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A great mixture of jazz, funk, afrobeat and house on new album by Italian outfit Asakaira for Quattro Bambole. "Asakaira is the name of a place that does not exist, an "invisible city" that is the backdrop to the meeting of four musicians. Michele Vassallo (sax and efx), Giuseppe Desiderio (bass), Francesco Fasanaro (percussion) and Giuseppe Limpido (drums) who together have already gone through various experiences to immerse themselves in an imaginary space, of the border! So, they exploit this nature to transcend the limit, throwing caution to the wind with carefree abandon, but not before carefully noting the history and legacy of jazz, hip-hop and afrobeat. Asakaira' s sound is psychedelic, fluid, constantly evolving: afrobeat & jazz punk alternate with funk, electronic music of Mediterranean culture. An absolutely "stateless" sound, while maintaining its own timbre and stylistic coherence to make it recognizable. The choice of not having a harmonic instrument present in the lineup gives ample space to electronic effects and the groove, creating a sort of modern ritual. The eponymous debut album, released by Quattro Bambole Records, consists of seven tracks, in which the ability to reinterpret their native sounds with polysemic rhythms emerges in a work where layered drums and percussions intertwine with effected saxophones and psychedelic bass lines. A path that moves between songs with a more "ethereal" ancestry, such as the opening track "Night Tales", an acoustic groove that rests on the use of the handpan, an idiophone instrument that gives the song a psychedelic vibration and like "Chatting With You" where a soft and extended overlapping of multiple musical meters emerges, between neo soul, jazz and hip-hop."

Groggy, engrossing new work from Ulla under their newly minted U.e. tag, riffing to the sublime on a set of (mostly) acoustic reveries that tap into the kind of smokey vapours favoured by the likes of Vincent Gallo, Voice Actor, Jonnine.

A new year, label, album and handle for Ulla, a multifaceted artist who has draped our pages with wonder, under numerous aliases and collabs, for almost a decade. On ‘Hometown Girl’ they distill transience and flux into a quiet set of chamber works subtly resembling the room recorded nuance of their ‘Jazz Plates’ side with Perila - here taken a step further into more elusive, low-lit dimensions.

In a mode that’s wistful and melancholic, listening to the album’s dozen discrete pieces feels like leafing thru a journal of hand-written notes, reflecting on the feelings that come with separation from loved ones and displacement from familiarity. Ulla performed and recorded all of the instruments themselves, lending a tangible tactility to layered arrangements of woodwind, keys, strings, drums and voice, lightly speckled with electronics and perfused with open window field recordings.

They locate a crackling frisson of personality in the voice notes and day-dreaminess of their mottled inscapes, gauzily demarcating lines between past and present selves. In that aesthetic and approach we can also hear similarities to Jonnine’s blue-skied ‘Southside Girl’ or crys cole’s poetic sensuality, often leaning into the domestic surreal.

A frayed, opening salutation ‘Good Morning’ signals a delirious half hour in Ulla’s company, variously swaying to the downstroked jazz swing of a ‘Lavender (NF)’ spritzed with clarinet, whilst ‘Froggy Explorer’ stirs the air like Jan Jelinek on a barely-there tip. The Basinski-esque fritz of degraded loops really snags the imagination along with a twinkling nightlight ‘Ball’, as the album opens out into its most fully resolved songs with a closing couplet of disarming wonders ‘Drawing of Me’, and a blurry ‘Mute’ that feels like Ulla 〜almost〜 reveals too much before retreating back into the shadows.

Blues and Soul Award winner and double MOBO Awards nominee Ronnie Herel is back with his 2nd volume of his excellent compilation series Neo-Soul Sessions. Ronnie, a massively important figure in the UK Black music scene, is a radio presenter with Mi Soul and includes BBC 1xtra in his broadcasting credits. He is a DJ of international renown and was one half of the Quartz production duo which scored memorable hits with Dina Carroll. His undisputed love for and knowledge of the Neo-Soul genre shines through in the Neo-Soul Sessions and this latest, volume 2, is no exception. Featuring tracks from artists such as Vula, Terri Walker, Aname Rose and Slakah the Beatchild, among others, Neo-Soul Sessions volume 2 is a brilliantly curated and pieced together selection of twelve tracks that absolutely nails the beauty of the later releases in the Neo-Soul genre. Played from start to finish the track selection and order is a pre-made DJ set that flows in a way that would soundtrack a dancefloor, a house party and an excellent backdrop of tunes for any time and day of the week. Ronnie's passion for championing independent artists is also evident in his selections here and the compilation serves as a platform for those voices who deserve to break through. The decision to choose six of his favourite tracks to sit alongside six exclusive and unreleased gems means that a light is now shined on every artist featured on the compilation. An absolute must for serious lovers of Neo-Soul, RnB and Black Music, Neo-Soul Sessions volume 2 is released on double vinyl LP and CD formats.

