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Manuel Darquart returns to WOLF with this season’s must-have EP, Dream House Factory Vol. 1. Following his sublime 2023 release, The Del Sol EP, and a standout appearance on Permanent Vacation Records, he once again delivers a collection rich in Italo house influences, all filtered through his unmistakable signature style.

Seamlessly blending house, Italo and acid flourishes, Manuel Darquart continues to showcase why he’s a master of that sun-soaked Balearic sound. There’s a strong sense of nostalgia throughout, yet it’s balanced with a sharp, contemporary edge.

Adding further weight to the package, Malik Kassim aka Retromigration steps up to deliver a killer, remix of Pammy’s Craft. Injecting the track with extra drive and peak-time energy, he transforms it into a dancefloor weapon while retaining the character and charm of the original.

Think Ibiza via Hackney, with a pit stop in Amsterdam for a late-night pick-me-up. Balearic to the core!

WRWTFWW Records is proud to present THE GENTLE PEOPLE - Soundtracks for Living (Expanded Edition), ?the ultimate Lounge/Chill Out classic from 1997, reborn! Available as a limited edition white vinyl 3LP in heavyweight 3-panel gatefold sleeve.

When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Soundtracks for Living was their defining statement: an album that "takes the lounge scene and runs away with it entirely… blissful and heavenly," as one contemporary review put it. Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's Soundtracks for Living: a record that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People - Dougee Dimensional, Laurie LeMans, Valentine Carnelian and Honeymink - began in early-90s Brixton, throwing dress-up theme parties before taking their audio-visual universe into the studio. For them, music was "a way of life": soothing to the ear, rich in pop hooks, and pitched somewhere between the playfully idiotic and the hyper-intelligent. Their debut on Rephlex was the single "Journey", later blessed with a shimmering Aphex Twin remix that pushed their sugar-coated sound even further into outer space.

This Expanded Edition of Soundtracks for Living finally gives this glambient lounge-pop milestone the treatment it has always deserved. Spread lovingly across 3LP, it features new mastering from the original sources, allowing every harp glissando, string swell and analog squiggle to float in high-fidelity widescreen. The core album is complemented by a bonus 12" of unreleased and rare material, offering a deeper dive into the Gentle world: alternate takes, lost interludes, and secret soundtrack cues for lives not yet lived.

Crucially, "Journey" appears here in its original version, Gentle Instrumental and the cult Aphex Twin remix, reuniting band and labelmate in one place and underlining the quietly radical nature of the project: this was lounge music that could sit next to braindance, acid and IDM and still steal the scene.

Pressed on limited edition white vinyl, Soundtrack for Living (Expanded Edition) invites long-time fans and new listeners alike to step back into The Gentle People's universe - a place of fondue parties, bubble chairs, star-lit elevators and endlessly rewinding sunsets, where "the pathway to the stars" is never quite out of reach.

In an era that often reduces the 90s to big-room bangers and grunge guitars, Soundtracks for Living remains a quietly subversive reminder that the decade was also about imagination, camp, softness and utopian possibility. As later writers have noted, The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.
In conjunction with this release, WRWTFWW has also unearthed The Gentle People's Peel Sessions, a 4-track EP from their 1997 BBC on-air performance, available on vinyl for the first time ever !

*Brand new Emika LP ‘Fountain’

* Part of the Kickstarter campaign ´´How To Make Music Immersive``

*Intimate lyrical songs with piano and synths, the blueprint for a follow-up immersive album in Q4 2026.

*Moody Electronic heavier songs in between the piano.

*For listeners who are tired of presets.

*Handmade, hand-played, honest-craft, 40 year old grown-up Emika. A mother of two, who lost her mother in 2025.

*Grief as a train on the way to the station of understanding love. A record written about the artist's personal life (Not a genre sound).

*If you like number drawings, you can draw on the artwork.

Fresh Hold Releases presents Helen Ripley-Marshall's mysterious Australian ambient electronic album "Green Chaos", reissued for the first time on vinyl LP. Originally released in 1988 on Sydney based private press label Freefall, "Green Chaos" marks the sole release from Ripley-Marshall.

In the late 80's Ripley-Marshall lived a Bohemian lifestyle in inner city Sydney; "surrounded by musicians, actors and artists, there was an amazing creative experimental vibe going on". While playing in new wave/art rock band "D Face" she began Green Chaos as a personal project to counteract the creative friction sometimes experienced within a group dynamic, heavily inspired by Arnold Frolows' "Ambience" radio show on Australia's Triple J and particularly the music of Tangerine Dream, Harold Budd and Brian Eno.

Initially a solitary endeavour, once she decided to record in a studio Green Chaos morphed into a somewhat collaborative, improvisational project with other musicians invited into the studio to improvise and add their own interpretations and ideas, additional layers and dimensions, resulting in a work that combines a clear influence from the electronic repetition of the Berlin school with a meandering, futuristic lyricism. Although influenced by the long form sonic journeys of artists like Tangerine Dream, Ripley-Marshall's background in art rock and new wave brings a more concise approach, each song a self-contained universe that says only what is necessary in the arrangement.

After completing a sound engineering course Ripley-Marshall recorded the album at Sydney's Exeter House Studio over several months alongside studio engineer Andrew Knight, met through a fellow member of D Face. Knight ran Freefall, a private press recording label releasing folk and bluegrass music, which had Green Chaos as its sole ambient release. Ripley-Marshall self distributed the album to local inner city record stores and dropped a copy to Triple J, where it became a regular staple of Arnold Frolows' show.

These days Ripley-Marshall has moved away from music and is predominantly focused on visual art. "Green Chaos" stands as the only released product of her musical years, both a personal window into the vibrant experimental art scene of late 1980s Sydney and a deep, timeless anomaly of Australian electronic music.

The long-awaited reissue of Toba makes it clear, once and for all, to fans and industry insiders that disco music produced in Italy between the late 70s and early 80s had no chance of success. What was disparagingly called "spaghetti disco", considered a poor imitation of real American disco music, only good for Japanese cartoons. This was the main reason that prompted Italians to record their songs abroad, as Fratelli La Bionda with their pseudonym D.D.Sound in Munich. Luigi Figini, with "Supercool" and "Percussion Sundance" by Edo Martin and Pino Santapaga (the same as "Step By Step" by Koxo), claimed that Kash was a one-off Swedish disco project, a lie that came to light when an Italian test pressing from the previous year, made by GDB, was posted !!! Amin-Peck followed the trend of passing off their songs as foreign music on the intuition of their Roman producers. So ''Love Disgrace'' was released on 7'' by a label called Connection, which never really existed, created for the purpose by Giancarlo Meo, confident that this would bring success to the Bolognese duo who were already creating 'proto Italo-Disco tracks' with a new-wave trend. To make the whole operation seem real, the London agency Ellie Jay Ltd. was involved, contacting Andy Fernbach of Jacobs Studios Ltd. The vinyl was also produced in the UK, otherwise the deception would have been discovered, then imported to Italy by Best Record. Italo-Disco was officially born after this, in 1982, not before! Everything makes sense now ! Real events that actually happened and purely invented names and anecdotes. Just think, even the image of Tony Balch used for the cover of Toba was taken from Grand Theft's 1978 album "Have You Seen This Band?" and reproduced on the new redesigned cover, as were the heads of the other musicians. The idea of a real band called Toba had finally come to fruition and would lead to a second sensational success the following year. Now it all makes sense! Facts and anecdotes that really happened and names and circumstances that are purely fictional. Finally, everything adds up! Real things and invented names of musicians and collaborators. It's important to clarify what we've said above, but we haven't talked about "Make Your Mind Up" and "Don't Take It" and the two masterful remixes performed by Dave Mathmos. In short: with the original versions we'll make Italo-Disco purists happy, with the remix versions we'll please new younger followers with more modern sounds and versions more in line with today's tastes and trends.

