sensuality of concrète/electro-acoustic and ambient musics with an artistic license that has come to distinguish his work in the contemporary field, and arguably identified him as this generation’s most vital electronic abstractionist.

The first half of the album is bewitchingly airless, materialised in a twinkling vacuum. Naturalistic environmental recordings and a half-heard piano swirl around nauseous airlock whooshes and eerie bass drones. It's all pulverised to a powdery, shimmering residue; if Actress's music is defined by its character and texture - that sweet spot between the bedroom and the soundsystem - then this one advances the narrative without losing its backbone. And like a lot of his best work, it comes into its own on the back of zonked eyelids, conjuring a play of shifting geometric patterns within its imaginary physics and nuanced narration of ephemeral melodic phrasing and vaporous textures.

At about the halfway point, that dissociated piano finds its groove, coalescing into a jerky drum machine rhythm popping like bubbles in the stifling atmosphere. We can draw some intersecting lines here thru electronic music lore - traces of vintage AE, Push Button Objects, UR - but Actress always leaves an indelible fingerprint on anything he touches. Even when he's rubbing against the gallery-industrial complex, he manages to fill a stagnant space with electricity and wit; look at the title itself: is it a reference to the "landscape beyond man" as the installation's press release might have us believe, or the institutions themselves?

‘Nothing Iz Sacred’ is a statement, a collection of tracks that resist the pull of the fleeting, throwaway nature of today’s music scene. In an age where everything is often stripped down, consumed, and discarded, this 8-track LP stands as both a nudge and a reminder—a poke at the culture that surrounds it - it isn’t here to blend quietly into the background, nor to satisfy the urge for quick hits and shallow thrills.

Each track on the LP is woven with the sounds and textures Workforce has become known for, yet there’s a rawness here—a willingness to push boundaries, to blur the edges of genre and style. The LP is a blend of the familiar and the experimental, where thoughtful moments meet jagged beats, and where soulful undertones collide with darker layers. It’s a space that resists easy categorization, daring listeners to explore without expectation, to find meaning in the spaces between the sounds. This isn’t a record designed for the disposable playlists of tomorrow; it’s for those who know that music can mean more, and who understand that it is meant to live with us, to grow, and to shape the communities around it. This record isn’t about the chase for the next hit or the endless scroll; it’s for the ones who value artistry, who find culture in the smallest details, who want something real to hold onto.

‘Nothing Iz Sacred’ is brought to life with the voices and musicality of some incredible collaborators. Tyler Daley’s unmistakable warmth, Bobbie Johnson’s sharp lyricism, Tamara Blessa’s haunting soul, Leroy Horns’ textured brass, and Ed Zuccollo’s nuanced piano work all carve their own paths through the record. Together, they amplify the album's heartbeat, adding layers of richness and depth.

AFTER ALMOST A YEAR OF LIFE, SUPER PLASTIC RECORDS PRESENTS ITS FIRST LP OF SEVERAL ARTISTS. WE WANTED TO DO SOMETHING A BIT SPECIAL SO THAT OUR PRESENTATION ON VINYL RECORD WOULD BE REMEMBERED FOR THE EFFORT AND LOVE PUT INTO THIS PROJECT.
THAT'S WHY WE HAVE PRODUCED A 12 IN A FULL COLOUR GATEFOLD CASE, WITH THE INSIDE DEDICATED TO THE ARTISTS WITH PHOTOS, COVERS OF THE DIGITALLY RELEASED TRACKS AND A SHORT SUMMARY OF THE HISTORY OF SOUTHERN BREAK BEAT. WE HAVE ALSO INCLUDED A BOOKLET WITH STICKERS OF THE ARTISTS LOGOS, WHICH IS SO FASHIONABLE AT THE MOMENT.
EVERYTHING WILL BE SHRINK-WRAPPED SO THAT IT REACHES THE CUSTOMER WITH GOOD PROTECTION.
THE 12' 45 RPM DISC IS LOADED WITH 6 TRACKS, THREE MELODIC TRACKS FOR PIANO LOVERS, SUNG TRACKS WITHOUT LACKING THAT PISTERO TOUCH.
THE OTHER THREE TRACKS ARE A BIT MORE ELECTRONIC, WITH STRONG BASSES AND STRONG BASES.

After forming a friendship with Japanese hip-hop talent DJ Motive, Hell Yeah is releasing his previously CD-only album Sunset Sunrise. After initially being released as a promo to support the 7 inch lead single 'Sunrise,' it now comes on 2 x 12 inch for the first time with fresh mastering by Justin Drake. DJ Motive hails from Gifu, a small and charming city 30 minutes from Nagoya. From there he has built up a cult following for his blend of Latin, jazz and hip-hop beats over a number of albums and EPs in the last 20 years. He is also the producer behind the DeadBundy outfit that was previously remixed by countryman Calm on this label's Calm Reworks EP back in 2020. Thanks to a link from Calm, Hell Yeah founder Marco first hooked up with Motive in the pre-Covid days, twice playing his Alffo event in Gifu and hanging out to chat music. One of the many things that came up was a CD of Sunset Sunrise which has remained on firm rotation on Marco's stereo ever since and is a worldly trip into sample-heavy sounds, indie rock, hip-hop and jazz. Opener 'Sunrise' ft. Deadbundy & Chemical Codex opens with drums that lap like gentle waves on a beach as thoughtful strings and filtered vocals add to the sense of bliss. From there, DJ Motive lays down lazy broken beats and twinkling melodies that take your head above the clouds amongst lush pads and nostalgic samples. 'Chill On A Lotus' sounds like a damaged old tape as vocals, chords and strings all get smudged and smeared into a heavenly ambient soundscape, and there are plenty of loose mixes of dusty drums and jazzy keys, 'Howling 2 You' is a fusion of jazz drums and Balearic energy that slowly sweeps you off your feet and 'Walker' has squelch synth bass and heat damaged keys.

