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Figure is celebrating its 150th release with a loaded triple vinyl compilation, showcasing artists both old and new to the label – a testament to what the Figure sound is today. The cover art has been commissioned from Berlin-based graffiti artist Erik Winkler, whose spray-painted work is adorning the thick triple-pocket sleeve housing three colored records.

The compilation features some important recent additions to our growing roster: both Jancen and Arthur Robert deliver their unique take on tunneling techno, be it searing or psychedelic. And Brazilian shape-shifter Vinicius Honorio carves out his own gliding bass frequencies while A-STS relies classic drum machine bleep hypnosis.

Label head Len Faki’s own energetic appearance echoes his versatile style found on his recent album release. The all-out production featuring strings and quirky synths sits in contrast with Jeroen Search & Decoder - a pairing of veterans, whose minimal hardware sound slowly builds over trippy acid loops. The flipside belongs to a younger generation of producers, namely IGLO turning out a superb techno roller teeming with life and lush with details. The duo of Munich brothers Glaskin already remixed Faki for his Fusion album, their first original release on Figure comes a skillful blend of distorted stabs and deep grooves.

Equally refined but with a harder edge to it, Scheermann practices a dark, minimalist approach where each element gets time to shine for maximum effect. His bleak track is aptly paired with a rare solo release of Obscure Shape whose fractures of a dreamy, twinkly melody make for one of the most emotional moments of the compilation. The final side holds Roman Poncet’s seasoned understanding of groove, balancing perfectly the dubby stabs and vocal chops for a dazzlingly perfect loop. The final tones to this milestone release come courtesy of another of Figure’s bright new voices: Arkan manages to conjure up a powerful sense of progression, where colourful synths converge in harmonies over an effortlessly bouncing beat.

It is a rare moment for an independent label to make to number 150. But to keep finding new talent who help re-shape the signature sound while expanding the family roster, that’s a true blessing. This package shows how Figure is growing and adapting as a label, staying relevant as one of the leading voices in modern techno.

The complete collection of her elementally inspired series channelling Earth, Wind, Fire, and Water. Scotland’s own Mha Iri completes her elemental journey with the announcement of her first long player, the Four Elements album – a special vinyl collection bringing together the full force of her Earth (Leader of the Pack), Fire (Elements of Dance), Water (Come With Me), and Air (Fury) EPs. Out on vinyl on December 5, the album marks the culmination of an 18-month sonic and creative exploration through the natural elements that have defined her rise as one of techno’s most commanding new voices. The vinyl release will feature eight stand-out tracks and is pressed on black vinyl and presented in a spined single outer sleeve with printed inner.

Various Small Whistles and a Song, the new album by Chicago-based artist Lia Kohl, incorporates notions of space, social relations, and humor. As the title suggests, the album responds to Ed Ruscha’s 1964 photographic artist book Various Small Fires and Milk, which Kohl sees as a wondrous celebration of ordinariness, one that reveals Ruscha’s trademark deadpan humor and depth. In the spirit of that publication, Kohl created her own series of sonic vignettes, with guest appearances from her close community of collaborators including claire rousay, Macie Stewart, Patrick Shiroishi, and others, reflecting the same sense of humor and mundanity.

The structure of the album—16 one-minute tracks—directly mirrors Ruscha’s book, which comprises 15 photographs of fire and one of a glass of milk. Ruscha’s “small fires” are represented here by recordings of whistles—mostly human whistling, with occasional appearances by train whistles, emergency whistles, and a woman selling penny whistles on the street in Guangzhou, China. About this choice of material, Kohl writes: “I’ve always been captivated by whistling—it’s musical but often a bit unconscious; usually solo but often done in public places. There’s something tender and human about hearing someone whistle, a socially acceptable version of hearing their mind wander.” As with Ruscha’s photographs, the whistles are not random snapshots but windows into social situations, narratives, or spaces.

The “milk” of the title — the 16th photograph in Ruscha’s book — is interpreted here as a single recording: a group of people singing together in Barcelona around 6 a.m. on New Year’s morning, captured through the floor of an Airbnb. Kohl describes this as a social, collective sound that contrasts with the solitary nature of whistling. The song functions as a counterbalance—a quiet celebration of shared experience.

Lia Kohl is a composer and sound artist based in Chicago. Her wide-ranging practice includes composition and performance, installation, improvisation, and collaboration. She tours nationally and internationally, working in theater, jazz, rock, and experimental contexts. Her work centers curiosity and patience, an exploration of the mundane and profound possibilities of sound.

‘3' saw the core Lifted duo of Max D & Matt Papich unravel their visions of excess into their most divergent and wide-eyed collection to date. Presented here by Peak Oil in a vinyl edition featuring the painting of Jordan Kasey (yes, related to Martin Kasey, saxophonist on 2019’s LP 2) and packaged for a seamless listen.

First scene ‘Chefs’ places us squarely off-center, landing in a cinematic environment that feels a bit like steadycam Luis Bunuel , wine bottle whoo-ing and horn fanfare. Its music without a hard surface, defined more by its fluidity and characters, found sounds and performed dialogue. “Cymbecko” shifts gears into blissful ambient dub, and paves the way for a Luke Stewart led excursion into the uncanny that is ‘Trip Tongue’. Stewart’s upright bass never stops seeking, while Jordan GCZs Rhodes barely touches down before lifting back up into and out of Jacob Long’s (Earthen Sea, Esau) liquid tone sheets. An outside world of percussion accompanies.

The mood morphs and the scene cuts in hard with “Born in the Roof”, slacker techno that grows shimmering parts, Perlon for potheads. Voiceover slacks right with it, a half-convo caught in the billowing chorus of fx. “Macarena” snaps things into focus, working almost like an open window to airing out the heady fog. Simplicity in the vignette.

