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Jackie Edwards voice can be heard on 100's of Ska, R&B. Soul and Rocksteady records.
In fact all the in carnations that evolved from Reggae.
He was at the birth of Island Records and his distinctive soulful voice has rightly given him the moniker of the Original Cool Ruler.
Jackie Edwards (b. Wilfred Edwards 1938,Jamaica)was a renowned singer from the early days and by 1959 had presented future Island Records owner Chris Blackwell with two outstanding tunes.
The first a sentimental ballad 'Your eyes are Dreaming' and a Latin beat tune 'Tell me Darling'.
His song writing skills were much in so demand and his popularity of such importance that when Chris Blackwell went to London in1962 to set up his record company he took his top Balladeer Jackie with him.
This would pay dividends when a UK group Blackwell had signed called The Spencer Davis Group went on to release two of Jackie's compositions 'Keep on Running' and 'Somebody Help Me', which topped the British charts in 1966.
We have compiled some of Jackie Edwards finest songs..all cool tunes in different Reggae styles but all sung to perfection..
Hope you enjoy the set....

Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

Weisheit, Disziplin und unbändige Kreativität prägen den smarten Electro-Soul von Ellen Beth Abdi. Die renommierte Livemusikerin wird mit ihrem Debütalbum auf dem eigenen Label zur überragenden Solovirtuosin. Poppige Synth-Sounds, sich langsam steigernde Backgroundklänge und feinfühlige Worte von kraftvoller und persönlicher Bedeutung: Manchesters am schlechtesten gehütetes, genreübergreifendes Multiinstrumentalisten-Geheimnis steigt aus dem Schatten ins Licht. Vor fast einem Jahrzehnt wurde ihr aussergewöhnliches Talent entdeckt, was zahlreiche Support-Slots für u.a. Lady Blackbird, Courtney Pine und Angelique Kidjo einleitete. Diese Live-Erfahrung fliesst nun in die Konzerte zur Feier des lang erwarteten Soloreleases von Ellen Beth Abdi ein.

- "Something of a masterclass." - Louder Than War

- "Sharp lyrical insight with a distinctive sonic identity." – Backseat Mafia

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. "We were trying to find our own space," says Cinder of the formative period Camouflage Heart emerged from, amidst a move from Edinburgh to London and Cinder's evolving exploration of gender identity, well before culture at large was equipped to understand. With contemporary discourse we see that the project manifested her transgender ideas as visceral music. The guttural, feral sound marked a notably darker turn from The Freeze's sixyear run on the fringes of punk. Changing the project's name became vital, not just because they kept hearing the former was already taken, but the desire to embody the spiritual and sonic shift, "to uncover new pathways_to feminize it," she says. Cinder, with bandmates David Clancy and John Byrne, arrived at Cindytalk, a winking nod to Sindy, the British fashion doll rival to Barbie known then for its pull-string talking mechanism. "The goal was to have a more interesting narrative, more interesting dialogue. Music was ultimately my only way of talking to people. That was my conversation with the world, an abstracted conversation_an attempt to make some kind of tiny, tiny mark, if possible, you hope somebody will notice." Over the years, Cinder has heard from fans who did pick up on the signals and find refuge in Camouflage Heart. Camouflage Heart plays with tension and pace, from creeping to feverish to claustrophobic. The percussion moves between restless marches and barely-there pulses; for some parts, they scratched and hit a tin bath, among other objects. Guitar lines vibrate and stab as Cinder contorts her voice freely. She pulls poetry from a cerebral abyss, like "make the snake in your eye, pierce the camouflage heart" on the slow-droning centerpiece "The Spirit Behind the Circus Dream." In that register is raw power, both vulnerable and menacing, an ability to locate something deep and emotionally charged within. "I still remember that person who was way too intense for their own good," Cinder reflects. "I couldn't make a record like that now, certainly not vocally, while that anger hasn't dissipated; there's still a kind of warrior." For all the destruction and disintegration of Camouflage Heart, Cinder maintains the objective was never full-on fatalistic; these songs seek not to destroy but to poke and provoke, to transform and heal, to find cracks of light in a crumbling world. She points to the last lines of the opening track, "It's Luxury": "Don't look down," the lyric pines through static and rhythm. Cinder extrapolates, "I'm essentially saying, just keep fucking going. As time went on, for me, that falling became flying. Camouflage Heart is the beginning of believing in flight."

"Maintenant" (meaning: Now) defines it all: A snapshot in time, 13 piano pieces, completely improvised by Rico Friebe in one take! Three years after recording "The Silva Sessions", this new album serves as some kind of sequel to the improvisational and aesthetic characteristics - presenting a vast and meditative soundscape solely on the piano with some subtle electronic manoeuvring within. A truly unique moment that got captured here and a special album, you won't come along too often these days...

Shai Maestro ist einer der einfallsreichsten und einflussreichsten Pianisten seiner Generation. Seit seinem 2011er Debüt mit seinem Trio hat er eine unverwechselbare musikalische Stimme entwickelt - fließend, ausdrucksstark und zutiefst lyrisch. Sein künstlerisches Können hat ihn zu einer treibenden Kraft des zeitgenössischen Jazz gemacht. Er verbindet Improvisation, Komposition und globale Einflüsse zu einem Sound, der sowohl filmisch als auch zutiefst persönlich ist. Nun präsentiert er sein erstes Klaviersoloprojekt beim renommierten Label naïve. Das Album 'Solo: Miniatures & Tales' bewegt sich zwischen Komposition und Improvisation und lässt uns in die reiche Palette an Nuancen und Sensibilitäten eintauchen, die die einzigartige Klangidentität des Pianisten prägen. Mit seinen jüngsten Veröffentlichungen bei ECM Records, produziert von Manfred Eicher, reiht sich Maestro in die Riege legendärer Pianisten wie Keith Jarrett, Paul Bley und Chick Corea ein. Sein Quartett erweitert weiterhin die Grenzen des modernen Jazz. 2025 begibt sich Shai Maestro auf eine neue Reise: Seine erste Soloaufnahme markiert den Beginn einer fortlaufenden Reihe. Dieses Projekt erforscht die empfindliche Balance zwischen Struktur und Spontaneität und spiegelt seine sich entwickelnde Beziehung zu Komposition und Improvisation wider. LP-only auf schwarzem Vinyl!

The band is guitarist and vocalist Zedek, bassist Winston Braman, and drummer Gavin McCarthy (Karate), now joined by newest member, pedal steel guitarist Karen Sarkisian. On The Boat Outside Your Window, Sarkisian"s counter melodies and oblique augmentations created with non-traditional tools like an ebow, add an otherworldly quality to songs. The grit of Zedek"s guitar and drive of Braman and McCarthy are met with synth-like swells and more harmonic density. The album features guests Nancy Asch (percussion) and Beth Heinberg (piano) whose subtle touches are added to "Shoes" and "Aliyah". The record was recorded with Andy Hong, mixed by Seth Manchester, and mastered by Sarah Register. Zedek"s mastery of songwriting is on full display on The Boat Outside Your Window. Her unique musical voice remains potent and pointed. Cultivating her sound with purpose and an unflinching view of humanity, Zedek"s words and music are both invigorating, and capable of deep emotional complexities. The Boat Outside Your Window is Thalia Zedek reaching new heights, reinforcing her status as a peerless songwriter and voice.

