Поиск:solo

Impressive Collective, BBE Music and Mark de Clive-Lowe present: Remixes & Reimaginations World-renowned for decades, Mark de Clive-Lowe is a New Zealand-born, Tokyo-based pianist, composer and producer, widely recognised as a pioneer in nu-jazz, broken beat and electronic music. In contrast to his previous release on Impressive Collective, the contemplative solo project 'past present (tone poems across time)', this collection brings together MdCL’s extraordinary reinterpretations of other artists’ work. As he explains: “Remixing has always meant more to me than just rearranging stems - it’s about uncovering a new reality inside the music.” From the uplifting gospel-house of Close Counters’ 'I’ll Be There For You', recontextualised for the broken beat dancefloor, to the timelessly angelic tones of We Are KING’s ‘Supernatural'; from Omar’s 'This Is Not A Love Song' reimagined almost 30 years later, to the politically charged intensity of Anthony Joseph’s 'Maka Dimweh' - every remix has been crafted with the progressive dancefloor in mind, while still resonating for the deep listener and always in service to the original artist’s essence. “I’m grateful to every artist who’s invited me to dive into their work - to deconstruct it and reimagine it with love, curiosity and respect. This compilation isn’t just a retrospective, it’s a celebration of the remix as an art form.”

LSB returns with his first extended release since 2020 with ‘The Middle’ a 9 track solo project that sits somewhere between the dancefloor and the home, written by a man who feels neither young nor old in a project that's too long for an EP but too short to be an album. The Middle is about that space that feels uncertain and foggy and embraces both anxiety and opportunity that sits within it.

A two-way Italian/Mexican stand-off here, as Saint Wax founder Gledd (real name Eduardo Barbi) and Kaninchenbau label chief The Funk District (Fernando Mendoza) deliver their first joint EP since 2022. The latter steps up first with two solo workouts- the Clavinet-splashed nu-disco-goes-bluesy deep house shuffle of 'The River Bends Back' and the Rhodes rich deep house disco of 'Got To Be Alright' - before the duo combine on two collaborative cuts. 'I Said' is a gospel-powered slab of ever-building disco-house hedonism, while 'Down The Middle' is deeper, more bass-heavy and topped off with classic soul vocal samples. Gledd then takes over, following the infectious piano house bounce of 'I Said' with the colourful, acid-flecked excellence of 'Blessin'.

Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.

Vinyl LP with 4 page insert, original artwork and photos

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.

The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.

Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.

Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.

Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.

If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.

Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.

Pure Devotion, benannt nach der gleichnamigen Live-Reihe von 2024, markiert einen weiteren Entwicklungsschritt für Overmono. Hinter dem Projekt stehen die Brüder Tom und Ed Russell, die bereits seit Jahren in der britischen Elektronikszene aktiv sind - sowohl gemeinsam als auch über ihre Solo-Projekte Tessela und Truss. Diese Erfahrungen aus dem UK-Underground bilden die Grundlage ihres Sounds bis heute. Das Album vereint bewusst Unschärfen, technische Imperfektion und zufällige Momente mit einer klaren künstlerischen Haltung. Über elf Tracks hinweg erweitern Overmono ihren Produktionsansatz und greifen dabei auf ungewöhnliche Mittel zurück: analoge Synthesizer aus den 70er- und 80er-Jahren, alte Lautsprechersysteme oder experimentelle Klangbearbeitung. Das Ergebnis wirkt kontrolliert, organisch und immer treibend. Auch die Vocals tragen zur Atmosphäre bei - unter anderem von John Joseph Holt, Kindora und Ruthven. Insgesamt legt Pure Devotion den Fokus stärker auf Emotionalität und Klangtiefe als auf reine Funktionalität im Clubkontext. Das Projekt entwickelte sich aus einer Neujustierung ihrer Live-Show und gewann parallel zu ihren Touraktivitäten an Form. Nach dem Erfolg ihres Debütalbums Good Lies (2023), welches ihnen größere Aufmerksamkeit und internationale Auftritte einbrachte, spielten Overmono zahlreiche Festivals und eigene Shows, darunter Glastonbury und Alexandra Palace in London. Während dieser Phase entstand neue Musik, die später in Rückzugsorten wie Spanien und Island weiter ausgearbeitet wurde. Die Single "Lockup" steht exemplarisch für die Herangehensweise des Duos: direkte, rhythmisch präsente Strukturen treffen auf zurückhaltendere, emotionale Elemente. Pure Devotion wirkt damit weniger wie ein Bruch als vielmehr wie eine konsequente Weiterentwicklung - geprägt von Erfahrung, Neugier und dem Anspruch, den eigenen Ansatz weiter auszuloten. Overmono sind eine neue Größe in der internationalen Club-Kultur.

Proto Exotica notches its third release with The Infinite Hum EP , the debut project from Melbourne producer Mateo Torres Rodriguez under his new alias: Cerro.