After “Mecha Perfume & Variety”, “Snow Dancing” reignites the drama, with burning guitar by Jonny Nash taking a plucky and sliding lead over wildly fused drums by Max D, we get a test of new depths for Lifted with the somber and exuberant “Whipped Cream”. Crackling like a radio but with modern propulsion in the form of richly evocative pads courtesy of Motion Graphics, it sounds like a dinner, a space trip, a storyboard, a scene, threaded together in bouncing, oblique ways.

"Bobby V" drops refreshingly, timed like a credit roll and leaving an afterglow that feels more tuned-in than ever.

Players on this album include: Luke Stewart (Irreversible Entanglements, Blacks Myths), Jeremy Hyman, Jonny Nash (Melody As Truth), Jordan GCZ, Matt Papich, Josh Levi, Mezey, Hirama, Dawit Eklund (1432 R), Motion Graphics, Max D, Jacob Long (Earthen Sea, Esau)




d 4.Born In The Roof Radio Mix
e 5.Macarena Radio Edit

Packaging: 1x Black 140 Grs Vinyl, 'Dufy' Sleeve with textured card & gold Pms, printed inner sleeve, marketing sticker. Vinyl cut at half-speed.

UK producer Tom Carruthers returns with a scorching 5-tracker for Skylax Records, diving headfirst into the primal roots of jackin’ house, proto-italo, and early machine funk. Known for his raw MPC-driven grooves on L.I.E.S., Clone Jack For Daze, Syncrophone, and Craigie Knowes, Carruthers channels the energy of the underground circa ’86—pure drum machine soul for the dancefloor faithful. Side A kicks off with the title track “Neutralise”, all sharp snares, warped synths and hypnotic repetition—a jack track in the truest sense. “Deep North” follows with ghostly pads and relentless drum programming, while “No More” brings metallic tension and stripped-down funk with a heavy nod to Chicago’s original blueprints. On the flip, “Pascals” weaves cosmic arps through rugged percussion, merging italo sensuality with bleep-era minimalism. The closer, “Cosmic Ride”, is exactly that: a journey through spacey chords, dusty rhythm boxes, and that unmistakable feeling of warehouse euphoria at 4 a.m. Neutralise EP is a raw, timeless record that strips dance music down to its essence—jacking, emotional, physical. To match the sonic purity and timeless aesthetic of the release, we enlisted the iconic H5 studio—a name synonymous with visionary design in music and culture. Known for their groundbreaking work with Daft Punk, YSL, and numerous award-winning visual campaigns, H5 brings a level of artistic sophistication that elevates this EP into a complete sensory object. Their clean, modernist design echoes the stripped yet futuristic vibe of Tom Carruthers’ sound—a perfect fusion of form and function, underground and high art. Vinyl only. No digital. No compromise. For fans of: Virgo Four, Baby Ford, Larry Heard, early Warp, Mr. Fingers, and Beppe Loda.

After their first outing on Future Retro London, the trio return with Sage EP for FABRICLIVE. Across four tracks they balance toughness and detail: breaks cut sharp, basslines hit heavy, but the space in the mix leaves room for atmosphere.

Charades layers wistful vocals over warm pads and low end weight. Sage drifts between dreamlike textures and hammering drums, flipping between amens and four-to-the-floor momentum - a bridge between classic jungle and jungle tekno. Magpie pushes the intensity higher - fast, tense, built for peak time systems. Golden Hour winds things down with airy pads and organic detail, easing the pace without losing presence.

Sage EP distills jungle’s grit, beauty, and power - moving both body and mind.

DOUBLE VINYL ALBUM RELEASE

Kraak & Smaak Announce New Album Velvet Seas.

Dutch electronic pioneers Kraak & Smaak return with their highly anticipated seventh studio

album, Velvet Seas. Penned and produced between their hometown of Leiden and the sun-

drenched sprawl of Los Angeles, the album channels a rich seam of West Coast psychedelia,

deep funk roots, and that unmistakable K&S groove, all wrapped in shimmering synths and

electronic soul.

The record captures the essence of the band's genre-defying journey, blending radiant nostalgia

with forward-thinking production. True to form, the Dutch trio have enlisted an eclectic roll-call of

collaborators: from the dreamy stylings of Kosta G (formerly known as PWNT and memebr of Rio Kosta) and Butter Bath to the powerhouse

vocals of Izo FitzRoy, plus contributions from The Undercover Dream Lovers, Kainalu, Iogi, and

longtime live partners IVAR and Berenice van Leer.

With hundreds of millions of streams under their belt and a legacy as industry tastemakers, Kraak

& Smaak are set to take Velvet Seas to the global stage, with a world tour slated for next year.

Break 3000 - Human Nature EP

A special collaboration with Partout records from Paris. Break 3000 digged deep in the archives for this one and found some old unreleased music on his dusted DAT tapes ranging from 1993 to 2002.
Now released for the first time ever on vinyl 12” and digital.

“Human” and “Komputerok were produced in the same project in his Maastricht bedroom studio back in 2002 and reflect to great influence artists like David Caretta and The Hacker had on his sound back then, a mix of banging Electro Clash meets EBM, 80s Proto House.

“Overdrive” opens the B-side and a window to the late 90s. This track was produced together with his classic “Plastique People” around 98/99 and was an instrumental track luckily found again, Break 3000 added a new vocal and made a fresh shorter Edit. Thanks to the excellent mastering by Salz Music this one is back in todays sound standards.

The next pearl from the past is a real favourite and is the oldest track featured on this EP. “Ambizone” was recorded back in 93/94 and marks the transition from his first musical project Amazone to becoming Break 3000. Recorded in an amazing analog studio in Venray Netherlands where Break 3000 worked on a full album.
More music will follow from these old sessions! Stay tuned.

