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Demon Music Group are delighted to confirm the signing of ‘Night Mirror’ – the fourth solo album from electronic music legend, Claudia Brücken. • Written and recorded in London between 2023-2025 with longtime collaborator John Williams, ‘Night Mirror’ is a stunning collection of 10 brand new songs, suffused with optimism, loosely bound by themes of reflection and rebirth. •

Having first come to notice as the lead singer of Düsseldorf electronic music pioneers Propaganda, one of the first signings to the celebrated ZTT Records (Frankie Goes To Hollywood, Art Of Noise, 808 State), Claudia’s striking image and distinctive vocals made her one the most influential and inspiring female musicians of her generation. Propaganda enjoyed chart success with hit singles like ‘Dr Mabuse’ and ‘Duel’ and their 1985 album ‘A Secret Wish’ is frequently cited as one of the landmark electronic pop albums of all time. • In subsequent years, along with collaborations with the likes of Wolfgang Flür (Kraftwerk), Martin Gore (Depeche Mode), ACT, Andrew Poppy, Andy Bell (Erasure), and Peter Hook (New Order). Claudia was most recently in the limelight fronting the reimagined xPropaganda whose 2022 album ‘The Heart Is Strange’ garnered ecstatic reviews and reached No. 11 in the UK album chart. •

On ‘Night Mirror’ Claudia is reunited with musical partner John Williams, whose work as a producer, writer, engineer, and record label head has seen him work with such luminaries as The Housemartins, Alison Moyet, Blancmange, Simple Minds and The Proclaimers. Contributing to the album are an accomplished series of musicians, whose credits include The Lighthouse Family, Cathy Dennis, Orlando Weeks (The Maccabees), and Kaiser Chiefs. • This LP release is presented on Dark Cherry vinyl. • This is a priority release for Demon, and we will be supporting with full retail, press, radio and online campaigns.

Mit "Everybody Loves the Sunshine" (1976) vermischt Roy Ayers nahtlos die Genres Soul, Funk & Jazz und erschafft einen zeitlosen Sound, der Musiker und DJs auf der ganzen Welt noch immer beeinflusst, mit dem Vibraphon als zentrales Instrument, ein Ansatz, der Ayers einzigartigen Stil definiert. Im Jahr 1976 veröffentlichte der legendäre Musiker und Komponist Roy Ayers mit ELTS eines der bedeutesten Alben seiner Karriere. Dieses Album festigte nicht nur Ayers' Stellung als Schlüsselfigur in der Welt des Jazz, sondern markierte auch einen Meilenstein in der Soulmusik und im zeitgenössischen Jazz-Funk. Es zeichnet sich durch eine raffinierte Mischung aus unwiderstehlichen Grooves, sanften Melodien und einem einzigartigen Sound aus, der über die Jahre hinweg nicht verblaaste und für mehrere Generationen von Musikern und Hörern zu einer Referenz wurde. Mitte der 70er Jahre hatte sich Ayers bereits mit seiner Band Roy Ayers Ubiquity und seinem unverwechselbaren Einsatz des Vibraphons, das zu seinem persönlichen Markenzeichen wurde, einen Namen gemacht. Und mit ELTS wagte sich Ayers an einen noch zugänglicheren Sound, auch als Reaktion auf den Aufstieg von Disco und das wachsende Interesse an Musik afro-amerikanischer Prägung überhaupt. In den zehn Tracks des Albums schafft Ayers eine Klangatmosphäre, die sowohl die Wärme des Sommers als auch die Raffinesse des Jazz jener Zeit heraufbeschwört, alles vor dem Hintergrund des modernen Soul. Produziert von Ayers selbst zusammen mit seinem Engineer und Freund David R. Williams zeichnet sich ELTS durch den wunderbaren Klang des Fender Rhodes Pianos von Phillip Woo sowie die kraftvolle Energie der restlichen Band aus, wodurch eine unverwechselbare Authentizität und Frische erreicht wird. Zu den bekanntesten Songs gehören der Titeltrack, "The Golden Rod" und "The Third Eye", die schnell zu Klassikern des Jazz-Funk und Soul wurden. Dieses Album ist für Roy Ayers' Karriere von entscheidender Bedeutung, da es seine Fähigkeit unter Beweis stellt, in einer sich ständig verändernden Musikindustrie relevant und kreativ zu bleiben. Im Laufe der Jahre wurde "Everybody Loves the Sunshine" zu einem Kultalbum, das häufig in DJ-Sets von Künstlern wie Gilles Peterson, Theo Parrish und Lefto gespielt Verwendung findet. Der Sommer-Soul-Klassiker jetzt wieder auf klassischem schwarzem 180g-Vinyl!

