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Ploughing a different furrow, Alone in a World of Wounds is an album of sweeping gothic tinged Americana, tripped out drones, beautiful world weary vocal melodies and slowly unfurling cello arrangements. Initially inspired by the harmonic resonance of piano and synths and his long standing love of ambient music, Alone in a World of Wounds follows 2021’s No Wilderness Deep Enough in reflective ambience. Opening up his voice in ways he has never done before, the album's genesis came via intuitive improvisations.
The search for deeper connection, living with the sorrow of our separation from the natural world, and relying on gut level intuition to get closer to the primal creative state are all key to Von Till’s creative process.
Recorded mostly at his barn studio at home in Idaho and mixed at Circular Ruin in Brooklyn, NY, with storied producer Randall Dunn (Jóhann Jóhannsson, Sunn O))), Earth, Jim Jarmusch), Alone in a World of Wounds also boasts cover artwork from Spokane, WA based alternative process photographer Brian Deemy - who works with colloidal wet plate ‘tintype’ aesthetics, which compliment Von Till’s uniquely ancient yet grounded aesthetic, and one that perfectly matches his desire to reimagine the connection between the human and the more than human world.

Lungfish's seventh album, released in 1999.

This pressing of the LP is on Translucent Lime Green.

This album was re-issued on both CD and LP+MP3 in June 2011.

Daniel Higgs vocals Asa Osborne guitar Nathan Bell bass Mitchell Feldstein drums

Recorded At
Inner Ear Studios
Mixed By
Ian MacKaye and Lungfish

Repress.

Fast-rising Dutch DJ/producer BELLA becomes the first new artist signing to Sally C’s Big Saldo’s Chunkers imprint, with the inspiring ‘Note to Self’ EP – her debut production.

Relationships are key for Sally C. Since the inception of Big Saldo’s Chunkers in 2020, she’s released three carefully chosen EPs, all from her own studio. When she met BELLA while playing a festival in Amsterdam during summer 2022, the click was instantaneous, with the pair going on to play an impromptu b2b that day. Vibing both musically and energetically, they kept in touch, with BELLA sending Sally her maiden productions ‘Note To Self’ and ‘Orchestra Spring’. Sally connected so deeply with the tracks that they’d form the backbone of her debut artist EP on Big Saldo’s Chunkers.

One listen to the final EP and it’s not hard to see why Sally wanted to emboss them as Chunkers. Three fresh originals taking in influence from ‘90s house, acid, electro and prog, all with a unique hard-to-pin-down energy that makes them hit with a special swing.

The title track – also the first production made for the EP - sees BELLA lay down a sonic blueprint – both for her own sound and the full body of work. “This set the vibe and guided me through the creative process. I was really trying to make something that felt my own, that was also unique and not something I’ve heard before,” she shares. ‘Note to Self’ is heavy on attitude and bounce, driven by banging old skool drums, a rapid-fire grime-style vocal and a duo of synth lines – one uplifting, the other mining a slick ‘80s sheen, and the results are memorable. An absolute tune that Sally’s delighted to add to the Chunker catalogue.

‘Orchestra Spring’ is the perky sequel, a wicked one-two punch of kaleidoscopic groovy house with lashings of attitude that loves to scribble outside the lines with lots of retro samples and trippy energy. ‘Odd Symphony’ completes the trio, a blazing late-night cut driven by a gurgling acid underbelly, gritty drums and warm chords, giving the EP a brilliant afterglow.

»Es ist wie die Essenz von SLEEP.« So beschreibt Max Richter Sleep Circle, die neue Veröffentlichung zum
zehnten Jubiläum seines bahnbrechenden Projekts SLEEP. Sleep Circle lädt ein zu einer 90-minütigen Reise
in eine andere Wirklichkeit – in jenes geheimnisvolle Zwischenreich zwischen Wachen und Schlafen, in dem
sich Träume formen.
Die 24 Tracks sind inspiriert von den Eindrücken und Einsichten, die Max Richter bei seinen Konzerten
einer gekürzten Version seines Opus Magnum gesammelt hat. Mit dieser intimeren und konzentrierteren
Gestaltung von SLEEP rückt das neue Album Stücke wie »Dream 11 / Moth-Like Stars« und »Non-Eternal«
in den Mittelpunkt und spannt einen musikalischen Bogen, in dem sich der natürliche 90-minütige REMZyklus spiegelt.
Aufgenommen im Studio Richter Mahr in Oxfordshire, zeigt Sleep Circle Max Richters einzigartige Fähigkeit,
tiefgreifende menschliche Erfahrungen in Musik zu übersetzen. Ein Raum öffnet sich, in dem das Innere
nachklingen darf.

After spending much of the last years focusing on the evolution of his own instrument, the drummophone, the release of ZERO,999… reveals a new paradigm in La Foresta's work and career.

In this album he collects fragments of live performances and site-specific installations conducted over the last decade, with and without the drummophone — reimagining and repurposing them as compositional elements that he has interwoven with recent studio recordings and collaborations to form eleven viscerally powerful pieces of overwhelming rhythmic and textural density.

La Foresta weaves together these captured moments in time, while employing combinatory strategies inspired by Italo Calvino's tarot stories in "Il castello dei destini incrociati," forging relationships and connections between recordings from the collaborators and his own. In approaching accompanying and augmenting these recordings, Riccardo, in the role of percussionist and composer explores the tension between his personal and academic focus on rhythmic structures and his fascination with repurposing the drum as a durational instrument.

Contributions from collaborators include the synthetic textures of Valerio Tricoli, Anthony Pateras, Aleksandra Słiż, and Renato Grieco, the vocalizations of Antonina Nowacka and Sara Persico, and the guitar experimentations of Ale Hop and Stefano Pilia, bringing together a distributed ensemble of musicians pulling apart the orthodoxies of their own instruments and techniques. Through the interaction of these elements, La Foresta imagines a causal network that binds, integrates and informs fragmented contexts, performers and performances, exploiting new possibilities of the drummophone.