Closing out with “Nature”, a true hommage to the early Rephlex sound and produced around 97/98. Acts like Bochum Welt, D’arcangelo and µ-Ziq had an immense influence on Break 3000 and are a reason why he started to make more electro orientated music.

All tracks mastered by Salz Mastering in Cologne.

Souldynamic swings back onto the Samosa label with the mesmerizingly rhythmic West-Side Of Afrika Vol. 2.

We kick off the A-Side with ‘Touma’ – a truly hypnotic tribal afro vapour that entices you into the fire-lit night. A heavy dub-style bass just about dominates above the rhythmic ensemble, whilst the haunting chanted vocals elevate the track to ethereal levels. Stunning. No wonder Ron Trent has been spinning this one in his sets for the past few weeks – it’s right in that spiritual zone where deep house meets ancestral ritual.

Second track on Side A is the happiness trip that is ‘M.I.L’. Rolling drums, marimbas and a killer bassline merge with the flighty guitar riffs and smiling vocals. You could be in a bar listening to the music live in the room, smoke filling the spaces and dim lights offering a glimpse of good times.

Heading over to Side B and you find the enchanting ‘DJA’ awaiting. A deep roller of a tune, Souldynamic shifts the gears whilst serving the entrees. A truly magnificent slice of West-African vibes, ‘DJA’ has it all from the gorgeous vocals to the chugging, hypnotic beat.

Track 2 on Side B is the sultry ‘N.T.F.P’. The BPMs are touched down a notch for this one but don’t let that fool you. ‘N.T.F.P’ is a musical celebration of joyous beats, slaps, claps, brass and Afro vocals. You don’t get it much more authentic than this.

West-Side Of Afrika Vol. 2 is like a shapely hand in the perfectly fitted glove that is the Samosa label. A truly stunning piece of vinyl with every track as strong as the last. A sure-fire winner.

led by guitarist seiji hano, the jazz group om released only one album — solar wind, a landmark work that stands as one of the greatest achievements in japanese ethnic jazz. now, this masterpiece is finally being reissued.

their sound, seemingly a response from japan to ecm artists such as oregon and codona active during the same period, is refined yet imbued with a distinctly japanese sense of wabi-sabi — melancholic, nostalgic, and deeply resonant.

from “windmill,” featured on studio mule’s compilation midnight in tokyo vol.2, to every other track, solar wind is a flawless album with not a single weak moment — a true masterpiece of japanese jazz.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

We are heading for a night to Itaewon from where French artist Booh has drawn his inspiration from this release. On the remix duties we have his friend Krijka who is currently resides in Seoul and who has done a stellar job while keeping the essence of the original. The name of the tracks on this 12” are named after the iconic clubs of Korean’s capital where the artist managed to spend good quality time and draw his inspiration from, a major city with its vibrant nightlife that is very close to the soul of the artist. Booh is on the roll recently with a string of releases on very well-known and respected labels of the underground with many more planned, so it's an honour to finally welcome him on Exarde. Enjoy this record and transport into the mind of this proficient artist that has opened a window into his world for us.

Sex Tapes From Mars presents Outdom Records' boss, LATENT, who shares a brand-new four-track EP that spars with breakbeat, electro, house, and left-field electronics, neatly centring them all into a steady, sexy collision. The record as a whole captures genuinely original-sounding, rough-edged b-boy breaking badness - nostalgic, but never polite. It's a few BPMs slower than Sex Tapes' last few outings, but no less effective. Arguably, it's more late '80s sounding than ever, although, in fact, it's a brand-new, stonking release that showcases the label's versatility and unpredictability.

The opening track, "Break Machine", sets the pace with a clear nod to the '80s US group of the same name, bringing tidy drum workouts and clipped vocal samples that recall early Chicago, as well as choppy rave and street party energy at its most unfiltered.

"Disco Hijack" pushes the clutch into a more functional gear, merging delay-heavy, druggy, chuggy, sludgy bass with more robotic vocoder tropes, sharing something playful but IDM and European skewed. It's a dancefloor tool with a wink - just the style this now accomplished label has made its identity. Oh, don't forget the amens and clattering jungle breaks. 1990 or 2040? Fuck knows.

On "Distress Robot", pneumatic percussion and malfunctioning android chatter bring a darker, more mechanical edge, while "Virtual Body" closes with a spacious, garage-leaning shuffle that pulls the EP into recognisable contemporary yet still very much peak-time territory.

LATENT gives lean grit, pushes the edges, and lets the tracks feel alive in their imperfections. It’s music that thrives on tension between old-school reference points and modern floor pressure.

Bristol's label head Elon Dust HAS done it again.

Vinyl-only as per, don't sleep."

N1_SOUND & Ras Yunchie join forces on an 8-track LP that transcends both definition and generation. INNA DJ STYLE, out November 7th, marks the Toronto veteran singer’s first-ever vinyl release.

Pairing four vocal cuts with four dub versions on the b-side, INNA DJ STYLE bridges experimental dub, digi, and roots, embodying what Ras describes as an “open” sound—one that draws from reggae traditions while boldly breaking new sonic ground.

N1_SOUND first encountered Ras’ distinctive voice and soaring falsetto at Toronto sound system parties. A cornerstone of the city’s reggae scene, Ras Yunchie has been performing since 1983 and remains a vital presence more than 40 years on. His contributions have been recognized with a Lifetime Achievement Award from the National DJ Association, alongside titles such as DJ of the Year, DJ Sound Champion, and winner of the 1985 DJ Sound Clash.