‘Clyppan’ is an Old English verb meaning “to embrace” or “to clasp.” It also referred to an ancient ritual in which people gathered in a circle, singing together around a sacred shrine. It’s a fitting title for the latest release from Newcastle’s Smote – a visceral document of the band’s electrifying live set, captured within the walls of London’s Bear Bites Horse recording studio.
Following the release of their acclaimed 2024 album ‘A Grand Stream’, Smote embarked on an intensive tour schedule, refining their live performance along the way into something transcendental – a full-spectrum psychic voyage. Anyone who caught them at Supernormal, Supersonic, or this year’s Roadburn Festival can attest: Smote are an unforgettable sonic presence, a near religious experience.
Recognising the urgency and potency of the band’s current live form, Rocket Recordings encouraged Smote’s founder and sonic architect Dan Foggin to document their live set in the studio. It was a sound too powerful to be left undocumented – it was something that needed to be clasped for future generations.
On January 22, 2025 – the day before their thunderous performance at London’s ICA alongside labelmates Teeth Of The Sea – the four members of Smote entered Bear Bites Horse studio. With producer Wayne Adams at the controls, they laid down a live set brimming with raw, elemental power.
What emerged is ‘Clyppan’ – four drone-and-repetition driven incantations, distilled from the primal essence of Smote’s sound. These tracks channel something ancient and urgent, summoning spirits and revelations in their wake. It’s music as ritual, as invocation – pure aural sorcery.
So gather together. Form a circle. Join hands. And embrace the ecstatic, untamed energy of Smote in their most untethered and primal form.

A box of this limited 7” showed up in the post, The Dahlmanns’ new single.. Norwegian power pop masterminds scoring dues from their whole rock and roll journey, Suzi Quattro, Dictators, Stooges, and all the great Scandinavian power pop / garage rock scene. Its been 15 year ssince their debut, and they still have a knack for perfect pop tunes wit ha hard edge. The A-side is a classic power pop, clap along to this… Line says ”the lyrics are inspired by the images of Finland’s Touko Laaksonen. It’s about a ”Tom of Finland” type character meeting up with his gang to attend shows at Max’s Kansas City in New York”. And on the flip, the Dahlmanns have turned a Prince classic into one of their own, Line explains, ”In my early teens, around the time of the release of his ”Sign O’ The Times” album I was obsessed with Prince. I never cared much for the over-the-top, experimental funk stuff but I liked ”Controversy” and ”Dirty Mind”, the latter includes another pop gem, ”When You were Mine”. ”Dirty Mind” was released on October 8th 1980, Johnny Ramone’s birthday and also mine. Such coincidence in life makes me happy”. A new album is pending, but jump in quick to get ahold of one of these 7”s.

NEW VERSION ON WHITE VINYL! After turning heads with the relentless 2024 EP Råtner på rot, Jordsjuk are back with their full-length debut: Naglet til livet (translates to 'Nailed to life'). Across twelve tracks and 36 minutes, the band delivers a visceral strike of raw, uncompromising metal - free of gloss, gimmicks and nonsense. Naglet til livet is a kaleidoscope of destruction, decay, and ugliness, the band states. From the thrash-fueled chaos of "Grovt skadeverk" and the suffocating aggression of "Parasitt", to the punk-driven decay of "Rennestein" and the gloomy introspectiveness of "Svikter den neste", this is the sound of filth, concrete, ruin, and rage. Twelve tracks of in-your-face, riff-driven and organic metal. Jordsjuk consists of Renton (drums), Mannevond (vocals), Sagstad (guitars), and Larsen (bass) - seasoned musicians from the Norwegian underground. Their sound sits somewhere between black, death, thrash, punk, and rock, forging a sonic identity as raw as it is deliberate. The lyrics, written in Norwegian, dive into personal collapse, trauma, and apocalyptic despair, delivered with uncompromising honesty. Drums were recorded at PhatCat Studios (Rygge, Norway), with the rest captured at various locations in Oslo. Mixing was handled by Kurt Ballou (Converge) at God City Studios (Salem, MA), while Brad Boatright took care of mastering at Audiosiege Studio (Portland, OR). The result is exactly what it needs to be: dirty, sharp, and heavy. Jordsjuk is necro music for necro times, says the band, and after hearing Naglet til livet, it's hard to disagree. The band were booked to by:Larm festival and Midgardsblot in 2025, and it's on stage that their sonic violence truly takes over. For those who've seen them live, expectations are high. For everyone else - prepare to be run over.

Yes, after a hiatus of 15 months, The ReMix Collection makes a highly anticipated return as Yotto steps up to take on the Shakra Mix of Power Circle’s ‘Garden Of Peace’.

Originally released in 1993, the track was an immediate Renaissance anthem, finding favour with all their key DJs. However, it became synonymous with one man in particular, namely, John Digweed, who cemented the track’s legendary status when he included it on his Journeys By DJ compilation the following year. Even today he’s been known to slide it into the mix, most recently episode 10 of his legendary Bunker streams. And the track has other contemporary fans too; a certain Mr. Plex was heard dropping it in 2020.

In short, it’s one of those records that’s stood the test of time and grown in stature year on year. Now, its evolution takes yet another step as it joins the ranks of Renaissance’ flagship ReMix Collection series.

Yotto’s modern interpretation is a high-octane juxtaposition of thunderous bass, rising pads and THAT vocal. ”Garden Of Peace is a record I missed first time around as a kid and had only heard on a mix, never knowing what it was, so when Renaissance approached me about a remix there was a strange sense of familiarity,” he explains, “The original is full of classic progressive house mystery and, while I took the whole thing apart, I wanted to keep that emotion with my interpretation.” On the B-side there’s a re-mastered cut of the original Shakra Mix, which isn’t released digitally and remains exclusive to vinyl only.