Hackney Electronica come to Dark Entries with the Synaptic Shadows EP, featuring 5 cuts of acidic rave-inflected wave. Quinn Whalley (Paranoid London), Unai Trotti (Cartulis Music), and Margo Broom (Hermitage Working Studios) formed Hackney Electronica during COVID era. Trotti and Whalley were spending countless hours digging through records and making music during lockdown. As their sound took shape - heavy and hypnotic - they invited Broom to join, cementing the motley trio. The five pieces on Synaptic Shadows explore themes of altered states, late-night cityscapes, and the fine line between pleasure and paranoia. Each track pulses like a memory from the backstreets of Hackney, where the night transforms the city into an electrified maze of fleeting highs and inevitable crashes. The anxious grooves on “H.E. Nuestro Circuito” and “Whispers from the Depths” channel 1980s DIY electronics onto the contemporary dancefloor, while “Efecto Perfecto,” “The One”, and “Nueva Ola” offer breakbeat-laced electro that will keep you dancing until dawn. Housed in a sleeve designed by German Bardo, Synaptic Shadows is more than just a debut release, it’s a journey through the flickering alleys of the mind, where tension and transcendence intertwine.

In celebration of Pride Month, Kinga struts to Dark Entries with “Sexy Boy,” a steamy Canadian pop gem. Inspired by gender-bending pop stars of the 1980s like Boy George and Janet Jackson, a young Tomas Fussey aka Kinga ditched his “schoolboy appearance” to adopt an edgier, androgynous style. Immersed in Calgary nightlife, he became acquainted with sexy synthpop and disco songs like Madonna’s “Everybody,” Divine’s “Native Love,” and the Flirts’ “Passion” - songs which still linger in his mind. He began writing music: “It was 80s. Everyone was making a record. So I made one too.” In 1988 he teamed up with keyboardist Dan Madison and veteran producer Bob Gallo to make “Elevator Operator” and “Sexy Boy.” Kinga was surprised when the B-side “Sexy Boy” garnered substantial radio play from CFNY in Toronto. But he notes: “They saw the obvious... My physical appearance supported the lyrics.” In 1989, Amok Records backed a new “Late Night Dance Mix” version of “Sexy Boy.” Almost every part was re-recorded or remade, including Kinga’s vocals. The new version surprised Kinga with its slick production and moody atmosphere. Sales were disappointing, and Kinga stated “It was not the sound of the moment.” But these deeper house-inflected grooves feel like the sound of our current moment. This release of Sexy Boy includes five different mixes, including the original 7” mix, three versions from the 12”, and the previously unreleased “TV Mix”. Sexy Boy comes sleeved in a reproduction of the original artwork and includes an insert with liner notes and lyrics, as well as an 8x10 glossy press photo of the sexy boy himself.

astia's NECHTO presents a new six-track release from DJ Dextro, including one collaboration with Portuguese producer Cardao. The project marks Dextro’s first appearance on the label, following years of his tracks being played by Nastia and a shared event in Lisbon in 2023. That connection gradually turned into a conversation about releasing something together. “It was a matter of time until I got to her ear,” Dextro says. “And from there, we talked about NECHTO — and here we are.”
The tracks on the EP are shaped by a mix of spontaneous ideas and observations on daily life, society, and broader themes like science and the unknown. Dextro explains that the track titles often reflect his current state of mind or something happening around him --- sometimes personal, other times completely random. Each one sits within his established sound: energetic, structured, and focused on rhythm.
One of the six tracks features Cardao, with whom Dextro shares what he describes as “a good harmony and easy understanding” in the studio. Known for his groove-led, percussive style, Cardao’s contribution adds another layer to the release while fitting seamlessly into its overall tone.
Shaped by both artists’ individual perspectives, this EP stays close to the club — direct, driving techno rooted in shared sensibilities and straightforward execution.