While the rhythms pulse with heavy bass and the three-dimensional lead melodies synonymous with N1_SOUND, it’s Ras’ vocals that make INNA DJ STYLE truly shine. Each track was recorded in a single take and left largely untouched—a testament to the raw talent and enduring artistry of the 61-year-old singer. Across the four vocal cuts, the alchemy of contrasting styles, influences, and lived experience highlights how collaboration can push sound and genre into bold, unexpected territory.

Two tracks of vibe based sound system informed nice and chunky post-techno from TRIP SHOW, recorded in Twentynine Palms and Honolulu. Mastered by Dave Aju at Point Winona in Los Angeles, CA, Limited clear vinyl.

Modern flip of Marco Bosco's classic, Metalmadeira

"In 1983, Grammy-winning Brazilian percussionist Marco Bosco released Metalmadeira — a groundbreaking fusion of hand-built percussion, early drum machines, and lush synth textures. Four decades later, celebrated Curitiba-based collective Alter Disco (Bárbara Boeing, Phil Mill, De Sena) reimagine the album for today’s dancefloors.

Working from the original stereo recordings (the master tapes long since damaged), Alter Disco preserved the organic feel of Bosco’s unquantized rhythms while infusing them with deep, modern grooves. The result is a cross-generational dialogue between Brazil’s early electronic avant-garde and contemporary club culture.

Highlights include Pedra, pulsing at 130 BPM with a vintage vocoder line nodding to Detroit techno pioneer Juan Atkins, and Camila, which wraps Bosco’s sharp percussion in atmospheric synths and hypnotic beats.

Metalmadeira II is raw yet refined — live instrumentation and electronic production in perfect balance, blurring the line between archive and innovation.

Fragments was a completely new way of working for us. We’ve always worked with an internal brief, creating documents, pictures and videos, simply because keeping an idea on track with three individuals can be difficult. It's easy for someone to be edged out of the creative process when the focus is not clearly defined.
It’s a formula we’ve used since the early 2000s, but things have changed a lot since then, particularly when we decided to dip our collective toes into supporter memberships with Patreon. It made us think about what we could do directly for our support- ers rather than just the next album or project. At first, the whole thing felt odd and uncomfortable, but we decided that we’d try a few things and ask for feedback.
"Fragments" was initially a way for us to see how we could include others in an ongoing creative process. There was no over-arching concept, no defined characteristics or purpose, just the promise that there would be at least one new track for members to download every month. Consequently, we never knew what was coming next, so the old, very focused working method was irrelevant. It was difficult for us to let individual tracks go without knowing what was coming next, but this also made the project more interesting.
And then C19 hit and we were forced to continue the project remotely from our home studios. As difficult as the disruption was, it was during this period that we realised we could re-organise and remaster the individual tracks into a coherent album, captur- ing a specific moment in time and drawing a line under the first phase of the project.
Like our "Allegory" EPs, we’ve tried to keep everything stripped back. We used to hide many subtle elements within the layers, but not so much this time.
Fragments is our journey through many changes, both self-im- posed and those imposed upon us, and it ultimately led us to create things differently. We hope you like it.




b A2















r D1 b Yes Hello (Remastered BONUS) 1:53
s D2 No JuJu (Man Power Version - Remastered BONUS) 4:27
t D3 Cup Noodle (Unemployed Youth Version - Remastered [BONUS]) 5:43
[u] D4 Black Smoke (They Never Got Started) (Remastered [BONUS]) 2:18
[v] D5 Concrete Concentration (Remastered [BONUS]) 3:21
[b] They All Live In The Past (Remastered [BONUS]) 1:06

Burgos and Page's sophomore album, A Long Short Story, is a conceptual journey through the rise and fall of a fleeting yet profound love—one that blossomed, thrived, and withered within the span of four seasons. Each track unfolds like a page torn from Johnny's mind, capturing every stage of the relationship's evolution in raw, chronological detail. From the euphoric highs of newfound passion to the crushing weight of unreciprocated love and the bittersweet process of healing, A Long Short Story weaves a sonic tapestry of grand emotions, immersing listeners in the beauty, pain, and impermanence of love.

First Word Records are very proud to bring you 'Ghouls', the 6th studio album from Bastien Keb.

Through the reflective and introspective multi-mood journey of its 19-tracks, this album spans psychedelic-chamber-funk, warped anti-ballads, cinematic instrumentals, Ethio-jazz & ethereal ambience.

Part soundtrack, part beat-tape, part memoir, this is a dreamlike soundscape sewn together from half-forgotten memories & late night breakdowns.

Entirely sample-free, this album is full to the brim with musical experimentation, with Keb's compulsion to make all the individual pieces of music independently; combining strings, harps, saxophones, theremins, clarinets, flutes and trumpets.

He signals to the fuzzy, nostalgic nebulous of mid '90s skate videos, as well as harking back to the scores & moods of movies like The French Connection, Taxi Driver, The Warriors and La Haine. There are whispers of sounds in the air from jazz clubs, street preachers & Turkish restaurants.

Keb describes the sonic experience of this album simply as this… "You're half awake, and half asleep, but you're warm…"

For this 19-track opus, Keb is joined extensively by Malik Ameer Crumpler; a poet, composer, editor and professor based in Paris, who's been involved in numerous albums while writing for various forms of experimental media.

A multi-instrumentalist originally from the Midlands, Bastien Keb (aka Sebastian Jones) previously released his highly-acclaimed album '22.02.85' on First Word back in 2017; this new album being a very welcome return to the Worldwide Award-winning UK independent label.

His music has been widely supported across BBC Radio in the past by DJs including Gilles Peterson, Huey Morgan, Huw Stephens, Jamie Cullum, Lauren Laverne, Mary Anne Hobbs, Nemone and Tom Ravenscroft. This is in addition to glowing press reviews from the likes of Pitchfork, The Guardian and The Line Of Best Fit.