Stormzone were formed in Northern Ireland in 2004 as a heavy metal band. In 2007 They released “Caught in the Act” on the Escape Music label, and it was met with critical acclaim. They have since released another 3 albums on different labels, all of which have firmly put them on the map. In more recent years the band have taken a heavier direction and attracting fans of the NWOBHM genre. Stormzone have played at many festivals including Sweden rock, Firefest and Wacken open air to name but a few, as well as playing many shows. They have also played as support to many big names, such as Saxon, Y & T, Stryper, Tesla and White Lion. They have always had a loyal following which continues to grow. Their debut “Caught in the Act” featured artwork by the Rodney Matthews art studio, who have worked with album covers by YES, Bob Catley, Magnum and many others. The distinctive style of art is a firm favourite with many, and it is with great pleasure that we announce that “Immortal Beloved” shall also enjoy such outstanding artwork. This latest Stormzone chapter boasts 13 tracks of classic heavy metal, and it will be a much anticipated release to start the new year..

"Huntress" by She Spread Sorrow (Alice Kundalini) is the story of a huntress and her morbid and psychotic relationship with her prey. The protagonist is Blue, a girl whose existence is marked by obsession with another woman of the same age and by nightmares that leave her without peace. Between love and psychosis, a tragic story is consumed, which vibrates in the stomach, like the music that accompanies it - dark and hypnotic death industrial, with moments of dark ambient, power electronics and noise.Inspired by Kundalini’s nightmares and her fervent world of dreams, "Huntress" was born after 3 years of intense recordings. It pursues the need to whisper secret, forbidden tales and to stimulate the deepest shadows of the human being, exploring the boundaries between the delicate and the violent; between love and obsession; between fantasy and madness."Huntress" is the soundtrack of a tragic game between opposites in a reality of total solitude.

With her new album, Spira (Sprout), Olof Arnalds has found her joy in writing songs rekindled. In many ways it harkens back to her debut: it is exclusively in Icelandic, the arrangements are markedly stripped back compared to her last two records, and it is mostly recorded in single takes in the control room of Sundlaugin, much like Vio og vio. Although a classically trained singer and violinist, Olof has been an active practitioner of popular music for thirty years, the watershed moment was the 2007 release of her debut solo album Vio og vio (Now and Again, wider international release in 2009), produced by Sigur Ros' Kjartan Sveinsson in the band's converted swimming-pool studio Sundlaugin. It seemed to appear fully formed out of the ether, and became a local classic almost overnight, winning accolades such as 'Best Alternative Album' at the Iceland Music Awards, named 'Record of the Year' by Iceland's principal daily newspaper and recognised as one of the decade's 100 best albums by eMusic. Spira is produced by Skuli Sverrisson, who also contributes bass and guitar. His mind-melting resume includes musical direction for Laurie Anderson, recordings with Blonde Redhead and work with artists such as David Sylvian, Jon Hassell, Ryuichi Sakamoto, Bill Frisell and Arto Lindsay. Davio por Jonsson contributes piano and guitar to the record-much as he did during Olof's busiest touring schedule nearly fifteen years ago when the two of them toured the world for months on end. There is hardly a jazz musician in Iceland he hasn't played with but lately he is perhaps best known for his close collaboration with Ragnar Kjartansson, one of this century's most celebrated visual artists.

Limited Plum Colored, Full colored Vinyl 12” Jacket 12 Inch Release

Hot on the heels of the recently released Divine Harmonics – From Then Until Now (Part One of Two) the limited orange vinyl edition that sold out within weeks, we are thrilled to announce the arrival of the highly anticipated Part Two of Kuniyuki and Joaquin “Joe” Claussell’s Divine Harmonics imprint.

This next installment is expected to surpass the excitement of both earlier releases, especially as it comes as a plum colored vinyl packaged in a stunning full-color jacket designed by the incomparable Akemi Shimada. As with all Divine Harmonics editions, this is a strictly limited full 12-inch package, created with collectors in mind.

About the Record

Recorded in a fully equipped studio in Brooklyn, New York, this project was born from the idea of gathering musicians who deeply admire Kuniyuki’s work and inviting them to contribute to the composition.

Clammbon, who have performed numerous tribute albums for artists such as Yasuyuki Okamura, Fishmans, and YMO, have released their first covers album, including
all of their classic covers. From Akiko Yano to Bow Wow Wow, the selection and arrangements show the band's depth, and the loose and casual recordings of
the Magokoro Brothers' "Summer Nude" and the Beatles' "Across the Universe" featuring Takashi Nagatsumi are particularly captivating.

The Chambers Brothers are four biological brothers who cut their teeth in church choirs and on the gospel and folk circuit around Southern California. But, things really picked up halfway the 1960s when they started performing in New York and in 1968 scored their only hit “Time Has Come Today”. This 11-minute opus spent five consecutive weeks at #11 (yes, really!) on the Billboard Hot 100 and really showcased the progressive mindset of the brothers; the group combined American blues and gospel traditions with the effects-laden sound of psychedelic rock that was very much in-vogue around that time. If you’re fan of psychedelic soul such Rotary Connection, you can’t miss this. The Time Has Come is available as a limited edition of 1000 individually numbered copies on red coloured vinyl.

"An Eternity Still" delves into the theme of closure, capturing the emotional journey of closing one chapter and beginning another. It evokes a stirring blend of nostalgia and the need to move forward, balancing bright memories with the desire for growth and new challenges.

For this project, Vanity Productions' Christian Stadsgaard teamed up with close collaborators Emma Acs and Malthe Fischer, who joined in the compositional process. While the album maintains Stadsgaard's signature melancholia, it also introduces a fresh sonic palette, incorporating vocals and guitar alongside the project's hallmark broken electronics and dark, evocative melodies.

The Album also features remixes by acclaimed artists Farzané and Ireen Amnes, further enriching the album's collaborative spirit and adding new dimensions to its haunting soundscapes.