This escapist trip carries on through more broken beats and yacht rock, inquisitive jazz interludes and sunset grooves that all come with a heavy sense of inward reflection. The fragments of vocal are like half-remembered dreams, and the hooks remind of a forgotten lover while the louche beats move things forward with subtle optimism. Sunset Sunrise takes you through a full day in the life of DJ Motive and it makes for a vibrant collage of sound that reveals something new with every listen.

The third internatonal release by the legendary Malian singer and guitarist is many fan's favourite. 'The Source' established Ali Farka Touré on the internatonal stage and paved the way for his legendary collaboraton with Ry Cooder on the GRAMMY award winning album 'Talking Timbuktu'.
Available for the frst tme on vinyl, the album has been re-mixed from the original master tapes and includes a previously unreleased track from the same sessions.
The album is presented in a gatefold sleeve containing double 180g vinyl and large format 28 page booklet with lyrics.
'The Source' features Farka Touré's frst recordings with his home town band Group Asco, with vocalist Afel Bocoum and percussionists Hamma Sankare (calabash) and Oumar Touré (congas). Touré's trademark acoustc and electric guitar (as well his njarka violin) playing are highlighted on some of his best loved and most sophistcated compositons.
The father of the desert blues unleashes a set of driving small group performances, intmate love songs, mesmerising guitar solos and two unique duets with the great American bluesman Taj Mahal.

"First time on vinyl for ‘Died In The Wool’, the 12 song remix companion to David’s 2009 album, ‘Manafon’, plus the non-album track “When We Return You Won’t Recognise Us”
Features remixes by David Sylvian, Dai Fujikura, Jan Bang & Erik Honoré.
“When We Return You Won’t Recognise Us” was specially commissioned by the 2nd Canary Islands Biennial of Architecture, Art and Landscape 2008-2009."

Probably the most astonishing hard rock LP out of 1970s Spain, repressed by popular demand and this time offering a very limited transparent blue colour run.



THE STORM hailed from Sevilla and were acclaimed by both audience and press reviewers as one of the best rock bands from Spain. The combo was formed by the Ruiz Geniz brothers (Angel and Diego), on guitar and drums respectively, plus Luis Genil (organ) and José Torres (bass).



Their debut album, originally released on Basf in 1974, is one of the Crown jewells of Spanish hard rock, and changes hands for a small fortune among collectors all over the world, especially since its inclusion in Hans Pokora's 'Record Dreams' books.



This LP really rocks. It's high energy hard rock that follows the line marked by the big organ outfits of the era such as DEEP PURPLE, ATOMIC ROOSTER, BRAM STOKER, MEGATÓN...



It has also a deep classic prog sound root, which reaches the top on 'Un Señor Llamado Fernández De Córdoba'.



We are talking of one of the seminal Spanish hard rock LPs.

Preparing your debut full length record is no small undertaking for any artist. The format itself deserves a certain frame of mind and approach – it’s different, and with Sarah Wild’s debut LP she embraces the idea. Expanding her artistic vision to offer something different, making use of the format and bringing new ideas and musical pathways to her established sound. Releasing on her imprint Midnight Operators in early 2025 – My Body Flows In Gravity constitutes a sophisticated homage to the early 2000s trance movement, integrating nostalgic motifs with her ultra-on point production that sits perfect in todays scene.

From the dreamy proto-house vibes of the opener, establishing a foundation with its understated beats, to the Orbital-esk serenity of the title track My Body Flows In Gravity the album works at evoking the emotive resonance of a golden era of music reborn. This trip is backed up by the Early-Balearic styled tracks such as “Fly With Me To The Moon” and “Visit To Mars” which pull you into hazy smoked filled dancefloor territory, hypnotic melodic progressions effectively capture the essence of Trance’s peak cultural moment.

At the mid point “I Don’t Wanna Go” introduces a different dimension, exploring a more Euro sound that is at the peak of the contemporary scene, but infused with Sarah’s unique edge, hyper pumping beats work alongside spoken word to really up the tempo. Following this the journey returns to a more progressive feel, “Floating Around” and ” On My Way Home” take things into deeper territory, bringing the focus’s of the record back the groove after the blurry eyed highs. Bringing the record in for a perfect landing. There is an emotional duality to this record, a movement through a juxtaposition of yearning and almost frantic emotions alongside more uplifting harmonics through to more introspective moments. The final track “Landing” gracefully closes this arc.

Sarah Wild delivers a sonic journey as much concerned with the process as with the destination itself. My Body Flows In Gravity shows Wild’s capacity to synthesize the deeply personal with the universally resonant, a set of tracks that equally speak to the introspective solitude as they do to the collective euphoria of the dancefloor.