First released by Extreme in the massive, infamous 'Merzbox,' "Red Magnesia Pink" is extracted and recontextualized as a standalone release for the first time. Recorded in 1995, "Red Magnesia Pink" sees Merzbow in peak form. A psychedelic whirlwind of synthetic transmissions; harsh, wet, screeching sounds that could only be produced by Masami Akita. Featuring two previously unreleased bonus tracks from the same era.

The band is guitarist and vocalist Zedek, bassist Winston Braman, and drummer Gavin McCarthy (Karate), now joined by newest member, pedal steel guitarist Karen Sarkisian. On The Boat Outside Your Window, Sarkisian"s counter melodies and oblique augmentations created with non-traditional tools like an ebow, add an otherworldly quality to songs. The grit of Zedek"s guitar and drive of Braman and McCarthy are met with synth-like swells and more harmonic density. The album features guests Nancy Asch (percussion) and Beth Heinberg (piano) whose subtle touches are added to "Shoes" and "Aliyah". The record was recorded with Andy Hong, mixed by Seth Manchester, and mastered by Sarah Register. Zedek"s mastery of songwriting is on full display on The Boat Outside Your Window. Her unique musical voice remains potent and pointed. Cultivating her sound with purpose and an unflinching view of humanity, Zedek"s words and music are both invigorating, and capable of deep emotional complexities. The Boat Outside Your Window is Thalia Zedek reaching new heights, reinforcing her status as a peerless songwriter and voice.

Following ‘No Closer To Heaven’, The Wonder Years released ‘Sister Cities’, their most transformative work to date.
Recorded at Sunset Sound with Joe Chiccarelli (Manchester Orchestra, The Shins, Spoon) and Carlos de la Garza (Jimmy Eat World, Paramore), ‘Sister Cities’ is an album about distance, connectivity and the way humanity towers above boundaries.

What The Wonder Years do so effortlessly on ‘Sister Cities’ is no small feat; through poetic lyricism, ambient guitar swells and Jimmy Eat World-levels of crashing momentum. On ‘Sister Cities’, they take a massive, unexpected leap forward both sonically and thematically, now speaking confidently to the world at large.

Vocalist Dan Campbell on the inspiration behind ‘Sister Cities’: “It started with journals and photos. We started by documenting. We didn’t know where it would go or if it would go anywhere at all, but we wrote it all down. We took photos of everything. And
then when it came to put it altogether, we had this catalog of how we felt and what it looked like and sounded like and we built from there. Figuring out what the moments were that stayed with me the most. When did I feel most connected to the people around me and why? What did being in this place during this moment teach me? It was a difficult year personally and globally and we experienced that through this lens of being everywhere but home, kind of floating through places and seeing how being there altered our perspective.”
The album is housed in a 200-page, 13”x13”, full-colour book that includes photos, artwork, journal entries and lyrics. LP pressed onto Shinjuku Street Splatter coloured vinyl.
An overpowering sense of earnestness and vulnerability.” - Pitchfork
There is a lifetime yelled in every punk song, captured in the desperate and catchy ‘Sister Cities’.” - NPR MusicFrom the first notes, it’s already clear that The Wonder Years are stepping into uncharted territory.” - UPROXX

At a time when post-ambient electronica and bedevilled folk music are co-habiting, and the public’s interest in Pagan rites and rituals has been sparked by a new generation of fans. The bizarre storyline of Whistle And I’ll Come To You seems even more pertinent… and strangely haunting.
The Jonathan Miller-adapted 1968 ghost story was originally part of BBC’s Omnibus series and featured Michael Horden as a fussy professor who discovers an ancient whistle which summons up the spirits. A black and white folkloric tale in the style of The Wicker Man, the original TV programme received rave reviews.

The esoteric live score was recorded at the Hypnos Theatre in Malmö. The 42-minute soundtrack utilises stuttering tape loops on ‘Intro’ before breathing new life into the primitive John Carpenter-like drum machine on ‘Supernatural Breakfast’, while ‘Walk On The Beach 2’ sounds like a hauntological rendition of a Broadcast classic. Indeed, that effect is amplified on ‘Nightmares’, with its swirling wind and other-worldly choral effect, before the feeling of some supernatural presence is suggested on the penultimate cut ‘Evidence Of Spiritualism’

Inspired by Abba, early AC/DC, Beefheart and the dark heart of outsider pop, The Beyond and the Better Way is a record featuring warped orchestrations, extended autobiographical rants and sumptuous performances by a collection of Glasgow's (and Ireland's) finest musicians and singers The Gorgeous Pouting Mr AR is a pseudonym for Ronan Breslin - a recording studio owner, composer and academic who teaches sound and music at The Glasgow School of Art.

Ronan comes from an Irish family of musicians, with the most notable being his brother Niall Breslin, who helmed the iconic Irish band "The Blizzards" before becoming a highly regarded mental health podcaster and now presenter on BBC Radio 3. Niall's stellar guitar playing features on many of this record's tracks. The recording will be released on the 23rd May via Strength in Numbers Records on vinyl and digital platforms and will be accompanied by an online collection of song- related essays (aka rants). The album is distributed by Last Night From Glasgow. "The songs explore OCD, politics, anxiety, grief, regret, rage, lost love, but also reflect on joyous moments that define the transition from fearful child to fuck- you adolescence and finally reluctant adulthood. The album title song 'The Beyond and the Better Way' is morbidly confessional; however, it is also a statement of resilience, positivity and optimism for the human condition. There is always a better way." - Ronan Breslin

La Pambelé Unveils Nací Mestizo, A Bold New Album Reviving Salsa with a Contemporary Twist Bogotá’s heavy guaguancó orchestra, La Pambelé, proudly presents their highlyanticipated second studio album, Nací Mestizo, now available on all major digital platforms as of November 27th. This album pays tribute to the golden era of salsa, particularly the 1970s, while breathing new life into the genre with modern lyrics and stories that resonate deeply with Latin communities.

All while maintaining a distinct Bogotan essence that highlights the city’s unique cultural flavor. Nací Mestizo seamlessly blends the timeless salsa brava sound with contemporary themes, reflecting the everyday lives of people across Latin neighborhoods. The album’s songs capture the struggles, passions, and joys of ordinary people, presented through the vibrant rhythms of salsa, creating a musical experience that connects the past with the present. Building on Their Rising Popularity Prior to the album’s release, La Pambelé debuted the singles “Amargura” and “Perdí mi Corazón”, which quickly captivated audiences and set the stage for the full album's success. The band’s electric performance of these tracks at the MedPlus Coliseum in Bogotá, before an audience of 22,000 attendees awaiting Marc Anthony, was met with enthusiasm as fans danced and applauded.