He's built up a steady fanbase through his extensive catalogue over the years, with material for labels like Def Pressé, Gearbox, One-Handed Music and most recently for Shabaka Hutchings' Native Rebel Recordings imprint, on a collaborative project with South London's Confucius MC (Speakers Corner Quartet).

Keb concludes "this record is for anyone feeling lost in a world that seems to have lost itself without knowing it. It's for the people who know that the world is missing the beauty of the lights in the distance, whilst being distracted by new shoes and flashy phones..."

'Ghouls' is due to be released on vinyl & digital worldwide, November 14th 2025.

The 12th release on ALIM Music, Brazilian singer-songwriter Rogê delivers a radiant and rhythmically rich reinterpretation of Talking Heads’ “Road to Nowhere,” setting the tone for BBE's Naive Melodies - a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden - the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) releasing this October via BBE Music. Now based in Los Angeles, Rogê, a Latin Grammy nominee and longtime torchbearer of Rio’s samba-soul vanguard - reimagines the Talking Heads classic as a soulful samba jam, infused with earthy guitar, syncopated percussion, and his signature smoky, magnetic vocals. Where the original rides on quirky tension, Rogê’s version flows with saudade and sway, steeped in the Afro-Brazilian traditions that have defined his sound for over a decade.

Produced by Tommy Brenneck (Amy Winehouse, Mark Ronson, Cuco, Charles Bradley, The Budos Band), the track carries a raw, analog warmth that nods to classic MPB (Música Popular Brasileira) and the golden age of 1970s samba-rock, while subtly weaving in the existential overtones of the song’s lyrics. Rogê's “Road to Nowhere” captures the essence of Naive Melodies: a reimagining of Talking Heads’ catalog through the rhythmic and cultural lens of the global Black music traditions that helped shape it. From samba and funk to soul, dub and jazz, the album brings together forward-thinking artists from across the diaspora to revisit, reinterpret, and revive the sounds that have always lived in the band’s DNA.

Discotchari is delighted to release a first-of-its-kind various artists compilation: Tehrangeles Vice (Iranian
Diaspora Pop 1983–1993), fully licensed from Taraneh Enterprises. The album is a groundbreaking exposé of
the vibrant subcultural hub of Tehrangeles (portmanteau of Tehran + Los Angeles), and the action–packed, true
story of the Iranian diaspora music industry. Featuring 12 tracks remastered by award–winning Osiris Studio,
lyrics and translations to all featured songs, original cassette covers, a 20+ page album note booklet by Dr.
Farzaneh Hemmasi and more! Sprawling from Westwood to Glendale across the San Fernando Valley, the
Tehrangeles scene was cultivated by the same producers and artists who industrialized the “golden age” of
entertainment in pre–revolution Iran and fled from the 1979 Islamic Revolution along with millions of Iranian
citizens. Through music and visual media, Iranian producers and artists working out of Tehrangeles have
engaged in what the Iranian government calls a “cultural attack” against the Islamic Republic for over 40 years.
The album title Tehrangeles Vice underscores the illicit nature and daring circumstances from which
Tehrangeles pop music was born and compares its legacy within Persian media to one of the most significant
crime–drama TV shows of all time. In the same manner that Miami Vice and its aesthetics had a dynamic
impact on sonic, visual and cultural trends in the United States and around the world, Tehrangeles media was a
shock to the systems of Islamic Republic ideology and Iranian expatriate communities. Listening to these songs
in hindsight, the contribution of Tehrangeles can be better understood as a triumphant effort to preserve Iranian
identity by realizing it in conjunction with prevailing music genres of the ‘80s and ‘90s, and to rebel against the
oppressive regime of the Islamic Republic of Iran through the most seductive of means: dance music.







g C1. Sattar - Khaak ("Home Land")

DJ Support: Axel Boman, Coyote, Rune Lindbaek, Dr Rob (Ban Ban Ton Ton), Lefto, Johan Blende, Feel Fly, Marco Gallerani and many more

Secret Soul Society, aka South Wales's Cal Gibson, continues his red-hot streak of form with four original jams for Hell Yeah that effortlessly weave decades of influences into intimate, unusual sounds that go from Balearic daydreams to after-hours soul burners.

Gibson was one-half of Nottingham's deep house and downtempo outfit Neon Heights back in the 2000s, a collective that label head Marco has long admired. He has landed here before with the superb Keep The Mystique in 2023, a 15-track collection of brand new curveball cuts built from lovingly sourced samples. Since then, he has continued to collide jazz, funk, Afro, beats, dub, soul and reggae on Paper Wave and Magic Wand.

'To Be Happy' opens with gentle, sun-soaked grooves, swirling keys and dreamy pads that evoke a hazy Mediterranean sunset. Nostalgic soul samples tug at the heart while the track’s laid-back vibe is perfect for golden-hour moments. 'Orange Surprise' is a magical slice of downtempo bliss with hints of romantic vocals. It's built on soft broken rhythms and drifts between ambient soul and laid-back electronica, perfect for introspective moments or late-night winding down.

'Keep On Trying' flips the script with more texture. The synths are crystalline, the pads are sugary, and the meandering bassline unfolds in wonky fashion while soft male vocals bring a steamy edge. Last but not least, 'What You Do To Me' is funky and slow motion disco with 80s synths and reverb that drowns you in good vibes.

This EP is Secret Soul Society at his most expressive and emotive.