Co-produced with Blaine Harrison of Mystery Jets, the album is a bold and moving leap forward, shaped by the wide-open spaces of Grace's adopted California and the intimate venues of his hometown of London. Moving to California at 21, Grace played his first shows in small coffee houses and clubs in Los Angeles and San Francisco. There he was introduced to the music of artists like Bon Iver and Ray Lamontagne who helped shape his early writing and the songs that would later appear on his 2022 debut album 'Alive In America' . Since returning home to London, his music has been championed by the likes of Clash, Under The Radar, Wonderland, Songwriting Magazine, Americana UK, Absolute Radio, BBC Introducing and Mahogany.

repressed !

4 To The Floor is committed to delivering seminal house music to wax, making sought after heritage tracks readily available on vinyl for crate diggers to add to their collections. Classics Volume 2 kicks off with a slice of Defected 2012 goodness; ‘Around (Solomun Vox)’ by Noir & Haze. When Solomun took his turn at remixing this Ibiza anthem, it was heard everywhere from Hackney warehouses to Pacha Ibiza, and showed a different side to the heavier original. On the B-Side is the Moodymann Edit, where he makes subtle changes to Solomun’s mix by interweaving tribal drums and stripping back some of the techier elements, followed by Chicken Lips’ electro banger ‘He Not In’ which thunders through. An instantly recognisable record, even if they’re not aware of its name or who wrote it, with an unmistakable bassline that has truly stood the test of time.

The music of the duo Parajekt is created on electronic instruments. Drum machines, samplers, modular synths, and effects devices all culminate in a tape recorder, whose limitations invite them to work with great musical and sonic precision.
The resulting pieces serve as the first layer and as a sound score, which is then overwritten, mixed, and refined with dub techniques in a subsequent step.
Elements inspired by electronic beat music, musique concrete, and noise merge in a musical performance that brings the studio action onto the stage and places it front and center.

Searows—aka Pacific Northwest singer-songwriter and guitarist Alec Duckart—is pleased to announce his new album Death in the Business of Whaling, set for release on Friday 23rd January 2026 via Last Recordings On Earth. Though Death in the Business of Whaling arrives as Searows’ second album, it’s the product of many firsts, including his first time recording outside the creative cocoon of his bedroom. His 2022 debut Guard Dog was written, recorded and self-produced in Duckart’s Portland home and independently released with little expectation as to how it would be received. The music soon found a passionate audience that were already sharing snippets of Duckart’s music via communities on TikTok and received co-signs from prominent artists such as Ethel Cain and Gracie Abrams, both of whom he went on to support on tour.

January 21, 2026 marks the 40th anniversary of Hideaki Tokunaga's major label debut.
A long-awaited new album will be released on this memorable day! Titled "COVERS," it marks the launch of a new series of cover albums that truly showcase Tokunaga's talent.
This is his first studio recording since moving to Nippon Columbia, and his first cover album in 11 years since his smash-hit series "VOCALIST 6." With "VOCALIST," Tokunaga
built his own brand on the concept of faithfully covering classic songs by female artists. "COVERS" features a wide selection of works by both male and female artists,
reinterpreting classics that he "want to sing now" with his own powerful arrangements and vocals. It's been exactly 40 years since the release of his debut song, "Rainy Blue."
Look forward to the new sound that has been created as a result of this journey.

Straight from the pantheon of techno greats, John Beltran’s Placid Angles project enters Kalarahi orbit.

Revived after a 22 year hiatus, PA has since become our main source for new Beltran material. Buy-on-sight stuff for those seeking ambient techno of a rarified calibre. There’s an inevitable pinch-me moment whenever a producer of undeniable influence jumps on the label, and safe to say, this is one of those moments.

Expect sun-kissed Balearica and sublime, acid-fuelled romance. Sometimes we levitate, bathing in the glow of JB’s beatific harmony and sanguine tenderness. The slow-burn simmer of 303, the lithe gliding of his breaks; all of it demonstrating effortlessness of execution.

Choral vocals ascend, vistas pristine and closer listens reveal even greater levels of detail. You might say it’s the gift that keeps on giving.

MOON haewon and Tsuyoshi Yamamoto present a collection of love songs on 10-inch LP.
Following their jazz ballad-focused album ‘Fascination’ by Korean jazz singer MOON haewon and pianist Tsuyoshi Yamamoto, their new work ‘Love Songs
from Moon’ is set for release on 10-inch vinyl!
In addition to the analog release of two tracks exclusive to the previous CD edition, it newly includes the previously unreleased recordings “I'll Be Seeing You”
and “A House Is Not a Home.” The duo, who continue to captivate jazz and audiophile fans worldwide, deliver exquisite love songs.

Ray Charles (1930–2004) was a groundbreaking musician who fused gospel, blues, jazz, and country to create the sound of soul music.
A master pianist, singer, and songwriter, he delivered timeless hits like “What’d I Say,” “Georgia on My Mind,” “I Got A Woman,”
“I Can’t Stop Loving You,” and “Hit the Road Jack.” Known as ‘The Genius,’ Charles transformed American music and influenced countless artists across every genre.

