Buscar:son of sun

“Crazy Funky” marks the official debut of Tommy Soul as a producer — a track born from the desire to blend the groove of 80s funk and disco with a contemporary sonic approach. A warm, dominant funky bassline drives the track alongside a vintage-flavoured, punchy drum groove, supported by modern electronic synths and sound details that firmly place it in the present.The lyrics and vocal melody sung by Tommy Soul, reveal an unexpected falsetto, especially in the harmonic tension of the hook “make me crazy!” The goal was to reinterpret the spirit of original disco productions and bring it into a modern, more electronic and club-oriented dimension, while preserving the analogue soul and authentic warmth of the sound. The result is a track with a strong character: a relentless bassline, gritty vocals, an infectious groove, and an energy built for the dancefloor.

Japanese crossover and fusion are hot again now. As either an outgrowth of, or a spin-off phenomenon from, the global reappraisal of city pop,
Japanese fusion has been rapidly rising since around last year.
This was the second release on AURA, the band’s own label established under Polydor, and their 13th studio album overall.
Because they had continued recording overseas for some time, they chose not to bring in guest musicians for this album, instead settling into their
home base at STUDIO JIVE and creating it solely with the band members.
As a result, the album offers a fresh and lively sound that returns to the group’s roots.
Alongside the live staple "SUPER SONIC MOVEMENT," it is also packed with new attempts, including the Japanese-flavored "Old Times," the technodriven big band-style jazz track "SOLID SWING," and the high-speed Latin funk number "RED ZONE."
This also became the final CASIOPEA album for the duo of Tetsuo Sakurai and Akira Jimbo.

Following the sensory adventure of Tancade, in which Gaspar Claus led his listeners to a secret beach, somewhere between friends’ parties and summer sun, a new territory opens up. With Cells, he offers an even more expansive journey: an inner journey as much as a cosmic shift, a plunge to the point of origin, where life is invented.


True to his sole instrument, the cello, Gaspar multiplies its sound to the point of abstraction. This new work seeks to reach the primordial moment of the first cell division: a tiny, infinite moment when everything was still possible. On stage, he has built a shelter, a refuge-cell, a porous space where the visible and the invisible respond to one another. Lights, electronic breath, uncertain presences—everything conspires to confront the audience with its own dizzying presence in the world.
On the album, this architecture unfolds across ten “musical cells.” Each piece observes the same phenomenon: the cello allows itself to be absorbed, dissolved, stretched, or replicated by the machines. Sometimes preserved, often transformed, the instrument becomes living matter, an unstable organism, capable of emitting both electronic landscapes and archaic beats. A rich, luminous album, imbued with an almost healing energy, Cells might seem more electronic than Tancade. Yet every sound that makes it up comes from the cello— transformed, filtered, and reworked through a series of successive transformations. This is music that doesn’t merely describe life: it re-enacts it, cell by cell.

Across an extensive suite of enchanting miniatures, Matthias Kremsreiter and Christian Schoppik present the hypnagogic vision of Taghelle Nacht. Recording under their respective Roudi Vagou and Läuten der Seele aliases, Kremsreiter and Schoppik combine their distinct but equally accomplished instrumental practices into a new collaboration that weaves swooning samples amongst instrumental passages. They lead us through 16 vignettes that revel in the cognitive dissonance and seductive magic of moonlight at midnight.

Both artists have past form within the folds of contemporary experimental electronic music in Germany. Kremsreiter's work as alibikonkret has manifested on DIY tape releases created with a methodical, technically-minded approach. Debuting his Roudi Vagou pseudonym on Taghelle Nacht, he pivots to a more playful, instinctively felt method that allows the compositions to flow with a natural cadence. Schoppik has been a key figure in the celebrated dark-ambient-folk scene, not least as part of the group Brannten Schnüre. His work as Läuten der Seele includes the acclaimed 'water trilogy' of LPs between 2022 and 2024, with a greater emphasis on instrumental, atmospheric production, and a last, stunning collaborative album with Nový Sv?t's Jota Solo.

On Taghelle Nacht the precise ingredients of each piece soften at the edges as tape loops and swathes of reverb seal the joints between spellbinding melodic refrains. Opening track and lead single 'Gleisende Lichter' sets the tone with ghostly murmurs, spine-tingling string refrains and splashes of cymbal that cut through the gloom with stark clarity. A lilting romanticism stirs at the heart of the orchestral samples that populate the likes of "Grenzu?berschreitung" - old-world beauty sometimes buried in dust, elsewhere rendered with startling clarity. 'So Süß' lets buzzing, sustained drones and dissonant sweeps of extended technique glide in and out of each other. Granular processing subtly breaks apart the mellow swell on 'Komischer Anruf', and forlorn sax calls out into heavy-hearted space on 'Glaskopf Mit Watte'. At every turn a new scene is painted, distinct from the last and yet all bound up in the pervasive, pale blue light cast over the sleeping landscape Kremsreiter and Schoppik have sculpted.

Snatches of song drift by like dreamlike fragments, and achingly tender flourishes fleetingly appear and retreat - ideas and expressions momentarily caught in the light before retreating into the shadows once more. This is the evocative world of Taghelle Nacht - an unsettling depiction of the surreal blend of memories and imagination that merge into each other once the sun goes down.