ZERO,999… is conceived as a suite where sound and time are communicated simultaneously at different orders of scale, a single strike of a drum is a drone if slowed down one thousand times, an hour-long drone is a brief tick in the clock of geological time. A seemingly static object, such as the number 1, can both be defined by its fixedness, and as a process in which eternally approaching (0,999...) is the same as arriving.











k 11: EyeContact (Nereo`s) feat. Stefano Pilia

Real Lies’ new album ‘WE WILL ANNIHILATE OUR ENEMIES’ will arrive on April 16th 2025 via Tonal. The album is about taking the hand of someone you love intensely and running headlong into the chaos and noise and grinding forces that dominate modern life. It follows gilded 2024 collaborations with Mall Grab, Kettama and Drain Gang’s YEAR0001 label. Lyricist Kevin Lee Kharas and producer Patrick King created the record in their studio, hidden away under a railway bridge somewhere in London’s Zone 3. Three pictures stared down at them from the walls throughout, including an image of a young Sasha Shulgin in the relief print style of Che Guevara t-shirts sold at Camden Market, and a photo of an orbiter fairground ride in flight, taken sometime in the early 2000s. Kharas’ lyrical inspiration comes when he steps away from the tsunami of data flooding his consciousness and paces London’s rain-soaked streets late at night. “I wanted the songs on WWAOE to confront modern reality head-on, unflinching,” he explains. “I didn’t want to whine about a lost past. I didn’t want nostalgia. I wanted to learn to love the modern world, with all its horrors and futility.” After a teenhood spent playing in hardcore bands, the duo found ecstasy at a squat party for the first time, and moved to London. Since then, they’ve made music about finding romance and fun when the moon is up, becoming a cult act in the process.

I first found out about Dope On Plastic from a remix they had done of a track by Ontology (who has released previously on this label) & then later found out more about them when they had been sending tunes to Pete Dev/Null, which I would hear him playing on our radio show on Jungletrain.

Soon after that, whilst touring North America, I'd meet Dope On Plastic in person whilst I was in New York, get to hang out with them and visit their home studio. They showed me a tune at the time they were working on (which ended up being Odyssey) and it sounded sick, like something that I would definitely release on Future Retro London.

When they finished it and sent it over to me, along with some other music they had made around that time, there was more than enough to work with for a full EP & Life Energy is a collection of my favourite tracks of theirs of what they had sent me. Big up to Luca (Dope On Plastic) for their work on this EP, keep an eye out for more music from them in the future!

In 1975, Michael moved from Tucson to Los Angeles to study with Emilie Conrad at the Continuum Studio. Emilie had ‘live’ music for her ‘movement meditation’ classes, and Michael began performing with Fred Stofflet, Gary David, and Don Preston. Ancient Leaves (25:43) was Michael’s first album, recorded in 1976/77 with a Mini Moog synthesizer and a Finish lap harp (Kantele) onto 4 track tape. To the other instruments, Michael added Emilie chanting, an ascending choir with Susan Harper and Linda Olsen vocalists, Gregorian Chants and a night ambience recorded in the desert outside of Tucson, Arizona, his hometown. It was initially released on LP and cassette. The ‘B’ side, Elysian E (23:13) was performed with an Arp String Ensemble played through an MXR digital delay, one of the first, then slowed to half speed. To this he added Moog and EML synthesizers, The Beam and his voice.

Originally released in 1971, this classic album was the second studio album from the legendary American singer/songwriter Carole King. It is the 81st best selling album of all time, with over 10 million copies sold and is also ranked by Rolling Stone as 25th on the list of the Top 500 greatest albums of all time. A 12 track standard black vinyl, with download code insert (replaces previous version which had a mastering issue). Marketing.

SUPREME STRIKER proudly presents its very first release, SST101 — Quasar “Ritmo Love EP”. This marks the beginning of a new chapter, an exclusive imprint born from the Skylax universe, with a striking visual identity crafted by the legendary studio H5 (Daft Punk, Air, Logorama), delivering an exclusive design destined for collectors. Quasar, the DJ and producer from Russia who already made waves on Mellah #3 under the alias Arash & Quasar, now delivers a true masterpiece of italo-disco infused with 80s nostalgia and modern precision.

The journey starts on Side A with “Ritmo Love,” a dazzling homage to the golden era of italo and new wave, where pulsating basslines and shimmering synths make for an instant classic. It is followed by “Easy Flight,” an uplifting and elegant trip that fuses hi-NRG energy with a deep house sensibility, crafted for nocturnal dancefloors. On the B side, “Forever in Memory” dives into a melancholic yet powerful soundscape, bridging the legacy of synth-pop with a strong club-oriented vision. Things escalate further with his collaborator Salimjan on the hypnotic and dramatic “Urkus,” and finally reach a cosmic climax with “Alhamdu Limusik,” a mystical blend of tribal rhythm and soaring electronics that closes the record with transcendence.

SUPREME STRIKER launches with a statement: this is not just another label, but a new frontier where disco, house and techno are reimagined by artists capable of pushing boundaries. With H5’s exclusive artwork, each release is conceived as a true collector’s piece. Quasar’s “Ritmo Love EP” is a bombshell—an electrifying piece of vinyl designed to delight the most discerning dancefloors and a foundation stone for what promises to be a legendary catalog.

Vinyl only.
For true diggers and devoted believers.

Tha Dogg Pound (Daz Dillinger & Kurupt) sind Mitbegründer der West Coast G-Funk-/Gangsta-Rap-Szene. Ihr markanter Rap- und Produktionsstil prägten einen Teil des Death-Row-Sounds der 1990er Jahre. "Dogg Food" ist ihr 1995er Debüt-Studioalbum auf Death Row und ein wichtiger Bestandteil des Labelrosters Mitte der 90er Jahre. Tha Dogg waren stark connected zu Snoop, Nate Dogg, The Lady of Rage und der gesamten Death Row Family-Ästhetik.

From the heart of Tamanrasset in South Algeria, Imarhan transcend Tuareg tradition, weaving hypnotic synths into desert blues. The result is a timeless work—deeply respectful of their roots, yet alive with a stirring sense of modernity.

ESSAM is the band’s fourth album, recorded with the same core lineup, but marks a significant shift in their sound and approach. Musically, it marks a departure from the rocky, bluesy, psychedelic Tuareg guitar-driven sound influenced by Tinariwen’s heritage — moving toward something more open, modern, and exploratory.
For the first time, their long-time sound engineer Maxime Kosinetz stepped in as producer. He travelled to Tamanrasset with Emile Papandreou (of the French duo UTO), a multi-instrumentalist who introduced electronic elements by sampling live instruments and reprocessing them in real time with a modular synthesizer — subtly reshaping the band's sonic identity.
The album was recorded mostly live, in one big room at Aboogi Studio — the band’s own rehearsal and recording space in Tamanrasset. The studio, a converted concert hall, has become a kind of cultural hub for the local youth. Friends dropped by during the sessions to contribute handclaps, vocals, and just be part of the energy. It’s a space where people gather, hang out, play dominoes, smoke chicha — a rare communal spot in a city that doesn’t offer many for young people, somewhat like a youth and community center.
This context — the creative shift, the live recording process, the atmosphere around Aboogi — might be interesting threads to explore in the conversation.