The album’s title deftly gestures to the sheer vastness of astronomical dimensions, while simultaneously capturing the musical breadth within, where the eight planets are imagined as the eight notes of an octave. The work draws inspiration not only from earlier compositions —most notably Gustav Holst’s The Planets—but also from the rich astronomical and cultural contexts surrounding these celestial bodies. Here, the focus transcends direct citation of melodic motifs, instead embracing an intriguing conceptual approach on a meta level, unfolding in a series of vividly contrasting soundscapes. These contrasts shape a sweeping sonic journey, one that fully embraces the album format with both arms, inviting the listener to venture into realms both strange and wondrous, feeling the immensity of the interstellar space that lies between them. Contrast, after all, is the brushstroke that enriches our world.

Embarking on an auditory voyage, "Astral Guide" establishes the sonic framework that propels us into the boundless expanses of the cosmos. Its ethereal tones evoke the vastness of space, crafting a mood ripe for exploration within the realms of sci-fi. The subsequent tracks unfold like constellations, weaving a rich tapestry of sound that seamlessly marries cinematic soundscapes with pulsating, club-oriented rhythms. This album invites listeners to traverse its immersive landscapes, whether nestled in the comfort of home or dancing under the starlit sky, each note a guide through the transcendent experience of a nocturnal journey.

"Solar Flares" draws its inspiration from the awe-inspiring expanse of solar phenomena, capturing the majestic power of the sun as it reaches into the cosmos. This track resonates with the idea that energy, while vital, can also be a force of destruction when unleashed with overwhelming intensity. The composition beautifully mirrors the sun’s duality, where brilliance and devastation coexist, inviting listeners to reflect on the delicate balance between creation and annihilation. Through its rich textures and dynamic shifts, "Solar Flares" serves as both a homage to the celestial and a poignant reminder of nature's formidable power.

"Mercury – The Winged Messenger" embodies a meticulously crafted soundscape where artistry meets astronomy. The tempo of 173.6 BPM, derived from precise astronomical data, propels the composition into a vibrant realm that resonates with cosmic energy. Synthwave sound design intertwines seamlessly with the fluid rhythms of Drum’n’Bass, imbuing the piece with an uplifting dynamism that evokes the ethereal grace of Mercury itself. In this sonic exploration, listeners are invited to ascend on wings of sound, navigating the celestial tapestry of the universe with each invigorating beat.

"Venus, The Bringer of Peace" strikes a decidedly cozy note, presenting a poignant contrast to the more tempestuous themes often found in cosmic narratives. This composition evokes a nostalgic vision of an optimistic era, one in which humanity transcended borders and embraced the infinite possibilities of space exploration, where no destination felt too distant. The dense, languid atmosphere envelops the listener, creating a tangible sense of serenity that unfolds gradually, allowing for a meditative journey through sound. Each note serves as an invitation to linger in this tranquil embrace, reflecting on the harmonious potential of our collective aspirations and the beauty of connection in a vast universe.

The central theme of „Gaia, The Bringer of Life“ —originally not part of the planetary cycle— is the profound enabler of life on Earth. The arrangement delicately mirrors the slow, tentative unfolding of this potential, marked by an initially sparse orchestration that gradually builds in momentum. This progression crescendos, embodying the explosive dynamism of the Cambrian burst of life, ultimately culminating in a euphoric fanfare—a triumphant, celebratory flourish echoing life’s victorious emergence.

"Blue Moon" unfolds as a contemplative reverie on the tranquil clarity of a night sky, now seldom glimpsed in its natural purity, unclouded by the relentless haze of urban light. The listener is drawn into the vast embrace of the star-strewn firmament, a journey that sways between euphoric awe at nature’s sublime beauty and a profound melancholy for its fragile and imperiled state. Musically, this duality finds expression in the delicate interplay of modal mixtures, while an ever-shifting triplet groove, poised at the intersection of Outrun and melodic house, lends a pulse that is both nostalgic and forward-looking—echoing the beauty and transience of a world on the brink.

Rather than replicating the original composition of „Mars, The Bringer of War“, this interpretation seeks to evoke its profound, foreboding atmosphere. Cyberpunk emerges here as an ideal genre, channeling the dark, relentless march synonymous with Mars, the ancient god of war. The piece reverberates with intensity, as distorted vocalizations rise, embodying the anguish and visceral torment that shadow war’s violent crescendo. This auditory descent into conflict captures the relentless pulse of warfare, where sound itself becomes an embodiment of suffering and fury.

Majestically, "Jupiter, the Bringer of Jollity" emerges on the celestial stage, sweeping away the somber tones with its radiant vigor. Drawing inspiration from the triumphant strains of the original, and borrowing a melodic motif in the refrain, the piece expresses joy and buoyancy through a shift to a major key and the lilting sway of a danceable 12/8 meter. Spirited and exuberant, it leaps boldly from major to minor and back again, playfully shifting time signatures to capture a mood of unbridled festivity and jollity.

Here, a more conciliatory concept is chosen than in the original inspiration. „Saturn“ aligns with the number six, being the sixth planet from the Sun and bearing the iconic hexagonal pattern at its northern pole. What, then, could be more fitting than to render this piece in a 6/8 time signature? The arrangement unfolds with a multifaceted richness, mirroring the countless stones and ice fragments that form the foundations of Saturn’s majestic rings.

„Uranus“ adopts the theme of a light-footed, dancing instrumentation, giving the impression of perpetual motion, never quite settling. This musical choice harmonizes with the planet’s own orbit, as it spins with breathtaking velocity, teetering and swaying, seemingly unable to attain rest or stability.