Rochelle Jordan is proudly stepping into her diva era. To those in the know, the Los Angeles-based British-Canadian singer and songwriter has long been an underground force coaxing together the mutually flirtatious scenes of daring alt-R&B and heart-pumping electronic music. With her longtime creative director/producer KLSH, she’s cultivated a singular marriage of sound — mixing soulful sensuality, house bump, DnB wildness, hip-hop swagger, and pure experimentalism — that’s spread not only through certain circles, but also to the mainstream. At the same time that her gauzy 2014 single “Lowkey” was going viral in 2023 — racking up 21 million streams on Spotify alone — she was in the studio cooking with tastemaking beatsmiths like KAYTRANADA and Sango, quietly preparing to melt dance floors and headphones alike.

Now, as the timelines merge, Jordan is approaching success with the sparkle of a brand new star and the stance of someone who’s earned everything she has. Her new musical chapter aims to carry forward the magic that fans feel in her coquettish vocals and bold soundscapes even as she reaches deeper into her pop bag. The fact that her first single of 2025, the darkly dazzling “Crave,” was produced by Chicago house legend Terry Hunter (Janet Jackson, Mariah Carey, Beyoncé) speaks volumes to this exact moment in Jordan’s ascendent trajectory.

“My goal when I first started making music was to bring back something that I felt had started to fade away for me,” says Jordan. “That certain essence or sound that would give me butterflies in my stomach when I’d listen to music — it would unleash some kind of chemical that would make me feel happy and excitable and curious, something that would make my soul shine. My number one goal is always: How do I give people that feeling when they listen to my music?”

Jordan grew up in Toronto raised by British-Jamaican parents. She remembers hearing one of her older brothers cycling through a variety of music at maximum volume in the room next to hers. “Reggae to soul to drum and bass to garage music to gospel,” Jordan recalls. “It was all intertwining for me at such a young age.” She developed her own sound quietly, and soon met KLSH through MySpace. They traded multiple songs back and forth daily until he flew her out to L.A. to record what would become her debut project, 2011’s R O J O. That collaboration hasn’t faltered since, resulting in sonically surprising, subtly infectious sets like Jordan’s breakthrough 2014 album 1021 (with “Lowkey”) and 2021’s dance-steeped revelation, Play with the Changes.

“If you’re talking about Rochelle Jordan, you’re talking about KLSH,” she says. “It’s one and the same. We come from the same inspiration source.” With him at her side to this day, Jordan is crafting new listening experiences as radiant as refracted light glimmering through a prism — an incredible space from within which to explore love in all its iterations — from romantic infatuation to self-affirmation, and strength in womanhood to pride for what she’s accomplished thus far.

More than a decade into her career, Jordan has arrived at a new stage of life and creativity — she’s a seasoned professional, a fully realized woman, and she’s excited to continue growing. “I know my story isn’t necessarily a new one,” she says. “I look at 2 Chainz, who became 2 Chainz way later on in his life. I look at Tina Turner, who became Tina Turner at 40. I want to be another story of resilience for people.” As she prepares to unveil more of her vision, and fans clamber for a long-awaited fourth album, Rochelle Jordan is casting aside self-doubt, and appreciating and underlining her status as a verifiably influential reigning diva in her one-of-one sonic space.

Man O To from the elusive producer NU is finally set to be released as a single on Crosstown Rebels, featuring remixes from Parisian producer Pépé Bradock who producers two amazing takes on the original. Since its inclusion on Acid Pauli's Get Lost Compilation in 2012, the track has gained huge support and become a modern-day electronic classic.
A nomad of modern times, NU has travelled the continents with his diverse music to unearth his imitable style. Represented heavily in Man O To, where instruments amalgamate with electronic production to become solid rhythms. An extra spark come from its lyrics, outtakes from an old Persian poem from the well known poet Rumi, who speaks of true happiness in love here performed by Ghazal Shakeri from an original recording made by renowned French composer Armand Amar.
Julien Auger aka Pépé Bradock is a widely respected producer best known for his ground breaking remixes and releases on labwes such a Avatisme, Classic and Versatile Recordings. As a DJ, he has spun in almost every major club in the world and is known for his versatile, and mesmerising style. Bradock conjures a trippy remix and dub version of Man O To and fitting ode to the original.

Are you Looking for Love? Advice? Good Luck? Then you’ve come to the right place. Fortune Three, the third release in the Psychic Readings catalog, Peach continues to explore her sound bringing 4 tracks dedicated to the dance.

It starts with In Ur Dreams, an ode to the dreamers and lovers in your fantasies. Peach gives some subtle organ hits a whirl with deeper basslines and punchy drums. Next, a track inspired by and sampling an old Christina Aguilera interview, What U Got is a warm, beachy roller which is reminiscent of hotter temperatures. Pretty pads, shiny stabs, and a weighty bassline create an endlessly playful groove – a Peach signature.

On the flip, we see Brady’s Song mixed two ways – the first being the deeper cut of the two, Brady’s Song slowly unravels melody after melody, playing with sassy stabs and a bassline on the subbier side. The Afters Edit takes a more upfront and jacking approach, focusing on the ability of the bass to roll through the whole track – shimmering percussion and the same stabs from the B1 carry us through until the last second.

All the tracks are a testament to her many moods as a DJ. From club use to home listening, this is an EP dedicated to the dance.

NDATL Records continues with the return of Detroit legend Reggie Dokes with his new 12", The Alkebulan EP—a deep, spiritual, and sonically adventurous record that finds Dokes fully in his element while pushing into new emotional territory.

Side A opens with “Unknown Valley,” where shimmering chords and a haunting vocoded voice glide across a hypnotic groove, setting the tone for an EP rich in warmth and mystery. Dokes follows with “Still Exist,” an excursion into his darker instincts—moody, driving, and steeped in the grit that has defined his most revered work.