Cerro is a personal and transportive collection of recordings owed to four months in Colombia, where Mateo returned to the neighbourhood he grew up in. On a table in his childhood home, he set up a modest travelling studio with a small collection of analogue hardware. At times, he'd pack individual pieces of
gear to travels within his travels, working without a fixed room or routine.

And so from a drum machine, a monophonic synth, a polyphonic synth, a laptop, and a pair of headphones (but no speakers) came five tracks of dub-inflected house and cosy Balearica.

The EP opens with 'The Bright Side' , dub bass, warm analogue pads, housey tempo. 'Unending Journey' slows things down, its deep low-end holding space beneath a synth that drifts in and
out.

'Power Of The Small' brings a dreamy house melody alongside a dubbed-out analogue lead, the filter opening and closing as the track breathes. On the B-side, Andras remixes 'The Bright Side' , keeping the bounce and weaving a jazzy lo-fi Rhodes solo through it. The EP closes with 'Indubitably' , dubbed-out vocal samples and floating pads settling into a downtempo Balearic lilt.

FELT wade deeper into the murky waters of contemporary Scandinavian electroacoustic music following the recent reissue of Johan Wieth’s Health & Safety project on sub-label LEFT and established gems from the likes of Civilistjävel!

Gintė Preisaitė, a Lithuanian artist and graduate of Copenhagen’s Rhythmic Music Conservatory, reveals her first solo release under her own name, following a collaborative effort with Toshimaru Nakamura in 2025 and a number of cassettes as “Baraboro”. The deliberately genre-blurring sound Preisaitė deploys works with composed pop vignettes, sustained drones, FX manipulations and guttural bursts of noise. Sparse piano movements, sample-laden psychedelia and moments of big beat/trip-hop rhythms gel with crowd noise, close mic’d intimacy and experimental percussion with a focus on instrumental timbres and extended techniques.

With a background in composing for large ensembles, Preisaitė's multi-instrumental approach is evident across the eight tracks, moments of dense concrète-style sound collages anchored by the human voice never being far away. She laments on fantasy, absurdity and relationships as a cast of players contribute string, brass, accordion, and guitar parts. Passages move from delicate acoustic folk motifs through to wide-eyed, cut-and-paste glitch electronics and spectral melodic riffs, making the album an unorthodox and welcome addition to Denmark's current world-class music scene.

Mat Fink with his first solo EP, on new label, Funky Soul Creations, delivering driving bass-lines and jazzy melodics. 4 tracks telling stories of diversity and funkiness with touches of Detroit and Chicago energy. From a DJ for a DJ, the versatility of the release is for any environment whether peak-time in the club, at the afters, or just a Sunday afternoon listening. A Side opens with the title track, a raw funky tribal groove with an off-the-top one take vocal that was never written nor planned. That’s followed by a ‘Peace of Deep’, an early morning deep house mood that intensifies and inspires the sun to rise over the horizon. B Side is where the release becomes darker and quirky. The first track offers a hypnotic bass-line with deep textures and rolling percussion lines. The track is set in the environment of the long club night, managing the intensity and progressions.

The final track of the release is a cocktail party for the forest animals. Futuristic folk

(Orange transparent vinyl, limited edition) Age Of Love's 3 most famous remixes on 1 record: the legendary 1992 Jam & Spoon 'Watch Out For Stella' Mix, Charlotte de Witte & Enrico Sangiuliano's 2021 Remix & Solomun's 2017 remix.


Age Of Love wrote and released their most iconic track in 1990. It went on to become a stone-cold dance classic that inspired a whole trance movement that has endured throughout the years.Now its 3 most famous remixes are available on 1 record: the legendary 1992 Jam & Spoon 'Watch Out For Stella' Mix, Charlotte de Witte & Enrico Sangiuliano's 2021 Remix & Solomun's 2017 remix.

Balaise was the original title of Vers le Nord’s debut album. In French slang, balaise means something in between badass and flamboyant. The word keeps popping up throughout the record, like a teenager’s graffiti scrawled on a bus shelter after a few drinks. Balaise robots. Balaise ghosts lurking in the shadows. Balaise is the barfly who fantasies about becoming a street vigilante. In many ways, Matthieu Pellerin's new solo project is entirely contained within that word: a gigantic piece one man against the world cobbled together, a monument shaped by hand using layers of synthesizers sounding like cathedral organs cast in concrete.


Stitching this type of freak together took time. Five years, or what sounds like forever in an age obsessed with career trajectories and content strategies. But for Matthieu Pellerin, it was never about career plans or taking the easy road. Or he would have dug up the rotting corpse of Oi Boys, his now-defunct band, whose brief existence and explosive popularity once united sullen skinheads, gothic street punks, and old school punks alike. Or he would have fully embraced the Metz scene, now that the Great International Triple Alliance of the East (Noir Boy George, The Dreams, The Feeling Of Love...) and rising solo acts like Tune Zitoune, Josy Bazar, Fantôme Josepha, and Tony Gerrano have somehow transformed this sprawling open-air heroin camp into an unlikely capital of cool. But Vers le Nord doesn't point East, and it is as a lone rider that Matthieu Pellerin can fully reveal his songwriting scope.