This moment marked a significant milestone for the orchestra, cementing their place as a rising force in the global salsa scene. Additionally, La Pambelé’s growing visibility has been marked by their appearances at major festivals such as Salsa al Parque and features on prominent radio stations, including Radio Nacional de Colombia and Latina Stereo. These platforms have helped introduce La Pambelé’s signature sound to a wider audience, building anticipation for the release of Nací Mestizo and reaffirming their influence in Colombia’s tropical and alternative music scenes. A Contemporary Salsa Sound with Classic Roots La Pambelé’s unique blend of traditional salsa brava and contemporary Latin storytelling is showcased through their distinctive nine-piece orchestra, which includes piano, conga, flute, trumpet, trombone, timbales, bongos, and baby bass. The dynamic vocals of Miguel RoRebolledo and Lorena Contento elevate the album’s themes, creating a sound that invites listeners to their feet and onto the dance floor. Under the direction of Camilo Toro Morato, the orchestra has honed its signature style, pushing the boundaries of salsa while staying true to its roots. As a proud defiance of stereotypes about Bogotá’s musical abilities, La Pambelé’s name pays homage to legendary Colombian boxer Kid Pambelé, symbolizing resilience and strength.

The name also draws from the Bantú language, meaning "defender of one's own," reinforcing the band’s connection to their Colombian heritage and pride in their distinctive sound. Global Recognition and Continuing Influence Since the release of their self-titled debut album in 2022, La Pambelé has gained international recognition, especially within the vinyl collector community. Theirdebut album was released in both 45” and LP vinyl editions, further solidifying their unique position in the contemporary salsa movement. Influenced by salsa greats such as Markolino Dimond, Eddie Palmieri, Edy Martínez, and Ismael Miranda, La Pambelé has carried forward the torch of salsa brava with passion and innovation. Nací Mestizo marks a significant evolution in the orchestra’s journey, melding the old and the new, and cementing La Pambelé as a driving force in the future of salsa music. A Collector’s Dream With their 2022 debut album garnering international recognition, La Pambelé’s vinyl releases—including 45” and LP editions—have become coveted items for salsa collectors worldwide. Their music is a bridge between classic salsa traditions and a modern vision, appealing to seasoned fans and new listeners alike. About La Pambelé La Pambelé is a heavy guaguancó orchestra from Bogotá, Colombia, known for their vibrant, rhythm-driven sound that blends 1970s salsa brava with modern Latin influences. With a unique nine-piece lineup and powerful vocals, the band continues to break boundaries, defying expectations and inspiring audiences around the world

Carwyn Ellis & Rio 18 release their new album "Fontana Rosa". Possibly the world's only musical group to fuse Latin music of all kinds with the Welsh language, this time Rio 18 draw inspiration from slightly different musical corners, including Chicano Soul, Nuyorican pop, and Salsoul disco plus Latin sounds filtered through the cultural spectrum of the USA.

Most significantly though, the album was among the last ever to be recorded by the acclaimed producer Liam Watson at his legendary studio and shrine to all things analogue, Toerag Studios - a huge inspiration and influence on Rio 18's Carwyn Ellis. The "Fontana Rosa" sessions saw Ellis draw together an all-star band at the fabled studio which is perhaps best known through its place in the White Stripes history.

Talking about the story and gestation of the album, Carwyn said:

"I was in Mexico City with Baldo Verdú when I heard that Toerag Studios in London was going to close. It came as a shock - Toerag and Liam Watson, its owner and resident producer had been a massive influence on me. Liam, along with Edwyn Collins, had taught me much of what I know about recording, had hired me as an instrumentalist on countless sessions and had helped me to get started when I began my own solo career. And over the years, I'd still go in to record with Liam whenever the opportunity arose. When I heard that Liam was shutting up shop, I took it upon myself to try and ensure he went out with a musical bang. I rounded up the best band I could get: the aforementioned Venezuelan percussion wiz and singer, Baldo Verdú: American drummer, multi-instrumentalist and producer Shawn Lee: the Isle of Wight's finest drum and percussion master, producer and composer Rupert Brown (whom I'd originally met at Toerag many moons ago): Elan Rhys, one of Wales's finest voices and long term collaborator with Rio 18, as well as being one third of the wonderful folk group, Plu: and Kassin - my Brazilian brother from Rio de Janeiro, bassist and producer with artists such as Jorge Ben, Caetano Veloso, Gilberto Gil and a multitude of others, including Carwyn Ellis & Rio 18.

So this was my dream team, assembled to make beautiful music one more time at Toerag (I have to add at this point that Shawn and Rupert hit it off so well at our sessions that they booked their own session shortly afterwards! Look out for the brilliant Shawn Lee's Toerag Orchestra 'Percussion Discussion' album). Toerag, if you're not familiar with the place, made its name as London's foremost analogue studio for some 30 years, recording directly to tape which in essence means musicians playing live, together in a room until they get it right. And the sound? Oh the SOUND!! And this is all Liam Watson's doing, his sonic aesthetic - a real master engineer. The studio is perhaps best known as the place where the White Stripes recorded their monster hit album 'Elephant' but for me it's where I got to record with James Hunter, Lay Low (from Iceland), Quruli (from Japan), Fabienne Delsol (from France) and made many lasting friendships, learnt a great deal about popular music, as well as making a bunch of my own best recordings with Colorama.

Over the course of five days we laid down as much music as we could. We had some visitors too: guitar slinger Little Barrie (Primal Scream, The The and Liam Gallagher among other things, but also my dear bandmate in Edwyn Collins's band): sax and flute maestro Jim Hunt (Amy Winehouse, Primal Scream, Duffy and very many others): and Diego Laverde Rojas, the Colombian Latin harp virtuoso.

This time the music had a slightly different edge - although we still maintained our Brazilian/Welsh connection on 'Deffro'r Dydd' (written with and sung by Elan Rhys), our Cumbia vibe and some Merengue ('Mariposa' and 'Te Adoro', sung by Baldo Verdú) and even a traditional Afro-Venezuelan tune ('La Quichimba', again sung by Baldo) - the main influence for me this time was Latin music as recorded in the USA, both new and old. 'No More Secrets' is a straight up slice of Salsoul disco, while 'Hei Ti' is a punky funky but of Nu Yorican pop somewhere between ESG and the Beastie Boys. But one of my main influences in the last couple of years has been the current wave of Chicano Soul coming from California, particularly via the Penrose and Big Crown labels. I was turned on to this music when I was in Japan in early 2023 - Takashi-san at Pleased To Meet Me Records in Nara played me the Altons' 'Float' and I was hooked!

And that music has a similar aesthetic to Toerag: music recorded live to tape by excellent engineers, performed by fine musicians and singers. So our songs 'Impossible', 'Heartbreaker' and 'Lovesick' are very much in this vein. And that just leaves the title track, 'Fontana Rosa'."

Piero Piccioni undoubtedly was the most “dandy” of Italian film music composers. The most stylish one, in art as in life. On the centenary of the composer’s birth, CAM Sugar celebrates his art with a compilation that draws from both his well-know and lesser-known works, alongside a precious handful of tracks that, surprisingly, have remained fully unreleased until today. The result is a journey of rediscovery of the unique, dazzling and unmistakable sound of the Turin-born composer. The silky, sensual and emotional “Piccioni's touch” can be detected in every single composition he happened to work on during his long career which spanned jazz, bossa nova, funk, disco, and orchestral music. It is a touch that gives harmony and coherence to a corpus of soundtracks that stands out as one of the most prestigious and important discographies in the world: eternal music destined to last forever, without ever sounding out of place, just like the timeless elegance of Italy and Piccioni.