Foundations Records brings you their hotly anticipated third release from Sonar's Ghost on Rinse Out EP - a bold four-tracker of breakbeat jungle, atmospheric jungle and jungle-tekno.

Sonar's Ghost

Starting out DJing in the peak hardcore era of 1992, Dominic Stanton rose as a post-hip-hop and ragga kid, cutting his teeth at free parties across the Shires. Drawn into the new directions of hardcore and jungle, he earned early gigs at the legendary Sanctuary, Milton Keynes, performing as Dom-unique.

Learning the art of beat-chopping on the Amiga 500, Dom landed his first release on Reinforced Records in 1995 and continued releasing into the 2000s as Static Imprints and Sonar Circle. Inspired by Dego and the evolving trajectory of 4hero, Dom began moving into more unexplored territory, producing eclectic, soulful beats under the name Domu.

After a brief hiatus, Sonar's Ghost was born - an outlet to explore the years Sonar Circle missed, from 1991 to 1995. Creating alternate journeys through that era, Sonar's Ghost reimagines the original sound palette using original sources, new blends of beats, and a lifetime of musical influence. For Dom, Sonar's Ghost is his happy place.

The Foundations release blends the eras and directions Dom loves most - from '93 bouncy darkside through to '03 drum funk - with authentic drums and samples integral to the vibe.

Here's the support on radio:

- Makossa (Radio FM4 Vienna)
- Distant Planet (Infrared FM)
- Sun People (Sub FM)
- Alex Ruder (KEXP Seattle)
- Haus of Beats (Txapa Irratia)
- Haus of Beats (Txapa Irratia)
- Tom Ravenscroft (Rinse FM)
- Jon1st (Subtle Radio)
- Martha (NTS / BBC R1)
- Harper (Czworka Polskie Radio)
- Gremlinz (89.5FM Toronto)
- N-Type (Rinse FM)
- Michelle (NTS)
- Mathieu Schreyer (KCRW, LA)
- Darkerthanwax (The Lot Radio)
- Bevin Campbell (PBSFM Aus)
- Errol Anderson (NTS)
- Ian (94.9 CHRW)
- OPR8 (Sub FM)
- Tramma (Noods)
- Carlos Contreras (Tilos Radio Budapest)
- Jay Scarlett (BR Puls Munich)
- DJ Tuco (91.90FM Prague)
- Ed2000 (Cashmere / The Face)
- Vinyl Junkie (Eruption Radio)
- Klaus Fiehe (1WDR)
- Benji B (BBC 1Xtra)

Ubisoft and Laced Records have forged a new trade alliance, expanding their economic tree to bring the lavish music of Anno 117: Pax Romana to glorious vinyl.

This vinyl set celebrates the ornate score for Ubisoft's richly detailed city builder, capturing the spirit and splendour of the Roman Empire at its peak. From the beautiful heartland of Latium to the mysterious Celtic wetlands of Albion (where no civilized Roman wants to be), every musical cue is steeped in world-building and crafted with remarkable care.

The outer sleeve features striking landscape art from the game, while the inner sleeves present detailed track lists framed with ornate motifs inspired by Roman architecture and pattern work. The result is a set that feels like a treasure from the imperial archives.

The soundtrack charts a journey across the empire, weaving together atmospheric strings, ancient-inspired instrumentation, and sweeping orchestral cues that capture both the serenity of prosperous provinces and the political tensions throughout. The music reflects every choice you, the governor, must make. Diplomacy or domination, tradition or transformation. An emotionally rich and immersive soundtrack worthy of Rome itself.

“Dressed In Black” was curated and annotated by Cathi Unsworth, author of the book Season Of The Witch: The Book of Goth – a woman who considers herself fortunate to have had Siouxsie Sioux, Lydia Lunch and Diamanda Galàs for role models while she was growing up. For further illumination in Cathi’s own words, read on.

“The music gathered here is an aural manifestation of turbulent times, made by women possessed of supernatural abilities. The music I fell in love with emerged from the dark end of the 1970s: The Winter of Discontent of 1978-79, when intractable industrial action left the dead unburied and mountains of rubbish in the streets. All the promise of punk came to a brutal end with the deaths of Sid and Nancy in New York; IRA bombs exploded in central London and a seemingly uncatchable ripper roamed West Yorkshire with 13 murders under his belt. Ill omens that augured badly for the events of 3 May 1979, when Margaret Thatcher became our first woman prime minister. Dressed in blue and ready to whip the country to her heel.

“But at night, malcontent youth were united by forces of opposition, whose dissenting voices were aired across the land on John Peel’s Radio 1 show, set to the sound of slasher guitars, swirling fairground keyboards, loping basslines and percussion that recalled the echo of jackhammers or the march of insect feet. Here, punk’s unruly offspring distilled the dissonance of the times into a new kind of music. Flirting with the fetishist and taboo, drawing upon horror and science fiction imagery, they were the outlaw leaders of the greatest style tribe of the decade: the goths. Dressed in black, these kohl-eyed women voiced the alienation of their generation during the decade of the Cold War, the Miners’ Strike, privatisation and AIDS.

“To make sense of the absurd is genius enough. But to then cast the glamour of sublime music around those insights – I come back to my point about supernatural abilities. I hope you will find illumination within. You know the dress code.”

After a six-year hiatus, Efdemin returns with POLY — his fifth studio album, released on the recently revived Berghain-affiliated label, Ostgut Ton.

As the title suggests, POLY explores multiplicity: of rhythm, texture, style, and emotion. Across eleven meticulously sculpted textures, the album weaves a multidimensional web of sonic references, nodding to the origins of techno while pushing resolutely into uncharted terrain. POLY feels like an afterglow—of decades on the dancefloor, of restless sonic exploration, and of a profound connection to the spaces and communities that have shaped Efdemin’s sound.

Over the course of 60 minutes we are taken through different territories and landscapes of sound. Mysterious and swirling, abstract and droning textures over at times fast and stoic rhythmic concepts. Sometimes the sunlight breaks into the opaque and mysterious soundscapes before the pulse is taken over and sucks us back straight into the club.