With Le Seul Élément, his first solo project, the Lorraine native had already shown a rare gift for crafting worlds. Picture vast sonic masses stretching like industrial zones, noise-filled fog pierced by pale neon lights and landscapes caught somewhere between the gnarliest dive bar and a doomsday bunker. And slipping through the soul-crushing slowness and fractured blackened atmospheres, one could perceive a throwback to his years plotting in black metal-tinged Loth and Bishop.

Vers le Nord populates those landscapes that once were rough sketches. Damaged characters reign supreme, with a plethora of exquisite mutts brought to life, rather than outcasts committed to the cause. Where Nuits Blanches —his new supergroup featuring members of Rixe, Lion's Law, Headbussa and La Femme— pulls no punches with raw confessions, Pellerin switches gear for tales of robot apocalypses, vagrants and fam-seeking school shooters, delivered with William Sheller-esque rhymes and striking images. Yet even within fiction, he manages to create something deeply intimate, almost defining, showing very little effort: he is a natural. All in all, à l’aise (at ease). Songs resonate deeply with the listener, perhaps because of Pellerin’s odd way or always addressing someone without ever really naming them, a floating, obsessive and inescapable “you” calling us out.


Despite all of the darkness, Vers le Nord stirs deep emotions. There is something of Type O Negative or Anna von Hausswolff in its constant collision of the ludicrous and the epic gothic, its bleak romanticism that never tells a sordid tale. While the vocals remain rooted in a distinctly French punk lineage—think No Class, La Souris Déglinguée and OG Bérurier Noir—the reactor core is hidden somewhere else. Oneohtrix Point Never feels like a closer relative with his ultra-emotional music made of cold synths and disembodied anthems, swallowing and regurgitating forty years of icy, contemplative new wave across ten songs. It comes as no surprise that Lila Ehjä and Aimable, two rising specialists in lowering the temperature below seasonal norms, appear on “Enterrez-moi bordel” (“Bury Me, for fuck's sake”), a grandiose, spectral and magnificently arrogant finale. And in the end, Vers le Nord starts where the original idea was hiding all along: somewhere amid the ruins, definitely balaise and yet somehow, completely à l'aise.

Die Band ,The Holy Kiss" aus San Francisco erhebt sich aus dem Grab, um ihre letzte Aufnahme erstmals auf Vinyl zu veröffentlichen. Aufgenommen im Jahr 2009 von Skot Brown (The Phantom Limbs, Altar de Fey) und zuvor auf 50 handgefertigten CD-Rs veröffentlicht, ist ,Gunslinger" ein raues Meisterwerk aus der Blütezeit von The Holy Kiss mit vier Songs, die feurigen Blues mit Blut, Schweiß und einer kräftigen Prise The Birthday Party vermischen. Der Titeltrack der 12", ,Gunslinger", ist ein Cover eines Bo-Diddley-Songs, den die Band so arrangiert hat, dass er ihrem Hang zur melodischen Kakophonie entspricht. Frontmann Matty Rue Morgue singt mit dunkler Sonnenbrille aus tiefster Seele, während ,Schlagzeuger Nick Ott wie ein Riese über einem elfenhaften Schlagzeug thront und die Felle so fieberhaft bearbeitet, dass er eine Selbstentzündung riskiert" (Tatiana Simonian, L.A. Weekly). Das im Jahr 2000 offiziell gegründete, von schwarzem Humor geprägte, altmodische und gut gekleidete Quartett ,erzeugt einen dunklen und auf süße Weise dissonanten Krach, der an Mordballaden erinnert und perfekt dazu geeignet ist, die im Limbus schwebenden Geister der Betrüger, Verrückten, Säufer und anderer gesellschaftlicher Ausgestoßener heraufzubeschwören, über die die Band gerne in ihren schattenhaften, Dickens'schen Liedchen" (Bill Picture, San Francisco Chronicle). Die Veröffentlichung von The Gunslinger enthält außerdem eine Bonus-7"-Single mit Solo-Aufnahmen, die Matty Rue Morgue 2009 gemacht hat - nur wenige Jahre vor seinem viel zu frühen Tod im Jahr 2015. Darauf sind zwei Songs von Matty und ein Song von The Holy Kiss (,Go Head N Count `Em"), die für Solo-Akustikgitarre neu arrangiert wurden. In seiner Version von ,Go Head N Count `Em", gespielt mit Liebe und tiefem Respekt vor der Blues-Tradition, lässt sich Matty gleichermaßen von Lightnin' Hopkins und Lux Interior inspirieren.

Flexout Audio is thrilled to announce the upcoming release of 'Digital Nature,' a brand-new 6-track solo EP from the exceptionally talented Arkaik. This release holds particular significance as it marks a decade of Arkaik's invaluable contributions to the Flexout Audio family, solidifying his status as a true veteran of the label. 'Digital Nature' is not only a celebration of his enduring legacy but also serves as the exciting introduction of his brand-new alias, Peter Outlaw, offering listeners a fresh perspective on his evolving sound.