The chill and vastness of the cosmos find expression in „Neptune, The Mystic“. At its core, an electronic soundscape envelops a classical arrangement, its unreachability intensified by an ethereal, otherworldly choir. Hovering at the outermost boundaries of the solar system, where warmth is but a distant memory, the composition lingers in a slow, contemplative tempo, evoking a realm where space for speculation stretches wide and silence reigns supreme.

Though Pluto may have lost its planetary status, and its companion Charon never achieved one, this shift in classification subtly aligns with the cosmic scale invoked here—one that mirrors the musical tradition of an eight-note sequence. Fittingly, the album closes with „Kuiper Belt“, a composition emblematic of the turbulence and vitality of countless smaller

celestial bodies that, though diminutive, find their rightful place within the vast architecture of the solar system.

They say nature is the greatest composer, shaping the universe with a symphony of chaos and order, beauty and danger. It is this duality that fuels the artistic vision of Edictum—a producer who, armed with a doctorate in chemistry, delves as deeply into the mysteries of molecules as he does into the depths of sound. In the tension between the vastness of the cosmos and the microscopic processes that dictate life’s rhythm, Edictum creates sonic landscapes that dissolve the boundaries between science and art.

His music is a story of contrasts—a sonic tale where the raw forces of nature clash with the intricate structures of human culture. Opposites intertwine to form a harmonious whole: the primal rhythms of the earth meet the celestial melodies of the cosmos, the rigid laws of physics blend with the boundless freedom of art. Edictum explores these polarities with meticulous devotion, each composition an expedition into uncharted soundscapes—a quest to give voice to the unfathomable.

With over 20 years immersed in the realms of electronic music, Edictum has honed a keen sense for rhythm and movement. His driving beats compel both body and mind into a hypnotic flow. Yet beyond the pulse of dance lies a complex framework of conceptual thought. Today, his creative focus revolves around holistic album projects—self-contained worlds with overarching narratives that embrace contrast and complexity. Each track stands alone as a fragment of the whole, but together, they weave a cohesive tapestry, much like the chapters of a novel that guide the listener on an emotional and sonic journey.

Edictum’s distinctive musical signature has earned him international recognition. With over 150 releases, many on prestigious platforms like the iconic *NewRetroWave* label, and collaborations with artists such as Jan Johnston, Azumi Inoue, Powernerd, and Turbo Knight, he has solidified his place in the global electronic music scene. His latest work, *A Cosmic Scale*, marks his seventh vinyl album and is released under his own label, *Echoes of Expanse*. The label’s name is no coincidence—it captures the essence of his art: echoes of infinity, the vibrations of the universe distilled into a singular sonic experience that carries the listener ever further into the boundless expanse of sound and space.

Soulful hip hop instrumentals from Italy on Best Record-affiliated Quattro Bambole! "The "Moderna Sonorizzazioni" series by Quattro Bambole Music continues its investigation of the infinite expressive possibilities of instrumental hip-hop, recognizing it as the most contemporary form of library music. After the first two chapters - signed by Biga and JayBee Vibes - the third volume of the series, "Sport & Calcio", features the Roman producer Delphi for whom there was a lot of anticipation on the part of both Italian and scattered beatmakers everywhere in Europe and the United States. With the subtitle which is already a declaration of intent ''Tales of a boy from Rome....'' etc. etc., "Sport & Calcio" is an instrumental fresco in which football and sport become narrative pretexts to evoke images, memories and suggestions. The twelve tracks that make up the album are real cinematic sketches, in which Delphi (born Valerio Del Prete) combines raw beats, nostalgic loops, sample-delia and a narrative that evokes family Sundays, spent on the street as well as stadium, and the heat of the crowded stands. Therefore a work that is musically declined based on moments and emotions.. ''Sport & Calcio'' is therefore a deliberately introspective and not very ''danceable'' work. Sound photographs, short descriptions, themes, small fragments associated with television reports on sport... with which the artist touches chords that allow him to express a different compositional depth, a conceptual work, more descriptive and functional to the line of "Moderna Sonorizzazioni" series."

Restoring balance to our series of earthly compilations, one that has brought to you an array of different artists, all with the collective goal of sharing the joy of exploring musical wonders with no borders, we have Earthly Tapes 04.

In keeping with the series so far, nature and electronica intertwine in unison to share a space as befitting to hedonistic dancefloor groovers as it is to homebound explorations. With this release, we have 7 wonderful artists expressing their creativity across 6 carefully curated tracks, with native roots connected to 5 different countries across South America and Europe.

2 years in the making and chopping and changing as it’s passed through the motions, what has remained is the concept behind it. On this edition, we're shining a light on a small portion of female producers within a music scene that we’re fortunate to be a part of.

Each artist that has carefully created a track for this compilation, has also contributed their beautiful crafts within the Organica/Folkloric/Downtempo scene and we’re truly blessed to be able to share them with you. The countdown to the release of this next chapter finds us coinciding fittingly with International Women’s Day.

The story of So-Do is both familiar and completely unique. A classically trained multi-instrumentalist with a poet’s sensibility and a passion for folk music meets a worldly bar owner with a love for psychedelia, post-punk and dub in the small town neither could bring themselves to leave. Over two years, they play dozens of shows in independent live houses across Japan, cut and self-release three singles – two 7”s and a 12” – and leave behind just eight tracks, all of which are set to be reissued for the first time forty years on.