Matching vivid world-building with a full house of kinetic rhythms, Polygonia delivers her latest album to Dekmantel as an invitation to experience 12 different dream scenarios.

As Polygonia, Munich-based Lindsey Wang has established herself as a constantly inventive, omnipresent operator within the modern electronic landscape, exploring varying shades of ambient and deep techno while increasingly spreading into downtempo and leftfield electronica with a playful yet mysterious spirit.

Dream Horizons is an instructive title — Wang approached her new album as a collection of different dream scenarios, with all the creative freedom the concept implies. From oceanic calm to artful propulsion, she was free to shift gears from track to track while relishing the strange and beautiful atmospheres her inspiration pointed towards. A multi-instrumentalist as well as a producer, Wang recorded her own voice, saxophone, flute, violin and percussion to inject organic, human vibrancy into the surreal spaces she was shaping out, capturing the uncanny sensation of alien and familiar that hangs over the places we visit when we sleep.

There are pointedly direct techno workouts on the album, from deft beatdown 'Soul Reflections' to shimmering ear worm 'Set Me Free', and 'Twisted Colours' relishes shifting blocks of flute around a sprightly, footwork-tickled framework. Elsewhere, there's space for softer expressions on pearlescent opus 'Crystal Valley' while elastic rhythms and tactile textures slither around at a lower tempo on 'Flakes Flying Upwards'. In between, Wang plays with fractured beat patterns and sharply sculpted sonic matter with a staggering level of detail and intention. 'Gate To Amygdala' is the perfect example of the bold scope of her expression — the midpoint track thrives on nervous tension and a dislocated sense of momentum without anything like a conventional techno trope. 'Mindfunk' equally pushes and pulls at sensory perception with an off-kilter, awkwardly looped synth phrase that relishes the opportunity to skew dance music conventions within the flexible rules of the dream world.

For all the smart production and knowingly experimental approaches that form the basis of the album's sound, it's also a record charged with the full range of emotions you might expect to experience on a break away from consciousness. Whether it's the melancholic impressions that smudge into incidental pauses on 'Metaphysical Scribbles' or the mantra-like breath and sax combination of 'Essential Breath' that closes the record, Polygonia's heart bursts out of the album's vibrant form as brilliantly as her exacting, studio-synced mind.

[e] B1 When You Were Young, Mixed By – Alan Moulder, Flood, Producer – Alan Moulder, Flood, Producer [With] – The Killers
[f] B2 Read My Mind, Mixed By – Alan Moulder, Flood, Producer – Alan Moulder, Flood, Producer [With] – The Killers
[g] B3 For Reasons Unknown, Mixed By – Alan Moulder, Flood, Producer – Alan Moulder, Flood, Producer [With] – The Killers



[k] C3 Runaways, Mixed By – Alan Moulder, Producer – Brendan O'Brien, Producer [Additional] – Damian Taylor, Steve Lillywhite

YES! Originally released in 2000, Mark de Clive-Lowe's Six Degrees captures the early essence of what would later be known as broken beat, club-jazz and future soul; bridging the sounds of 70s jazz-fusion, jungle, hip-hop, house and Afro-Cuban rhythms. With fender rhodes, synths and an MPC2000 at the core of his production, de Clive-Lowe blended live musicianship with beat-driven sensibilities in a way that was ahead of its time.

Originally released in New Zealand via Kog Transmissions, the album found its way onto the global stage when Universal Jazz UK picked it up. Now, 25 years later, Be With is proud to present a special anniversary vinyl reissue, celebrating a landmark album that laid the foundation for an international career spanning continents, collaborations, and countless musical evolutions. Limited to just 400 copies for the world, these are gonna fly.