The overall tone of POLY is mild and playful, introvert and at times dreamy. The music is rich in sonic expression and breathes the spirit of musical concepts that have been refined over the course of decades. What Sollmann has condensed here feels like a culmination of his multilayered and polyphonic personality situated between Club, Museum, Studio and Academy.

The album cover features a striking photograph of a human ear by renowned German artist Isa Genzken. Known for her radical visual language, Genzken’s work here functions as a metaphor for deep listening. The ear symbolises the layered complexity and immersive quality of the music on POLY — an invitation to perceive sound in all its depth, fragility, and force and unlock it’s potential to unite different voices in a distorted reality.
Nach einer sechsjährigen Pause kehrt Efdemin mit POLY zurück – seinem fünften Studioalbum, das auf dem kürzlich wiederbelebten Label Ostgut Ton, dem in-house Label des Berghain erscheint.

Wie der Titel vermuten lässt, beschäftigt sich POLY mit Vielfältigkeit: von Rhythmus,Textur, Style und Emotionen. In elf Stücken webt das Album ein multidimensionales Netz aus klanglichen Referenzen, das auf zurückliegende Ansätze der Klubmusik verweist und gleichzeitig entschlossen in neues Terrain vordringt.

POLY wirkt wie ein Nachglühen – von Jahrzehnten auf der Tanzfläche, von unermüdlicher klanglicher Erkundung und von einer tiefen Verbindung zu den Räumen und Communities, die Efdemins Sound geprägt haben. Im Laufe von 60 Minuten werden die Hörer*innen durch verschiedene Territorien und Klanglandschaften geführt. Mysteriöse und wirbelnde, abstrakte und dröhnende Texturen über teilweise schnellen und stoischen rhythmischen Konzepten. Manchmal bricht das Sonnenlicht in die undurchsichtigen und geheimnisvollen Klanglandschaften ein, bevor der Puls wieder die Oberhand gewinnt und uns direkt zurück in den Klub saugt.

Der Gesamteindruck von POLY ist mild und verspielt, introvertiert und manchmal verträumt. Die Musik ist reich an klanglichem Ausdruck und atmet den Geist musikalischer Konzepte, die im Laufe von Jahrzehnten verfeinert wurden. Was Sollmann hier verdichtet hat, fühlt sich wie eine Kulmination seiner vielschichtigen und polyphonen Identität an, die sich zwischen Klub, Museum, Studio und Akademie bewegt.

Das Albumcover ziert die Nahaufnahme eines menschlichen Ohrs der renommierten deutschen Künstlerin Isa Genzken. Genzken´s Arbeit wirkt hier als Metapher für deep listening. Das Ohr symbolisiert die vielschichtige Komplexität und immersive Qualität der Musik auf POLY – eine Einladung, Klang in seiner ganzen Tiefe, Zerbrechlichkeit und Kraft wahrzunehmen und sein Potenzial zu erschließen, widerstreitende Stimmen in einer verzerrten Realität zu vereinen.

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

The Teflon Dons' Rudiments EP, released in 1996 on Worldship Music and now reissued on FRL Classic edition, is one of those records that perfectly embodies the most authentic spirit of 90s underground deep house. From the very first bars, Rudiments EP stands out for its raw but deeply soulful sound, built on filtered samples, “dirty” drum machines (typically SP-1200) and an aesthetic that mixes Chicago and Detroit.

With its fourteenth release, Barro continues cementing its identity as a techno label unafraid to take chances on fresh voices. This latest offering features Ari Jani —a multifaceted young producer whose unsettling soundscapes pull from a wide spectrum of influences, from EBM's mechanical pulse to harsh noise's abrasive textures.

Ari Jani's early work leaned toward rapid-fire, unrelenting techno, as heard on his SilentSøuls release. Beginning in 2022, his sound underwent a metamorphosis, shifting toward decelerated tempos laden with heavy atmospheres and industrial undertones—a transformation clearly audible in Reject Humanity, Embrace Nonexistence, his EP for Valhalla Records.

His Mass Memory project sees Ari navigating different sonic territories, centering on noise, ambience, and melody, yet never losing sight of the club's pulsing heart.

Includes Groof remix.

Coil T-Shirt Sun
Collaboration with Ateliers Dénudés.
Silver Sun on Dark Grey.
To play and wear in the dark.

Shipping is available for presale orders only.
Available sizes: S/M/L/XL/XXL

Coil T-Shirt Sun
Collaboration with Ateliers Dénudés.
Silver Sun on Dark Grey.
To play and wear in the dark.

Shipping is available for presale orders only.
Available sizes: S/M/L/XL/XXL

Coil T-Shirt Sun
Collaboration with Ateliers Dénudés.
Silver Sun on Dark Grey.
To play and wear in the dark.

Shipping is available for presale orders only.
Available sizes: S/M/L/XL/XXL

Coil T-Shirt Sun
Collaboration with Ateliers Dénudés.
Silver Sun on Dark Grey.
To play and wear in the dark.

Shipping is available for presale orders only.
Available sizes: S/M/L/XL/XXL

Coil T-Shirt Sun
Collaboration with Ateliers Dénudés.
Silver Sun on Dark Grey.
To play and wear in the dark.

Shipping is available for presale orders only.
Available sizes: S/M/L/XL/XXL

Aho Ssan ist der Künstlername von Désiré Niamké, einem in Paris lebenden Komponisten und Elektronikmusiker, der sich im Laufe des letzten Jahrzehnts als zentrale Figur an der Schnittstelle zwischen experimenteller Elektronikmusik, Klangforschung und zeitgenössischer Komposition etabliert hat. Zu seiner Diskografie gehören ,Simulacrum" (Subtext, 2020), ,Limen" mit KMRU (2022) und ,Rhizomes" (Other People, 2023) mit Moor Mother, Angel Bat Dawid und clipping. Er trat bereits im Lincoln Center (NYC), im Muziekgebouw (Amsterdam), in der Krakauer Philharmonie, bei Atonal Berlin, CTM, Rewire und Sonic Acts auf - und war Support von Autechre im Le Trianon (Paris, 2024). Aho Ssans künstlerisches Schaffen lässt sich als hochpräzise Klangskulptur beschreiben, in der gewaltige Ströme digitaler Klänge in rohe Texturen zerfallen, um die Themen Identität und Chaos zu erforschen. The Sun Turned Black basiert auf field recordings, die während einer Reise nach Ghana, der angestammten Heimat von Aho Ssan, gemacht wurden. Aufgebaut um einen klanglichen Dialog mit der international gefeierten Geigerin ASIA, wobei alle perkussiven Elemente bewusst weggelassen wurden, nimmt das Album einen einzigartigen Platz zwischen Ambient, Noise und elektroakustischer Musik ein. Das Projekt wurde ursprünglich von der Maison de la Radio für das Hyperweekend-Festival in Paris in Auftrag gegeben, das Album in Coop mit Subtext Recordings aus Bristol veröffentlicht.

A collection of hit songs released at the time of the TV anime "Dragon Ball", including rare insert songs, has been reissued on clear orange vinyl. This is a truly one-star ball (Yishinchu) disc!