Chris Liebing's collaboration with Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer, aka The Alte Stuben Modular Ensemble, 'Entangled Circuits', has been remixed by Hayden Payne, better known as Phase Fatale. Originally released on Chris Liebing's 'Evolver' LP earlier this year, the remix will be released via CLR 20th November 2026. The original track is a collaboration between Liebing and The Alte Stuben Modular Ensemble made up of Mute founder Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer. New York-born, Berlin-based Phase Fatale has held residencies at Berghain, Brooklyn's Merge and Tbilisi's KHIDI, and has built a catalogue across Ostgut Ton, Dekmantel, Jealous God and his own BITE imprint, carrying a lineage that runs from New York's cold-wave underground through to the sharper industrial edges of Berlin's club circuit.

Phase Fatale rebuilds 'Entangled Circuits' around a hypnotic bassline, pitching the original's synth stabs up a notch.
Weighted kick drums, relentless repetition, and industrial texture anchor the rework in techno mastery, delivering a peak-time weapon without loosening its grip on the source material.

The original version of 'Entangled Circuits' appears on 'Evolver', Liebing's first solo techno LP, released 27th March 2026 on CLR. 'Entangled Circuits' was composed on a skiing trip to Oberlech, Austria with The Alte Stuben Modular Ensemble, Mute founder Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer, blending dark, modular synth textures with driving rhythmic sequencing. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision.

Alan Vegas ,Live at Max's Kansas City" fängt einen der furchtlosesten Innovatoren und Visionäre der Musikszene in voller kreativer Kraft ein und verwandelt diesen Punk- Club, eines der kultigsten kulturellen Wahrzeichen New York Citys, in ein Theater aus roher Performance, klanglichen Experimenten und kompromisslosem künstlerischem Ausdruck. Aufgenommen am 18. Juli 1980, nur wenige Wochen vor der Veröffentlichung seines bahnbrechenden selbstbetitelten Solo-Debüts, zeigt der Auftritt Vega an einem entscheidenden Punkt in seiner Karriere, an dem er eine einzigartige künstlerische Sprache entwickelt, in der Rockabilly, Blues, elektronischer Noise und Performancekunst mit elektrisierender Intensität zusammenfließen. Auf sieben Titeln wird Vega von dem jungen texanischen Gitarristen Phil Hawk begleitet, dessen messerscharfe Gitarrenarbeit sich mit Vegas Tonbandmanipulationen und experimentellen Klängen verflechtet, um seine kompromisslose klangliche Vision zu verstärken. Eher vom Instinkt als von Konventionen getrieben, fängt das Album die Kollision von Rockabilly und Blues mit elektronischen Experimenten, unerbittlicher Energie und der radikalen künstlerischen Freiheit ein, die Vegas Karriere prägten. ,Live at Max's Kansas City" ist ein lebendiges Dokument davon, wie Alan Vega am Beginn seiner Solokarriere stand - mit dem unerschütterlichen Engagement seiner kreativen Kräfte. Jeder Schrei, jeder Pfiff und jeder Ausbruch des Publikums wird Teil der Performance selbst und bewahrt den explosiven Austausch zwischen Künstler und Publikum, der Vegas einzigartige Bühnenpräsenz ausmachte. Entdeckt von Liz Lamere und Jared Artaud im Alan-Vega-Archiv, dem ,Vega Vault", wurde ,Live at Max's Kansas City" von Josh Bonati aus den Original-Live-Aufnahmen remastert, wobei die Bänder von Ted Young übertragen wurden. Diese historische Performance, die ein weiteres bisher unbekanntes Kapitel aus dem ,Vega Vault" enthüllt, ist zum ersten Mal auf Streaming-Plattformen und auf Vinyl erhältlich .

5 track LP

Follow-up to 2025's “i was put on this earth” (“a triumph of gentle reverie and quiet upheaval” - Pitchfork). DJ Python’s music has always occupied the interesting space in between - reggaeton's low pulse, ambient's patience, deep house's forward motion, the abstracted sounds of trip-hop, shoegaze, and pop - and this new EP finds him stretching that even further. A companion to “i was put on this earth”, the new EP shares that project's creative DNA while pulling in its own direction.

DJ Python (aka Brian Piñeyro) steps more fully into the role of singer and songwriter, sharing the mic across a set of collaborators including Ari, Tony Bontana, and Eden, while still carving out room for hypnotic solo songs.

Across five tracks, the project moves fluidly while retaining the captivating melodies, atmospheric textures, and rhythmic innovation that defined Python's earlier recordings - Mas Amable, Angel, and Club Sentimientos Vol 2 - expanding those sounds into something looser, warmer, and harder to categorise.

Naughty Boys, originally released in 1983, was Yellow Magic Orchestra’s seventh and final album to top the Japanese Oricon Pop charts.

A remix album, Naughty Boys Instrumental was released in July 1983. It contained nearly the entire Naughty Boys album as instrumental tracks in an entirely different running order, as well as the b-side to "Kimi Ni Mune Kyun", "Chaos Panic"; and the full instrumental version of "You've Got to Help Yourself", of which the vocal track was included on Service.