Die Welt wird immer verrückter. Gut, dass es Musik gibt, die uns in eine positive, optimistische Welt gleiten lässt. SCHILLER präsentiert mit dem neuen Studioalbum "Euphoria" ein kraftvolles musikalisches Gegengewicht zur Unberechenbarkeit unserer Zeit: voller Energie, positiver Schwingungen und cineastischer Klangwelten. Musik zum Abschalten, Auftanken - und zum Eintauchen in eine hypnotische Atmosphäre.
Die limitierte Color Vinyl im Gatefold beinhaltet das "Euphoria"-Album auf 2 audiophilen 180g Vinyls in den Farben Neonpink und Carouso - jeweils in einer gepolsterten Innentasche verpackt
"Euphoria" ist ein mitreißendes Klangabenteuer - episch, bildgewaltig und berührend.

About SCHILLER
Hinter SCHILLER steht der deutsche Elektronik-Künstler Christopher von Deylen, der seit über zwei Jahrzehnten internationale Maßstäbe in der elektronischen Musik setzt. Seine Werke verbinden elektronische Sounds mit orchestralen Elementen, packenden Rhythmen und atmosphärischer Tiefe. SCHILLER ist weltweit bekannt für ausverkaufte Live-Tourneen, hohe Chartplatzierungen und musikalische Kooperationen mit internationalen Top-Künstlern.
Mit zahlreichen Gold- und Platinauszeichnungen sowie unzähligen Nummer-1-Erfolgen gilt SCHILLER als einer der erfolgreichsten deutschen Elektronik-Acts - und als musikalischer Grenzgänger zwischen Pop, Ambient, Klassik und Klangkunst.

VIER - IIII, a project by: Machinedrum x Thys x Holly x Salvador Breed.

Across its eleven tracks, 'IIII' dissolves borders between breakbeat, trap-meets-gabber, skippy UK shuffle, halftime, jungle and cinematic electronica, music that shifts from serious voltage to full-colour euphoria. What ties it together is philosophy, not genre.

The group's working method began playfully in the studio with a ten-minute egg timer: each member would sketch for ten minutes, then pass it on. That rule became a ritual, a way to keep things human, spontaneous and shared. In VIER, every track passes through four sets of hands; every decision is a test of trust. What could have been chaos instead became a flow state, a cycle of surrender and discovery thatdefines their sound.

Following singles such as Frankfurt, Control, Where Were You, Solitu and Vai Pulando, 'IIII' stands as VIER's first full statement, a body of work that feels both playful and deeply considered. Moments of quiet bloom into distorted joy; melody drifts through broken percussion; endings turn into new beginnings.

lim. 150 blue transparent 180 Gr LP + 7" + Poster / incl. Silent Servant Remix

A cross-cutting label exploring the boundaries between different disciplines based on deep listening and music research, Modern Obscure Music is set to release 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) on the 1st December, the new album from Dellarge.

Inspired by the scenic beauty of his studio's surroundings at Lake Pátzcuaro in Michoacan, Mexico, Alejandro Barba, aka Dellarge, delves deep into the depths of his artistic consciousness to craft a spiritual album that encapsulates the essence of the place. 'INRI' stands for Industria Nacional del Ruido Infinito (National Industry of Infinite Noise) and serves as a vessel for Dellarge's innermost self-expression and reflections on the potential of humanity.

A multifaceted artist and veteran of the music industry for over two decades, his latest musical creation is an intimate and personal album and a departure from previous Techno/EBM-orientated Dellarge releases. 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) offers a mesmerizing blend of ambient, futuristic, and industrial sounds that transport listeners into a realm of mysticism, futurism, and duality and stands as a testament to Dellarge's artistic growth and his ability to transcend boundaries, offering listeners an immersive experience that connects them to his world.

Drawing inspiration from numerous sources, Dellarge found creative fuel in books such as 'El Arte de los Ruidos' by Luigi Russolo, 'Manifiestos y Textos Futuristas' by F.T. Marinetti, and science fiction classics including 'Congreso de Futurología' by Stanislaw Lem, 'Neuromancer' by William Gibson, and 'Dune' by Frank Herbert. Musically, he delved into the works of Coil, Michael Bundt, The Threshold Houseboys Choir, krautrock legends CAN and Popol Vuh, early Kraftwerk, Arthur Brown, Yello, Esquivel, The Residents, and Hector Lavoe for inspiration.

When asked about the creative process behind the album, Dellarge revealed a disciplined routine that involved immersing himself in the sounds, focusing on minute details that connected with the vivid world he envisioned. Ethereal tracks such as 'Viento Androide' and 'Viaje al Sol' offer a glimpse of a hopeful future, while darker compositions such as 'Corpus de Sangre' and 'Toro de Falaris', explore the wickedness and compassion within humanity. Each piece in the album represents a unique sonic journey.

'Viaje al Sol', the first single to be taken from the album, is set for release on the 27th October, and is also available as an EP which includes a remix from Juan Mendez aka Silent Servant. The remix is also included on the digital version of the album and available on 7" vinyl alongside an exclusive reworking of 'Cascabel' by the founder of Modern Obscure Music, Pedro Vian.

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.

Seeking out the inspirational intersection between free improvisation, rave and ancient mysticism, Plants Heal deliver an album of kaleidoscopic, organic beatdowns to Quindi.
Plants Heal is a collaborative project between Dan Nicholls on synths, Dave De Rose on drums and Lou Zon (aka Louise Boer) on visuals. The roots of the project are entwined with Dan and Lou's London-based event Free Movements, which began in 2018 to explore how instrumental music could merge with live electronics and DJ sets. Dave and Dan found themselves playing together frequently at the event and as part of Dave's free improv project Agile Experiments, with their accomplished track records as multi-instrumentalists reaching across many layers of music culture. The particular synergy of their partnership taps into the subliminal, surreal and transcendental soundscapes, but they're reliably anchored by instinctive rhythms and driven by a natural flow-state.
From the tentative steps of their first collaborations, Dan and Dave coalesced Plants Heal as a more pronounced project with Lou's live visuals, culminating in a first self-released album in 2021 and since organically fed and watered through continued performances across adventurous festivals and intimate club spaces. Every incremental step along the path of the project yielded new surprises and the deepening sense of a unique, powerful energy. The trio opted to pour this energy into two days of studio sessions at Sonic Playground Studios in Athens, maintaining their unplanned approach and letting the music and visuals unfold in the moment. The end result is Forest Dwellers, a sincere document of truly free music that uses the rhythmic structure of dance and trance music as a springboard into heightened consciousness.
Throughout the album you can hear hints of the familiar - dub techno shimmers, trip hop boom-bap, kosmische momentum, snarling bass modulation, new age ambience and even the odd sizzle of disco. But none of these references are explicit, and they weave in and out of less placeable expressions deeply bedded into Dan and Dave's sonic practices. The end result is a swirling tapestry of unspooling groove, wide open and agile enough to shift gears mid-flow - just as comfortable letting the propulsion melt away as locking into a four-to-the-floor throwdown. From the slippery syncopation of 'Avena Moon' to the angular bait-and-switch of 'Alien Hardware', 'Yarrow's starry-eyed reverie and the rolling, warm-hearted funk of 'Space Ballad', the Plants Heal sound world is expansive and equally enthusiastic for immediate musical motifs as much as wild abstraction.
Lou's visual practice is an intrinsic part of the project. During performances she improvises with analogue footage from her library run through video mixers and synthesisers, focused on medicinal plants such as yarrow, hawthorn, nettle and thistle. All those plants feature in processed form on the cover of the record, which was designed in collaboration with Lou's brother Arthur Boer. Meanwhile, Lou recorded additional footage in Athens during the recording sessions to feed into the continued cycle of the project's live evolution.
Forest Dwellers' meaning honours this cycle and its reflection of the eternal undulations of the natural world. It's also a sincere tribute to the spiritual importance and radical potential of the dancefloor, drawn from the freedom taught by jazz and dedicated to reclaiming lost ideas about community, agency, bodies and the enduring allure of the unknown.