Group Rhoda returns to Dark Entries with Phase 5, a new LP of synthesizer-driven art-pop. An integral member of the West Coast electronic music scene, Mara Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. Barenbaum’s songcraft is at once stylistically diffuse and laser-focused, a synesthetic approach that allows her to effortlessly glide between genres and soundworlds while centering her singular poetics. On Phase 5, her fifth LP as Group Rhoda, we find Barenbaum waxing nondualistic. Lines between fairytale and fact, between nature and art, between subject and object all dissolve under contemplation.

The songs on Phase 5 are perpetually in-between states, deftly shifting form at the blink of an eye. With sleight of hand, “Field Tone” transmutes from brooding John Carpenter-esque electro into vocoder-driven space disco. “Dragon Pine” darts from cosmic dub to cybernetic dancehall and back again. The uptempo darkwave-leaning number “Aeolian Crossing” dissolves into the void, like sand falling through one’s fingers, like a retreating wave. The cover artwork for Phase 5 is by Shawn Reed, and features purple lilies and light refracted through water. All songs on this album were mastered by Ruud Lekx. The digital version of Phase 5 will be released via Katabatik, a label and sound system that Barenbaum has had close ties to for the past decade.

Belgian artist Jennifur announces MAZDA, an album inspired by long car rides, emotional transitions, and the strange beauty of existing between places, people, and versions of yourself.

Musically, MAZDA moves fluidly between genres and emotional textures, blending electronic love songs, indie rock structures, UK bass influences, cinematic electronica, and flashes of classical composition.

The project began when Jennifur's brother sent him a playlist called MAZDA, filled with songs their father used to play in the car. What started as a nostalgia gesture quickly became the emotional blueprint for the album.

While writing MAZDA, Jennifur realized he was unknowingly creating the soundtrack to a fictional romcom film that existed only in his imagination. Rather than avoiding clichés like love, heartbreak, growing older, or transition, he chose to embrace them wholeheartedly.

"In a car, you exist in a kind of in-between space," Jennifur explains. "You've left something behind, but you haven't arrived yet. That feeling became the entire record."

The album opener, From A to B, sets the emotional framework for the entire project. Its extended introduction mirrors the exact moment you pull out of your street and realisethat something new has begun.

Highlights include "I Need You To Hold On", written for Jennifur's brother as a message of encouragement. The song "I Once Had a Dream Where I Could Fly" originated from a conversation with his father about recurring dreams of flying. Meanwhile, "From The Sideline" confronts a quieter existential fear, becoming a coming-of-age anthem for anyone who suddenly realizes they have become more of a spectator than an active participant in their own life.

Tracks like "In The Sun" bring a softer, almost cinematic intimacy to the album. Written around the image of spending one final Sunday at the seaside with someone who is seriously ill, the song captures the beauty and fragility of fleeting moments. The closing track "The Dialogue Before We Left" serves as the emotional final scene of the album.

"For me, it's the moment after a long drive when you turn off the engine but stay seated for a minute," Jennifur explains. "You realise something happened. You listened to my story, and we travelled from A to B together."

Maurice “Mobetta” Brown has always thrived at the crossroads—between jazz and hip-hop, improvisation and songcraft, trumpet and microphone. With Betta Days, the Grammy-winning trumpeter, composer, and MC sharpens his genre-bending vision into one of his most dynamic statements yet.

The album plays like a conversation between worlds: lush horn arrangements sit beside hard-hitting beats, verses weave seamlessly through melodies, and Brown’s trumpet leads with equal parts fire and finesse. A student of jazz tradition who came up in Chicago’s storied scene, he’s since expanded his reach into hip-hop and soul, collaborating with icons like Aretha Franklin, Santigold, Talib Kweli, and Anderson .Paak. Betta Days captures the spirit of all those influences while standing firmly in Mobetta’s lane.

At its core, Betta Days is about resilience and growth—finding light even in heavy times. The songs carry a message of pushing forward, fuelled by the energy of community and the joy of creation. Whether he’s delivering sharp verses or soaring trumpet lines, Maurice Mobetta Brown reminds listeners that the future is wide open, and that better (or Betta) days are always ahead.

2026 Repress

Since its inception in 2016, Cornucopia has been a musical project synonymous with creativity and depth. The name itself, rooted in ancient mythology, symbolizes abundance and prosperity. Today, it evokes the same spirit- a metaphorical horn overflowing with ideas and innovation. This ethos emerges in the latest release, the fifth offering from the new label run by Guy J.

The music is a testament to artistic richness and a celebration of sonic exploration.
The release opens with Remember Me, a mellow yet groove-infused track tailor-made for sunset moments by the sea. Built on hypnotic layers, it evolves into an atmospheric journey that blends joy, subtle ecstasy, and vibrant energy. In an age of musical hyperproduction, Remember Me is a reason alone to celebrate Cornucopia's return. Yet,it is only the beginning; the unexpected euphoria unfolds as the release progresses.

Seasoned partygoers often categorize tracks by their vibe-some are designed for the night, while others are for the early hours. The title track, Early Morning, is an ode to the latter, crafted to accompany the most dedicated dancers as they greet the dawn. Driven by uplifting arpeggios, the track radiates unfiltered positivity, eliciting smiles and a deep connection among those on the dance floor. Already road-tested in DJ sets, this euphoric anthem has been hailed as a secret weapon of underground music, delivering pure joy with every beat.