Naughty Boys Instrumental featured additional synthesizers imitating the vocal lines, as well as new embellishments and mixes. Several tracks featured sonically updated percussion tracks, while "Ongaku" featured an acoustic piano soloing over the piece.

This release combines both the original and instrumental albums. Naughty Boys & Instrumental is available on black vinyl and includes a 4-page booklet.

Melody Of the Soul proudly presents its 10th vinyl release, featuring a stunning lineup of collaborations and solo works.

The A-side opens with the beautiful collaboration “Meera” by M.O.S., Serious Dancers, and Alexandra Savvidi, followed by a solo piece from Serious Dancers titled “Serenity.”

On the B-side, the journey continues with “Dikanda,” a powerful collaboration between Ranta, M.O.S., and Miroshin, before closing with a standout solo track by Ranta, “White Avadon.”

A carefully curated release that celebrates collaboration, atmosphere, and individual artistry across all four tracks.

Huxley debuts on Rekids with the ‘MIND G%MES’ EP.

UK DJ, producer, and Dumb Safari label head Huxley joins Radio Slave’s Rekids for the first time with the ‘MIND G%MES’ EP, dropping 25th July 2025. The first track, ‘M%ND’, kicks off with woozy and alluring pads swirling round a cuddly but kicking Deep House groove. Soulful vocals and delicate, cosmic melodies rise out of the mix to bring it to a close in style. 'CLUB SH%T' ups the ante with zippy synths injecting some texture to slamming drums that straddle the House and Techno divide, while wispy stabs and warm daubs of sound dance around the cowbells to make this an evaluated late-night tool.

'FEAR N%THING' is a new school cut, with fi ltered loops, sugary chords, and pent-up energy all surging through the dance fl oor. Last but not least is 'ANY1', a sleazy House pumper featuring moody spoken word, a big, rubbery bassline, and slinky, Garage-infl uenced percussion.

Active in the underground music scene for two decades, former Rinse resident and sometime Aus, Shall Not Fade and Unknown To The Unknown artist has had one hell of a career. From huge breakthrough tracks like ‘Let it Go’ on Hypercolour and ‘Box Clever’ on 20:20 Vision to his 2014 ‘Blurred’ LP on Aus, he’s seen universal critical acclaim as well as massive support from DJs and dancefloors globally. In recent years, his Dumb Safari label, the online community R Trybe (co-founded by Ramin Rezaie/BAKKIS) and collaborations with Steve Bug are just a handful of his projects, while his ‘MIND G%MES’ EP for Rekids is already feeding the fi re with support from Jen Cardini, Cromby, I.Jordan, Jennifer Loveless and big room dons, Michael Bibi and Solomun.

Jason Singer spent years building Michigander from a DIY solo project in Kalamazoo into a national indie-rock staple through little more than a guitar and a refusal to quit. On his second album, Over Before You Know It, Singer isn’t retreating from the world, but learning how to move through it. The record finds power in the tension of living with both the good and the bad, refusing to let outside noise or internal doubt act as a roadblock. “We spend so much of our lives trying to build something that we never have the time to enjoy. That’s the lesson I’ve learned over the past year,” says Singer. “Tell people you love them. Take care of yourself. Fight for the good. That's what this album stands for.”

Presenting the eighth edition of the Bizarre Trax wax series and the second solo outing from bare-knuckle beatmaker B.Love. A Shape You Can Feel EP marks a subtle but deliberate evolution in the producer's sound. While the groove-led, funk-infused records that first put his name on the map are still woven into his DNA, this latest four-tracker strips things back in favour of a more understated, headsdown approach. Leaner drums, weightier low-end and hypnotic arrangements take centre stage, with each cut built for long blends and late-night dancefloors. Across four rolling club weapons, B.Love explores a deeper, more refined sonic palette without losing the character that's become synonymous with his productions. Chopped vocal fragments, unmistakable sample work and crisp, polished percussion remain at the core, but are now delivered with greater restraint, allowing space, tension and groove to do the heavy lifting. Designed for selectors who favour subtlety over spectacle, A Shape You Can Feel EP is a confident statement from an artist continuing to carve out his own lane; proof that sometimes the smallest shifts leave the biggest impression

Best known as the DJ for multi-platinum band Sugar Ray, American DJ, musician, rapper, singer, record producer and radio personality Craig Anthony Bullock aka DJ Homicide_ has been active for more than three decades. His solo work finds him flipping a wide range of source sounds into his own fat, club-ready joints, all informed by years of working various crowds into party mode. He opens here with 'Se Acado Fl', and brings a light touch to heavy beats that are overlaid with impassioned Spanish vocals that add a florid edge next to the excitable horns. On the backside is Big Syphe'd 'Our Generation Flip' which is soul music welded to a low slung and dusty hip-hop foundation.