Groovin Recordings proudly announce the forthcoming release of "Back From Paradise", a track co-produced by the legendary Italian DJ Costantino “MixMaster” Padovano and renowned South Italian producer Antony Reale.
This record is a dedication to the enduring legacy of Costantino MixMaster Padovano. Originally produced in the late 90's but never officially released, this collaborative piece is finally seeing the light of day as a powerful celebration and tribute.
Costantino MixMaster Padovano needs no introduction to house music aficionados. He was one of the first Italian DJs to achieve deep respect in the 90s US house scene, regularly sharing the decks with titans like Frankie Knuckles, Kenny Dope Gonzalez, Louie Vega, and Todd Terry. His studio influence was massive, including official remixes for legends such as Marvin Gaye, Diana Ross, Gloria Gaynor, Chaka Khan, Mary J. Blige and many more.
Antony Reale is an established Italian DJ and producer with a large discography spanning the last two decades. He has produced and remixed a roster of top artists, including Chaka Khan, Mary J. Blige, Ultra Naté, and RuPaul.
"Back From Paradise": Originally created by Antony and Costantino during their creative prime in the late 90's, Antony has now decided to finally release the track. It serves as a beautiful and fitting monument to the memory and fantastic career of this iconic Italian DJ and producer who helped define the 90's house scene.

Fra Lippo Lippi released six studio albums between 1981 and 1992, two of them on Virgin Records, namely "Songs" in 1986 and "Light And Shade" in 1987. All the original releases were deleted many years ago. There are two previous The Best Of Fra Lippo Lippi releases on CD (1995 and 2003), but this is the first on vinyl. With the limited playing time of vinyl, we had to make some tough decisions, but in the end the song selection very much gave itself. The dark horse here is "Stitches and Burns", an overlooked gem from the final studio album "Dreams" (1992) that didn't make the previous 15 track collection, but in mysterious ways gained new life through organic streaming, with over 70 million streams on Spotify at the time of writing. Included is also the international hit "Shouldn't Have To Be Like That" and "Angel", featuring the late, great Walter Becker on guitar and production duties. The duo is still very popular in various parts of the world and now has 1,2 mill monthly listeners on Spotify. This 2025 reissue is pressed on clear vinyl (500 ww copies).

Sylvan Esso ist eine Band aus Durham, North Carolina. Im Laufe ihrer Karriere haben Amelia Meath und Nick Sanborn vier hochgelobte Alben veröffentlicht, wurden für zwei GRAMMYs nominiert und haben mit einer breiten, vielseitigen Gemeinschaft von Künstlern zusammengearbeitet, darunter Arooj Aftab, Maggie Rogers, Tyler Childers, Reyna Tropical, Califone und viele weitere. ,WDID" ist die erste neue Musik der Band seit 2022. Der Track sowie seine hypnotische, wellenförmige B-Seite ,KEEP ON" entstanden beide aus einer intensiven Phase des Schaffens und Experimentierens der Band. Meath und Sanborn haben das letzte Jahr damit verbracht, mit einer Reihe neuer Mitwirkender an neuem Material zu arbeiten und ohne Zeitdruck in den üppigen Wäldern von Chapel Hill, North Carolina, aufzunehmen. Der Song ist auch der erste, den Sylvan Esso über ihr eigenes Plattenlabel Psychic Hotline veröffentlichen. ,WDID" ist ein komplexer, eindringlicher Track; ein manisches Summen, das sich irgendwo zwischen einem Doom-Scroll um 3 Uhr morgens und der Tanzfläche abspielt. Er sprudelt vor Angst, einer alles verschlingenden, endlosen Kaskade von Krisen. Der ausgefallene, elektrisierende Pop der Band hat sich schon immer aus einem zentralen Spannungsfeld entwickelt - Meath und Sanborn scherzen schon lange, dass das Songwriting von Sylvan Esso aus einem Streit entsteht, einem Hin und Her der Möglichkeiten. Das Songwriting hier - und in der neuen Musik im Allgemeinen - ist locker und verletzlich, eine disparate Collage, die mit Klebeband zusammengehalten wird und etwas hervorbringt, das letztlich sowohl magisch als auch seltsam ist, ein dyspnoischer, schattenhafter Sound, der die Menschen an der Spitze von Sylvan Esso mit einer neuen Unmittelbarkeit zeigt. ,WDID" wurde in Betty's, dem Studio von Sylvan Esso in Chapel Hill, North Carolina, aufgenommen und wurde zusätzlich von Jake Luppen (Hippo Campus, Samia) produziert. ,KEEP ON" entstand aus einer Woche Improvisation mit dem Bassisten Daniel Aged (Frank Ocean, Dijon) und dem Schlagzeuger TJ Maiani (Weyes Blood, Neneh Cherry). Diese limitierte 12"-Single verfügt über eine speziell angefertigte, ausgestanzte Hülle, die als Malvorlage verwendet werden kann.

Yamaha's DX series of synthesizers has long been a source of inspiration for Tom Trago. The DX7, in particular, appeals to the Dutch producer thanks to a unique sound that he describes as glassy but classic and icy'. 34 years after it went on sale - the same year as Trago was born, interestingly - the synthesizer's sound still bristles with futurist appeal.
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Trago, who was partially trained in how to use the DX7 by studio friends Bok Bok, Sterac Electronics and Juju and Jordash, has decided to pay tribute to this most distinctive of synthesizers by using it as inspiration for Serene Waters, his first EP for Voyage Direct since 2014 epic Hidden Heart of Gold.