Released by the Early Morning label, it is a fitting finale to this remarkable collection. With its undeniable potential to become a future classic, Cornucopia's latest offering is an experience that lingers long after the final note.

On Xiu Xiu’s new covers album, Xiu Mutha Fuckin’ Xiu Vol. 1 , Jamie Stewart and Angela Seo pay homage to songs that have profoundly influenced them as music lovers and songwriters. This collection taken from the band’s ongoing Bandcamp subscription series, Xiu Mutha Fuckin’ Xiu, features tracks previously exclusive to Bandcamp, now available on vinyl and streaming for the first time. The album showcases Xiu Xiu's unique interpretations of iconic songs such as "Psycho Killer” (Talking Heads), “In Dreams” (Roy Orbison), “Some Things Last A Long Time” (Daniel Johnston), “I Put a Spell on You” (Screamin’ Jay Hawkins) and many more. These renditions are a heartfelt "thank you" to the original compositions, while simultaneously serving as a deep dive into the musicality and greatness of these influential works.

Alpenglühen starts 2026 with two close friends working together in the 11th one
Atàvic is the collaborative project between Estrato Aurora and Absis, merging two distinct yet complementary approaches to electronic music. The project is rooted in texture, atmosphere, and subtle narrative, allowing sound to evolve organically and without excess.
They together bring a refined sense of space and detail, working with ambient layers, restrained rhythms, and melodic fragments that unfold slowly. Here is a 4 track release with a more tactile and material approach, focusing on timbre, resonance, and sonic density, blurring the line between abstraction and structure.
The alignment between Atàvic and the label lies in a shared appreciation for subtlety, patience, and sonic storytelling, where each release is conceived as a complete and meaningful statement.
With this reference, Atàvic contributes a work that resonates with alpenglühen’s aesthetic ethos while reinforcing the collaborative project’s own identity: music that invites close listening and reveals its nuances slowly.
If you’re looking for a peak-time, dancefloor-driven banger to keep you moving until sunrise, this is not that record.
But if you’re after a mind-blowing experience that challenges and expands your listening (and dancings), this one’s for you. Don’t overthink it.

When Brazilian producer, songwriter, and multi-instrumentalist Diogo Strausz arrived in France, he already carried an impressive legacy. Known for his collaborations with the New York label Razor-N-Tape and for producing Brazilian legends such as Gal Costa and Marília Mendonça—whose tracks have gathered millions of streams worldwide—Strausz quickly made a name for himself among an international audience. His productions have also been remixed by acclaimed artists like Yuksek and Ron Trent, further cementing his global reach.

After two critically acclaimed releases on the French label Goutte d’Or Records (Flight of Sagittarius, 2022, and Samba From Outer Space, 2024), Diogo Strausz now naturally joins Favorite Recordings for a new chapter in his musical journey.

On this new album, Strausz pays tribute to the golden era of Brazilian Disco-Funk from the late 1970s and early 1980s, drawing inspiration from visionary producers Robson Jorge and Lincoln Olivetti. The result is an organic, ambitious, and deeply groovy record that celebrates both the vibrant dance culture and the rich musical heritage of Brazil.

Faithful to Favorite Recordings’ analog spirit, the album was crafted using vintage studio gear, capturing the warmth and depth of classic recordings reminiscent of the legendary Estúdios da Sigla sessions in Rio de Janeiro.

The explosive track “Ele é Artista”, featuring Bruno “Patchworks” Hovart (Voilaaa, Mr. President, João Selva, Uptown Funk Empire), is a standout moment—a dancefloor-ready bomb that channels the joyful energy and irresistible funk of modern tropical productions.

With its sun-drenched grooves, jazz-funk sophistication, and boogie flair, this album confirms Diogo Strausz as a master at blending timeless Brazilian soul with contemporary elegance.

Limited Edition Transparent Black Vinyl Version - 500 Units Only

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s The House Music Anthem (Move Your Body) featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

Kicking off 2026 in style Pep Jam All Stars Vol 6 is here.

First up, Kiinjo teams with The Patchouli Brothers and Planet B for Love On The Dancefloor – a proper disco-house jam that’s all about love, groove, and good vibes. Then Hungarian duo Soneec & Soultizer hook up with Hazel Fernandes for Get Down, a feel-good floorfiller with soul and energy to spare.

On the flip, Phil Fuldner brings us Afrodesia, a sun-soaked, disco-powered groove that’s been a long time coming. And finally, Lovebirds take us back with The Path 2011, a cheeky classic that still hits just right.

Four tracks, one 12 inch loads of love for the dancefloor – enjoy!

Having established himself as one of the most exciting contemporary dance producers with a string of stellar releases, Japanese producer boys be kko returns triumphantly with the Nagasawa EP, four floor cuts bursting with emotion, shimmering in Tokyo technicolor, and perfectly at home on Bliss Point.

Nagasawa kicks off with a bang. “ChuKii” is a peak time heater: breaks, chopped vocals and punchy toms sear over a low end groove that proves body music can funk. Melodic acid explodes like a firework mid-track, taking the dance floor to psychedelic new heights.

The club psychedelia continues with “Mold Mold”, a minimal, subterranean system roller adorned with swells, bells, and deep, guttural growls dubbed to the vanishing point.