Two years after Return of the Boom Bap, KRS-One returned with his self-titled second solo album and again enlisted the beat-making excellence of DJ Premier as well as Showbiz, Diamond D and others behind the boards. Lead single 'MC's Act Like They Don't Know' is a stone cold classic that still gets heavy rotation and exemplifies One's lyrical heft. It is backed up by gems like 'Represent The Real Hip-Hop' featuring Das EFX, while Premier strikes again on the state-of-hip-hop anthem 'Rappers R. N. Dainja,' and 'De Automatic' delivers straight boom bap alongside Fat Joe. Political and social commentary runs deep on 'R.E.A.L.I.TY.' and 'Free Mumia' with Channel Live, while 'Wannabemceez' with Mad Lion keeps the sucker-MC disses coming.

Nach zwölf Jahren meldet sich Morten Harket, die unverkennbare Stimme von a-ha, mit seinem bisher persönlichsten Soloalbum zurück. Human Grace ist ein tiefgründiges, intimes Album, das den gewohnten Stadion-Sound a-ha’s gegen organische, emotionale Klänge tauscht. Von Harket selbst als „Feier des Lebens“ beschrieben, entstand das Album in enger Zusammenarbeit mit langjährigen musikalischen Weggefährten und seiner Familie – darunter berührende Gastbeiträge seiner Töchter Tomine und Karmen Harket.

After releasing some of the most interesting deep ambient techno of the past decade as part of Varuna, Swiss artist Mario turns up the tempo and energy to present his solo debut EP - Devil's Hole Mine.

IT Recordings presents ITR005 — a debut solo EP from Corium.
First spotted on the label’s V/A release and having played in some of the most iconic clubs such as Berghain or RSO, Corium steps up with a solo 4-track EP that perfectly mirrors his universe as a DJ — a complete vision, with a steady precision of groove and depth.

The opener, Liberation, catches immediately the attention with its infectious rhythmic drive and soaring vocal. An uplifting energy perfect for peak time.

Event Horizon follows as a playful and hypnotic building tool, woven with a deep drone atmosphere.

Tabula Rasa is an absolute beauty — Soft as silk, yet underpinned by a rolling, relentless bassline. A breathtaking moment of contrast and grace with emotional depth.

Total Eclipse closes the EP: atmospheric, playful and mental all at once. Equally effective as a peak-time weapon or a tension-building tool.

Taken together, ITR005 is a remarkably complete EP showing the artist’s ability to hold a floor from every angle. A perfect introduction to Corium’s world.

Thoma Bulwer delivers a solo EP and part of his soul in this diverse 4 tracker with titles conceived in his studios at different points in his life and studio engineering career, all revamped or freshly written to this ‘mini-album’. The A1 kicks off with ‘Work It’ a 4×4 house n techno roller you’d be familiar hearing at Starlane Pizza Bar, something like Hackney Wick meets Perlon. A2 ‘Bit’s n Bobs, is an electro, 2Step garage deep roller inspired by his time at Freerotation festival and digging their at Template of Vinyl. B1 ‘Situation Escalation’ is exactly what is says on the tin and captures at intense night and time in his life. The EP rounds off with B2 ‘Home Wrecker’, a wonky garage and breaks track with dental vocal clicks from the past fused in to nasty UK bass n drums and write raw to the floor.

It's the solo debut that confirmed Q-Tip could flourish well beyond the formidable confines of A Tribe Called Quest: Amplified. The signs had been there for years, of course, though this was the first time his instinct for jazz-inflected grooves and immaculately sculpted production stood entirely on its own, embracing a more radio-facing disposition and preserving the musicality that had long distinguished his work. 'Breathe And Stop' and the irrepressible 'Vivrant Thing' became the obvious calling cards, then 'Higher' and the Busta Rhymes-assisted 'N.T.' show just how effortlessly Q-Tip could reconcile crossover appeal with genuine artistic finesse.

Emotional Response presents Volume 2 of the LNS-ID series. Atmospheric, infectious, at times nostalgic, warm yet ghosty, the tension of Laura Sparrow’s music is her exploration in electronic music.

An introduction to DJing and music production has been a natural progression, applying skills in new and fresh formats. Built on the heritage of Chicago and Detroit house, alongside old IDM and electro, her first productions might have been raw, but the creativity was lit.

While her recent productions have explored club orientated, loud cut records, in collaborations with DJ Sotofett, that represent the sound found in her residency on the Globus floor at the Tresor club, LNS’s interest in the solo productions of the LNS-ID recordings and more organic-style explored in the recent Misiats EP burns bright.

LNS-ID 1 and LNS ID 2 are her latest offering. Two sets of four tracks based on the acid tradition in the more restless corners of 90s and early 00s Braindance. Acid lines drive the melodies, while drums move between sliced break fragments and the familiar sounds of the Roland TR-606 and TR-808.

Pads drift in with a warm glow or at times, quiet ghostly tension. The results are music that leans towards atmosphere and memory, something almost nostalgic that was built for those of us who still chase the more expressive edges of acid.

Easygoing Acid Express, Alive Acid, Blue Acid and Gentle Acid. Get the message. We call it Acid.