Across the course of five sparkling, spacey and melodious tracks, the Voyage Direct chief showcases the variety of sounds that can be teased from the DX7. Compare, for example, the delicate and rush-inducing melodies of dreamy, deep electro opener Harvest' and the two contrasting mixes of Opulent'', variations on a throbbing, futurist techno theme rich in glacial melody lines, bustling synth-bass and spacey chords. The dancefloor possibilities of the synthesizer's sound palette comes to the fore on the stripped-back Within Mix', where Trago's rolling stabs and cascading melodies are wrapped in tougher, denser drums.

The sparkling nature of the DX7's trademark sounds also come to the fore on XYZ', a crunchier and snappier electro outing that recall the effervescent brilliance of Trago's sometime label mate, Sterac Electronics. The track's combination of darting bass and mind-altering, alien electronics is as kaleidoscopic as they come.
Nestled slap bang in the centre of the EP is Red Room', where Trago manipulates his machines to get a far more psychedelic sound. While there's vibrant warmth thanks to some seductive background pads and stretched-out chords, it's the bubbling electronincs and futurist tunefulness that catches the ear. Like much of the rest of the EP, it tiptoes the fine line between poignancy and rush-inducing colourfulness.

‘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.

Bristol artists: Holsten, Grandma Love (AKA Karkossyn) & Frank Silva converge on 3 track VA for new Bristol underground label & club night Northfield.

Edition of 300. Mastered for digital and vinyl by Larry ‘Bruce’ McCarthy at Edgar Studios in Bristol.

Hand-stamped 12” vinyl. Matte black sleeves.

Supported by:

Pessimist, UVB-76, Clarity, Mackenzie, Anina, mad miran, Batu, Bruce.

Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Enrico Sangiuliano)

Pioneering, avant garde yet chart-storming sound designer/producer/live performer Enrico Sangiuliano drops EP ‘Order In Chaos’ as release #1 in his self-destructing countdown imprint ‘NINETOZERO’, out 20th November. The EP’s three tracks respectively represent a triptych of sound exploring tension, release, and dissolution, with violinist and composer Vito Gatto joining Italian techno/melodic maestro Sangiuliano for tracks 1 and 3. The EP blends electronic, classical and electro-acoustic genres, resulting in a fresh, unique product that defies typical techno expectation, as Sangiuliano and Gatto explore the concept of disorder as a creative playground.

‘With this chapter, we dive into chaos – something that can be uncomfortable, but is the place in which you can find unexpected or new ideas. Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Sangiuliano)

The ‘Order In Chaos’ EP continues a momentous year for Enrico Sangiuliano, and heralds his upcoming all-night-long SOLO show at Nitsa in Barcelona (Nov 28th, tickets here). His highly acclaimed NINETOZERO label has also previously featured Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX, Zimmz, Secret Cinema and About Sofiya.

Vito Gatto is a Milan-based violinist, composer and sound explorer. He is the founder of label/collective NeMu (‘Neutral Mutation’) producing Italian projects at the interface of electronic and organic sound. His self-description as ‘Making sounds, looking for silence’ makes him the perfect collab partner for ‘Order In Chaos’, which ‘embraces the paradox: chaos births order, and order dissolves back into chaos.’

‘Whilst classically trained, I have always been fascinated by the world of electronic music, in all its expressive forms’ Gatto says. ‘I use real instruments and natural sound sources processing them through electronics to enhance their unpredictability, always remembering that the core of music - whether classical or electronic - is communication and storytelling. This philosophy guided our creative synthesis on this release.’

The collaborative workflow combined remote and in-person studio work over roughly a year, culminating in these three key tracks reflecting different musical and conceptual layers.

‘Order In Chaos’ EP tracks:
Enrico Sangiuliano & Vito Gatto ‘Adaptation for Strings and 909’: A cinematic overture built from the raw intimacy of Vito Gatto’s violin, processed and layered with unquantized 909 drums. Out of grid, out of rules. Drama and turbulence surge until thunderous kicks strike like sudden storms. ‘This track symbolises both of us. Vito sent the strings, I added the iconic Roland 909. It has no structure and no grid, the arrangement is not precise, it’s a very pure track and a great example of disorder and freedom.’
Enrico Sangiuliano ‘Order in Chaos’: The title track is a pure techno weapon and dancefloor igniter: rolling, stripped, euphoric. A shape-shifting lead synth constantly mutates, flirting with disorder until the kick restores gravity. Chaos becomes dancefloor order.
Enrico Sangiuliano & Vito Gatto ‘Dissolution’: The closing moment. Strings and drums dissolve into a weightless drone. Beatless and infinite, it invites surrender into space. ‘This cinematic track slowly melts ‘Order in Chaos’, adding processed organic sounds and field recordings from the mountains.. coming back to nature, and silence.’ (Gatto).

Still #0 to go in the NINETOZERO countdown… And then what? With Sangiuliano, it’ll be something unexpected and brilliantly innovative.

South London producer Nima announces his debut album. A project five years in the making that pays homage to the formative dance floors of UK bass music. Drawing from the spirit of nights like FWD>> and DMZ in London, and many from Bristol, the record sits at the crossroads of hip hop, dubstep, grime and cinematic sound design.

Of Iranian heritage, Nima grew up on a steady diet of 90s Hip Hop and Grime before discovering 140 culture through pioneers like Skream and Benga. His sound developed further in Bristol during one of the city’s most vital periods for bass music, later refined at London’s Roundhouse studios. His productions blend filmic atmosphere with the physicality of sound system music, heavy hip-hop drum structures, rolling 140 basslines, and emotive grime-inspired melodies.

Across the album’s tracks, Nima explores the evolution of UK sound system culture through his own lens. From the weightless grime-inspired “Imperial Dreams” and cinematic, jungle-inflected “Big Up”, to the stripped-back melodic grime of “Ruff Sqwad” and the deep, meditative bass of “One People.”

Referencing everything from Plastician’s Beg to Differ to Mala’s Boiler Room set, Fugees skits, and samples from films like Imperial Dreams and Belly, the record is a reflection of the cultural layers that have shaped Nima’s musical identity.

Nima’s debut is a personal statement to the foundations of UK bass music. Cinematic, weighty, and built for the dance floor.

The 12-track record is the first album on SHDW's influential label and explores the past, present, and future of techno.

Planet X label head and 20-year scene veteran Exos, hailing from Iceland, draws on his native country's influences in his work, which explores the interplay between light and dark, warmth and cold. His high-octane sounds over the last 20 years have appeared on vital imprints like Tresor, X/OZ, and, of course, Mutual Rytm, with his releases for
the label having been extremely well received, garnering support from the scene's key DJs. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s style. This new album follows Exos's inaugural X-Release, the Infrared 10", the Icebreaker 12" from last year, and his track on the latest Federation of Rytm IV compilation. It's a real journey through all facets of his sound, including a trip back to his dub techno roots, ambient
explorations, and emotional vocal pieces with lifelong memories fused into sounds that reflect the artist's decades spent in Iceland.