A collection of hit songs that also includes the opening theme song "Makafushigi Adventure!" and ending theme song "Romantic Ageruyo" released in 1986. The "Son Goku Song" is sung by Masako Nozawa, the voice actor for Son Goku, the main character of Dragon Ball, and the "Wolf Hurricane" is sung by Toru Furuya, Yamcha's voice actor, Hyuma Hoshi from Star of the Giants, and Amuro Ray from Mobile Suit Gundam. Contains a total of 10 songs, including "Mutenroushi no Oshie" song by Kohei Miyauchi, the voice actor of Master Roshi! A must-have for Dragon Ball fans!

A closing chapter for Iro Aka: ambient introspection and precise IDM meet in a deeply personal, memory-driven LP.
Barcelona-based duo Iro Aka present "Memories Exploration" (GLOSSY025), a record that marks the closing of a creative chapter. Set for release on May 29th via Glossy Mistakes, the LP unfolds as a personal archive-tracing ideas, influences, and emotional states shaped over time.
The A-side moves through ambient-leaning territories, building meditative landscapes where time seems to dissolve and blur. Through tracks like "Frozen Sun" and "Golden Sea", the duo showcase a refined approach to sound design, shaped by carefully distilled emotion. Meanwhile, "Gendo" and "Intervertert" lean further inward-sketching moments of deep introspection through soft textures and a minimalist sensitivity that invites contemplation.
On the B-side, the record shifts. Rhythmic structures come into focus, drawing from IDM and broken beat patterns with a precise, understated touch. "L", "Ozadene" and "Phased9" introduce movement while maintaining the album's introspective core. Closing track "We Felt in Love with a Loop" brings the album to a gentle, open-ended close.
The artwork by Jack Anderson reflects this sense of fragmented memory and process, complementing the album's emotional tone.
Rather than a definitive ending, "Memories Exploration" feels like a transition-an understated way of closing one chapter before the next begins.
"An autumn evening - without a single tear, things come to an end."

Our brand new Club Sweat compilation series has landed with Vol. 002 - a meticulously curated vinyl EP that captures some of our favourite releases from 2026.

From the Latin-infused energy of LO’99 & Yolanda Be Cool’s ‘Casa Cantina’ to the peak-time euphoria of CHANEY’s ‘Everybody Rising’, and Tseba’s ‘Dusk Til Dawn’, Side A is built for the dancefloor’s brightest moments.

Flip the record to Steve Lawler’s hypnotic ‘Tiny D’, the funk-filled ‘On The Limit’ by DvirNuns and a masterclass in momentum from Bonafique with ‘Sunday Routine’.

This one captures the essence of Sweat It Out’s undeniable influence on dancefloors across the globe.

Record Kicks freut sich, die Vinyl-Neuauflage zum 10-jährigen Jubiläum von ,Late Nights & Heartbreak" zu präsentieren, dem Durchbruchsalbum von Hannah Williams & The Affirmations, auf dem der Song zu finden ist, der zum emotionalen Rückgrat von Jay-Zs wegweisendem Album ,4:44" wurde. ,Late Nights & Heartbreak" kam 2016 raus und wurde von Kritikern gelobt. Seitdem ist es ein moderner Soul-Klassiker. Sein Vermächtnis wurde besiegelt, als Jay-Z den Titelsong von ,4:44" komplett um Hannah Williams' Originalaufnahme herum aufgebaut hat. Der Song, der als unverfälschtes Geständnis der Untreue genutzt wurde, war Jay-Zs Antwort auf ,Lemonade" von seiner Frau Beyoncé und machte Hannahs unverwechselbare Stimme einem weltweiten Publikum bekannt. Aufgenommen im Quatermass Studio in London - der Heimat der Kulthelden The Heliocentrics - zeigt ,Late Nights & Heartbreak" Hannah, begleitet von ihrer neu gegründeten Band The Affirmations. Produziert wurde das Album von Malcolm Catto, der für seine Arbeit mit Künstlern wie Mulatu Astatke, Orlando Julius, Floating Points, Quantic, DJ Shadow und Madlib. Das Album wurde komplett analog gemischt und auf Band gemastert und bietet einen rohen, druckvollen und zutiefst eindringlichen Sound. Auf 13 Tracks erkundet ,Late Nights & Heartbreak" viszeralen, kraftvollen Soul mit einem subtilen psychedelischen Touch. Von der eindringlichen ersten Single ,Tame in the Water" bis zum unerbittlichen achtminütigen Groove von ,Still in My Head" zeigt das Album die schiere Kraft und Kontrolle von Hannahs Stimme in ihrer elektrisierendsten Form. ,Woman Got Soul" liefert fünf Minuten mitreißenden, kraftvollen Funk, während tiefgründigere Stücke wie ,Another Sunrise" und ,Your Luck Can Change" einen üppigen, emotionalen Hintergrund für Themen wie Liebe, Lust, Sehnsucht, Wut und Verletzlichkeit bieten. Alle Songs sind Originalkompositionen, die von dem in Bristol ansässigen Kollektiv um The Affirmations unter der Leitung von Musikdirektor James Graham geschrieben wurden - mit Ausnahme einer atemberaubenden, psychedelisch-souligen Neuinterpretation von ,Dazed and Confused", die stark von der Originalversion von Jake Holmes inspiriert ist. Hannah Williams, die schon früh von der verstorbenen Sharon Jones gesegnet wurde, eroberte 2012 mit ihrem Debütalbum ,A Hill of Feathers" die Soul-Szene. Die Single ,Work It Out" wurde ein Indie-Radiohit und ebnete den Weg für eine Karriere, die von moderner Soul-Mythologie geprägt ist. Aufgewachsen in einem musikalischen Haushalt, sang Hannah ab dem Alter von sechs Jahren im Kirchenchor und konnte Noten lesen, bevor sie richtig lesen konnte. Heute ist sie eine unaufhaltsame Kraft - eine Künstlerin mit einem seltenen Talent, wie es nur einmal in einer Generation vorkommt. Zehn Jahre später kehrt ,Late Nights & Heartbreak" in dieser speziellen Jubiläumsausgabe auf Vinyl zurück und bestätigt erneut, warum Hannah Williams & The Affirmations nach wie vor zu den kraftvollsten Stimmen des zeitgenössischen Soul gehören.

Now into its sixth year, NuNorthern Soul’s Summer Selections series has become a popular annual fixture. Like its predecessors, 2026’s edition showcases a variety of Balearic dancefloor workouts, sensual soundscapes and tracks tailor-made for poolside sun-down sets.

As usual, Summer Selections Six is a vinyl-first affair, offering wax enthusiasts a chance to cop killer cuts set to feature on a swathe of forthcoming NuNorthern soul releases – including some that would otherwise be unavailable on physical formats.