“Sant Esteve (kko Edit)” is melancholic and contemplative jazz house, eschewing cliché and twinging with nostalgia for that moment you felt most free.

“Humor is an important part of my music”, boys be kko reflected over lunch as Izakaya smoke billowed past his face. “Oignon”, the fourth and final track on Nagasawa, is an airy and joyful slice of sampledelia that makes good on this promise. An enormous smile of a track sending listeners off with a slice of sonic sunshine and, dare we say, hope.

Mexican DJ and producer Hotmood is a Blur label regular who has already dropped his red-hot 'Disco Power' EP here. 'ReWax' is a new selection of his remixes of big, party-ready disco jams. Scruscru's 'Just House' is first up and comes on song with big rolling bass and dusty samples, 'Burnin'' by Jack District has a filtered funk edge and jazzy synth work and Manuel Kane's 'Disco Visions' then brings silky and syrupy chords for a sundown boogie. The flip features three more smart tweaks, from the sliding drums of 'Blue Nights' to the classic house and soul swagger of 'Selva'. A great mix of vintage charm and new school cool.

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

"The Land of the Sun, the Moon and Cosmic Melodies" is a conceptual Opera of III movements, inspired by a cosmogony that features the planets of the sun and the moon. These two characters guides us on a journey of light and shadow, rising and setting in a cycle of unexplored musical territories.
The Collective Move presents its debut album with a broad palette of sounds, ranging from jazz to opera, from southern Italian folk music to northern Indian classical music, orchestrating a 60-minute "sonic narration" that ends with the fable "What do the birds tell?".

The Collective Move is an international group of young musicians formed in the Amsterdam Conservatory in 2022. The Collective's vision is to unite diverse artistic expressions and musical genres, inviting diverse artists and musicians from diverse cultures and countries to collaborate in flexible and interdisciplinary formations.

2026 Repress

HOLY GRAIL ALERT!!! Following on 2021’s massive reboot of Midnight Magic’s seminal classic Beam Me Up, Razor-N-Tape have now unearthed a bit of NYC indie disco history with 'I Found Love.'

Although recorded over 10 years ago in Midnight Magic’s nascent early period that produced many of their legendary hits, the song never received an official release; until now it has been heard only by select ears and lucky concert-goers. The package comes with a grip of luminous remixes by Dimitri From Paris & DJ Rocca, Sophie Lloyd, Perel, some solicited at the time of recording and some brand new, but all exceptionally fresh!

Here are some words about the song by the band:

“'I Found Love' was recorded in a fever on the heels of releasing 'Beam Me Up' New York dance music wizard Tommie Sunshine approached us about a co-write saying we should go as big as possible. So we did, it is one of our all time favorite vocal performances from our singer, Tiffany Roth. We had big plans, too, for a release but nothing quite felt right until meeting the Razor N Tape crew almost a decade later. Finally the stage is set, the lights are on, and we're ready. This song is very special to us because it is the last unreleased recording of our original lineup. We dedicate its release to our late bandmates Andrew Frawley and Jason Disu.”

Darren Nye and James Baker have both had prolific outputs on some of the most authentic, underground house & techno labels. Labels such as Exalt, Form@ Records, Neo Ouija, Revoke, Yore, Spacetime & We’re Going deep. This 12” sampler includes 4 tracks from their album on Fourier Transform which contains ReKaB and Darren’s trademark lush, deep, pad drenched melodies and is UK underground techno to make you move as well as sit and think.

The album they produced is the last James “ReKaB” Baker recorded before his passing in 2025, all proceeds of the album and the 12” sampler will be donated to a fund for his young son.

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

‘Açid Blüüs Räägs Vol.2’ is the latest evolution of the sound of last year’s Volume 1. The debut album was described by Joe Banks for Shindig! Magazine as; “Shivering slabs of drone blues transcendentalism…a burning junkyard of sheet metal blues… Hot stuff.” Volume 2 builds on the skronk blues guitar, sax and electronic drones of it’s predecessor, to explore cosmic free jazz, concrete exotica and dub, channelling influences of Moondog, Terry Riley, 75 Dollar Bill and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's ‘Stalker’ and ’Solaris’, Jodorowsky's surreal desert western ‘El Topo’, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever evolving Invocation band, plus some superstar guest contributors.
Featuring five brand new tracks, including the forthcoming single; ‘Cosmic Fanfare’, has already picked up BBC 6 Music support from Gideon Coe. The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. “….Acid fried kosmiche blues meets drone raag transcendentalism”. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt’s avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3’s contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. THE JONNY HALIFAX INVOCATION follows Jonny’s junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall’s Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck and Melting Hand.

Influences and inspirations come from far and wide. Sometimes they can be household names or pioneers. Other times, they can be lesser-known outfits; less known, but no less influential. Futuro belong to the latter category for Italo Moderni.

Javier and Raúl are two Spanish synthesizer sorcerers who are steeped in the traditions of italo disco and the analogue sounds of the 1980s. While Italo Moderni was still in its infancy, Futuro were a shining light with a young upstart by the name of Adrian Marth even making videos for their tracks. From these beginnings, a mutual respect and friendship developed. Now, the circle is complete with the six tracks making their way onto Accidenti; an EP that marks Futuro’s debut on Italo Moderni.