Für einige ist Pavement die vielleicht größte Band der Welt, oder zumindest Nordamerikas, ganz sicher aber die beste Band der amerikanischen Westküste. Nun veröffentlicht die mindestens mal Kultband ein "Best of"- Album für alle die, die sich immer noch Fragen wer zur Hölle eigentlich Pavement sind. "Hecklers Choice", so der Name des "Best of" leistet dabei Aufklärung und führt den Hörer aus dem Tal der Ahnungslosen in einen Garten Eden voller blühender Gitarren-Feedbacks und sprießender Indie-Riffs. "Hecklers Choice" ist die bereits zweite "Best of"-Kompilation der Band. Es ist schließlich mehr als ein Jahrzehnt vergangen und man kann nie genug gute Pavement-Songs kompakt in der Sammlung besitzen. Als "Quarantine the Past" 2010 erschien, gab es TikTok noch nicht. Diese neu überarbeitete Titelliste berücksichtigt alle viralen Seltsamkeiten der letzten Jahre ("Harness Your Hopes"), und repräsentiert gleichzeitig die zeitlosen Stücke, die über Generationen hinweg fester Bestandteil von Playlisten und Mixtapes für Liebhaber der Band geblieben sind.

On "The Afrodub Experience," Umberto Echo takes us on a ride across four continents, exploring 50 years of Afro-Caribbean music history with numerous collaborators.

The inspiration is the Afrobeat of the 1970s, which he discovered through original musicians from Fela Kuti's "Africa 70" band in the Berlin project "Afrobeat Academy" which he began to fuse with dub and reggae.
Mitwirkende
wird veröffentlicht am 17. Oktober 2025

Recorded by Umberto Echo and the musicians in Berlin, Hamburg, Munich, New York, Melbourne,
Kingston Jamaica & São Paulo between 2008 and 2024

Mixed by Umberto Echo & Silvan Strauss, November 2024 at Apollo Studio Berlin
assisted by DJ Tobi Neumann & Robin Ludyga

Produced by Umberto Echo, co-produced by Silvan Strauss

Mastered by Umberto Echo

Artwork by aDUBta

Umberto Echo published by KKBB Publishing/Edition Dubvibes


Drums: Silvan Strauss, Giuseppe Coppola
Drum Programming: Silvan Strauss, Gengis Don, Umberto Echo
Bass: Daniel Stritzke, Oghene Kologbo, Patrick Frankowski, Giorgi Kiknadze
Percussion: Samuel Wootton, Nicholas Ado-Nettey, Umberto Echo, Djakali Kone, Giuseppe Coppola
Guitars: Umberto Echo, Mandjau Fati, Ferdinand Kirner, Oghene Kologbo, Giovanni Agostini
Cora: Sebastian Cuevas, Djakali Kone
Saxes: Ben Abarbanel-Wolff, Florian Riedl, Giovanni Pecorini, I Sax
Trumpets: Benny Brown, Philip Sindy, Sebastian Kölbl
Trombone: Roman Sladek
Keys: Barney McAll, Lionel Wharton, Markus Kuczewski, Umberto Echo, Silvan Strauss, Milo Winter
Vocals: Lenna Bahule, Gengis Don, Vimbai „Vee“ Mukarati, Mark Wonder, Tydal Kamau
Backing Vocals: Runtendo Machiridza, Tariro neGitare, Erica Nevell

Big Thief will release their sixth studio album, Double Infinity, on 5 September 2025.

Double Infinity is the follow-up to 2022’s Grammy-nominated album, Dragon New Warm Mountain I Believe In You, recorded last winter at the Power Station, New York City. For three solid weeks, the trio would ride bicycles on frozen streets between Brooklyn and Manhattan, meeting in Power’s Station’s warm wood-panelled room. Together with a community of musicians (Alena Spanger, Caleb Michel, Hannah Cohen, Jon Nellen, Joshua Crumbly, June McDoom, Laraaji, Mikel Patrick Avery, Mikey Buishas) they would play for nine hours a day, tracking together – simultaneously – improvising arrangements and making collective discoveries. Double Infinity was produced, engineered and mixed by longtime Big Thief collaborator Dom Monks.

“How can beauty that is living be anything but true?” Adrianne asks as she drives nose against the future with childhood mementos on ‘Incomprehensible’. She understands, “everything I see from now on will be something new.” The silver hairs on her shoulders are new as well. Yet fear of aging is cracked by proof. If a life is shaped by living, “Let gravity be my sculptor, let the wind do my hair.” Being born, then staying a while, remains the greatest mystery. Adrianne claims her place and time. “Incomprehensible, let me be.”







g 7. Grandmother ft. Laraaji







g 7. Grandmother ft. Laraaji







g 7. Grandmother ft. Laraaji







g 7. Grandmother ft. Laraaji







g 7. Grandmother ft. Laraaji







[g] 7. Grandmother [ft. Laraaji]







[g] B2. Grandmother [ft. Laraaji]







[g] B2. Grandmother [ft. Laraaji]

Where music resists becoming personal confession, it creates its own narrative - abstract, precise, and unbound by outside noise. Vibraform by Berlin-based hardware and live artist Peryl provides an analytical yet deeply instinctive view on music. It reflects the duality between flow and restraint, between self-exploration and the healthy act of setting limits. At its core lies a certain nonchalance - a refusal to act on voices and trends while maintaining full commitment to sound itself. Meticulous sound design, unpredictable, morphing basslines and an intentional timeless aesthetic offer a rare window into Peryl's creative state of mind. Even as he tries to sidestep personal narratives, emotions inevitably surface in the music, subtly shaping its character. The result is not a confessional piece of work, but an abstraction that remains universal rather than private, while still carrying a trace of personal truth. Four tracks that are striking a rare balance between novelty, grace and aggressive functionality, including a remix by R?dh?d, offer to find purpose in the act of believing that sooner or later art reveals a logic of its own. ? 2025 The Third Room All tracks written & produced by Dennis Strobel B2 remixed by Mike Bierbach Mastered by Ahmet Sisman Artwork by Daniel Bornmann & Lennard Makosch (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Sea Oleena is the project of Montreal-based musician Charlotte Oleena. Drifting between ambient dream pop and atmospheric folk, her music is rich with textural warmth. With her softly whispered vocals and atmospheric tones, Oleena's music has been compared to acts like Grouper and Julianna Barwick, though in her more structured moments there are echoes of alternative pop icons the Cocteau Twins and Julee Cruise. Alded by her brother Luke Loseth, she released a stf-titled mini-album in 2010, followed by a second LP titled Sleeplessness a year later. Her third release, Shallow, arrived in 2014. Six years later, Sea Oleena returned with Weaving a Basket, a seven-track album that combines austere piano and guitar arrangements with ebbing swells of instrumentation and misty harmonies layered in a spectral chorus. Throughout the record, Oleena embraces the ambient backdrops of her surroundings - birds chirping, wind rustling, urban traffic - creating a close, intimate, and lived in listening experience. Released one year ago, in late fall 2020, these sounds capture the dual interiority and solemnity of that moment. The result is a wistful and impressionistic collection of songs, in turns haunting and hymnal.