Over and through the hot cement of North East L.A., an almost-dry riverbed winds like a snake through the city. Coyotes lap at its trickling stream by moonlight, as pedestrians rush past it by day without a second glance, their thoughts tangled up in the distractions of life in a sprawling metropolis. Here, amongst the many avenues and gentle hills, we find Coffin Prick (alias: Ryan Weinstein).

Loose Enchantment, this latest Coffin Prick record, is music conceived of in a different frame of mind for humans living in a world nearly-disenchanted with itself. The album consists of eleven new pieces of music recorded by Coffin Prick himself at his home in Los Angeles, a great city of quicksand-like commitments and those who love them enough to uphold the ends of their collective bargains. A record as much about the confusion of modern life as it is endeavored to expose the lusts in the very loins of creation. Sounds enchanting enough for you? Let’s look a little more closely…

On the heels of 2023’s Laughing (Sophomore Lounge), Coffin Prick got busy. And fast. Playing shows into the year with a newly minted live band, while simultaneously working day and night in his home studio laying the ground for what would become Loose Enchantment. Whereas he was essentially a recording know-nothing at the inception of his last LP, he’d learned a thing or two about better capturing his ideas by this point, taking the sidesteps and victories born of the experience Laughing provided and turning the bright lights on them. As many of Los Angeles’s drivers choose to do, it was time to take some surface roads. Odes to self-delusion, the mysteries of creation, cleanliness, and the secrets in other people’s lives.

A little Loose Enchantment for everyone, basically.

wetdogg was born in a grotto in Detroit, Michigan with a mission to information to the masses. Through sonic awakening, wetdoggs mission is to enlighten the subconscious and shine light on the deepest crevices of the human psyche. Allowing pathways back into animalistic intuition and away from the technocracy, dig a hole, plant a seed, run in circles and free your mind.

Coming out of Detroit based label Hold Me Records started by Detroit Techno aficionado MGUN and Underground don of all dons Ryan Spencer, wetdogg releases her first Album pssssssp…

From the artist:
"When a dog runs into a river and comes out and shakes itself dry, there is no data collected, technology does not aim to control those that it cannot. Numbers are definite and infinite, a linear path to doomsday. With every move we make, we are tracked and traced and categorized in order to sell ourselves into data hell. Intimacy used to have meaning, the present moment, truth and love but so much of it has been taken captive by technology that seeks to psychologically manipulate and control. A dog runs into the water because that is what dogs do, but it seems these days we are starved from our natural instincts, instead relying on someone else's answer that we of course seek online. "

Using the primitive technology of the password journal (often marketed to little girls to keep their secrets) wetdogg uses the idea of the password journal to imagine a utopia free of the surveillance state in her upcoming album pssssssp…

Founded in 2022, Hold Me Recordings is an independent record label based in southwest Detroit, MI. It is run by Manuel Gonzales (MGUN) & Ryan Spencer, who with a deep-rooted connection to the city's musical history, showcase innovative sounds that challenge the status quo and push the boundaries of contemporary electronic music. Focused on promoting both emerging and established artists, Hold Me is releasing genre-defying tracks that blend unconventional productions with the sincerity of Detroit's legacy. From experimental techno, to downtempo and ambient, Hold Me is committed to offering music that sounds fresh, exciting, and unlike anything you've heard before.

La Scimmia Records presents: PLANISFERO by Roberto Porzio LSCM05

Renowned Neapolitan keyboardist and composer Roberto Porzio (Parbleu, Psyché, Fitness Forever, The Funkin' Machine and others) makes his highly anticipated solo debut album with Planisfero—a breathtaking sonic journey where tropical rhythms, Mediterranean lyricism, and cinematic orchestrations collide, shaping an intimate and personal musical landscape.

Planisfero blends salsa, samba, and vintage sound library aesthetics with the bold energy of an imaginary Afro-Cuban orchestra. Entirely written, arranged and composed by Roberto, the album is recorded completely live, with no digital shortcuts, becoming a manifesto to pure musicianship and analog authenticity—a rare gem in an era of synthetic production.

Step into a new musical geography—where imagination knows no borders

The 1968 debut album from Norwegian guitar legend Terje Rypdal stands as a significant entry in the late 1960s jazz landscape, exemplifying the transition from psychedelic rock to a more intricate, freeform blend of jazz elements. Collaborating with legendary musicians like Jan Garbarek, Rypdal's work on this album showcases his innovative talent.

Recorded during three sessions in Oslo in 1968, Bleak House marks Rypdal’s departure from the psychedelic group The Dream as he ventured into new musical territories. He would go on to become one of the most recognizable instrumentalists in European jazz, with releases on the ECM label filled with his searing, evocative guitar sounds that evoke a future tundra.

Though only 21 at the time, Rypdal was already creating music that was incredibly mature, smooth, and sophisticated. While it undeniably captures the essence of the 60s, it remains enjoyable today. The album, originally released on Polydor, features slight Latin and blues influences, along with big-band arrangements that are both well-crafted and enchantingly loose.

The reissue of Bleak House offers much to unpack. Historically, it represents a bridge in the European transition from jazz-rock to a unique avant-garde/free jazz hybrid. Even at this early point in his career, Rypdal's ability to incorporate post-bop, fusion, and avant-garde elements into a cohesive album was an impressive feat of imagination. Rypdal has always been a bold composer, capable of weaving intoxicatingly discordant melodies, as exemplified in tracks like "Winter Serenade", or evoking an unearthly sadness in his more reflective pieces.
Bleak House is a timeless and important recording, and it is a pleasure to hear it in this 180g virgin vinyl format.
A must-listen for anyone interested in the evolution of modern jazz.

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

Side-A features Alex Désert and Deston Berry of Hepcat, in addition to Malik Moore of The Lions. Side-B features Asdru Sierra, vocalist of Ozomatli. Produced, Mixed, and Recorded by Dan Ubick (The Lions, Connie Price and the Keystones). Previous steady radio play on BBC Radio 6, KCRW, SoHo Radio, etc... Very popular among DJ’s and collectors worldwide. To round out their second wave of 7" singles, Night Owls bring the heat once again with their signature sound and vision.