To begin, is It Balearic? label regulars and Rotation Sound System crew members Wrekin’ Havoc turn their attention to NuNorthern Soul favourite B.J Smith’s 2014 cover of Outkast’s ‘Prototype’. Their take, which will be featured on a forthcoming collection of reworks of Smith’s NNS material, places the long-serving producer’s beautiful, beguiling vocals atop lo-fi 80s electro beats, moody pads, squelchy synth sounds and far-sighted electronics.

Up next is label newcomer Sasha Foam, a fast-rising Lisbon-based DJ/producer whose Memoria EP is set to land digitally soon. ‘Curios’, his contribution to Summer Selections Six, is a propulsive and ear-catching affair, with joyful synth melodies, rushing piano riffs and cheerful TB-202 style acid tweaks rising above a crunchy, drum-machine driven mid-tempo groove.

Rounding off side A is ‘Call To Wind’, a rootsy, warming and sun-baked slab of Balearic dub gorgeousness from Strictly Dub Records founder Saimon AKA Roots Artefact. The track, which marks his first new material since last year’s NuNorthern Soul debut Different Perspective, is one of the many highlights set to be featured on the Estonian’s forthcoming Rocking Boat EP.

Turn to the flipside and you’ll find three more inspired, immersive treats. Dan Dub Lounge, Muzka and Simon Sheldon being their Visions of Light project back to NuNorthern Soul with the borderline genius ‘ReBorn Slippy’, an exotic, intoxicating and sitar-laden slow-motion instrumental cover of the Underworld favourite taken from their soon-come collection of ‘mild pitch’ takes of dance and electronic classics.

To complete another stellar Summer Selections 12-inch label founder Phil Cooper platforms two recent additions to the roster. First is Potteries-based producer Andrew Wright AKA Lonely Deckchair. Wright offers up ‘Adaflo’ from his forthcoming debut album. Atmospheric and magical, ‘Adaflo’ is a simmering, slowly unfurling fusion of poignant pianos, minimalist beats, shuffling bass and tumble-down chords.

Then there’s Aussie artist Perth Lewis, whose first two self-released albums (Moments In Time and Distance Between) were recently reissued by NuNorthern Soul. The Sydney-based producer is set to release a new EP, Cherry Moon, soon, and ‘Monolith’ is taken from that collection. Deep, dubby and beguiling, it sees Lewis pepper a head-nodding, effects-laden beat with spacey sonics, cascading piano motifs and some seriously sparkling synths.




[d] B1: Visions of Light -

Besides his work as a painter, filmmaker and set designer, Philippe Lamiral Poirier (1951-2025) played guitar and saxophone in the group Kat Onoma, which he co-founded with Rodolphe Burger.

His fifth studio album combines his written texts with music composed by his son, Roméo Poirier, whom he considered to be cut from the same musical cloth as he was. It also confirms what has emerged from his previous albums, namely songs more spoken than sung and whose words evoke images, thus the album’s title – Images parlées.

A book of his paintings, Images traversées, will be published simultaneously with the album.

In this continual back and forth movement between text and image, music has always been present – sensitive and abstract, expressing nothing other than itself. It hollows out a place to tell us where we are. It is life without delay.

Roméo Poirier is working in the field of electronic music, focusing on heavy processing of samples and digital collage. He released albums on the London based record label Kit Records (Plage Arrière), the mancunian record label Sferic (Hotel Nota), and Jan Jelinek’s own imprint Faitiche (Living Room and Off The Record).

Matias Aguayo returns with Anenoa, a vibrant and imaginative new album arriving May 29, 2026. Known for continually redefining the possibilities of electronic music, Aguayo’s latest work expands his exploration of voice, rhythm, and collective experience — creating songs that invite participation as much as they reward listening.

Across more than two decades, Aguayo has remained one of the most inventive figures in contemporary electronic music. From co-founding the influential duo Closer Musik, to his long-standing creative relationship with Kompakt, and the creation of the genre-defying C meme label, Aguayo has consistently pushed dance music beyond convention — blending raw electronics, storytelling, humor, and performance into something deeply human and alive.

Now based in Mexico, Aguayo’s music has absorbed the vibrant energy of community-driven dance culture. Much of Anenoa is sung in Spanish and shaped by a spirit o collaboration that runs throughout the record. Long known for building creative communities through his label and performances, Aguayo brings together a diverse group o artists across Latin America, Europe, and beyond, turning the album into a constellation of voices and perspectiveS

Suicide AFTR 7 moves deeper into the shadows on this release, stripping things back while letting the groove hit harder. Built on pumping 808s, restless synth lines, and a subtle acid pulse, the project blends electro, cold wave, and leftfield instincts into something leaner and more focused than earlier records. There’s a proto-80s spirit running through it: raw, tactile, and slightly unpolished, where tension lives in the negative space and repetition becomes hypnotic rather than obvious.

For the first time, real bass guitar and drums enter the picture, adding human weight beneath the electronics without diluting Suicide AFTR 7’s core identity. The result feels rawer, more intimate, and quietly confrontational. Music for late nights, dim rooms, and inward motion. Still unmistakably SA7, but closer to the bone.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

Brighter Discs opens with its first release from label founders Kamma & Masalo. Born out of Brighter Days, the duo’s long running party series since 2014. A colourful get together where generations mix freely, DJ legends share space with new voices, and the dancefloor is treated as common ground. Brighter Discs carries this same spirit into recorded form, a natural continuation following the Brighter Days compilation previously released on Rush Hour.

Brighter Discs starts things off with ‘Can’t Fake The Feeling’, built around the original vocal by Renee Mohannon, taken from the 1989 release produced by house music pioneer Joe Smooth. The vocal is fully cleared and officially licensed, with everything surrounding it newly written and produced, resulting in a club track that honours the emotional core of the original vocal while giving it new space to shine.

The ‘Club Mix’ unfolds with immediate lift, a classic yet upfront house energy carried by Kamma & Masalo’s elevating instrumentation moving in lockstep with Renee Mohannon’s vocal. A pure club track celebrating dance music to the fullest.

On the flip you will find K&M’s ‘Unity Dub’, a darker, percussion driven workout that strips things back and presents the track in a different light. A twilight version that highlights the duo’s versatility and deep dancefloor understanding.

Kamma & Masalo have tested both cuts extensively while touring, from sun soaked festival stages to esoteric club spaces. Each version has been shaped in real rooms and refined on the road, ensuring the tracks are heard in their best possible form.

All produced with care and free-spirited party energy, Brighter Discs 001 marks the beginning!

2026 Repress

International DJ and collector Elado is well known to edit lovers for his work on the likes of Funkyjaws Music, Razor N Tape and Eddie C's Red Motorbike. He has been digging in his vaults again, this time for Scruniversal, and turns out a pair of blazing Brazilian edits. First up is 'Sabor' ,which is a tight, funky sound that sways low with lush claps and wandering basslines, but the vocal harmonies are what make it, and your heart, soar. 'Debbie' then follows off with some soft, honours Portuguese soul vocals and instrumental disco-funk grooves that are super sophisticated and perfect to go with a cocktail at sundown somewhere nice.