So-Do’s Studio Works ’83-’85 collects the full output of this iconoclastic post-punk phenomenon, whose sparse, syncopated arrangements were infused with a dubbed-out flair that owed more to Dennis Bovell’s productions of Orange Juice, the Jah Wobble basslines of Public Image Limited or Adrian Sherwood’s live dubs of Mark Stewart than even they knew at the time.

Because for lead songwriter Hideshi Akuta, music offered an escape from the existential malaise of small-town life, folding a melancholy nihilism into tracks like ‘Kakashi’ and ‘Hashiru’ (which translates as ‘run’), or taking aim at the inequalities and creeping apathies of the middle classes, as he does on ‘Get Away’ and ‘Nothing’.

And if Talking Heads had CBGBs, Sex Pistols had the Roxy, then So-Do had Buddha. Influenced by Buddha venue owner and amateur producer Atsuo Takeuchi, Akuta turned So-Do’s sound towards dub, crafting playful, ironic and funky compositions that crackle with live energy at the vanguard of Japan’s nascent independent music scene.“So-Do is hard to explain,” Takeuchi says. “It’s been a struggle for years to try to find the words for our music.” The answer perhaps, is just to listen.

Both familiar and completely unique, So-Do extend Time Capsule’s genre-defining exposition of Japan’s reggae-inspired music of the ‘70s and ‘80s, as collected on the label’s two critically acclaimed Tokyo Riddim compilations, and London-based live outfit Tokyo Riddim Band.

Embracing the rip-it-up-and-start-again ethos of the early ‘80s, So-Do burned bright for a short time and then burned out. Their legacy is about to be reignited. Expect it to catch alight once more.


All songs are written & composed by Hideshi Akuta

Produced by Atsuo Takeuchi

Artwork by Ben Arfur
Liner Notes by Anton Spice, Ayana Honma, Kay Suzuki

Curated by Kay Suzuki

Licensed from Atsuo Takeuchi (Oregano Cafe)

Tape Restoration and Mastered by Mike Hillier at Metropolis Studios, London, UK

Time Capsule | TIME023 | 1983-1985 → 2025

Where to begin with a figure like Simon Fisher Turner? From teenage stage and screen star to illustrious recording artist for Creation and Mute and score composer of Caravaggio, Blue and The Epic of Everest - via a stint with The The and collaborations with Derek Jarman, David Lynch and Tilda Swinton - Turner embodies a distinctly British sensibility and boundless curiosity for sound. For A Colourful Storm, discovering Deux Filles, his mysterious project with Colin Lloyd-Tucker that has since been reissued by Dark Entries, was a significant moment in shaping their identity.

In August 2023, A Colourful Storm presented Simon Fisher Turner and Time is Away at Spanners, London. Performed at the tail end of Blue Now, a series of events celebrating Derek Jarman's last feature film, Blue, the recording reveals a lifetime of significant events and influences. Terre Thaemlitz's remix of Turner's Shishapangma (Comatonse Recordings, 2015) is reworked and appears on vinyl only, Jarman is privately recorded reading White Lies, Bertrand Russell is sampled, and Turner records his brother practising the Great Rissington organ for their father's funeral.

"My wife and I lived in Brixton, near the venue, on Coldharbour Lane, 20 years ago. We were above a takeaway shop. The air extractor was a nightmare and the flat smelled of grease. The market was a great place to buy fish. We adopted a giant snail, who we called Ayrton. I used to take him all over town and he loved lettuce and tomatoes. There was a wonderful small pizza shop too, which was so delicious. But back to the music. Brixton is music and I'm a lucky man."

The album SATO was made by the Ukrainian Crimean Tatar pianist and composer Usein Bekirov.
SATO was created during the difficult wartime for Usein’s motherland Ukraine and for the author himself.
Despite circumstances, the compositions of SATO express the ideas of the beauty and revival of Ukrainian music, a part of which is Crimean Tatar folklore.
The uniqueness of the release is caused both by the concept of the album and by the performers' star crew.

The jazz sound of the compositions of SATO is directed to the stylistic course of ethno-jazz and world music.
Rhythms and melodies of colorful Crimean Tatar folk music became the main source of inspiration in the creation of the album.
We can find both Usein's original author's themes, skillfully stylized to the oriental sound,
and referenced to the classic jazz vocabulary in its juicy riffs and grooves with features of fusion and funk music.

The name of the album reflected the inheritance of generations through music.
Sato is not only a folk instrument but also the name of the first Crimean Tatar jazz band, which made the first jazz arrangements of Crimean Tatar songs.
The music of this band became the basic musical experience of Usein Bekirov, because one of the members of the group was his father Riza Bekirov, to whom the album is dedicated.

The author and producer of the album is Usein Bekirov - Ukrainian pianist, composer, arranger, sound producer, and author of music for a number of films and theater performances.
Usein Bekirov cooperates with both foreign and Ukrainian musicians of the highest rank.
This is evidenced by the participants of the album Sato: Dennis Chambers, Randy Brecker, James Genus, Mike Stern, Ada Rovatti (USA), Hadrien Feraud (France), and Cenk Erdogan (Turkey).
Each performer reinterprets the author's material of Usein Bekirov through the prism of his own experience, character, and manner of performance, which was expressed in the daring stylistic combinations within a jazz style.