Re-imagining two Aaron Neville classics, “Hercules” feat. Alex Désert and The Lions b/w “Tell It Like It Is” feat. Asdru Sierra from Ozomatli, Night Owls up the ante by bringing in some heavy hitters for both sides of this 45. Side A's "Hercules" features long-time collaborators and bandmates from The Lions (Stones Throw, Ubiquity, NYCT) - the soulful tenor of Alex Désert (also Hepcat) on lead blending seamlessly with the familiar voices of Deston Berry (Hepcat) and Malik Moore (Ocean 11) on backing harmonies. The Lions front line locks in tight from the many years performing together on top of a darker and grittier interpretation of Allen Toussaint’s masterpiece complete with fuzzed-out guitar, Space Echoes and rhythm drops. On the flip, "Tell It Like It Is" keeps the momentum going and hips swaying with added Colombian percussion elements and California lowrider vibes. Featuring L.A. family and multi-talented vocalist of Ozomatli, Asdru Sierra, on lead and Night Owl Dan Ubick on backing vocals Side B creates a unique blend of reggae and Cumbia into a very fresh take on this multi-generational hit

In the Andes of Peru, in a valley formed by the Huallaga River, lies the city of Huanuco. There, a little over fifty years ago, the emblematic cumbia band Los Darlings de Huánuco was born, and since then their compositions have gone around the world, bringing their homeland to the ears of music lovers and collectors. Adversities kept them away from music for two decades, but in spite of this, they marked a parallel path and created their own history in the maximum splendor of Peruvian cumbia. In a valley formed by the Huallaga River lies a temperate land located on the eastern slopes of the central Andes of Peru: Huánuco. A little more than seventy years ago, in that land of mountains and starry skies at almost 2,000 meters above sea level, Juan Nájera was born. A multifaceted musician by profession, he did not always have the privilege of being able to dedicate his life to music. For almost ten years he ran a family hardware store in Huánuco and then a mechanic shop on La Marina Avenue in Lima. He was also a truck driver. A decade of military dictatorships in Latin America made the artist's path very hard in the region, and Peru was no exception. Nájera was only nineteen when his first son was born. He had to make a living and the possibilities for entrepreneurship were slim. But if we go back in history, Juan Nájera was, first and foremost, a boy who dreamed of becoming a musician. Later, he was a boy who made it. Los Darlings de Huánuco managed to cross borders, not only in the capital of Peru, but also abroad. There are many collectors and music lovers around the world who seek and appreciate their songs, musical gems that have toured different latitudes and have managed to position this band from the Peruvian countryside in the most remote places on the planet. In a country characterized by its centralism, where opportunities in the countryside are much scarcer than in the capital, where the foreigner is greeted with more warmth than the local, and where getting ahead, especially in the musical field, implies an extraordinary effort, Los Darlings de Huánuco managed to take their sound to where they never thought it would be possible. From the Andes to the skyscrapers, from the heart of Huánuco to the immensity of other continents.

New Generation Carnival Riddims from St. Lucia and Dominica A hurricane of turbo-charged, body-buzzing tracks collide on Road Fever, a compilation of razor-produced, road-tested instrumental riddims from St. Lucia, Dominica & Guadeloupe that showcases the producers forging the future of Caribbean music in 2025. Road Fever draws together instrumental Dennery Segment and Bouyon riddims originally made for vocalists, presented for the first time as stand alone pieces of music. Distilling carnival riddims down to the bare bones, producers push minimal 150+bpms, FL-percussion packs, DJ/vox samples & synth riffs, bridging trap, drill, dancehall, sped-up Haitian konpa & Angolan kuduro. Ricocheting at the intersection of TikTok culture, best heard blasted through walls of speakers travelled by stage-sized carnival trucks or via bluetooth car speakers, St.Lucia"s "Dennery Segment" sound, (as iconic producer, G6 described in an interview), "sparks your inside; a sound you can"t hear and not move". Amsterdam-based, Curaçao-raised compiler Rozaly echoes G6: "Once you hear it, you can"t unhear or unfeel it. This is a musical movement with an entire history with so many relevant reasons why it still exists, and why it exists the way it exists right now". Rozaly concludes, "there is nothing more simple, let the artists speak."

Three acid techno cuts to suit the situation, especially if the situation is a blacked out warehouse with a strobe where only the pulse of the sound system matters.
The A side: "Tech 97" weaves undulating pads through sustained tension, shadowing the acid riff until it breaks into a hypnotic workout where calculated moments of release command the floor.
The B1 "Manic Mix" pushes boundaries with an urgent buildup of the 303 and metallic high hats, culminating in pure dancefloor abandon - snares and claps cutting through the darkness.
The B2 "Calm Mix" explores deeper territory with dubbed-out vibes. The acid riff maintains its spectral presence against the rhythm, while ethereal chords spiral outward creating an almost nautical motion beneath the surface.

Louis Philippe und The Night Mail sind zurück mit einem neuen, fesselnden Album, auf dem die Songs wieder einmal makellos sind. Die Reise geht dieses Mal weiter, weg vom Klassischen, hin zum Unerwarteten. Neue Synthesizer und Claps machen das Ganze unmittelbar und plötzlich, während Stimmen wie aus luftiger Höhe und scheinbar spielerisch-furchtlos durch das Album rufen. Neben den üblichen Geschichten, die man sich so erzählt, gibt es eine geheime, parallele Version der Pophistorie, die von den wahren Enthusiasten und Eklektikern geschrieben wurde. Von jenen, für die ein Dauerbrenner wie Pet Sounds nicht nur Anlass zu endlosen Behauptungen über seine Außergewöhnlichkeit war, sondern auch mündete in einer Aneinanderreihung harmonischer Reichtümer, die bis ins einundzwanzigste Jahrhundert reicht. In diesem alternativen Universum ist Philippe Auclair alias Louis Philippe, anglo-französischer Singer-Songwriter sondergleichen, seit vier Jahrzehnten eine bewunderte Größe. Philippes musikalische Anfänge liegen als Pop-Protagonist und Haus-Produzent bei Mike Always legendärem Label él Records. Von hier aus führten ihn seine Ausflüge in den Shibuya-Sound und zur Zusammenarbeit mit Leuten wie Bertrand Burgalat, Dave Gregory von XTC, Sean O"Hagan von High Llamas und Stuart Moxham von Young Marble Giants bis hin zu seinen jüngsten Abenteuern mit The Night Mail. The Night Mail kamen vor zehn Jahren zusammen, um ein Album mit dem unterschätzten Post-Glam-Genie John Howard aufzunehmen. Nach diesem einmaligen Projekt verbrachten sie ein paar Abende in London, um als Begleitband für Robert Forster und Louis Philippe zu spielen, und schlossen dabei eine Allianz mit Letzterem, die 2020 zu ihrem ersten gemeinsamen Album Thunderclouds führen sollte. Angesichts der Komplexität, den reichhaltigen Sound dieses Albums auf der Bühne zu realisieren, holte Philippe seinen langjährigen Partner, musikalische Koryphäe und Multiinstrumentalist Danny Manners an Bord.

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

Svein Berge and Torbjorn Brundtland have carved out a singular space for themselves in electronic music and here the Norwegian pair offer us a live album, a document of their 2023 tour. It's a sprawling affair, clocking in at over two hours and featuring a diverse cast of vocalists. The tracklist reads like a who's who of leftfield pop, - - Alison Goldfrapp, Robyn, Susanne Sundfor and Fever Ray among them - each voice adding a different shade to Royksopp's already nuanced sound. 'What Else Is There?', a reworking of the Royksopp classic featuring Fever Ray, is an early highlight, a brooding, intense rendition that transforms the original into a pulsating dancefloor beast. Elsewhere we get the Robyn collaboration 'Do It Again' and 'Running To The Sea' featuring Susanne Sundfor, and even die-hard fans will find something to discover here, with subtle tweaks and re-imaginings offering a fresh perspective on familiar material. A fitting tribute to Royksopp's enduring appeal and their ability to continually evolve and innovate.