'Sweet Dreams' opens with an atmospheric intro in the form of a 28-year-old collaboration with his father. This full-bodied analogue ambient piece is rich with the mysterious tones of the Nord Modular and was recorded during their shared studio days at D17 in Reykjavik. The title track is a hypnotic, linear groove with icy synth modulations and glistening melodies. 'Hinn Vioforli' then brings dub warmth while 'State of Mind' recalls the spirit of the legendary Reykjavik club 'Thomsen', a cornerstone of Iceland's late 90s underground scene. 'Glaour Og Reifur' and
'Fogur Er Hlioin'pay homage to the echoes of ancient Viking heritage, 'North of January' conveys the cold of Exos's homeland, and 'Hvarvetna' brings textured percussion and darker undertones before '101 After Dark' slows to a bass-heavy broken beat exploration of texture and post-dubstep pressure.

After the heady and atmospheric sound of 'The Dolphin Oracle', another key collaboration comes with 'Freefall', an emotional breakbeat piece featuring vocalist Amelia Rodriguez,' who also lends her voice to 'Shock', a magnificent track that channels Exos's modern techno energy. The album closes with a haunting paradox, 'Paradise Lost,' questioning whether our sweet dreams are truly moments of bliss or simply reflections of what we've already left behind. The three bonus digital cuts offer sleek minimalism, punchy deep techno, and suspenseful ambient.

The Mi-Mnemonic EP by Karma is one of those records that preserves a genuine fragment of the Italian electronic scene of the late ’90s. Originally released back then and now reissued in 2025, it carries the raw energy of a time defined by clubs, after-hours, and pure analog experimentation.

Behind the machines were Francesco Passantino and Davide Calì, two young DJs and producers who brought to life legendary nights between Taverna Jory in Aulla and the iconic Club Imperiale in Tirrenia. It was a period when electronic music was more than entertainment — it was a shared language: from the dancefloors to the studio sessions filled with drum machines, sequencers, and analog synthesizers.

The EP is built on hypnotic grooves, deep basslines, and a raw sound that perfectly reflects the spirit of that era: no frills, just pure sonic energy. The 2025 reissue brings back that same freshness, offering a chance to rediscover a record that smells of endless nights, spinning vinyl, and an underground scene that thrived on community and vision.

Today, Mi-Mnemonic is more than just a track from the past: it is living memory, a testimony of a time when analog sound was the driving force of freedom and connection

Produced by Francesco Passantino & Davide Calì

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

Unearthed from the original DAT at Strange Weather Studios in South London, Get Fucked's Unearthed Stash traces a chronological journey through the legendary group's earliest recording sessions, from the raw chaos of their 1999 debut album to the more refined dub house explorations that led into their second LP.

Sourced from the best surviving master DATs this collection brings together remastered classics, lost versions and previously unreleased edits, offering unfiltered look into one of the UK underground's most fearless creative period.

Each track has been carefully remastered to preserve the saturated punch, tape grit and raw energy of the original sessions, while expanding definition for modern sound systems.

Pressed on 180g heavyweight black vinyl, Unearthed Stash is strictly for collectors and true heads preserving the energy and attitude that made Get Fucked pioneers of the London underground sound. A raw document of a lost era, revived.

Archival Gold. From The Source. Unearthed at Last.

Limited Cassette

67 minutes (A side:35" / B side: 32")

Originally released in 1996

Compiled and DJ Mixed by Jeff Mills

Recorded at Liquid Room- Shinjuku, Tokyo October 28, 1995

Mastering: Ron Murphy at Studio Enterprises, Detroit



This year marks a major milestone in the history of electronic music: the 30th anniversary of Jeff Mills’ legendary Live at Liquid Room, recorded in 1995 in Tokyo and widely regarded as one of the greatest DJ mixes of all time. A true techno anthology, this set made history with its boldness and intensity, inspiring generations of DJs and producers around the world.“30 years ago, Techno music was still in its infancy, still formulating itself and attempting to find firm footing in the genre of Dance Music. Many new artists and records labels were introduced to the World as many DJs were justifiably recognized. This Liquid Room mix marks a cornerstone of the genre. The crossing and never returning back to way things were. Techno could only move forward and it did. “-Jeff Mills

How about a volley of hydraulic heaters from one of Denmark’s finest?

Already a man of many projects, both on the label side and in the studio, Natal Zaks has minted a brand-new alias… Enter Aquafaba, the ocean floor operator kicking it on a subaqueous tip.

Not many moving like this today. Properly submerged techno, masterful and ultra-essential by Aquafaba, self-monikered after the starchy, liquid byproduct of cooking chickpeas. Patrick Star would be proud for sure.

From Aarhus to the deepest ocean trenches in pursuit of that fathoms-below sound. Nods to the Midwest – chiefly mid-’90s Robert Hood and Cajmere’s ‘Percolator’ – felt in parts, but it’s also riddled with ultra-engrossing detail. Zaks goes heavy with the effects as tracky rollers are propelled to new mesmeric heights, even allowing for a moment of proper widescreen ascension.

Heads-down dynamixxx in full effect as we harness immense hydraulic power. Eschewing instant dancefloor gratification, Zaks emerges with tension and funk, like only the finest strains of techno can achieve.

This fresh white-label serves up a well-known disco gem but lovingly reworked from the original multitrack tapes. It's been done by an absolute Stateside king of disco and soul edits who is a connoisseur of the art form and has long been known for uncovering hidden gems and elevating them with studio finesse. The result is a version that stays true to the soul of the original while sounding absolutely huge on today's sound systems with its feel-good vocal energy and rousing rhythms. Dub and instrumental versions make this an unmissable 12".

Ambroos De Schepper and Pepijn Gyssels became roommates when PiP moved to Brussels in 2021. Both paid close attention to each other’s musical approach and interests. One year later, Ambroos moved out. When he swung by to pick up some boxes, they decided to record something for the fun of it. Between May '23 and November '24 they continued experimenting with textures and improvisations. This collaboration has become the deepening of a friendship and a way to maintain it at the same time.

PiP: “We would have coffee or the occasional beer and everything we recorded came very organically. Ambroos would just bring his saxophone, a clarinet, some FX pedals or a weird flute. Whatever he felt like on that particular day. A few hours later he would usually be on his way again, leaving me with the recordings. I could treat them as I pleased.”