The collection showcases the breadth of Futuro’s sound. With all instrumentation played through classic analogue machines, the six works journey through neon-streaked city nights, deep uncharted jungle and sun-kissed beaches. Drawing on the music of Rimini, silver screen soundtracks and arcade innocence, this is an EP that remembers and reimagines the 1980s. Intent is immediately set, with the tense and textured “L’assalto” delivering movie score synth stabs alongside crisp percussion. “Matador” is pure elegance, panpipe playfulness countered by glacial refrains and shimmering key shifts. “Iguazu” transports the listener to the wildlife and wilderness of the Amazon; cascading chords glisten as the canopy sings. Futuro takes to the skies with the sonorous swoops of “Il sogno dell’aviatore” before the lovelorn landing of “Fantasma d’amore”, a sumptuous synthesizer serenade of unrequited romance. To close, we’re firmly on the ground for “Sotto le stelle.” Under these sparkling stars, glimmering notes glow with warmth in a finale fitting for such an EP.

And, it is fitting to finally have Futuro on Italo Moderni. A group that has inspired and will continue to do so well into the future. An accidental discovery, mutual respect and a partnership rooted in a love of synthesizers has brought Accidenti into being.

Astropolis Records, the label born from the legendary Brest festival, marks a decade of electronic passion with a sprawling, heartfelt anniversary compilation — slightly delayed, but still delivered with flair.
It comes in two EPs, spotlighting the many facets of the Astropolis universe: in-house artists, long-time festival collaborators, and rising stars from France’s ever-bubbling scene. Eighteen artists guide us through a sonic journey where rave heritage, electronic dreamscapes, and collective fervor converge — true to a festival whose DNA has never recognized borders.


The second EP dives into darker territories, spanning original electro, multifaceted techno, and sunlit vibes toward the close.
Astropolis has always thrived on happy collisions, and this EP is a perfect demonstration.


For synth lovers, Legowelt & Cuften revive the spirit of early electroclash on Liar, a carnal fusion of analog synths and DIY attitude.
Zaatar & Trunkline inject raw energy on Come Into The Light, a sweaty, visceral banger bridging techno, dark disco, and EBM.
French scene stalwarts Scan X & Electric Rescue deliver a masterclass in elegant techno on Lost In Time.


When Manu Le Malin meets Kmyle, the result is as sharp as it is cinematic: Little Big Man builds dramatic tension, balancing raw emotion with contained fury.


On a more contemplative note, we’re thrilled to unveil one of the first productions from our dear Célélé with Théo Muller: the subtle Drum and Drift, threaded with dubby vibrations and sun-drenched bursts.
This anniversary compilation reaffirms the label’s openness to new generations and recent sonic hybrids while honoring the techno scene that shaped its beginnings. Like the festival itself, it embodies the same sincerity and collective energy: a small manifesto connecting generations, aesthetics, and territories — celebrating roots without nostalgia, and the future without bending to trends.

Box Set: 2LP (sparkle) + 7" (transparent) + CD + Vinyl Slipmat + Booklet + 6 Coasters + Keychain + Stickers

Originally released in 2005, OK Cowboy, Vitalic’s first album, is celebrating its twentieth anniversary with a reissue in several formats (box set, double vinyl, CD, digital), enriched with rare tracks and previously unreleased versions.

OK Cowboy is a landmark album in electronic music, a pivotal record between eras.


It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.



Box set contents: double LP, 7-inch single, CD, vinyl slipmat, booklet, 6 coasters, keychain, sticker

Following the acclaimed reissue of Sa Discossa earlier this year, Jo Tongo's third solo album Those Flowers returns to the spotlight.

Originally released just a year and a half after Sa Discossa, this 1982 gem came out on the small Context label and, in Tongo's own words, the two records are "like twins." Recorded with many of the same musicians, Those Flowers continues the vibrant fusion of disco-funk and reggae - this time dedicating one side to each, leaning slightly more into his Western influences.

But there's more than groove beneath the surface. Tracks like "People Need Peace" and "We Human Beings" channel his enduring themes of resistance, identity, and freedom. The synthesizer at the beginning of the song mimics the ominous drone of warplanes, and lyrics speak directly to global struggles - reminders that his music is both deeply personal and powerfully political. "I paid for these ideals in my career," Tongo reflects, alluding to the personal costs of his outspoken stance against colonialism and injustice.

Still, Those Flowers carries joy at its heart. Songs like "Ain't No Man Like A Real Friend" celebrate trust and loyalty, while the title track offers a tender ode to love and kindness - "picking flowers from the soul," as Tongo puts it. These songs reveal the inner world of a man who has always viewed music as a mirror of life.

This reissue marks the second installment in the African Edge series from The Outer Edge label. Fully restored and remastered, Those Flowers is now set to bloom again - another vital chapter in the legacy of Jo Tongo.

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

Mumbai-based musician, producer, and DJ NATE08 returns with his sophomore album Twenty Seven - a luminous fusion of r&b, deep house, and funk-leaning grooves, pressed to a single 140g LP in black vinyl.

Three years on from his acclaimed debut Furaha (which featured the breakout hit “Primrose” with over 7 million streams), NATE08 expands his sonic palette with Twenty Seven: a radiant collection of tracks that balance soul-soaked vocals, late-night basslines, and warm, sun-drenched production.