Flipping the record reveals Dokes in a more expansive, jazz-inflected mindset. “Soul Searchin” stretches into expressive harmonic territory, showcasing his ear for introspective, cinematic sonics. The journey culminates with title track “Alkebulan,” both featuring longtime collaborator Skip Pruitt, whose saxophone floats and weaves through Dokes’ musical landscapes, forming a Psychostasia blend of jazz, deep house, and spiritual energy the dancer simply cannot resist.

The Alkebulan EP is both a celebration of lineage and a forward-moving statement—classic NDATL quality with Reggie Dokes’ unmistakable fingerprint.

Somehow it feels fitting that 1+1 equals not only 11, but also the two slabs of vinyl carrying Henry Hodson’s music here. A small inside joke, perhaps, but also a sign of how naturally this record came together: instinctive and shaped with intention. Hodson — who first appeared on Limousine Dream and later with a subtle and beautifully controlled EP via Silky Beats — continues his trajectory between deep house warmth and minimal clarity. These six tracks are drawn with the sort of fine-grained rhythmic detail that rewards attention without ever demanding it. Light-footed percussion, elegant restraint, grooves that breathe. The double 12’’ format isn’t a gimmick; it’s a commitment. Each track gets the physical space and sonic depth it needs.

The incredible story that began with The Most Mysterious Song on the Internet (TMMS) now enters an exciting new chapter: Skyscraper, the debut album by FEX.

Skyscraper features ten original tracks recorded in the early to mid-1980s-carefully re-transferred, remastered, and brought back to life. The album cover, designed by Darius S., brings the story full circle. Darius is the very person who preserved the now-iconic track Subways of Your Mind by recording it from NDR radio in the mid-80s. Without him, FEX may never have been discovered.

FEX's debut opens with its namesake, Skyscraper-a brooding, previously unreleased track the band once described as part of their "psychedelic phase." With haunting synth-helicopter textures and deep guitar riffs, it immediately sets the tone and raises tension.

The release flows naturally into the energetic and fully remastered studio version of Subways of Your Mind. This version of the TMMS - re-discovered on the "yellow label tape" by Reddit user Marijn-was long believed to be from a smaller home studio, but was actually recorded in November 1984 at Hawkeye Studios in Ganderkesee, near Hamburg.

Goldrush, first teased in raw form on FEX's YouTube channel, bends toward mechanical rhythm and shimmering synths, a snapshot of the band's experiments with programmed drum machine sound. Rückwardt's lyrics point to greed and criticizes materialism, and while the music leans toward pop sensibilities, it carries a raw, fractured edge.

Heart in Danger and I've Got My Eyes On You offer contrasting experiences-one rooted in classic post-punk tension, the other floating in melodic synth layers. The latter in particular feels like a fragment from a parallel radio history: a precise and one of a kind synth pop love song with a progressive touch.

From a rehearsal tape comes Dirty Slapstick, its urgency intact. Missing keyboard parts were later reconstructed by Michael Hädrich using his original DX7 synthesizer-recovering lost elements without rewriting the past. The lyrics take a wry look at forced optimism. Also included are the songs Talking Hands, Jenny and Strange Feeling, the latter being a slower blues-tinged cut, revealing yet another facet of the band's reach and Rückwardt's songwriting diversity.

The album closes where the legend began-with the original radio recording of Subways of Your Mind from Darius' cassette. This version of The Most Mysterious Song features alternate vocal effects, contributing to the track's enigmatic aura. Digitally transferred using a high-end Revox machine and carefully remastered, it now has its long-deserved official release.

The cover features a photo of the Eichenberg Bunker in Kiel-one of FEX's original rehearsal spaces and a symbolic monument to their sonic legacy.

Before he turned 20, Lô Borges released one of the most captivating albums to come out of Brazil's rich musical landscape - a record that somehow flew under the radar at the time but has since become a cult favorite for listeners around the world. Recorded in the same whirlwind year as the legendary "Clube da Esquina" - the groundbreaking collaboration with Milton Nascimento and Beto Guedes - this self-titled solo debut finds Lô Borges in full creative flight. Pressured by Odeon Records to deliver a solo project, Borges responded with a burst of youthful brilliance, sometimes writing a song in the morning and laying it down in the studio that very night. The result? An album that's spontaneous, heartfelt, and sonically stunning. From the shimmering guitars of 'Você Fica Melhor Assim' to the dreamy melodies of 'Cançao Postal' and the jazz-infused groove of 'Calibre,' the album blends Brazilian popular music with rock, soul, and subtle psychedelic touches. It's got the intimate spirit of a bedroom recording, but with the musical sophistication of legends - with collaborators like Toninho Horta, Tenorio Jr., Nelson Angelo, and of course, Beto Guedes helping bring Borges' vision to life. Fans of Caetano Veloso, Gilberto Gil, or early Nascimento will feel right at home here - but Lô Borges brings his own voice, at once tender and electrifying, to every track. The guitars are fuzzy, the harmonies rich, and the songwriting nothing short of magical. Though it didn't make a splash in 1972, "Lô Borges" has only grown in stature over the years. It's the kind of album you discover once, then return to again and again - a timeless treasure from a young artist who helped redefine Brazilian music from the ground up. If you're into warm, soulful songwriting with a touch of experimental edge, this record is waiting for you. Give it a listen - and see why "Lô Borges" is considered one of Brazil's most underrated masterpieces. Reissue on 180g vinyl.