Ambroos: “I liked the idea of working with someone focussing on the physical side of music. Not so much on chords and tonality, but on texture and atmosphere. This gave me a framework with less concrete references, using words like “dark” or “busy”. I could improvise freely and we would try and catch a particular moment."

“l’Esprit de l’Escalier” is meant to be a musical meditation, opening up a continuous and detailed sound palette, aimed for the right mental state to listen with. Ambroos came up with the melody in COVID times and later in PiP’s studio, they recorded it on clarinet.
“Sans Loup” is the first jam the duo did together, after Ambroos and Lou moved out of the apartment they shared. Lou Wéry eventually found her way back to the album, as she can be heard playing the wing piano in this track.

PiP: “We recorded in the apartment we used to rent together. Since the title track and the entire album are named after Lou being absent in this dynamic, it seemed only natural to invite her in a later stage.”

“Spring Whistle” was an attempt to embed Ambroos’ musicality in dreamy textures and “Bring Back Bones” was built around an endlessly evolving krakeb recording that PiP took home from on a trip to Morocco. Both tracks are not aimed to end or evolve drastically, they just make the clock tick slower.

To conclude this release, “Velours de Tendre” is built out of a deconstructed groove and a field recording of the “Ronde van Vlaanderen”, a small reference to the countryside where PiP grew up. The reverberating chords you hear are the echoes Tijn Driessen squeezed out of an old harmonium, in a staircase of De Grote Post in Ostend.

PiP: “During a residency in De Grote Post we recorded in a staircase with a spaced pair of omni microphones. And you can take ‘spaced’ quite serious; one was positioned 5 stories higher and the other 3 stories lower.”

Sans Loup is the first vinyl to release on PiP’s label. They look alike, but none will be identical. The cover is screen printed in various combinations + a risograph insert. A highly personalized object.


credits

Released on Zitstill Records
Recorded in Brussels, Horebeke, Morocco and elsewhere, between September 2021 - November 2024

Music, mixing and production by Pepijn Gyssels
Saxophone, flute and clarinet by Ambroos De Schepper
Grand piano on “Sans Loup” by Lou Wéry
Harmonium on “Velours de Tendre” by Tijn Driessen
Mastering and lacquer cut by Anne Taegert at Dubplates & Mastering
Pressing by Objects Manufacturing
Layout and graphic design by Liselotte Van Daele & Otis Verhoeve
Photography by Willem Mevis

Special thanks to: Stijn Cools, Victor De Greef, De Grote Post

Continuing his refraction of the rave continuum into pointedly dislocated, delicately bruising sound system meditations, Low End Activist returns to Peak Oil with a second instalment in his Airdrop series. This time around, he channels the ghosts of foundational tech-step and the quantum leaps of late-90s D&B to provide the inspirational fuel for his skeletal, astral constructions. A strong stylistic thread continues to weave through the LEA output from his earlier self-released EPs and Sneaker Social Club albums, where haunted atmospherics, blown out subs and snatches of breaks dart around each other in empty dancehalls, but the finer point of the sound design and synthesis makes very specific references to landmark moments in hardcore's evolution.

By weaving his own autobiography into the music, the Activist maintains a fundamental theme of his work to date. 'Colin's Golf', 'Smithy's Porsche,' 'Merv's Lazy Eye' and 'Brillo's Teeth' are all personal codes harking back to the formative Oxford rave scene. With the framework in place, he uses textures, timbres and studio tricks from scene-leading pioneers and local heroes of the era as ingredients in thoroughly modernist concoctions. None of the reference points are deployed as literal callbacks — they're waymarkers for the creative process and faint triggers bedded deep into Airdrop II's strange formations. Fleeting sonics might trigger latent memories for those who were there. For everyone else, Airdrop II is another step further along rave's eternally unspooling odyssey, guided by decades of precedents on a path into the future.

With centuries of history, traditional instruments carry physical vibrations shaped by human breath and touch. In contrast, electronic music generates vibrations through inorganic principles such as electrical signals and circuits. When the subtle tremors of traditional instruments resonate with the intricate tones of electronic sounds in an improvised dialogue, performers from distinct realms expand each other’s languages, creating a new sensory experience. The project album Ancient Moment marks the first collaboration between the Korean contemporary music ensemble WhatWhy Art and the Seoul underground electronic music collective vurt.. It is a record of a free journey where two different worlds collide and merge,

In Part 1 of the album, you will hear boundless performances by daegeum player Hong Yoo with electronic musician Unjin, and gayageum player Hwayoung Lee with ambient duo Hosoo. The recording was done in an improvised one-take format at STUDIO Y in Seoul, and Giuseppe Tillieci mastering enhanced the sonic quality.

Warsaw 480km ist das Debütalbum des irisch/portugiesischen Quintetts pôt-pot, das die treibenden Grooves des Krautrock mit einer phosphoreszierenden Psych-Rock-Ausstrahlung verbindet, unterstrichen von Harmonium-Drones, hypnotischen männlich-weiblichen Gesangsharmonien und tiefen Schichten rauer Texturen. Das Album entstand in erster Linie aus Demos des Multiinstrumentalisten und Leadsängers Mark Waldron-Hyden während einer Zeit der Trauer und des persönlichen Umbruchs und wurde durch eine Reihe von Live-Studio-Sessions in voller Besetzung zum Leben erweckt, die ein außergewöhnliches Spektrum an Talenten dokumentieren, die sich in einer Umarmung der rohen Katharsis mit einer süßlich düsteren Kante vereinen. Ein entscheidendes Element von Warsaw 480km ist die beeindruckende Bandbreite an Einflüssen und atmosphärischen Landschaften. Waldron-Hyden beschreibt: ,Ich habe die ersten Songs geschrieben, als ich noch nicht wirklich an einem Ort lebte, daher denke ich, dass sie sich irgendwie vergänglich anfühlen - sie mit der Band zu entwickeln half mir, eine Zeit zu verarbeiten, in der ich emotional frei war, daher erinnern sie mich gleichermaßen an die schönen Erfahrungen, die wir als kreative Einheit teilten, und an die schwierigen Zeiten, die sie inspirierten." Die Leadsingle ,WRSW" ist ein Beispiel für diese Komplexität, denn ihr robustes rhythmisches Rückgrat trägt Tremolo-Gitarren, ein wummerndes Harmonium und eine halb gesprochene, an Lou Reed erinnernde Gesangslinie, in der Strophe und Refrain wunderbar miteinander verschmelzen. Vor allem ist Warsaw 480km ein Album, das seinen Reichtum und seine Aura durch bewusste Sparsamkeit erreicht, wie Waldron-Hyden erklärt: "Ollie Oliver Smith und Sara Sara Leslie sind Experten darin, das Beste aus einem Pedal, einem beschissenen Verstärker und einer geliehenen Gitarre herauszuholen, ein Ergebnis von angeborenem Talent und jahrelanger Erfahrung; sie verwenden einige Modulationen für dröhnende Passagen, aber es sind ihre Spielstile und ihr Verständnis für ,den Vibe`, die die geheimen Zutaten sind." Diese Art von intuitiver Verbindung und Zusammenarbeit ist unglaublich selten, und mit diesen zehn Stücken vollbringen pôt-pot etwas wahrhaft Entrücktes, indem sie tiefen Schmerz in eine leuchtende Träumerei alchemisieren. Für Fans von Lewsberg, Spacemen 3, Spiritualized, Brian Jonestown Massacre, Velvet Underground, The Oh Sees, Ty Segall, Uranium Club, Night Beats, Goat, Black Lips.