NATE08, aka Nathan Thomas, has become a central figure in Mumbai’s thriving underground, working as a session bass player, live performer, and genre-spanning DJ, while making an international impact through releases on label Needwant. Twenty Seven captures his full range: both organic and synthetic, smooth yet floor-ready, always driven by heartfelt groove.

From the dreamy opener “You’re The Reason” featuring Mary Ann Alexander’s velvety tones, to the nostalgic glow of lead single “Where Are You Tonight” (feat. Dishaan & Mallika), the album unfolds like a love letter to house music’s emotional core. Highlights include the syrupy r&b/house hybrid “Afterlife” (feat. Dappest), the golden-hour deep house shimmer of “Call Me Back” (feat. Sahirah), and the soul-drenched “What Was It” featuring Jamal Bucanon. Closing track “Stay” wraps it all with soft-focus chords and a bumpy, irresistible groove.

Twenty Seven is a sophisticated and inviting journey across mood, tempo, and texture, showcasing NATE08’s gift for weaving melody, rhythm, and soul into music that speaks equally to the dance floor and the heart.

Vibe Ride is the sixth release of Adam Rudolph's Hu Vibrational project and marks his 60th release as a leader or co-leader. Comes with insert and download code.

“With every record, the goal is to explore new creative territory,” explains Rudolph. Vibe Ride continues a deeper exploration of a trance-like groove and a conceptual framework known as Sonic Mandala. This album marks the most complete realization of that idea, partly due to the group's experience touring beforehand. That time on the road helped to refine ideas and strengthen musical chemistry. The recording process unfolded organically—likely due to the long-standing collaboration within ensembles like Go: Organic Orchestra and Moving Pictures, where the musicians have developed a deep familiarity with the shared musical language.

Sonic Mandala refers to a musical approach distinct from traditional linear structures of theme and development. Found in cultures across the globe, it may represent one of the oldest forms of musical expression—predating written history by tens of thousands of years. Today, it is most vividly preserved in the music of the Ituri Forest peoples (Aka, Baka, Ba Benzele, Mbuti), whose sound traditions revolve in cyclical, orbit-like patterns. Vibe Ride seeks to bring that ancient sense of circularity into a contemporary—and perhaps even futuristic—context.

The ensemble of Vibe Ride—Alexis Marcelo, Jerome Harris, Harris Eisenstadt, Neel Murgai, Tim Kieper, and Tripp Dudley—brings exceptional creativity and skill to the project. While grounded in the sonic languages of today, their performance channels an ancient vibrational lineage, connecting with ancestral sound makers who were attuned to the rhythms of the sun, moon, stars, and seasons. Human beings have always been deeply responsive to natural cycles.

Like a mandala, where the circle reveals itself as a spiral—always returning, but never to the exact same point—the Sonic Mandala musical experience spirals through motion. Refined signal patterns emerge through overtone-rich instrumentation. The groove becomes a threshold, shifting the listener from passive observation into active, even transcendent, participation. With open ears and an open mind, the sound spirals inward—toward a primal center—and outward into the cosmos. When this elevated state is shared among participants, it creates what mystics describe as resonance.

Vibe Ride thrives on the distinctive sonic voices of its players, interwoven with care and nuance into the compositions. Hu Vibrational merges elements of world music, electronica, and improvised jazz into something both funky and spiritual, intense and soothing.

Using signature techniques of organic orchestration, layered arrangement, and electronic processing, the compositions are sculpted from percussion, electronics, and ethereal textures. Rhythmic foundations drawn from diverse traditions serve not as endpoints, but as building blocks. As the saying goes, “Orchestration is the key.” In shaping the sound, the aim was to discover fresh ways of balancing structure and sonic color. As Don Cherry once said: “The swing is in the sound.”

The audiophile LP was carefully recorded, mixed, and mastered by James Dellatacoma—longtime engineer for both Bill Laswell and Rudolph—at Laswell’s Orange Studio.

“This crew artfully blends together to create a seamless tapestry of rhythm… the end results are mesmerizing. Hu Vibrational is all about communing with the groove spirits and creating worlds where earthy rhythms and other-worldly sounds are one.”
— Dan Bilawsky, All Music Guide

“You can be sure that when Adam Rudolph and an ensemble of breathtaking drummers get together mystical and wonderful things will happen.”
— Raul da Gama,

“A stunning effort, enjoyable and grows with repeated listening.”
— Stefan Wood, Freejazzcollective

During the 35 years of making music, Dave Lee has constantly been searching for new singers and writers to work with. A search that’s ended up with many fantastic collaborations and releases with the likes of Thelma Houston, Taka Boom, Dianne Charlemagne and Seal. More recently this quest led him to Maurissa Rose and the creation of their album ‘London / Detroit’. After hearing Maurissa's voice on a Theo Parrish record Dave reached out to her and after a few long phone conversations and mp3 swaps they both agreed a visit to London would be much more fun than trying to work together remotely. Maurissa made the journey from her home in Detroit to write and record an album with Dave at his studio in March 2022 - as they both feel that creating music together in the same room is always better. The fruits of their labour yielded 11 brand new songs (and 1 cover) tapping into their collective love of Soul, Disco and R&B, with a sprinkle of Soulful House. This album is a special one for Dave Lee as it’s the first time in his career he’s recorded an entire album with same singer on every track.