Phantom EP is Mihai Pol's second release on Griffith. The title track is one of his most anticipated in years, something he sat on for a long time and finally decided to put out, already a regular in his sets and at Sunwaves. We Almost is our favourite of the four. Stepback and Solo Locales round out the EP, all of them tested on festival floors well before they reached vinyl.

“Twenty-five years into their existence, The Album Leaf are an old comfy sweater. It might not be the most fashionable thing in your collection but it always feels good when you put it on. Jimmy LaValle’s synth textures are warm, nostalgic and steeped in Boards of Canada / Ulrich Schnauss-style soundscapes that are relaxing, otherworldly and melodic” – Brooklyn Vegan

The Album Leaf shares his new ambient LP, Rotations. The record is a mediative experiment into atmospheric sound. Creator Jimmy LaValle explains, “This collection of music is a true reflection of my creative process—rooted in sound exploration, experimentation, and spontaneous response. Each track captures a moment of creative discovery, free from the pressure of achieving a polished result. Throughout my career, I’ve often placed significant weight on what an album should be. With this release, I’ve let go of those expectations to share a body of work that feels genuine and authentic.

The Album Leaf began as the solo project of Jimmy LaValle, who came up in the San Diego music scene playing in hardcore bands and the instrumental rock band Tristeza. He had inked a deal to release his next solo album through the indie label Tigerstyle Records, so he put the modest advance towards a self-recording starter setup, building out the sound with occasional studio access. The music that emerged — vivid, rhythmic, soaring instrumentals guided by lines of Guitar and Rhodes — not only set the path for The Album Leaf over the next two decades of acclaimed releases (for Sub Pop, City Slang, and others), it became a touchstone for the next generation's wave of melodic and meditative electro-organic music.

A sprawling, meditative journey into inner and outer space, the new double album from Ivan The Tolerable sees Oli Heffernan retreat fully into the solo realm - crafting an expansive sonic world that feels both intimate and cosmic in scope. Recorded entirely alone and released via Riot Season, this latest work drifts away from structured forms and toward something more fluid, exploratory, and transcendent.
Drawing on the devotional atmospheres of early ambient pioneers and the hypnotic pulse of kosmische music, the album unfolds as a series of slowly shifting soundscapes—analog synths breathing in long, patient waves, tape loops dissolving into shimmering drones, and melodies that seem to emerge from nowhere before gently receding again. There are echoes of ritual, of vast landscapes, of time stretching and folding in on itself.
Across its two discs, Heffernan embraces a deeply immersive approach—less concerned with destination than with the act of drifting itself. It’s music that invites stillness and surrender, equally suited to deep listening or quiet disconnection from the noise of the everyday.
Unbound by genre yet rooted in a rich lineage of experimental sound, this is Ivan The Tolerable at his most introspective and transportive - a double album that doesn’t just ask for your attention, but your presence.

Just after the success of its first solo EP, Supervision Records returns with its fifth release - another standout solo project, this time delivered by the talented b0n.

Packed with five high-impact tracks, this EP bursts with intensity, punchy energy, and an abundance of groovy sounds. A powerful and refined new chapter for the label.

Echoes (1984) is the debut solo album by Wally Badarou, a keyboardist and producer closely associated with the Compass Point Studios scene.

This re-issue faithfully replicates the original Island Records UK release and is pressed on 180g vinyl.

Echoes has since gained cult status for its forward-thinking production and genre-defying style. Built around early digital synthesizer technology and fluid composition, the album remains a notable example of 1980s electronic music that continues to resonate with modern audiences.

Acclaimed British ambient / neo-classical artist Digitonal (aka Andrew Dobson) returns with The Night Album - a deeply introspective and transportive new full-length, marking his fifth studio album across a 25-year journey and his first to be written, performed and produced entirely solo. With The Night Album, Dobson turns inward Created in solitude and shaped by generative processes alongside his own musicianship, the record is a study in quietude, self- reflection and artistic reconciliation. Jazz-inflected in spirit (though never confined by genre), it captures a sense of peace and acceptance. The sound of an artist settling into his own voice after decades of evolution.

Die Musik von Panda Bear und Sonic Boom war schon immer ein Spielplatz: ein Ort, an dem Klangexperimente, Loops und unerwartete Ideen aufeinandertreffen. Während Sonic Boom einst mit Spacemen 3 die Balance zwischen Drone und Pop neu dachte und später mit modularen Synths experimentierte, erschafft Panda Bear, solo oder mit Animal Collective, schillernde Klangwelten zwischen Noise, Folk und Elektronik. Ihr gemeinsames Debüt Reset (2022) wirkte wie ein kreativer Befreiungsschlag im Pandemie-Nebel.

Mit A ? of WHEN setzen sie diese Spielfreude fort, gehen aber noch weiter. Harfen-Loops, Steel Drums, Pedal Steel, sogar Jodeln: Das Duo greift bewusst auf vermeintlich „uncooles“ Material zurück und macht daraus etwas Eigenes. Songs wie „Something Like Dreaming“ oder „Like a Moth to a Flame“ verbinden verspielte Psychedelik mit eingängigen Melodien, als würde man von Station zu Station durch einen musikalischen Abenteuerspielplatz springen.