Melodies International’s next record features a previously unreleased collaboration between the Ariwa camp (Mad Professor’s label and studio) and rising UK R&B artist Abel Miller — a Lovers Rock cover of the classic 1960s Philadelphia soul track “Everytime I See My Baby” by The Delfonics.

A few years ago, Mad Professor teamed up with frequent collaborator and multi-instrumentalist virtuoso Black Steel — who regularly records bass, guitar, keys, and vocals for Ariwa Studios (“he can play anything” Mad Professor tells us) — to record a series of Lovers Rock covers of songs by The Delfonics. Mad Professor’s love for 60s and 70s US soul is no secret and shines through much of his production, but he realised he had never heard this particular song, originally written by Thom Bell and William Hart. For the session, they brought in Ashanti Selah on keys and Horseman on drums, with Abel Miller delivering the lead vocals. Mad Professor and his son Joe Ariwa recorded and produced the track.

Since their first reissue project with Mad Professor a few years back (Ariwa Sounds: The Early Sessions LP), he has occasionally performed with the Melodies crew — most recently on Floating Points’ Sunflower Soundsystem this past summer. At their Osaka gig a couple of years ago, he closed the show with this track, immediately blowing everyone’s minds. When asked what it was, he told the team that Melodies could release it!

The 7” single will be available in November, featuring the original studio version on one side and the live dub version Mad Professor performed in Japan on the flip (vinyl exclusive). Mastered by Frank Merritt at The Carvery, with printed sleeve artwork by Nevil Bernard.

Eddie Kendricks was the falsetto voice of The Temptations during the group’s heyday years at Motown Records. Signed as a solo artist with the Tamla label he achieved further success with an array of hits (including the No.1 single “Keep On Truckin’”) and popular album tracks that remain in demand today. “Date With The Rain” was originally released in 1972 (from the album “People…Hold On”), “Intimate Friends” later in 1977 (from the album “Slick”), a song written by Garry Glen who would go on to write for Al Hudson (“Spread Love”), Phyllis Hyman (“Be Careful How You Treat My Love”) and Anita Baker (“Caught Up In The Rapture”) among many. More. “Intimate Friends” has also been sampled over 80 times by artists including Alicia Keys (in “Unbreakable”), Erykah Badu and a significant number or r&b/hip hop artists. “Date With The Rain” has also been much sampled and covered most notably by Jamie Principle in 1990.

Death Is Not The End turns 10 years old in May, and as part of the celebrations are committing a selection of DINTE NTS Radio shows from over the years to cassette. Kicking off with the recent special Skateland Soundtapes, 1980-1986 - comprising a selection of clips from sessions held at Halfway Tree, Kingston's most storied roller skating rink during the dancehall era's golden period of the early to mid/late 1980s.

Audio sourced with the indefatigable efforts of the Who Cork The Dance crew - big thanks going out to Jayman, Ruff House, Keimo, Omar, Gee Wizz and the one Jah Humble.

With the 7th Grade of the Riddim Dub School series, Prince Istari enters Junior High School. Prince Istari returns with his Riddim Dub School series now on 12inch, pushing deeper into the intersection of dub, drum and bass, and sound system culture. This 6-track EP, titled "lessons into drum and bass wise", explores raw rhythms, analog feedbacks, and heavy low-end pressure.
The EP starts with a Drum and Bass cut with a One Drop of the DUB ME LOOPY tune from Riddim Dub School 5th Grade. INTIMACY COORDINATOR follows with a heavy Disco Dub. The last track on Side A is LABOUR’S DUB, with deep bass polished through spring reverb. The shakers come in late and push the whole thing forward. Side B begins with GONE TOO SOON from Riddim Dub School 4th Grade, in an alternative version. It’s followed by the most upfront track on the release CONQUERING DUB – brass fanfares and a deep disco rocker beat with minimalistic arrangement. NO DUB INNA DI WRONG ends the 7th Grade with a roots way style. It suggests
that dub music doesn't belong to or support negative, corrupt, or unjust actions or spaces. Dub music stays righteous, true, or positive, and doesn’t associate with bad vibes or wrongdoing.

Tragic Tiger's Sad Meltdown is Heavenly aka Tiger Hutchence-Geldof's debut album of sorts, cut from cassette tapes of rehearsals mixed with snippets of field recordings. Recorded with contributions from Nicholas Allbrook (Pond), Scarlett Stevens (San Cisco), India Rose & Jacob Diamond.

"I made this cassette in the living room of our house in Fremantle, a seaside town in Western Australia. I had always been shy to sing with others but moving across the world and my ex-boyfriend Nick had given me some bravery. Something about living closer to nature meant I felt creative and open hearted. It was as if the wide open landscape of Australia had finally given my heart enough space to open properly. The recordings are actually just recordings of our rehearsals, I never feel set in how song is meant to be so they usually just come out of me in the moment. My friends playing along with me are luckily all very empathic players and we found a way to play with one another without any structure or plan. It was really moving to create with so much freedom and understanding. Most of the songs are about my sister Peaches who I lost as a teenager so singing them aloud felt very potent but my band always made me feel held"

‘Butter’ is 10-tracks of intricately crafted modern soul from CHERISE and testament to CHERISE’s ability for creating gorgeous, honeyed Wonky Soul that’s the perfect soundtrack for chilled evenings in company of Steve Lacy, Moses Sumney, and Tierra Whack.

Showcasing CHERISE’s passion for collaboration, the project features rising artists Frida Touray and Meduulla and follows CHERISE’s acclaimed debut album ‘Calling’ - a sonic homage to her elders who journeyed to England as part of the Windrush generation.