[a] A1 | The Ladder [True Electric]
[b] A2 | Impossible (ft. Alison Goldfrapp) [True Electric]
[c] A3 | This Time, This Place (ft. Beki Mari) [True Electric]
[d] B1 | The Girl And The Robot (ft. Robyn) [True Electric]
[e] B2 | Here She Comes Again (ft. Jamie Irrepressible) [True Electric]
[f] B3 | Monument (ft. Robyn) [True Electric]
[g] C1 | Oh, Lover (ft. Susanne Sundfør) [True Electric]
[h] C2 | Unity (ft. Karen Harding) [True Electric]
[i] C3 | You Don't Have A Clue (ft. Anneli Drecker) [True Electric]
[j] D1 | The "R" [True Electric]
[k] D2 | Breathe (ft. Astrid S) [True Electric]
[l] D3 | Running To The Sea (ft. Susanne Sundfør) [True Electric]
[m] D4 | What Else Is There? (ft. Fever Ray) [True Electric]
[n] 14 | Never Ever (ft. Susanne Sundfør) [True Electric]
[o] 15 | Sordid Affair (ft. Man Without Country) [True Electric]
[p] 16 | I Had This Thing (ft. Jamie Irrepressible) [True Electric]
[q] 17 | Feel It (ft. Maurissa Rose) [True Electric]
[r] 18 | Do It Again (ft. Robyn) [True Electric]
[s] 19 | Like An Old Dog (ft. Pixx) [True Electric]

After a collage tape collab with Bardo Todol back in 2022 (SUC52, Magnetic Road to Hell) Robert Millis finally gets his Discrepant debut proper, a much overdue entryin our random catalogue of lost musical oddities.

The not so self explanatory title Interior Music explores Millis obsession with hidden sounds and its anomalies. An hermetic rearrangement of emptiness could be another more big headed title. But I leave the man to talk about his thing:

‘’The phrase interior music occurred to me a few years ago as a way to describe some recent work. It’s about the resonances inside of hollow wooden chambers (and hollow heads) like gramophones and talking machines, music boxes, instruments, metal containers, and resonant rooms. It’s about exploring tiny audio fragments—single notes, vinyl and shellac surface noise, recording mishaps and anomalies—and arranging them into something meaningful. It is about my own interior mishaps and anomalies and attempts to arrange THEM into something meaningful. It also references “interior design” with the placement of sounds in specific locations, layers or in juxtapositions.

Inspirations include Steve Roden’s lowercase work, Toshiya Tsunoda’s field recordings, Eliane Radique’s slowly shifting ambiances, and the musique concrete of Pierre Schaeffer, as well as the dhrupad and kayal traditions of Indian classical music—especially Kesarbai Kerkar and the Dagar family who have a sublime way of stretching out individual notes and exploring their endless permutations, combinations and connotations.’’

Robert Millis is a sound artist known for his work with Climax Golden Twins, the Helen Scarsdale Agency, the soundtrack to cult horror film Session 9, the Victrola Favorites book and cassette series, and many releases on Sublime Frequencies including Indian Talking Machine, Paris to Calcutta: Men and Music on the Desert Road, compilations of the earliest music recorded in Korea, Japan and Myanmar, and the documentaries This World is Unreal Like a Snake in a Rope and Phi Ta Khon: Ghosts of Isan. Somehow he is a Fulbright scholar (to India 2012-13) and the recipient of a Guggenheim Fellowship (2020). He has or currently does play with AFCGT, Idol Ko Si, and/or Telescoping.

Deerhoof haben sich schon vor langer Zeit als eine der großartigsten Rockgruppen des Planeten etabliert - wer das für übertrieben hält, hat noch nicht genug Zeit damit verbracht, Deerhoof zu hören - das wahnsinnig erfinderische Quartett behandelt jedes seiner neuen Alben als eine Gelegenheit zur kreativen Wiedergeburt. Und doch sind sie irgendwie auch zutiefst zuverlässig, eine seltsame, aber wahre Beschreibung für eine Band, die so kreativ rastlos ist. Man weiß nie, wie ein neues Deerhoof-Album klingen wird, außer dass es immer nach Deerhoof klingen wird. Die Band wird durch solche Paradoxien definiert, wie "Noble and Godlike in Ruin" erneut bestätigt. Ihr neuestes Album ist entweder ein Porträt einer Welt, die in monströsen Hass, Entmenschlichung und Dollarzeichen abgleitet, oder ein eindringliches Selbstporträt der Band als Monster: ein intelligentes, sensibles, hybrides Wesen, das unermüdlich von Liebe singt, sich aber zunehmend von dieser Welt entfremdet. Die Musik ist fröhlich und ahnungsvoll, kybernetisch und zutiefst menschlich, alles zugleich. Streicher, die an avantgardistische Kammermusik und klassische Horrorfilm-Soundtracks erinnern, prallen auf Gitarren- und Basslinien. Das Schlagzeug ist manchmal gefiltert und klingt fast elektronisch, aber kein Computer könnte einen so funkigen und dynamischen Rhythmus erzeugen, bei dem jede winzige Variation von einem Snare-Schlag zum nächsten Welten der Möglichkeiten vermittelt. An der Spitze steht die unnachahmliche Altstimme von Satomi Matsuzaki. Eine Stimme der Einsamkeit, deren schlichte Ruhe seltsam außerhalb des Mahlstroms der Band zu stehen scheint, zu dem sie mit ihren zackig-präzisen Bassläufen selbst beiträgt. Als Einwanderin der ersten Generation in den USA hat sie nie versucht, ihren japanischen Akzent oder ihre Karaoke-esken Vortrag zu verbergen. Auf "Noble und Godlike in Ruin" wirkt dies abwechselnd als Ausdruck von Einsamkeit und als kühle Provokation gegenüber Systemen der Unterdrückung und Kontrolle. ,Kindness is all I needed from you", singt sie auf dem epischen Albumabschluss ,Immigrant Songs`. ,But you think we're in your house." Nicht lange danach explodiert der Song, sein eng gewickelter Art-Pop macht Platz für mehrere Minuten heulenden Lärm. Auch wenn das Thema düster sein mag - wie könnte es anders sein - tragen die Songs trotzigen Optimismus in ihrer Weigerung, sich den Konventionen oder überlieferten Weisheiten zu beugen. Da ist diese berühmte Zeile von Dylan Thomas über das Wüten gegen das Sterben des Lichts: "Noble and Godlike in Ruin" fühlt sich ein wenig so an. Die Welt mag untergehen, aber Deerhoof gehen schwungvoll unter.

GOLD DISC CLASSIC SERIES


The biggest and baddest Vibronics anthem of all time featuring the original clarion call from Professa Natti. The Professa rose to fame
as mic chanter on the Jah Tubbys Sound System. This tune was first released back in 2012 and immediately sold out, the vinyl record has
now become a serious collectors item. Here we re-issue it with a never before heard dub mix on the b-side. Part of the SCOOPS Gold Disc Classic Series !!


Vibronics is one of the most established names in UK Dub/Reggae music achieving millions of views on YouTube, millions of Spotify
streams and many tens of thousands of vinyl record sales. Collaborators include Michael prophet, Macka B, Iration Steppas, Soom T,
Aba-Shanti and more.

Following the first two releases on Sea~rène, GiGi FM returns with “Virgo Space Acid”, a deeply personal and sonically assertive exploration of transformation and healing.