Ayô Dele — which means "joy comes to me" in Yoruba — is neither a slogan nor a promised miracle. It is a breath of fresh air. That of an album born in the interstices, where the word find their way between shadow and light, between the disorder of the worldand the impulse to be .
At the heart of the project, Julien Gervaix and Damien Tesson, multi-instrumentalist beatmakers, share a groove language that is both dense and airy, where every detail breathes and finds its place.
With background in Afrobeat, Dub, Funk, Soul, Roots Reggae, and Electronic Music, they treat the studio to be their playground. Their music is a hybrid groove that speaks to the body: round or bouncing basslines, brass oscillating between melodic warmth and funk energy, textured guitars, arpeggios, enveloping Rhodes, clavinet that slides, presses, and embraces. Everything comes together with precision and flexibility, in an inventive and warm composition. The meeting of their experiences and sensibilities gives rise to open, generous music, made for dancing and vibration.
With Ayô Dele , Ireke is embarking on a new chapter: the duo is refining its style,allowing the voices to breathe. The groove remains the driving force but opens up to intimacy. This intimacy is carried by two unique female voices: Nayel Hoxo, a Beninese-Nigerian singer/rapper, and Agnès Hélène, who has already made a name for herself on Tropikadelic with "Petit a Petit". They don't sing side-by-side; they coexist, respond to each other, and sometimes intersect. But each follows her own path: Nayel, with the power of her words in Yoruba, offers songs of elevation, healing, and resistance — a light born in the cracks Agnès explores these cracks themselves: what wavers within us, what reinvents itself in bonds, glances, and gestures.
For one track, Olivya (Dowdelin) joins this dialogue in Martinican Creole. Her sunny soul sketches the contours of gentle resistance and celebrates rediscovered light.
Ayô Dele embodies a quiet yet radical determination: to smooth nothing over, to let plurality, contradictory emotions, and mixed heritage live. An album that moves forward through vibrations, that speaks of emancipation without slogans, love without clichés, anger without uproar.
Two women, two inner worlds: a sensitive complicity, a shared breath. Music that seeks not effect, but echo, weaving a living soundscape between reinvented traditions and contemporary textures. An alchemy faithful to the spirit of Underdog Records, where music unites and brings people together. Ayô Dele : "joy comes to me." A lucid joy, crossed by shadows, patiently regained. Music that welcomes, releases, gives, and in doing so, makes us feel good.
In a saturated world, Ayô Dele chooses nuance: transmission without emphasis, joy without naivety. An album that vibrates more than it demonstrates, that connects more than it imposes, and which, in its quiet clarity, resonates with a deep desire to be fully alive.

Singer/Songwriter Joshua Ray Walker’s made a name for himself with poignant, human portraits of flawed, fascinating characters. Now, on his latest album, Ain’t Dead Yet, Walker’s telling a more personal story – his own. “Human beings are super multi-faceted, and part of the reason I wrote about characters in the first place was because I could explore things about myself that I didn't feel comfortable exploring if I were to admit that it was really about me,” Walker says. “All my songs are about parts of me, I just didn't try to stick them on another fictional character this time.” Beneath the album’s flippant title resides some of Walker’s heaviest storytelling yet. Three years ago, when he started writing Ain’t Dead Yet (his sixth studio album, to be released May 29 via Thirty Tigers/East Dallas Records), Walker hadn’t yet received the cancer diagnosis that rearranged and threatened his life (he currently has a clean bill of health). But that year was still uncommonly fraught with mental, physical, and career stresses. Pulling the songs out of the can to finalize them for the album – including re-writing and re-working almost all the songs – Walker, who was then undergoing and recovering from cancer treatment, was surprised by their prescience.

Naya Beat is excited to announce 'PAWA!', a soaring disco-funk anthem celebrating feminism and the power (pawa) of togetherness. It is a mouthwatering collaboration between legendary jazz vocalist and disco pioneer Asha Puthli and NYC’s punk-chic, discodelic stars Say She She.

A fortuitous and fleeting window between touring schedules allowed Puthli and Say She She’s Nya Gazelle Brown, Sabrina Cunningham, and Piya Malik to write and record Pawa! with members of the cult funk band Orgone in the English countryside at Mike Oldfield’s (Tubular Bells) studio. Pawa! is a tribute to female fortitude and an anthemic call to action for unity and collective action. PAWA TO THE PEOPLE! Asha’s spoken word bursts into a soaring falsetto while Say She She’s celestial three-part harmonies make for a sublime call and response between the fabled mentor and her gifted disciples. Throw in a stellar bassline and one of tightest rhythm sections around, and you have an instant classic. And if that wasn’t enough, four remixes bring Pawa to the dancefloor! The UK’s legendary Crazy P deliver not one, but three future classics – an epic house take with a stomping bassline, a stripped-down vocal dub, and a sunshine-ready disco dub. Not to be outdone, Greece’s favourite dance duo Boys’ Shorts add magical disco touches and reimagine the original as an eight-minute balearic opus.

Featuring beautiful artwork and a premium poly-lined inner sleeve, the 12" has been cut to vinyl for the discerning DJ and listener by Grammy-nominated Frank Merritt from The Carvery, London.

The master of ambient soundscapes, intertwining authentic old school breakbeats with his inimitable style returns with a fresh album of choice cuts for the Spatial crew. A1 - Form of Defraction Opening the LP in his gloriously unique style, Aural Imbalance sets the tone with a powerfully ambient intro of padwork and delicately filtered breaks before dense, analogue old school breakbeats roar to life sending the track skyward. The sublime 808 bassline simmers beneath an ever-evolving soundscape of twinkling melodies and strings, the very essence of serenity captured in just under 7 minutes of audio bliss. A2 - Discreet Function Enveloping the listener with a warm blanket of silky ambience, Discreet Function soon jolts to life with a crunchy breakbeat that counteracts yet compliments the pads and myriad of delicious micro melodies so well, you wonder how it’s possible to take such extremes and mix them down so expertly that our ears accept it as one. After a relatively brief breakdown the track rolls out before the breaks are snatched away at the death - capping off a quite unique composition. B1 - Softlight Light cymbals and delicate textures introduce us to Softlight, a track which sees Aural Imbalance guiding the listener through the clouds to a haven of gentle serenity where your troubles simply fade away, punctuated by a stunningly programmed and memorable Hot Pants break pattern, timid classic basslines and an overall plethora of sun-baked energy - perfect for the headphones and the record box - as always. B2 - Airwave Immensely old school vibes are immediately present in Airwave, with analogue breaks and succinct female vocal samples that mingle with echoing melodies and synthwork to create a beautifully flowing and unique slice of atmospheric gold. Additional breaks are fused into the mix as the track progresses, elevating the piece to the heights we have come to expect from Aural Imbalance, yet never cease to amaze. C1 - Speed of Light Gentle cymbals and filtered breaks open Speed of Light, before a crisp barrage of amen goodness descends and dominates proceedings - just as a good amen should! Programmed to perfection with an immensely danceable rolling pattern, the amens lead us through a sea of washing synths and delicate melodies, intertwining and frolicking in the mix, completing a charming and memorable piece. C2 - Fading Star Playful strings and a luscious 808 bassline play with sumptuous padwork in the intro to Fading Star, a track which sees Aural Imbalance capture the essence of 90’s jungle and it’s symbiotic relationship with atmospheric drum & bass perfectly. Developing throughout with an array of unassuming effects and a quietly moving vibe, Fading Star is the perfect addition to sets spanning the entire history of this music. D1 - Drifting Under Bright Skies Aural Imbalance resurrects the excellent break last featured on Spatial in his sublime track Surface Area, this time chopped and sliced to a different vibe, with kickdrums at the forefront and that fantastically crunchy snare deployed more sparingly. Shimmering padwork and light melodies dance across the mix throughout to leave us with a refreshingly unique and memorable track you won’t be able to get enough of. D2 - Violet Completing this fine LP of old school ambient breakbeat mastery, Aural Imbalance deploys Violet to see us out - a climactic-feeling romp that opens with quiet intent before launching the listener through cheery melodic tones and bustling soundscapes, sprinkled liberally with airy pads and fluttering micro melodies that zip and whoosh around thick analogue breakbeats. A fitting end to a thoroughly enjoyable album. Words by Chris Hayes (Spatial / Red Mist) credits