In the album’s liner notes Dave talks of how Maurissa is a naturally creative person, full of ideas, warm & unpretentious which is reflected in her vocal performances throughout ‘London / Detroit’. Dave’s expertly crafted music is backed up with a deeply passionate yet effortless delivery from the Detroiter, a marker of someone who has honed and perfected their art. When it comes to the music side of this LP, Dave Lee is once again proving he’s still at the top of his game and shows no sign of relenting. Drawing from his encyclopaedic knowledge of all things Soul/Funk/Disco, we are treated to a range of styles, BPMs and influences from 95bpm street soul to more uptempo disco and boogie flavours. Be it the rippling synth voyage opener of ‘You Decide’, taking the Johnnie Taylor classic ‘What About My Love’ into a modern Boogie realm, upping the tempo on the soulful houser ‘I Feel the Sun” or bringing the tempo back down to the bassy acidic chug of ‘You’re Giving Me Life’. Mr Lee is truly adept at creating a modern disco soul sound without the usage of samples.

London and Detroit might be two very different cities on opposite sides of the Atlantic but this album is proof that creative synergy knows no distance.

Out everywhere on Feb 28th on Gatefold Vinyl, CD and Digital/Streaming.

Swedish DJ, producer and songwriter Johan Blende debuts on Hell Yeah with a journey to the heart of a grown-up dancefloor in the Med.

Blende is a master of mixing up retro 70s and 80s sound into modern dancefloor delights. He's been doing it for two decades on a wide range of cultured labels from Studio Barnhus to Eskimo, always with a rare charm and leftfield perceptive. With this EP, he taps into the magic of hazy afternoons turning into euphoric evenings by the sea.

'Off To Mallorca' jangles with taught bass notes and sunburnt vocals. Distant synths glow, the jumbled percussion injects just the right dose of ass-wiggling funk and this playful yet sophisticated cut builds toward a blissful rapture. 'Television' ups the ante with prickly acid panning about the mix over sleazy, low-slung drums. Tension simmers as edgy synth motifs stalk the groove and anticipation builds before the whole thing explodes into a cosmic disco payoff. It's raw, unpredictable, and perfect for when things start to get a little weird.

'Como No Brasil' gazes skyward and basks in a wash of shimmering melodies and breezy, wordless vocals that drift like clouds over layered, sun-drenched rhythms. It’s a dreamy, tropical float until a surprise acid storm rolls in and moves things from tranquil paradise to dancefloor hypnosis. Finally, 'Carousel Bagatelle' is a layered, late-night trip that feels both playful and introspective. Hypnotic synths swirl around screwy acid lines and supple, dubbed-out house drums that spin you into a daze.

Blende’s debut on Hell Yeah lands like a postcard from a perfect party - sun-dazed, acid-kissed and endlessly replayable.

South Street International return with the house goodness once again, reissuing Vick Lavender’s house anthem “The L.O.V.E. Song (From Chicago To New York)”. Originally self-released on his label Sophisticado Recordings by the Chicago producer and musician, this is one of those timeless deep house gems that’s become an underrated weapon for discerning DJs worldwide.

Lavender – known for his work with Glenn Underground as part of the legendary Strictly Jaz Unit – has been shaping deep and soulful house for over three decades, blending world music, jazz fusion, R&B and more into a sound that’s both spiritual and deeply rooted in the dancefloor. Here he brings the best of both cities into one track: the soulful musicality of Chicago, the cosmopolitan polish of New York. Warm Rhodes, fluid percussion, and vocal refrains ride over a groove that’s equally at home in a dark basement session or a sunrise terrace set.

With originals changing hands for eye-watering prices on Discogs, this official reissue makes this must have record accessible again. Lovingly remastered by The Bakehouse and presented on South Street International, This record is a must-have for fans of deep house, and anyone who believes in the eternal conversation between Chicago and New York.

Natasha Pirard returns with her most personal project yet, dedicated to her mother and late grandmother, whose care shaped her life. Fernande, Cecile is a photobook of songs, weaving voice, field recordings, synthesizer, and violin into an ode to her matrilineal line. Pirard lost her grandmother at seven, yet Fernande’s warmth stayed with her as a touchstone. Her mother, Cecile, has been a constant presence, guiding her through difficult years.

Alzheimer’s—her grandmother’s illness—and the fragility of memory permeate the work. A conversation with her mother sparked the album: over coffee, Cecile placed a hand on her heart and said, “If I ever develop this disease, don’t forget I’m still here (inside).” That moment became central to the compositions, which translate Pirard’s gratitude and love into music as tender as possible.

The music moves in fragments—notes, chords, loops—evoking gardens, sunlight, and childhood afternoons. Rhythms shift like life itself, carrying echoes of loss and the persistence of memory. Ambient textures brush against her voice and instruments, sometimes punctuated by her grandmother’s favorite bird.

The album unfolds in two parts: Fernande, capturing her grandmother’s warmth and fading recollections, and Cecile, honoring her mother’s care and resilience. Track titles trace memories while the music drifts through longing and gratitude, articulating what words cannot.

The album was written and recorded by Natasha Pirard, produced and mixed by David & Stephen Dewaele of Soulwax/2manydjs at DEEWEE.