In 1998, a 23-year-old Mark de Clive-Lowe set off on a year-long journey that would shape his career and musical identity. Fuelled by an insatiable curiosity and a grant from New Zealand supporting emerging artists, he traveled across the globe — digging through record stores in San Francisco, immersing himself in the rhythms of Havana, collaborating in London’s underground studios and experiencing the jazz legacy of New York. Along the way, he crossed paths with pioneers, mentors and kindred spirits who would deeply influence his sound.

Six Degrees is the sonic diary of that transformative year — a musical world tour distilled into one groundbreaking album. It's both a snapshot of a pivotal moment in de Clive-Lowe’s life and a timeless statement of creative exploration.

The jazzy jungle vibes of "Roundtrip" opens proceedings, inspired by de Clive-Lowe's deep love of drum & bass. It kicks off with a rhythm pattern picked up in Havana, combined with Lonnie Liston Smith-style Rhodes textures and a rolling jungle breakbeat. Sublime. Up next, "La Zorra" is a moving tribute to the folkloric 6/8 rhythms he was surrounded by in Cuba. Afro-Cuban music had a huge impact on his sound and this track reflects those deep grooves brilliantly. Hip-hop has also been a major influence since de Clive-Lowe's teenage years and Manuel Bundy’s scratches bring an essential turntable element to "Melodious Funk", giving it that raw boom-bap edge.

Underground favourite "El Día Perfecto" came about by de Clive-Lowe wanting to write something as catchy as Incognito’s "Colibri", combined with his deep love for Lonnie Liston Smith. Effortless as it sounds, it pretty much wrote itself, seemingly. "Cosmic Echoes" is a nod to house music, but on the chiller side. Named after Lonnie Liston Smith’s band, with bouncy bass, a steady 4/4 groove and chopped tabla percussion, the mood this track conjures up is special. The deeply soulful "Day By Day" became the biggest track from the album, partly thanks to DJ Spinna’s remix and Café del Mar featuring it on their compilation. Cherie Mathieson’s vocals shine here. The lyric came to de Clive-Lowe while hanging out at Cause Célèbre in Auckland: “Day by day, side by side, hand in hand, no turning back.”

"Restless" is a jazz-funk jam built on a classic drum break, heavily influenced by Roy Ayers and the Mizell Brothers. Named in homage to Phil Asher’s Restless Soul moniker, his impact on de Clive-Lowe's journey can’t be overstated. Following on, "Mindscape" is a darker, rawer drum & bass track. The chopped-up drum break and moody synths channel everything he loved about the deeper, more atmospheric side of the genre. "Control" continues the jungle influence — this one’s all about the heavy grooves and deep bass, inspired by nights out listening to Jumping Jack Frost and Grooverider in packed basement clubs.

"Por La Mañana" is a musical snapshot of walking the Malecón in Havana in the morning sun. The city had such a profound impact on de Clive-Lowe and this track captures some of that energy and movement. Penultimate gem "Motherland" is a nod to his Japanese heritage. The melody draws from Japanese scales, shifting between moody introspection and uplifting harmony. Built on a chopped live drum break he recorded in Tokyo years earlier. We end with "El Día Perfecto (Reprise)", a stripped-down reprise featuring percussion, vocoder, Rhodes and synths — leaving the listener with a warm, uplifting final moment.

Speaking to Be With, de Clive Lowe explained just how much celebrating the 25-year anniversary of this album means to him: "Since then, I’ve released so much more music, but Six Degrees still resonates — it captures a really special moment in my life. A turning point, a fork in the road that ultimately changed everything. It’s amazing to reflect on where this journey has taken me, and I’m incredibly grateful for it. I still remember the night I finished "El Día Perfecto". I took a minidisc of it to my friend Cian’s DJ set at Galatos in Auckland. He plugged it in, and I watched the dancefloor move to something I’d just created hours earlier — it was a magical moment.

When Six Degrees was first released, the internet was still in its early days. There was no YouTube, no streaming, no instant global access to new sounds. The album was my way of bringing together all the music and places I had experienced over that year, blending them into something uniquely mine. It introduced me to listeners around the world and opened the doors to a career that would take me to more countries, collaborations and experiences than I ever imagined.