kuniyuki takahashi – new single on studio mule studio mule is proud to announce the latest release from one of japan’s most respected producers and musicians, kuniyuki takahashi. this new single was created with the atmosphere of our listening bar studio mule in mind, and showcases kuniyuki’s unmatched ability to bridge dance music with sophisticated musical expression. the a-side, “open window,” is a modern classical piece inspired by the light and breeze flowing into his sapporo studio—an uplifting, deeply moving composition. on the b-side, “tobira” offers a dreamlike journey of ethnic new-age jazz, evoking the sensation of stepping into a new world. kuniyuki is a rare artist who has continued to push boundaries across genres, and this release is no exception—a future classic in the making. the artwork has been designed by yoshirotten, a leading figure in tokyo’s contemporary art scene. with this release, studio mule delivers an inspired response to the timeless legacy of ecm, while continuing to explore new musical horizons.

Berlin’s Tal Fussman returns to Rekids with the ‘Walking on Mars’ EP, releasing 7th November 2025. It follows the Survival Tactics boss’ recent album on Binh’s Time Passages, as well as his ‘Definition’ (2024) and ‘I Feel’ (2025) EPs on Rekids, with Fussman’s fresh spin on classic House and Techno winning support from the likes of Raresh, Cromby, DVS1, Saoirse, Carista, Honey Dijon, and many more.

The ‘Walking on Mars’ EP opens with ‘Crystallized’, a cavernous cut exclusive to 12”, where Tal Fussman pares back his signature percussive style in favour of a rolling groove set against a deep, atmospheric backdrop. ‘Who’s Who?’ follows, its wild sequences and skewed drumlines colliding in restless motion. The title track, ‘Walking on Mars’, drives forward on hard-hitting drums that gradually unfold into a soulful house melody, setting the stage for ‘Knowledge < Machine’, a razor-sharp electro finale of snaking synths and an apt robotic vocal. Fussman’s versatility shines throughout, with the EP already winning support from Antal, Rene Wise, Marcel Dettmann, and Fred P. Founded in 2006, Radio Slave’s Rekids has since launched the Techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been instrumental in developing emerging artists and remains a trusted home for House and adjacent sounds, recently featuring names such as Hilit Kolet, Frankey & Sandrino, Mathias Kaden, Huxley, and many more.

A compilation that captures the essence of Unex Pected’s dancefloor spirit — where energy, emotion, and depth intertwine.
Every sound breathes, every beat remembers, unfolding a journey from dusk to dawn.

Unex Pected Records, a sublabel of MixCult Records, returns with a new chapter that embraces a more energetic and expressive sound. This release brings together four dancefloor-oriented tracks, each telling its own story while flowing together like moments from one long night.

From deep grooves to subtle textures, these compositions reveal a shared pulse and a sense of motion. There’s a quiet poetry woven throughout — a metaphorical feeling of flight that ties everything together. After all, the dancefloor would be nothing without a little lift beneath our wings.

Limited Edition

Heavyweight groove from ERP — deep electro pressure with Microcentric on the flip, plus a killer Convextion remix. Pure machine soul for late-night heads.

DJ Feedbacks :