A special role in the creation of the album was taken by the participants of the recordings, especially, legendary jazzmen Dennis Chambers, Randy Brecker, James Genus, Mike Stern.
Their ideological and creative support became an important part of the creativity process.
Musicians expressed their impressions in small addresses for the audience.
One of the reviews of the musicians:
"The process of recording compositions was really exciting! This music reflects Usein's national origin and sense of his native culture.
It is full of real emotions. Actually, this music is quite difficult, but it is very well written and produced!
I sincerely hope you will notice this album, which also took part in Dennis Chambers, James Genus, Mike Stern, Ada Rovatti, and others.
I think it's going to be a really special album, can't wait to hear the final version.
When you hear about the premiere, I highly recommend listening to this new album created by Usein Bekirov.
It will be great!" Randy Brecker

Having shared stages with artists like Efterklang and Ólafur Arnalds, Samson has long felt like an outsider, caught between being “too experimental” for some and “too indie” for others. His struggle to fit into a defined space has deeply influenced his music. After the pandemic derailed a major indie record deal, Samson grew disillusioned with the industry, reflecting on how his search for belonging had often been met with barriers.

His new album “Songs of Beginning & Belonging” are reflections on these experiences. Moving away from the themes of home and displacement that coloured his earlier works, the new album reflects a sense of inner peace and renewal. It is a delicate, meditative collection that underscores Samson’s growth as an artist and a person, driven by a desire to move past old wounds and start anew.

“Songs of Beginning & Belonging” is an album that feels at once delicately sparse, at times even symphonic, but is tied together by a repeated and palpable feeling of quiet liberation - a determination for things to move forward rather than reflecting back on what’s come before.

Recorded between November 2022 and May 2024 in Will’s former studio, a secluded spot on the River Tejo in Almada, which he shared with Casper Clausen of Efterklang), the album was made specifically for Dauw, who had asked Will to create a piece of music for them. The album was, as always, largely recorded using his 1970's 'Uher 4200' tape machine, plus a small collection of other tape machines that wind their way in and out of the recordings and shape in it in a beautifully singular way.

Chalo & Vell return with Made From Moss Volume 2, marking the next step in their collaborative EP series. This four-track of club rollers explores a range of styles and tempos, each track anchored by distinctive rhythms and textures aimed squarely at the dancefloor.

Bangkok, despite being a bustling metropolis, boasts a music scene that feels as intimate and vibrant as those found in smaller European cities. It’s a place where local creatives from various disciplines come together, leaving their artistic imprint across the city. This collaborative energy resonates through Boiled Wonderland’s catalog, which features artists like DOTT, Sarayu, and Chalo—pioneers of Thailand’s burgeoning underground music movement. Both DOTT and Sarayu are co-founders of the record store and label More Rice Records, while Chalo plays a pivotal role as the mastering engineer at Thailand’s pressing plant, Resurrecc. It’s here that the Made From Moss project took root.

While Boiled Wonderland continues to champion eclectic and boundary-pushing music, its sonic direction has evolved to embrace a more dancefloor-oriented approach. This shift reflects the label’s immersion in Bangkok’s electrifying club culture and the inspiration drawn from the city’s warm, sunlit atmosphere.

The Made From Moss series emerged from a creative dialogue between Chalo and label founder Vell. Moss, with its simplicity yet dynamic nature, became the symbolic foundation for a series focused on rhythmically driven, danceable tracks. This vision also sparked the creation of Mosspit events and welcomed MetalMetal as a core contributor.

Chalo’s opener, Feeling, weaves house-inflected vocals with acid synth lines, building a steady groove that carries effortlessly to the finish. Tolerance Break follows, layering dynamic snares, tight breaks, and basslines that pulse with energy. On the B-side, Vell leads with The Ship Rolls Through, a euphoric roller balanced by flickering sound effects that keep the track grounded. Back To Normality closes the EP, leaning into progressive tones with bouncing bass lines that sizzle toward a breaking point, bringing the EP to a close.

The record is already receiving support from the likes of: Ploy, Mixtress, Raresh, Space Dimension Controller, Jennifer Cardini, Answer Code Request and many more.

After Dull Boy Johnny's previous release, a double EP with a tropical A-side and an erotic B-side, this time the three gentlemen are out on the dance floor. After all, the neighbours decided as much.

Unlike the recordings of their previous work that took place abroad, this time they stayed in a steamy attic room in Belgium, where guitarist and producer Jan built a studio. Unable to record at night because of neighbours who did not (yet) appreciate Dull Boy Johnny's music, they dove into Antwerp's nightlife.

The group's previous work took you on a cinematic journey where every musical nuance takes you to a specific setting. Be it an erotic seventies scene, a beach party in the Bahamas, or a blood-curdling chase in the Wild West, Dull Boy Johnny covers it all. Nard Houdmeyers, Rik De Bal and Jan found each other in a shared interest in film genres such as blaxploitation, neo-noir and spaghetti westerns. And therefore also the artists inherent to these genres such as Isaac Hayes, Curtis Mayfield and Ennio Morricone. Dull Boy Johnny's conceptual approach to music can be traced back to this passion for cinema.