2026 Repress
A notoriously jaw-dropping folk-funk classic, long treasured by the Balearic fraternity, the self-titled LP from the brothers Batteau nevertheless remains a criminally underheard gem. Appealing to fans stuck on Ned Doheny's scorching blue-eyed soul as well as Gene Clark's rich country-rock, it's an honour to present the first officially licensed vinyl reissue of this undoubted masterpiece of proto-Yacht-Rock.

Like a forgotten piece of baroque folk caught in 1973, Batteaux's eponymous album somehow sounds magically timeless. A full 45 years after the fact, it remains a mystery as to why they weren't better known. The lush production and virtuoso playing conforms with the ruling aesthetic of the time - well-crafted, melodic songs performed with precision and balance - whilst the shimmering AOR atmosphere and sun-dappled vocal washes align neatly with the best Crosby, Stills & Nash records.

Throughout, the beautifully penned tracks hold traces of Jimmie Spheeris, America and Seals & Crofts. The immaculately orchestrated percussion and additional instrumentation (electric piano and fiddle to name a few) are performed by perennially celebrated West-Coast cats including Tom Scott, John Guerin and Andy Newmark.

It's no surprise that the heavenly "High Tide" is such a Balearic touchstone. A free soul aqua-space groover, its sophisticated rhythms predict the swing of CSN's canonical "Dark Star" by a full four years. An alternative measure of its enduring magnificence can be gauged by MF Doom sampling Paul Horn's wonderful version, subsequently used by Ghostface Killah.

The highlights are many and memorable. Gorgeous opener "Tell Her She's Lovely" is the perfect example of the addictive, melody-driven songwriting which really should have earned them stardom. Moody ballad "Living's Worth Loving" is nothing short of heartbreaking whilst the chugging elegance of "Wake Me In The Morning" showcases their bewitching harmonies. The hypnotic yearning of "Lady Of The Lake" is an exquisitely string-drenched, piano-laced favourite that achieves a peculiar strutting-funk. It's that good.

This lovingly curated reissue enables a long overdue reappraisal of the hitherto buried genius of Batteaux. The serene aqua artwork which adorned the original jacket - their father worked on a dolphin-human communication project in Hawaii, hence the infamous design - and sumptuous inner sleeve have been faithfully restored. Whilst, with access to the original tapes, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

'Honesty Flowers' is the fourth studio album from Italian multi-instrumentalist Alessio Ferarri under the Upupayāma moniker. An epic double album set due for release May 29th 2026 on Fuzz Club, 'Honesty Flowers' finds Upupayāma's ever mind-blowing brew of organic psychedelic rock meets global grooves at its most percussive, lively and distorted. Equally hedonistic and heady, it courses through rhythmic funk grooves, doubled-down scorched fuzz riffing, winding motorik jams, tranquil drones and pastoral acid-folk across its seventy minute run time. A six-piece band live, where things take a more ever-evolving improvisation-based approach (see their recent 'Live At Fuzz Club Festival '25' LP), on the recordings Ferarri writes, plays and records everything himself – guitars, keys, flute, sitar, and an arsenal of percussion all feature. Never not working on new music, Ferarri started laying down these new tracks in his home barn studio in a small mountain village overlooking the city of Parma before its 2024 predecessor 'Mount Elephant' even hit the racks. The result was mixed by Chris Smith at Kluster Sounds (Kikagaku Moyo, Wax Machine) and mastered by Joseph Carra (King Gizzard, Babe Rainbow, ORB) On the new record, Ferarri says: "Honesty Flowers was born from listening to lots of funk music from all over the world, lots and lots of African music, and from listening to myself as I spent whole nights playing all kinds of percussion instruments. I would fall into a sort of trance and play the same rhythm for hours on congas or on a djembe. It's an album that was born above all from the beauty of being able to narrate the unknown and recognise yourself in it, which could translate into telling stories and bringing them to life.

2026 Repress

It’s rare that a certain sound is entirely an artist’s own. Although undeniably a stew of impeccable influences – from blues to folk to Latin to dusty funk, soul and hip-hop – one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.
The cult skater from San Francisco is globally renowned as one of the original members of the legendary “Bones Brigade” team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who’ve basked in its blissful glow.
There’s something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it’s a kind of funk-fuelled, melody-driven, groove-based magic. There’s a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it’s two of his most vital LPs that we’re honoured to reintroduce.
The originals were quietly pressed on to a single piece of vinyl so we’ve worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.
Soul Food Taqueria continued Guerrero’s guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalogue.
Guerrero’s atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.
As ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO’s memorable artwork. Furthermore, the title’s hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero’s special blend, it’s always a pleasure to indulge in something so creative and adventurous.
Dubby, bass-heavy instrumentals give way to moody folk-soul – witness “It Gets Heavy”, featuring melancholic vocals from Gresham Taylor – whilst “Thank You MK” is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks – check “Lost Unfound”, “Another Brother Gone” and “Broken Blood” - built around minimalist, laid-back grooves and detailed guitar orchestrations which wouldn’t be out of place on the latest Jonny Nash release.
Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, “Falling Awake” is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. It brings proceedings to the most peaceful close. Seductively good, it reminds you just how great simplicity can sound.

Guided By Voices’ last album Thick Rich And Delicious (October 2025) was lauded by NPR’s All Things Considered and picked #1 on Magnet Magazine’s Best Albums Of 2025. The single “We Outlast Them All” from this latest, Crawlspace Of The Pantheon, is an anthemic victory lap on album #44 from the indie rock stalwarts. Robert Pollard told Rolling Stone: “ ‘We Outlast Them All’ could be our ‘We Are The Champions’ but it’s not necessarily about us.