A truly multi-faceted artist, CHERISE is fast proving herself to be one of the most fiercely talented young musicians in the UK. Her effortless, irresistible vocals, alongside her honest, soulful songwriting manage to be simultaneously both contemporary and timeless. In everything, she’s guided by knowing who she came from, who she is, and what she has to say. Now with ‘Butter’, CHERISE embraces her impulses and redefines what it means to be a modern day Soul artist.

Don Cherry, armed with a voracious musical appetite and boundless imagination, first made a name for himself - though not always fully understood - alongside Ornette Coleman, playing trumpet or cornet. In Los Angeles and then New York, he stood at the heart of a revolutionary approach to improvisation based on melody rather than harmony, later baptized "Free Jazz," the final structural development of American jazz. Over time, he became a champion of improbable fusions - gradually integrating into his style a whole array of "exotic" instruments, and more importantly, the cultures from which they originated. Among them: India, Brazil, Africa, Indonesia, and even China. The time had come for the emergence of "world music": in hindsight, a patchwork rich in imagination and seduction, but once the novelty wore off, often lacking in substance.

In Don Cherry's case, however, the commitment ran deep - tied to his personal engagement with a global vision of art and the human condition. Ustad Ahmed Latif Khan, from the Delhi gharana (a musical lineage), was part of a new generation of accompanists - percussionists, sarangi players, flutists, etc. - who had extended both the technical and conceptual possibilities of their predecessors to gain recognition as soloists and soon to venture onto the international scene. Among them, Latif stood out for his taste for irregular, highly syncopated rhythmic patterns - rich in variety and originality. Don and Latif had never met before the recording session, but the two quickly recognised one another as kindred spirits - calm, focused... and full of laughter. Don clearly knew what he wanted to create, and nothing seemed to pose a challenge for Latif, who grasped the American's intentions immediately, warmed up his fingers at astonishing speed, and with his perfect pitch, naturally took on the role of tuning Don's diverse instrument collection to match whatever was found in the studio - from concert piano and Hammond B3 organ to chromatic orchestral timpani.

A future classic - a project resurrected from a collaborative effort of the minds of late and great tastemaker and creator Mike Huckaby & Echospace's, Stephen Hitchell. Coming up on over 15 years since this project was conceived while working together on the Model 500 "Starlight" remix project back in 2008, this project truly captures a beautiful moment in time. During this period there was something magical in the air, a creative synergy and understanding of all things deep! The original mix (2008) results from a few sequences and patterns developed out of Wavetable ideas Mike was creating for a sample library he was curating at the time. The sweeps and transients found in these lofi wavetables truly add to the Detroit sound Mike's legacy was built upon, always staying true to his roots. After a few projects together (and more forthcoming) another collaboration was born with SF based (via Glasgow) producer, Federsen who simply put gives us a deeper than deep tribal stomper we're certain Huck would be dropping at peak hour! On the flip, cv313 + federsen reunite to surf Mike's wavetables once more, creating an addictive hook with a sick DETROIT saw bass deeper than the ocean floor! Intrusion's Dub closes out the EP and sends the listener deeper into the abyss, offering sonic designs from another planet, dubbed out into eternal bliss! We truly hope this project resonates and captures some of Mike's creative spirit and sound design. This 12" is a tribute to a true Detroit hero who's contributions to music and the culture are few and far between, a true legend.

R.I.P. HUCK

Rich musical history of Yugoslavia reveals a long-lasting love for the music of Latin America.
Entwined in Afro-Cuban rhythms, ballrooms were shakin', swayin' and swingin', gathering musicians who were heavily into jazz bands and orchestras, most notably in Ljubljana, Zagreb, and Belgrade. Jazz could be heard on the streets of Split way back in 1919 when dancing became a symbol of freedom. Radio was the most loved household item, newest sheet music was in demand and collecting records was hip like today. In the aftermath of Second World War, jazz went underground but little by little, things changed and Ella, Satchmo, Dizzy and Miles came to visit, among others. Music festivals shaped the music for entertainment and variety of popular styles showed influences from all over the world. In the early sixties, one particular rhythm crashed on the coast of the Adriatic Sea: the rhythm of bossa nova!

In the whirlwind of various musical styles, Latin American music still played important part of the scene in the early sixties Yugoslavia. Beguine, tango, rhumba, samba, calypso, mambo and cha-cha-cha all found their place on the festivals inspired by famous Sanremo, festival of Italian popular song that largely shaped the musical taste of Europe. It was the era of instrumental rock, R & B and rock'n'roll - sounds of "imperialist America" now played freely on imported and hand-made electric guitars. While dancing halls had been turning into concert venues, bossa nova has come! Eydie Gorme with Blame It on the Bossa Nova and Paul Anka with Eso Besso (That Kiss!) tried to make us learn some new dance moves but it was Joao Gilberto's gentle singing and his new way of playing samba songs, along with Tom Jobim's modern dissonant harmonies and poetry of Vinicius de Moraes that created the magic. When American alto saxophonist and flautist Bud Shank visited Zagreb and Ljubljana in 1963 (with Boško Petrović in his quintet) "it was the first time we heard bossa nova!" remembers Stjepan Braco Fučkar. Jugoton, the biggest record company in Yugoslavia, released 4-track EP Bossa Nova by Bogdan Dimitrijević and his ensemble that same year! While not being fully accepted or understood completely, the archives of Jugoton reveal to us various interpretations of this new trend from their vast catalogue.

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left.

So everybody, don't sleep, be critical.