For the new EP, however, they traded that cosy movie-watching for turbulent nightlife (the angry neighbours, you know). Besides, it was about time to get their inspiration in the flesh. Dull Boy Johnny immersed himself in the pulses, flashes and swell of downtown Antwerp. Thunder chasing crept under their skin and then into their guitars. In grandfatherly fashion, they then turned to composing, first with just bass, guitar and vocals. In that small lineup and with the sounds of the night still reverberating in their minds, the first pieces of the puzzle were laid out. After that, the sound was opened up and a solid rhythm boost was added. This defined the catchy, up-tempo nature of the upcoming EP that centres on themes of dancing, flirting and partying. Expect rousing riffs, catchy hooks and swinging rhythms. Details were meticulously laid out and bricked into the songs with delicate grouting. The fine polishing of the songs was done with patient finesse and a constant attitude to serve the song. With songs like Suspicion, She Can Groove and Dynamite, it is immediately clear that the gentlemen got their mustard from the club: action, party and spunk! All without losing their typical sensuality.

Despite the different working methods for the third EP, there are a lot of recurring elements that define Johnny's fresh sound. The essence? Catchy high vocals contrasted with a sensual baritone voice, carried by a groovy bass and rhythm section. Around it, the details that give the songs the right atmosphere swirl.

Dull Boy Johnny's music prefers to function as a soundtrack to your own imagination. As you listen, you are invited to wander through the various landscapes of their musical world, regularly giving a nod to the more lustful side of your brain. The songs have already been praised for their compelling melodies and irresistible energy.

With this release, Dull Boy Johnny proves their ability to create timeless music that both touches the soul and moves the body. So surrender to Dull Boy Johnny's punchy grooves and dance the night away. Long live the neighbours!

‘Belgium is too small for pianist Alex Koo’ – De Tijd

‘Stunningly original’ – Downbeat Jazz Magazine

‘Fabulous technique, sounding downright genius at times.’ – London Jazz News

‘When listening, Keith Jarrett’s name came to mind several times. Not because Koo’s playing is similar to that of the American master, but because it is of the same exceptionally high level.’ – Trouw

‘Koo’s compositions and playing are absolutely world class.’ – Written in Music

The son of a Belgian missionary sent to Japan in the seventies and a Japanese peace activist, pianist and composer Alex Koo refuses to be boxed into any traditional category. As the renowned German Jazzthetik magazine put it, "Alex Koo defies categorization."

With ten uniquely personal tracks, Blame It on My Chromosomes is more than a musical statement; it is a form of self-therapy. "The only way not to spiral into depression as a jazz musician nowadays is to vent and lose yourself in the music," Koo shares. "Music needs a purpose beyond self-promotion. For me, it's about accepting who I am and letting go of anything else."

Featuring celebrated trumpeter Ambrose Akinmusire on two tracks, Blame It on My Chromosomes highlights Koo's fearless versatility. One of these tracks, "Jonass," is dedicated to Koo's childhood friend who tragically passed away, adding a deeply personal layer to the album. "When we were kids, we would skate and do stupid things with shopping carts, inspired by Jackass," Koo recalls. "That's why we called Jonas 'Jonass'-he had the biggest smile you could imagine, his laugh was contagious, yet he also was the most reckless one among us."

Koo, praised as "stunningly original" (Downbeat Jazz Magazine), is known for creating music that transcends genre boundaries, blending jazz, indie, contemporary classical and film music with innovative freedom. A native of rural West-Flanders, Belgium, he began his musical journey as a classical piano prodigy at the age of five. In his teens, he developed a passion for jazz and improvisation, earning praise from jazz legends such as Kurt Elling, Kenny Werner, and Brad Mehldau. Koo has even been described as "of the same rare high level as Keith Jarrett" (Trouw). His 2019 album, Appleblueseagreen, featuring Mark Turner and Ralph Alessi, was included in Downbeat's Best Albums of the Year.

Alongside Koo, Blame It on My Chromosomes features his longstanding trio, whose fearless interplay brings the album's narrative to life. The trio, with Koo on piano, Dré Pallemaerts on drums, and Lennart Heyndels on bass, represents the very best of the Belgian jazz scene. Their intuitive chemistry and artistry are the driving force behind the album's emotive power, with special guest Ambrose Akinmusire adding a transcendent layer on two standout tracks.

Either Recordings welcomes Icelandic artist Hjalti onto its roster with the Skarðsheiði EP, accompanied by a remix from Thor under his Sanasol guise.

Jamie Clarke’s Either Recordings has moved from strength to strength since its inception back in 2020, acting predominantly as a home for the label bosses own music while also welcoming remixes from the likes of Barac, Silverlining and Ryan Crosson, plus original material from Jay Tripwire and now, Hjalti.

Title-track ‘Skarðsheiði’ opens, an eight minute dynamic excursion through delicately intertwined synth melodies, bass grooves and expansive effects before ‘One Small Step’ shifts gears into a more loop-led territory, fusing organic percussion with classic stab sequences, airy chord melodies and weighty subs.

Icelandic icon of Dub Techno Thor then steps up under his Sanasol alias to open the flip side, reworking ‘Skarðsheiði’ with their unique twist on the ‘Found Space Mix’, extracting fragments of the original and shaping it into something deep and atmospheric whilst still retaining a sturdy dance floor focused foundation. ‘Kjölur’ then concludes the EP, embracing minimalistic rhythms with cinematic electronica textures and classic stab sequences throughout.

Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

lunch Money Flips Vol. 1: Espresso Con Panna b/w Pain Au Chocolat by | Galaxy Sound Company — GSC45-045, @galaxy_sound_company is reknowned for its always on-point, cop-on-site 45 edit series but over the last few years has also turned plenty of heads with their instrumental hip-hop interludes with label regular Michigan’s @strictlybutters who hails from the same small place that gave us Lyman Woodard & now gifts us with a super sweet pair of beatstrumentals. I’m fortunate to get a limited test pressing to share with you all to preview what the skateboarder, runner, sneaker-head & bedroom b-boy beat maker has in store.

For those that follow him, Strictlybutters frequently shares his lunchbreak/dollar bin finds that he has flipped & spun into juicy, head-nodding gold. With this release, no. 45 in the GSC45 series, we get that on wax live & direct.

Side A’s “Espresso Con Panna” flips the gospel, soul-funk gem “Love Light II” by Salt Of The Earth, from the 1984 LP “He Will Deliver”. SB delivers that thumping bass, hip-hop flip that keeps you going until he tops you off with a jazzy-sax outro to smooth things out just right. On the flipside, “Pain Au Chocolat” hits you in the gut with what feels almost like an alternate Detroit-style beat that ATCQ might have dug into & felt right at home with. & like the A-side, he gives us an “extra butter bonus beat” outro with a funky bass line you will hit the back button to replay more than a few times. & the subtle extra buttered sauce of unique samples with more Axelrod groovy flares & flourishes to tickle your fancy.L

RIYL: Sufjan Stevens, Pearls Before Swine, Richard Dawson, Incredible String Band, Scott Walker. When Dominic Harris started work on the follow up to 2017’s “Rural Tonic”, he had a different kind of landscape in mind than the bucolic inspiration he’d mined for that album and its predecessor (2013’s “Woodland Casual”). Instead it was nostalgia for winters of a youth (mis)spent in 90’s Berlin.

With a lucky find of a Hohner Guitaret, (a 1960s electric thumb piano), Harris began writing lyrics around its sparse and austere accompaniment. And after reconnecting with an old friend from Edinburgh, Ricky White, now living in the USA, the plan became clearer: a winter-journey to the rural Mid-West to write and record an LP. Convening in White’s new hometown of Bloomington IN, Harris would work each morning in the county library, the pair then venturing out on long, aimless drives down country roads before returning to put their ideas and conversation into music. With songs written over two weeks, Harris and White headed to a small studio space in a derelict strip mall in Indianapolis, to capture the album in as minimalistic a form as was fitting to the wintry feel of much of the music; glimmers of pedal steel and recorder shining out amid the dual acoustic guitars and piano arrangements. After the pandemic cut its swathe through all plans, the recording sessions decamped to Scotland.

By then Harris’s longtime collaborator Robert McFall had written string arrangements for each song, effortlessly capturing the spirit of the original vision whilst elevating each song towards the universal. Still there were the frosty hedgerows and abandoned factories of the rural Rust Belt. But also now the sandstone architecture and cobwebs of Edinburgh, and the cold grey of the Firth of Forth. Diminuet, the cover artwork showing a catheter transformed into a flower, captures that fragile moment where the world seems forever frozen in time, even as the Spring prepares to transform us all once again

he initial seed for this project was planted in 2020 when Nicolás Jaar wrote the song “Piedras” for a concert at the Museum of Memory & Human Rights in Santiago, Chile, which commemorates the victims of human rights violations during the military dictatorship led by Augusto Pinochet between 1973 and 1990. Between 2022-2023 it took on a new form as a radio play entitled 'Archivos de Radio Piedras', which was shared on a dedicated Telegram channel. In 2024, the play was converted into a 24 channel installation at the University Museum of Mexico City (MUAC), where it was exhibited for 5 months.

Piedras 1 and 2 is a collection of the tracks featured within the play, all new music by Jaar, but partly presented within the play as the music of Salinas Hasbún (the name a composite homage to Jaar's grandmothers, Graciela Salinas and Miriam Hasbún).

The play follows two friends mourning the disappearance of Salinas Hasbún, a musician and writer who vanished in the early 2020s. Although they live in a future where technology is advanced, they
resort to DIY radio methods because the anonymous group “Las 0cho” has launched a worldwide attack on undersea internet cables, causing a global internet blackout.

The play's central theme revolves around the idea that truths, memories and identities speak from the cracks (“rasgaduras”), or the "in-between" spaces ("en el entre"). This concept is supported by the
way much of the narration unfolds - in the liminal spaces between radio frequencies. The instability and transitory nature of a constantly shifting radio dial becomes not just a metaphor but the structure of the play itself. It’s in these moments of noise, static and interference that the deeper revelations of the story emerge. This disjointed, ever-changing medium mirrors the way memory and trauma operate within the play - non-linear, slipping through the gaps, found in fragments or ordinary moments, rather than direct transmissions of “official” historical accounts.

This notion reaches its climax at the end of the narrative, when a text is discovered in which Salinas speaks of finding a new number in a small pond in a cave mentioned in the first episodes of the radio play. This pond, inside the “cochlea of the world”, is seen as a way to introduce real-life randomness to computation. Embodied in the salt lakes of northern Chile, home to the world’s oldest bacteria, this randomness disrupts the rigid order of binary code, paving the way for a transformation of digital life.

First solo release by Nicolás Jaar since 2020’s Telas and Cenizas.