Gleichzeitig wird der Ton ernster. Die zehn Stücke verhandeln digitale Erschöpfung, politische Verwerfungen und ökologische Fragen, ohne dabei die Leichtigkeit zu verlieren. Inspiriert von einer Welt aus „AI slop“, algorithmischem Dauerrauschen und permanenter Vernetzung, suchen Panda Bear und Sonic Boom bewusst nach anderen Formen der Verbindung: weniger Scrollen, mehr echtes Erleben, mehr Radio, Live-Shows, Listening-Partys und reale Begegnungen. Statt Zynismus setzen sie auf Empathie, Glück und gegenseitige Unterstützung.

Im Kern bleibt das Album jedoch ein Akt der Aneignung: Klänge aus unterschiedlichen Kontexten werden neu zusammengesetzt, getragen von ungewöhnlicher Percussion wie Harfe und Steel Drums. So entsteht Musik, die zugleich verspielt und reflektiert ist. A ? of WHEN blickt auf eine widersprüchliche Welt und verwandelt sie in etwas Verbindendes. Kein großes Heilsversprechen, sondern die Einladung, gemeinsam offline darin aufzugehen.

Konsequenterweise wird das Album nicht auf Streaming-Plattformen verfügbar sein: Panda Bear und Sonic Boom setzen stattdessen auf reale Begegnungen, Listening Sessions und direkten Austausch jenseits algorithmischer Dauerbeschallung.

One of the key architects of Gospel House Music, DJ Spen, gets set to release his brand new full-length artist album, ‘The Praise Party’ on Quantize Recordings. DJ Spen’s weekly Sunday ‘Praise Party’ live stream was born in the pandemic, when a heartfelt idea from his wife Kelly, “go live and bring hope to people”, grew into a global online family united by music, faith, and irresistible gospel house edits. Six years on, that community still gathers, and ‘The Praise Party’ album carries that legacy forward, continuing to bring hope and inspiration through music. A true labour of love, this album sees DJ Spen deliver fifteen uplifting songs where joyful voices rise together in spine-tingling harmony, and stunning solo performances flow over a musical feast of heart lifting, hand clapping and roof raising Gospel grooves.

2026 REPRESS

COEO are back on Toy Tonics! After uninterrupted touring around the globe, followed by a short creative break the guys come back with an even stronger sound. With the new EP they go more underground again. Its addressed to the clubs and night owls out there, who turn night into day and won't stop dancing!

The sound is based on classic house patterns and includes a lot of cool saxophones, big piano stabs & rhythmic piano solos. They even go tribal, use arpeggios and switch into breakbeat heaven. The four Originals are a great next step in the COEO evolution. The unique warm, catchy atmosphere of the tracks can create that special COEO euphoria which made them a lot of fans. From Moodymann to Disclosure, Mall Grab to Kenny Dope, the list is long.

It’s fantastic to see how popular they became over the last couple of years. The last COEO vinyl sold over 2500 copies and some of their tracks have millions of Spotify plays. It’s DJ FOOD. Pure bliss!

Two years after Introducing, this 1977 release—the second installment in Toshiba EMI’s acclaimed “Pro Use Series”—returns on clear green vinyl.

Joining the returning rhythm section of Shuichi “Ponta” Murakami (drums) and Ray Ohara (bass), percussionist Nobu Saito and others further strengthen the album’s rhythmic foundation. Highlights include the classic “Left Handed Woman”, where Jun Fukamachi explores new possibilities for the analog synthesizer while engaging in electrifying solo exchanges with the song’s composer, Kenji Ohmura, as well as “Take It Easy Mr King Kong”, which makes inventive use of a talk box.

More accessible, more thrilling, and even more refined than its predecessor, this album stands as a superb showcase of Fukamachi’s evolving musical vision.

A pioneering keyboardist of crossover music in Japan, Jun Fukamachi recorded and released this hidden masterpiece of the early Japanese fusion era in 1975 as part of Toshiba EMI’s audiophile-oriented high-fidelity analog “Pro Use Series”.


Now, it returns on clear red vinyl.

Backed by a powerhouse rhythm section consisting of drummer Shuichi “Ponta” Murakami and bassist Ray Ohara, Fukamachi showcases a rich palette of analog synthesizer sounds, while Kenji Ohmura delivers breathtakingly intense and fluid guitar solos.


The centerpiece of the album is the approximately 14-minute jazz-funk epic “Bamboo Bongo”, a standout track that perfectly captures the virtuosity and adventurous spirit of this landmark recording.

Debut LP from fast rising Israeli pianist and producer Yoni Mayraz. "Dybbuk Tse!" combines jazz with the sound of 90’s New York hip hop. Yoni simultaneously interweaves unique Middle Eastern melodies, sophisticated structures and sounds, with beautifully crafted solos played by some of the scenes promising young talents. Fans of Alfa Mist should check!