Lantern in the Woods is the new album from musician and multi-instrumentalist Misha Sultan – a project that marks an important milestone for the artist. It is his first work conceived and realized as a coherent, unified statement, from the earliest ideas and sounds to the final mastering.

The story of the album began back in 2021 in Saint Petersburg, during studio jam sessions with Anton (Mårble), Vova Luchanskiy, and Nikita (Minereed). These live
improvisations eventually led to the formation of the collective Sri Primat and left a significant imprint on Misha Sultan’s solo sound. Some of the instrumental parts on the album were recorded during this period, preserving the spirit of spontaneity and open dialogue between the musicians.

Later, after moving to Thailand, Misha recorded the second half of the material. These tracks absorbed the atmosphere of southern nights, tranquility, and comfort – bringing a distinct “bedroom jazzy vibe”, a touch of sentimentality and gentle melancholy into the music.

The album offers a beautiful blend of jazz and various other influences. At its heart, it’s a search for balance between memories and the present moment, between nature and the city, between the light of the lantern and the darkness of the woods.

“It was especially important to me that my friends and close people were involved in this album. Their presence gave the music that warmth and personal feeling I value so much. My brother Zhenya (Dyad), Anton (Mårble), Vova Luchanskiy — they all contributed a part of themselves to these tracks, as did Nina Livanova, who recorded vocal parts for several songs,” says Misha.

Lantern in the Woods is a soft and sincere work, where all things intertwine naturally.

,Psychic 9-5 Club" schlägt ein neues Kapitel HTRK auf. Es ist ein Album, das zurückblickt auf eine Zeit der Traurigkeit und der inneren Kämpfe und das in diesen Kämpfen auf Hoffnung, Humor und Liebe stößt. Es ist das erste Album, das Jonnine Standish und Nigel Yang komplett als Duo aufgenommen haben - ihr ehemaliger Bandkollege Sean Stuart starb mitten in den Aufnahmen zu ihrem letzten Album ,Work (Work, Work)" von 2011. Obwohl ,Psychic 9-5 Club" von den ersten Tönen an nach HTRK klingt - der Gesang von Standish ist noch immer das Hauptaugenmerk des HTRK Sounds, während die Produktion charakteristisch schlank und dubbig ist - lässt sich die Band ausreichend Raum für Experimente. Verschwunden sind die in Hall und Verzerrung aufgehenden Gitarrenexperimente der 2009er Platte ,Mary Me Tonight" und die zerfuzzten Growls, die sich durch ,Work (Work, Work)" zogen. An ihre Stelle tritt etwas zärtlich-samtig Poliertes. Dies ist HTRK, doch ihr Sound wurde entfettet und richtet das Rampenlicht auf die nackten Arrangements und minimalistisches Sound Design. Das Album wurde mit Nathan Corbin von EXCEPTER in den Blazer Sound Studios in New Mexiko aufgenommen, der bereits Regisseur des Videoclips zum Track ,Bendin von ,Work (Work, Work)" gewesen war. Anfang 2013 wurde ,Psychic 9-5 Club" in Australien fertiggestellt und schließlich über den Sommer des Jahres in New York auf Hochglanz poliert. Das Kernthema des Albums ist die Liebe. Das Wort webt sich durch die Texte und Songtitel; die Liebe als Ablenkung, die Eigenliebe und die Liebe zu anderen. ,Psychic 9-5 Club" ist ein Album für den Körper und die Seele.

After years of shaping the UK underground from behind the scenes, Alex Nut steps out with his first official solo EP, serving up an intoxicating blend of Spiritual Jazz, Deep House, Dub, Hip Hop and analog electronics. The Present Under Construction EP is rooted in a deep musical language and future-facing energy, it captures a moment of creative transformation and exploration.
Built up over a few years from rough sketches made on an old MPC2000XL, the tracks were revisited, reshaped and eventually brought to life in the studio with longtime friend and collaborator Sam Crowe (Cleo Sol, Lianne La Havas). Together, they added a range of analogue sounds using the Dave Smith Prophet Rev 2, a Fender Rhodes, and a Moog Sub 37. Those recordings were then chopped, resampled, and restructured into the versions you hear on the record today. The records lead track 'andthenitstarted' features saxophonist James Mollison (Ezra Collective, Nala Sinephro) and includes remixes from Detroit House legend Patrice Scott and fellow Eglo Records alumni Last Nubian.

Best known as a DJ, broadcaster, curator and co-founder of Eglo Records, Alex has spent over a decade championing soulful underground music, through fabled Radio shows to legendary club nights, his fingerprints are all over a scene that continues to evolve. Initially making noise alongside the likes of Floating Points, Steven Julien, and Fatima, Alex Nut has long been a cornerstone of the UK's soulful underground. His work continues to champion the evolution of Jazz, Soul, House, and Broken Beat — nurturing a generation of artists now reshaping the global soundscape.

It's time for the next instalment from our gracious Spiritual Vibes label to bring some joyous musical upliftment and what better way than to introduce an inspirational piece we entitled 'Hands of Moses'; a revamp from the vaults of Bushman's works from the 80s and known to many as a one-away dubplate called 'Moses' in which we have now brought up to speed inna 2025 style with some exceptional musicianship involvement from the Spiritual Players of Instruments bringing emphasis to the majestic soundscapes on this project! ????

As it's the 2nd edition on Spiritual Vibes and to keep the theme of the release - we have decided have the main run in a special luminous red colour disc pressing and if that wasn't enough we are also giving away an EXTRA DUB CUT as a digital download to the first 100 copies sold via Bandcamp as a token of appreciation for all the support for both Ashanti Selah & Bushman's works over the years!

This vinyl comes complete with 4 stomping cuts mixed down in the Selah Dub studio with precision and quality ensuring to bring the right energy to the sessions through the sound-system style selection!

Originally Written by S. Richardson (Bushman) & Re-worked by both Bushman and Ashanti Selah for Spiritual Vibes recordings!