Pariah : amazing
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Ben Sims : Now downloading... will check asap!
Luke Slater : Thanks!
Dave Clarke (white noise radio) : Seismic and well crafted, full support
Peverelist (Livity Sound) : Awesome, thanks!
Tensal (Tensal, Falling Ethicss) : great, Gerard always on point, thx
Call Super (Houndstooth) : thxxxx
Confidential Recipe (Rekids Special Projects) : great ep!
DJ Bone (FURTHER) : The Convextion remix is fire.
Monty Luke (Rekids / Black Catalogue) : solid ep
GiGi FM : <3
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Fantastic EP across the board, amazing stuff!!
Jako Jako (BPitch Control, Tresor) : Schön!
Dan Beaumont (Chapter 10 / NTS) : Brilliant! love the Convextion mix
Satoshi Tomiie (Abstract Architecture) : Next level production and quality. Hats off
MoMa Ready (RAVE UNIT, HAUS of ALTR, Method 808) : great remix
Josh Wink (Ovum) : Usually good and sensual Electro from E.R.P.
Carista : love the remix of convextion
DVS1 : Thanks!
Inland : Ace! the remix is so lush! Thanks
Laurent Garnier : Ohhh whaouuuu - THIS IS SUPERB Full support
Radio Slave (Rekids) : I'm sold... This is great and I really love all the tracks.
Marcel Dettmann : thx
2562 / A Made Up Sound (Delsin, Clone) : The Convextion version is fire! Thanks :)
Bake (All Caps/Rinse FM) : love! <3
Interstellar Funk (Rush Hour) : Sounds great! Thank you
Efdemin (Dial) : Insanely good ep from the master!
Darko Esser / Tripeo (Balans / Clone) : Always good in my book, fantastic record!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Make Electro Great Again!!
Nathan Jonson (Hrdvision) : rad!!!!
Uncertain (RSPX, WRKTRX, Suara) : convextion remix for me
Dj Deep (Deeply Rooted) : super nice release!
ROD / Benny Rodrigues : !!!!!
Surgeon (Dynamic Tension Records) : Great work. Love all tracks. Will play Convexion remix in my DJ sets for sure.
Steffi (Dolly) : simply grea!!!!!!
Kr!z (Token Records) : absolutely fantastic, as always
Phase Fatale (Ostgut Ton, BITE, Hospital Productions, Jealous God) : awesome!
Theo Nasa (Rekids) : WICKED!!!
Kosh (Syncrophone) : Lovely release
Subradeon (Subradeon Records) : interesting stuff! thanks for sending. Convextion rmx is my fav!
Gramrcy (Peach Discs/FTD) : Convextion remix is sick
Stephanie Sykes (Vent) : All tracks are sounding Super nice!!! TY!!! especially feeling Four Alone, so beautifully nostalgic. Cant wait to play!
Tal Fussman (Survival Tactics / Innervisions / Cod3QR / Drumpoet / Rekids) : oh yes
Richie Hawtin (M_Nus) : downloaded for r hawtin
Alan Oldham (DJ T-1000) : Super high quality electro, but the Convextion remix is the one I'm more likely to play out. Will support!
Ben UFO (Hessle Audio / Rinse FM) : convextion remix!
Truncate : Dope cuts thanks
Jonas Kopp : Excellent stuff, but this more of the pre-existent material.
The Advent : amazing stuff, digging all the tracks.. 2 - E.R.P - Microsentric my Fav..
Ste Roberts : Absolutely out of order! Anything Gerard touches turns to gold. 10/10
Joris Voorn (Spectrum) : Downloaded, thanx.
Roberto / R.M.K / Fossil Archive (Fossil Archive) : Love this!
Raffaele Attanasio (Axis) : nicee1!!!
DJ Assassin (Recode Records / Cross Section / Connaisseur) : wicked

On the streets of Berlin, it's easy to spot people who know their electronic music. You'll see curious partygoers as well as picky listeners whose appreciation isn't easy to win. Tonight, both crowds are heading to the presentation of Daniel Gardner's record. A cult album that was revived thanks to a fresh concept and a remaster. By evening, Jonny Knuppel was packed. Among the guests - a flamboyant duo that couldn't go unnoticed. Some swayed to rhythms that felt like old friends, while others - luckier ones, perhaps - were discovering an entire world for the first time. As they approached the booth, Plate leaned in with a warm smile:

Lepidoptera - the scientific name for butterflies, meaning "scale-winged" - is also the title of the seventh studio album by renowned music producer, bestselling author, ecologist, and knowledge mediator Dominik Eulberg. More than just an album, Lepidoptera is an artistic manifesto: a celebration of butterfly diversity and a profound ecological statement. Set for release via !K7 Records, Lepidoptera blends his signature sound with an urgent ecological message. It marks the pinnacle of a music career spanning over three decades. Eulberg"s fascination with butterflies began in early childhood and has since become a lifelong passion. Drawing from years of experience as a producer and DJ, Eulberg presents his most technically ambitious work yet. At the heart of Lepidoptera are twelve native butterfly species, handpicked by Eulberg from the 3,700 known species in his homeland. Each track is inspired by one species, shaping the album"s structure and grounding its creative focus. The result is a richly textured and immersive journey that moves fluidly between pulsating, danceable rhythms, ambient soundscapes, and orchestral flourishes.

“sitting in the terminal at Barcelona airport, health safety warnings echo through empty architecture. feeling slow, and fast, out of sync with rituals and routines. structure and rhythm disintegrate into micro gestures appearing in random order, a daily psychedelia... amid all of the chaos and distraction in the last few years, it’s only through letting go that I've found solid ground to stand on.”

These are some of the experiences and reflections that gave shape to Slipstream, a hallucinatory mini-album by the artist PVAS and the fourth release on Objekt's label, Kapsela. Slipstream is an aural document of PVAS's interior life, conceived not as a grab-bag of DJ-friendly tracks (although it’s clearly inspired by the club) but as a single, delicately crafted artistic statement. The entire record is shrouded in a flickering haze, worn through by smudged breakbeats and wiry drum machines. “Wetland”, with its swampy percussion and crystalline arps, echoes T++ and Kraftwerk. The radiant incandescence of “Gathering Drift” recalls GAS or Monolake's “Hong Kong.” Sampled breakbeats dip and swerve asymmetrically through “Boba” and “Terminal”. Across the record, textures and voices are reshaped by PVAS's homemade algo-software, UMT, which, in PVAS’ own words, “reconstructs one audio file by sampling another, resulting in output that merges their aesthetic qualities, creating rhythm with non-rhythmic sound files and abusing the stereo field.” But the most striking union of technology and poetic self-exploration comes at the end of the record, in the title track, from words murmured through a classic vocoder:



“when i stop framing myself as a boundaried stone

immovable, and powerful, and heavy

when i stop figuring my deepest space as my own

something which i am solely responsible

i surrender, i surrender”



PVAS is Jordan Juras, a Berlin-based artist who grew up outside of Windsor, Ontario. He has released solo EPs on Isla and xpq?, and is half the duo NUG (3XL, West Mineral Ltd.). In addition to developing music software professionally, he has used his UMT software on records by Lyra Pramuk and Dylan Kerr. Slipstream was recorded from 2022 to 2025.

Written and produced by PVAS

Mixed by TJ Hertz

Mastered by Anne Taegert at D&M

Artwork and design by Brodie Kaman