25 years later, I’m so grateful for everything this record set in motion. It’s a document of a moment in time, but it still feels alive — and I’m thrilled to share it again in this special anniversary edition."

Mastering for this 25 year 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 original artwork has been lovingly brought back to life by de Clive-Lowe himself, with updated liner notes written specially for this landmark reissue.

Third installment on Raw Elegance is here. MBM delivers a new chapter for the label including 4 track crafted to shake the dancefloors in different moments of the night.
A1 “Dancebreaker” gives the name to the record: deep and focused with some tribal touches and a mesmerizing vocal.
A2 “Smash and Prey” criticizes the behavior of those who do harm and then clear their conscience, as well as the contradiction in accepting violence if it is conveyed by religion.
B1. “Empty Minds” features a vocal guest, with a mental and repetitive yet focus approach that gets the listener lost in the concept of time.
B2. “Vocaltool” closes the release, providing an energetic and muscular vibe with minimalistic and tribal vision.

The Dark Flowers beguile with their dark take on country music" ROLLING STONE. THE DARK FLOWERS release their second album `INDIAN SUMMER' with Paul Statham bringing together a unique collection of collaborators, JIM KERR, GABRIELLA CILMI, DAVID J, THE ANCHORESS and SHELLY POOLE in June 2025 on Loki Records via Cargo.With 2014 debut album. `Radioland', songwriter and producer Paul Statham brought together a group of guest vocalists for a collection inspired by Sam Shepard's `Motel Chronicles'. Featuring an all-star cast of Jim Kerr, Peter Murphy, The Anchoress, Shelly Poole, Dot Allison, Kate Havnevik and Helicopter Girl, the album was characterized by MOJO as "a perfect album for a lonely winter night" (4/5). The new album sees Statham, a member of Post Punk band B-Movie, and co-writer with a host of well-known artists including Dido, Kylie, Peter Murphy and Simple Minds retain his principal role in the project as both producer and songwriter. Once again, Shepard's prose plays a key role with `Hawk Moon', the companion volume to `Motel Chronicles', an additional source of inspiration. Jim Kerr from Simple Minds continues his involvement with 3 tracks as does Welsh songwriter and multi-instrumentalist The Anchoress. David J from Bauhaus/Love and Rockets is also a featured artist along with Gabriella Cilmi turning in 2 dark and beguiling tracks. The project is completed with Shelly Poole (from country/folk band Red Sky July and a long-time friend and co-writer on 3 songs.

The Dark Flowers beguile with their dark take on country music" ROLLING STONE. THE DARK FLOWERS release their second album `INDIAN SUMMER' with Paul Statham bringing together a unique collection of collaborators, JIM KERR, GABRIELLA CILMI, DAVID J, THE ANCHORESS and SHELLY POOLE in June 2025 on Loki Records via Cargo.With 2014 debut album. `Radioland', songwriter and producer Paul Statham brought together a group of guest vocalists for a collection inspired by Sam Shepard's `Motel Chronicles'. Featuring an all-star cast of Jim Kerr, Peter Murphy, The Anchoress, Shelly Poole, Dot Allison, Kate Havnevik and Helicopter Girl, the album was characterized by MOJO as "a perfect album for a lonely winter night" (4/5). The new album sees Statham, a member of Post Punk band B-Movie, and co-writer with a host of well-known artists including Dido, Kylie, Peter Murphy and Simple Minds retain his principal role in the project as both producer and songwriter. Once again, Shepard's prose plays a key role with `Hawk Moon', the companion volume to `Motel Chronicles', an additional source of inspiration. Jim Kerr from Simple Minds continues his involvement with 3 tracks as does Welsh songwriter and multi-instrumentalist The Anchoress. David J from Bauhaus/Love and Rockets is also a featured artist along with Gabriella Cilmi turning in 2 dark and beguiling tracks. The project is completed with Shelly Poole (from country/folk band Red Sky July and a long-time friend and co-writer on 3 songs.