Syncretic marks the debut full-length from Australian duo Bhairavi Raman, a Western and Carnatic violinist, and Nanthesh Sivarajah, a mridangam player and versatile percussionist. Both artists share a Tamil heritage, a current that hums across the album. Raman, from South India, and Sivarajah, from Sri Lanka, draw lines that connect Western practice and Carnatic tradition. This hybrid is central to Raman’s approach as a violinist, an instrument itself caught between East and West since the late 18th century. Her playing folds history, lineage and experimentation into music that acknowledges inheritance while gently rewiring its circuitry.

Expanding on traditional music can be a precarious practice, but Syncretic never feels heavy-handed. Raman and Sivarajah exercise measured restraint, letting the Carnatic framework breathe even as it is refracted through contemporary tools. Delays, looping, subtle layering and synthesized harmonies tilt tradition into a new light without disguising it.

Even within a contemporary framework, Raman’s rigorous Carnatic training under gurus Sri S. Varadarajan (India), Sri Murali Kumar (Australia) and Sri Gopinath Iyer (Australia) is unmistakable. She captures the spiritual and emotional essence of each raga: on Seven, the playful raga Bahudari becomes both centrepiece and conduit, while on the traditional piece Thunbam Nergayil, drawn from a Tamil poem, we hear a deeply personal iteration, a weeping euphony of mixed emotions hitting all at once. Tradition here is absorbed, expanded and reframed.

Sivarajah’s command of the mridangam, honed by his gurus Sri Jambunathan (Sri Lanka), Sri Balasri Rasiah (Australia) and Sri T. R. Sundaresan (India), is central to his original composition Guardian. He sustains tradition while extending it through layering and sound-spatialisation. The mridangam here functions as both a structural and ornamental force, mapping continuity between inherited form and contemporary sonic architecture.

Syncretic resonates as a space where Tamil heritage, diasporic memory and contemporary practice coalesce. Culture, like sound, circulates, transforms and persists. Tradition is not an archive but living material, a soundworld that lingers in the ears and the imagination.

DELUXE 4LP-SET IN SLIPCASE WITH GLOSS FINISH/4 PRINTED INNERSLEEVES/12 PAGE BOOKLET/40 TRACKS/COLOURED VINYL

For the 25th anniversary of the release of Strange Attitude on Sony, TMS Records has decided to re-release the album in a deluxe version (new artwork by H5) on vinyl, as well as digitally on October 24, 2025.



The album will feature an acoustic version of "You Were Born" and an original remix of "Little Scare" by Todd Edwards.

This project seeks connections between what is happening in biogenetics (cloning, biomechanical grafts), in art (the body as a territory to be redesigned), and all modern practices of intervention in music such as remixing, cutting and pasting, sampling.
To consider the sonic landscape as an unstable, moving cell culture, which allows experimentation on the body of musical pieces, on their chemical composition in an entirely artificial way. Surgical score, altered rhythms, reworkings.
Music is a mirror of what is happening in our time.

Mit TechnoBase.FM Vol. 5 erscheint eine weitere Ausgabe der beliebten Compilation-Reihe auf Vinyl – ein Muss für Fans elektronischer Musik und Sammler hochwertiger DanceReleases. Die limitierte Pressung bringt den charakteristischen Sound von TechnoBase.FM direkt auf den Plattenteller und vereint aktuelle Club-Tracks mit zeitgemäßem HandsUp-, Dance- und Electro-Flair.

Ein echtes Highlight für alle, die elektronische Musik nicht nur hören, sondern erleben wollen – in bester Soundqualität und stilvollem Format

Mit Selenites, Selenites! präsentiert Jimi Tenor das erste Album seiner neuen Band - ein Meilenstein in der Karriere des finnischen Multiinstrumentalisten, der 2025 seinen 60. Geburtstag feierte. Tenor, bekannt für seine genreübergreifenden Visionen, vereint hier Afrobeat, Electronica, Spiritual Jazz und experimentelle Klangwelten zu einem kraftvollen, organischen Sound. Seit den 1990er Jahren prägt Tenor die internationale Musikszene mit Veröffentlichungen auf Labels wie Sähko und Warp Records. Seine Zusammenarbeit mit Künstlern wie Tony Allen, dem UMO Helsinki Jazz Orchestra und Florence Adooni zeigt seine Offenheit für musikalische Kulturen und seine Fähigkeit, scheinbar Gegensätzliches zu verbinden. Die JIMI TENOR BAND entstand in Helsinki und besteht aus fünf virtuosen Musiker:innen, die ihre Stücke live erprobt und verinnerlicht haben. Die Aufnahmen spiegeln diese Energie wider: Direkt, roh und voller Spielfreude. Die Songs wirken wie Live-Mitschnitte - spontan, intensiv und nahbar. Mit Selenites, Selenites! gelingt Tenor ein Album, das nicht nur musikalisch überzeugt, sondern auch seine Rolle als stilprägender Künstler unterstreicht.

Originally released in 2005, OK Cowboy, Vitalic’s first album, is celebrating its twentieth anniversary with a reissue in several formats (box set, double vinyl, CD, digital), enriched with rare tracks and previously unreleased versions. OK Cowboy is a landmark album in electronic music, a pivotal record between eras. It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.