It’s about anyone who perseveres over a long period of time.” On Crawlspace Of The Pantheon: “I worked much more diligently on this set of lyrics. I chiseled away at lines and sections and phrasings...I wanted them to have an overall emotionally conceptual feel. At times it feels somewhat autobiographical.” Guided By Voices will not be on tour in 2026. Pollard recently told Magnet: “Why would we stop playing live and make these kinds of records? I don’t know. We do what we wanna do.” “Pollard is the greatest rock lyricist of all time.” —Dennis Cooper

Nach den jazzigen Library-Klängen der 2023 erschienenen gemeinsamen LP ,Dolphin" mit Greg Foat und Moses Boyd kehrt der venezianische Maestro Gigi Masin zu dem Ambient-Sound zurück, für den er bekannt ist - mit ,Movement", seinem ersten Solo- Album seit ,Calypso" aus dem Jahr 2020 und seinem Debüt bei Sacred Bones Records. Angetrieben von kreativer Neuerfindung und rhythmischer Bewegung bewegt er sich nahtlos zwischen melancholischen MIDI-Klängen, technoider Robotik, groovigen, liminalen Wolkenlandschaften und meeres tiefem Ambient. Seit seinen frühen Anfängen in der Anonymität baute sein Debütalbum ,Wind" aus dem Jahr 1986 langsam eine organische Anhängerschaft im Late-Night-Radio auf, die später noch verstärkt wurde, als ,Clouds" von Künstlern wie Björk, Post Malone und anderen gesampelt wurde. Zu seinen Fans zählen heute Oneohtrix Point Never, Devendra Banhart, Caroline Polachek und der verstorbene Kenny Wheeler. Das neue Album ,Movement" reflektiert Masins Stellung im Pantheon der Ambient-Meister, seine anhaltenden künstlerischen Ambitionen und seine Bestrebungen für eine Szene, deren exponentielles Wachstum er seit ihren bescheidenen Anfängen miterlebt hat. Die LP ist zudem eine Ode an die wörtliche Bewegung, sowohl in der Natur als auch in den körperlichen Ausdrucksformen des Menschen gegenüber dem Klang. Masin strebte danach, Ambient-Musik für Bewegung zu schaffen, nicht im üblichen Sinne von Tanzmusik, sondern ,dynamische Musik, mit einem schlagenden Herzen voller Liebe". Indem er die Assoziation von Ambient mit einsamen Hörerlebnissen und kühler Akademik auflöste, wandte sich Gigi nach außen und kanalisierte etwas Somatisches, das sich mit dem Körper verbindet, nicht nur mit dem Geist. ,Bed on Mars" gibt den titelgebenden Ton für Masins neu entfachte Neugier an, mit kosmischen Atmosphären, die das Gefühl hervorrufen, auf einem neuen Planeten ohne Furcht zu erwachen, während die ergreifende synthetische Trompete und der schwebende liminale Schwebezustand von ,Lost" sich anfühlen, als würde man in einem unbekannten Meer treiben. Noch tiefer in die exzentrischen Beats taucht der himmlische Techno-Funk von ,Deception Dance" ein, der klingt, als würden Sun Electric mit Carl Craig und Kraftwerk jammen. Das strahlende Licht von ,Golden" strahlt Wärme aus und klingt wie der Bossa-Nova-Bruder von Göttschings Balearic- Klassiker E2 E4. Trotz des Todes seiner Frau nach langer Krankheit und des Verlusts seines musikalischen Archivs durch eine Überschwemmung bleibt Gigi im Herzen rein und positiv und legt seine ganze Seele in das Streben nach Schönheit. Als jüngstes Werk einer langsam beginnenden, aber stetig wachsenden Karriere festigt Masin mit ,Movement" weiterhin seinen Platz unter den wahren Ambient-Größen.

Nach den jazzigen Library-Klängen der 2023 erschienenen gemeinsamen LP ,Dolphin" mit Greg Foat und Moses Boyd kehrt der venezianische Maestro Gigi Masin zu dem Ambient-Sound zurück, für den er bekannt ist - mit ,Movement", seinem ersten Solo- Album seit ,Calypso" aus dem Jahr 2020 und seinem Debüt bei Sacred Bones Records. Angetrieben von kreativer Neuerfindung und rhythmischer Bewegung bewegt er sich nahtlos zwischen melancholischen MIDI-Klängen, technoider Robotik, groovigen, liminalen Wolkenlandschaften und meeres tiefem Ambient. Seit seinen frühen Anfängen in der Anonymität baute sein Debütalbum ,Wind" aus dem Jahr 1986 langsam eine organische Anhängerschaft im Late-Night-Radio auf, die später noch verstärkt wurde, als ,Clouds" von Künstlern wie Björk, Post Malone und anderen gesampelt wurde. Zu seinen Fans zählen heute Oneohtrix Point Never, Devendra Banhart, Caroline Polachek und der verstorbene Kenny Wheeler. Das neue Album ,Movement" reflektiert Masins Stellung im Pantheon der Ambient-Meister, seine anhaltenden künstlerischen Ambitionen und seine Bestrebungen für eine Szene, deren exponentielles Wachstum er seit ihren bescheidenen Anfängen miterlebt hat. Die LP ist zudem eine Ode an die wörtliche Bewegung, sowohl in der Natur als auch in den körperlichen Ausdrucksformen des Menschen gegenüber dem Klang. Masin strebte danach, Ambient-Musik für Bewegung zu schaffen, nicht im üblichen Sinne von Tanzmusik, sondern ,dynamische Musik, mit einem schlagenden Herzen voller Liebe". Indem er die Assoziation von Ambient mit einsamen Hörerlebnissen und kühler Akademik auflöste, wandte sich Gigi nach außen und kanalisierte etwas Somatisches, das sich mit dem Körper verbindet, nicht nur mit dem Geist. ,Bed on Mars" gibt den titelgebenden Ton für Masins neu entfachte Neugier an, mit kosmischen Atmosphären, die das Gefühl hervorrufen, auf einem neuen Planeten ohne Furcht zu erwachen, während die ergreifende synthetische Trompete und der schwebende liminale Schwebezustand von ,Lost" sich anfühlen, als würde man in einem unbekannten Meer treiben. Noch tiefer in die exzentrischen Beats taucht der himmlische Techno-Funk von ,Deception Dance" ein, der klingt, als würden Sun Electric mit Carl Craig und Kraftwerk jammen. Das strahlende Licht von ,Golden" strahlt Wärme aus und klingt wie der Bossa-Nova-Bruder von Göttschings Balearic- Klassiker E2 E4. Trotz des Todes seiner Frau nach langer Krankheit und des Verlusts seines musikalischen Archivs durch eine Überschwemmung bleibt Gigi im Herzen rein und positiv und legt seine ganze Seele in das Streben nach Schönheit. Als jüngstes Werk einer langsam beginnenden, aber stetig wachsenden Karriere festigt Masin mit ,Movement" weiterhin seinen Platz unter den wahren Ambient-Größen.