Rooted in the energies of 2025, the Year of the Snake, this four-track EP channels the mystery and intuition of the serpent, weaving together Virgo’s archetypal forces of the healer and the alchemist.



Across driven beats, hypnotic acid sequences, and vocal-infused textures, “Virgo Space Acid” reflects a journey of renewal, self-ownership, and inner power.

From Berghain to The Bunker New York, GiGi FM has long been known for her ability to channel movement into sound. With “Virgo Space Acid”, she refines her craft even further, working with fewer elements yet pushing them to their fullest expressive potential. She explores the full range of her voice, shaping it into textures, atmospheric layers, and even percussion, while separately reworking classic 909 drum machine sounds into something entirely her own. This EP is a statement of both discipline and liberation, where minimalism meets deep transformation.



Opener “Calibration” sets the tone with its mantra-like intention: an invitation to realign and tune into one’s own energy. Built around a driving bassline, nostalgic yet forward-moving synths, and GiGi’s own spoken word, “A breath holds time, calibrates space”, the track creates a moment of clarity before the journey begins.

“Mercury” follows, embodying the trickster, the messenger, the shapeshifter. Playful and urgent, its bouncing synth sequences move like conversations in motion, with rising tones driving the track forward, pushing toward a restless ascension that mirrors Mercury’s role as a bridge between realms, both celestial and internal.

The title track, “Virgo Space Acid”, is the wormhole: the brain battle, the transformation. With a heavyweight 303 bassline, spiraling bleeps reminiscent of birds, and powerful classic 909, it is pure tension and release, an acid-drenched trip through motion and evolution.

Closing the record, “Floresta” is a sensual and grounding moment of reflection. Named after the stage at Waking Life Festival where GiGi felt a pivotal shift in her healing journey, the track mirrors the scene with dub chord sequences, emotional rising pads, and percussive vocal elements. Like the purple and pink drapes floating above the dance floor at sunset, Floresta is both a farewell and a prelude, a misty horizon where one chapter closes and another awaits.

With “Virgo Space Acid”, GiGi FM continues to expand her sonic language, deepening her connection between body, rhythm, and transformation. More assertive, more urgent, yet deeply intuitive, this is a record of movement, clarity, and self-empowerment.



"We are Sea~rène, swimming in-between supernatural tides, forever following the emotional waves of the universe." GiGi FM

Claire Chicha aka Spill Tab is feeling more free than ever before. The LA-based, French-Korean songwriter and producer,has spent the past five years as spill tab honing a sound that is as raw-edged as it is refined, channelling low-slung guitar-strumming confessionals as well as the earworming melodic hooks of anthemic pop to produce a heady and distinctive mix.

Following the 2019 release of her intimate and infectious debut single “Decompose”, Spill Tab has evolved her spill tab project through three EPs: 2020’s synth-pop influenced Oatmilk, 2021’s playful, uptempo Bonnie, featuring Gus Dapperton and Tommy Genesis, and 2023’s co-produced, sonically-intricate Klepto, which gleefully meanders from the Hiatus Kaiyote-influenced jazz freakouts of “CRÈME BRÛLÉE!” to the guitar-chugging thump of “Splinter”. Live, meanwhile, Spill Tab has been tapped for her explosively energetic presence to open the North American leg of popstar Sabrina Carpenter’s tour, as well as touring through Australia with alt-rock trio Wallows.
With “PINK LEMONADE”, opening single from her forthcoming debut album “ANGIE” , spill tab’s freewheeling sound finds its fullest expression, harnessing this onstage experience and recorded experimentation with her bass-weight and pitched-up vocals. Here we find Chicha only ever chasing that “weird thing”, fizzing with an infectious enthusiasm and intricate musicianship. “The best songs come from writing the main idea in a day, as it’s so instinctual,” she says, such as “PINK LEMONADE” recorded “from a clip taken out of a 40-minute jam that we then chopped and spliced”.
Born to her French Algerian composer father and Korean pianist mother, Claire Chicha spent her early childhood in the mixing room of her parents’ LA post-production studio, bringing coffees to artists as they tracked scores for exciting new projects. “I hung out in that studio all the time until I was around 10 years old, absorbing jazz music my dad was into and classical music that my mom loved,” Chicha says. “My mom had a big hand in making me an adventurous kid, always trying new things from piano to harp and violin, forever soaking up new sounds.”

At 12, Chicha’s life was uprooted as she relocated to Thailand to live with her mother’s family following the collapse of her parents’ business after the 2008 recession. What followed was an unstable and formative few years of early teenagedom, navigating new cultures and life changes. In Thailand, Chicha began learning guitar to cover the Paramore and Green Day tracks she had grown to love while also becoming immersed in Thai traditional music. After a year, she moved once more to live with her aunt in Paris and there she was introduced to the classic sound of Serge Gainsbourg and Édith Piaf before ultimately returning to LA following the untimely death of her father.

“I had to become a real people person to fit in everywhere I was moving, and it immersed me into so many different styles of music,” she says. “I went from listening to the nasal singing of Thai traditional music at muay thai fights in Bangkok, to emotive classic French songs. It definitely informed the need to experiment with my sound as I became more interested in making music.”

At high school in LA, Chicha joined one of the country’s foremost show choirs and realised a natural aptitude for stagecraft and performance as she sang medleys in competitions throughout the US. Going on to study Music Business at NYU, Chicha found a love for the alternative soul and singer-songwriting of the likes of Moses Sumney and Bon Iver, as well as developing her own sound while spending summers interning as an A&R at Atlantic Records and being exposed to the gamut of New York’s live music scene.

“I was going to so many shows as an A&R intern and seeing just how much a lot of music sounded alike,” she says. “It made me realise I wanted my music to feel different, to cut through the noise but still make something that felt honest to me.”

Beginning to independently release tracks, Soill Tab gradually built a loyal fanbase with the release of wistful early numbers “Calvaire” and “Cotton Candy” and soon found herself signed to a major label. Yet, as her career progressed through the COVID pandemic the demands of a corporate major began to conflict with her own searching style. “My last two EPs were under contract and it felt like I was always chasing the carrot,” she says, “I felt a certain pressure to put out tracks quickly and find that ‘hit’. It wasn’t the right environment to truly make what I wanted.”

Ultimately parting ways with her label, Chicha began work on a new album, exploring new sounds and ideas with her LA-based community of collaborators like producer David Marinelli, Solomonophonic, Wyatt and Austin and John DeBold, without expectation. “It became this beautiful experience of only following ideas that I really believed in and exploring all the musical avenues I hadn’t before,” she says. “I’ve never been more excited about songs and I’ve never felt like a project is more mine.”

Writing and recording while touring with Sabrina Carpenter and Wallows, Chicha road-tested her new tracks to see what might land best with an audience who had likely never heard her music before. “You have to win people’s hearts as an opener and you can see what resonates and what doesn’t,” she says. “I would watch people fall in love or not and it’s usually always the song you’re having the most fun with that does the best. That’s what I put on the record.”

« Angie », Spill’s Tab debut album is relased on because Music and expected for May 16th release.

Much has changed for Ilan Pdahtzur since the release of his Night City Life compilation six years ago. Back then, he was a little-known record collector who shared obscure, synth-heavy music that “captured the night-time glow” of the city he calls home, London, via a dedicated Instagram page. Fast forward to 2025 and Ilan is now a respected member of the international digger-selector community, having delivered must-check mixes for the likes of Bordello A Parigi, Bayete, Hunee’s Lifetones and Sound Metaphors.

It seems a fitting time, then, for Spacetalk to unleash Night City Life II, a second deep dive into Ilan’s distinctive, neon-lit sound world – a place where European synth-pop rarities, Italo-dance treats, dancefloor-focused post-boogie instrumentals soundtrack strolls around shuttered skyscrapers, dockside housing estates and wharf-side warehouse conversions.

In the six years that have passed since the release of Night City Life, Ilan has uncovered many more rarities, private-press gems and slept-on treats, with 14 of these featuring on the dusty-fingered crate-digger’s sublime sequel. As with its predecessor, much effort has been made to track down the artists behind the synth-heavy songs on show, with the vinyl edition featuring extended liner notes where some tell the story of their track in detail. Musically, there’s much to set the pulse racing within Ilan’s superb selections, from the slow-motion shuffle of Playground’s self-released 1984 B-side ‘Rainy Day Woman’ and the brilliance of Shamor’s 1985 South African synth-pop special ‘Close To You (Bwela Pafupi)’, to Sharon & Tracy’s ‘The Sheik’ – a belly-dancing inspired slab of TB-303 bass-driven house – and the kaleidoscopic, piano-rich 1992 Euro-house brilliance of ‘Come Into My Life’ by Jennifer.

Dive deeper into the collection and more under-appreciated musical masterpieces make their presence felt. There’s Sicilian musician Claudio D’Ignoti’s lesser-known boogie-era single ‘Anche Per Noi’, where rubbery bass guitar, Nile Rodgers style disco guitar licks and spacey synths dominate the sound space, Lena’s fashion circuit-inspired, early Pet Shop Boys-esque ‘Embrasse-Moi (Strumentale)’ – one that members of Milan’s Paninaro movement would surely have enjoyed – and a sublime, spaced-out and effects laden dancefloor dub of ‘Rescue Me (Imagination)’ by Jimmy D, a genuinely sought-after jam originally released on a now impossible-to-find seven-inch single. Offering another genuinely distinctive, carefully curated collection of lesser-known musical treats, Night City Life II is another essential, immersive and synthesizer-powered journey through Ilan’s unique sonic world.

Continuing the Hyperspace instrumental ambient series tradition are two ensembles: Mindstreams, and the duet Squash and Biscuit. This LP features a full side for each artist and is pressed in lavender vinyl. Mindstreams is a vocalized ambient bed of sound by JP Berreondo and Stefanie Naifeh. From opera to avant-garde, neo-cabaret to singing world music in 15 languages, Naifeh journeys through a colorful mosaic of music. She began her classical training at the age of 8, performed with the San Francisco Opera in the children's choir in Carmen, and majored in opera at UCLA. She later formed the avant-garde, neo-cabaret band, The Underthings in 1987. Squash and Biscuit is a Los Angeles based husband/wife team featuring composers Shuwen Zhao and Brian Griffith. Recorded live from 2020-2021, each piece serves as a short investigation into the world between sound and music using found sounds, musical samples, instrument recordings, and voice manipulation. Limited to 300 copies

2025 Repress

Om Unit surprises us with a second volume of his 'Acid Dub Studies' project, once again fusing his love for the 303 with studio techniques given to us by musical heroes such as King Tubby, Adrian Sherwood, Jammys and Basic Channel

This second volume further solidifies the convincing narrative created by its best-selling predecessor, heading in a more groove-based direction in places whilst being underpinned by the same sonic narrative that has been enjoyed by many music fans from a variety of different spheres for the past 18 months or so

Support so far for the Acid Dub Studies project has come from many corners including some of the most highly respected names in UK Radio such as Don Letts and Steve Barker, Benji B and Tom Ravenscroft as well as a whole host of truly global worldwide underground support both via radio and in the dance

Om Unit says of this record: 'I felt encouraged by the sheer love for the original selection of works to go back in again and continue to experiment with this approach to writing whilst refining some of the process. Being able to combine processes and influence has been the mainstay of my creative life and I hope this next volume of Acid Dub will be enjoyed by everyone who was a fan of the first'

The beloved 303 bassline continues to inspire every new generation and Acid Dub Studies II is another storybook of sound in that vast continuum that shows no sign of slowing down.

The project by Jens-Uwe Beyer and Thomas Venker boasts a remarkable origin story. In 2017, Venker, co-founder and co-editor-in-chief of Cologne’s Kaput magazine, hosted a gathering at Beyer's house, bringing together journalists, creatives, and musicians. To mark the occasion, the pair decided to join forces for an impromptu ambient-electronic performance, presenting themselves as a two-man band. That evening, donned in special costumes designed by artist Sarah Szczesny and fuelled by a generous amount of Japanese whisky, Hasan Poppu was born. Over the course of the pandemic, the duo thought about creating a record based on the live recording of their premiere show. However, the synergy of their collaborative creative energies led them in entirely novel directions. Their self-titled, double-sided album traverses a wild and raucous terrain, moving swiftly from hybrid noise-techno to giddy party ecstasy, to strange and shadowy atmospheres.

Including remixes by YPY, Hibotep, Lena Willikens, Efdemin and Barnt, the 11 tracks span a dizzying array of experimental dance-facing styles. 'Die-Biden' kicks off as a high-vibrational vocal experiment seemingly voiced by a sentient German vocoder. 'Kodō' follows, featuring Venker's playful mantra set against a stomping beat. Willikens' reimagining of 'Teiko' transports the track to obscure realms inhabited by strange creatures emitting ungodly sounds. Meanwhile, Efdemin's take on 'Ekusutashī' pulsates with a kinetic buzz. Flipping over to the B-side, 'Sakura' is a euphoric wall of drone punctuated by eerie whispers and mystical singing. Then, the second installment of 'Kodō' takes a fresh trajectory with a touch of Barnt’s electronic groove stylings. Finally, Hibotep's 'Shojo no yo ni flp' serves as the finsher – an unrepentant trance belter that disintegrates into sampled fragments. Loosely translating to "broken pop music," Hasan Poppu is informed by Beyer and Venker's shared love for Japan. The band takes their cues from the country’s rich sonic cultures while also drawing on Venker's wordsmith background and Beyer's flair for melding melodic tech-house with song-based synth-pop. Originally out on Beachcoma Recordings, Hasan Poppu’s debut album gets a new lease of life on Osàre! Editions with a digital and limited edition cassette tape release. Sarah Szczesny reprises her role in shaping the visual identity of Hasan Poppu by creating beautiful, painterly artwork for the record. words by Hannah Pezzack

REPRESS of the highly acclaimed album. Black Metal is one hell of an album. It's a downbeat, dark folk album, that manages to capture the vibe of the band's earlier work quite well. Pelander has managed to make a "doom album" without actually making one in the traditional sense. Black Metal manages to capture the world weary, woeful, attitude and vibe of doom better than a ton of albums that crank up the Sabbath worship to ridiculous levels. It's a work of darkness and despair and therefore it is another captivating chapter of this band's discography. (New Noise Magazine)