The seeds of Her's have well and truly rooted themselves in Liverpool. Originally a meeting of minds between Norway's Audun Laading and Barrow-born Stephen Fitzpatrick, Her's forged a strong chemical bond through a mutual love of off-kilter humour and outsider art. Having clocked over one million streams between the two tracks on their debut single 'Dorothy' and 'What Once Was', and after following it up with the lackadaisical thrift-store humour of their sun-bleached single 'Marcel', Her's have compiled a rollicking record of their infant career so far. 'Songs of Her's' will be released on LP 16th March and it includes all their recorded output to date plus six new songs to make for the most complete introduction to their slacker world yet. Her's will be teasing this gnarly collectors-item-to-be with the release of 'Speed Racer'. With its sultry vocals and signature descending guitar and bass lick, it plays like the soundtrack to some oddball American stoner comedy involving a beach, a girl, a conspiracy, and a musical group from Liverpool.

A meeting of minds and bodies on a heady percussive trip with no clear destination, captured live at Espacio Cultural El Tanque in Tenerife. With both imaginary and lived in tropical sceneries coalescing the two units, both Tenerife's Lagoss and Kampala's Abagwagwa (aka Nihiloxica) find a common thread to disentangle cartographies. As if it was bound to happen. As it did.

Taking Abagwagwa's relentless barrage of polyrhythms as a starting point to jammin' excursions that never falter into self indulgence, brimming with ideas and spirits pulled from East African traditions, Free Jazz cosmologies, Dub tactics, urban sonic warfare and different strains of psychedelia through a vast array of drums, percussion, flutes, skewed synths, ecstatic vocals and electronic processing.Blessed with the xamanic drumming of João Pais Filipe on two tracks and feeling equally indebted to both bands' vision all the while commiting to a newfound sense of wonder, 'Island Slang' is a celebration that's truly alluring in its search for some sort of 'Universal Consciousness' - to quote Alice Coltrane - for which we're now invited to tag along. You are all welcome.

Mustang Island, the third album from Austin-based band Little Mazarn, is a gentle force. Waves of grief crest like surf on the Texas coast. Wild horses break through long-shuttered gates, only to come back around. Lead songwriter, vocalist, and multi-instrumentalist Lindsey Verrill (she/her) joins bandmates jeff Johnston (he/him) and Carolina Chauffe (they/thern), The tensong, collection continues work with Dear Life Records. A full-throated romp through the capabilities of community-minded songcraft, Mustang Island is both naturalistic and futuristic, completely recasting Little Mazarn's origins in primitive folk. Instead, the band reaches towards sonic experimentation and spacious expansion. Lindsey's heart-opening vocals and jeff's singing saw, both trademarks of the project, mix with unexpected bombastic drums, dissonant synthesizers, and a chorus of orchestral oddities. This mid-career ode dances confidently in the creative liberties granted by decades in the game - more dazzlingly lively, and honestly somber, than ever before. The band's crossroads branch across prominent Southern outsider music: On cello, Lindsey has recorded with Patty Griffin and Dana Falconberry. The longtime side player wouldn't write her first song until age 34, Jeff has played in Bill Callahan's band, as well as with LIl Capin Travis and Orange Mothers. Carolina is known for prolific solo project hemlock, Little Mazarn has also collaborated with Lomelda to release their last EP, Honey Island General store (2023), following past LPs Texas River Song (2022) and lo (2019). Alongside silliness and reverence, including covers from Kate Wolf and Bob Wills * His Texas Playboys, griet directs much of Mustang Island. Lindsey left her job of seventeen years teaching cello at a local school, Recording also aligned with the passing of Jeff's facher, a career educator in Jeff and Lindsey's hometown of Dallas. "Grief, and the avoidance of grief, is a big part of being human," says Lindsey. "You make a choice, and then you grieve for the other choice. Or you finish a meal and literally grieve that it was so good. If you really befriend griet, you re like, 'Oh, it's here, in this pancake, which I loved so much that I ate the whole thing, and now it's gone.**

Jess Kerber aus Nashville nahm im Alter von 12 Jahren erstmals eine Gitarre in die Hand, um mit ihren frühreifen Stimmungen und Zupfstilen zu experimentieren - beeinflusst von Gleichgesinnten wie Joni Mitchell und Susan Tedeschi. Dies führte zur Entwicklung einer einzigartigen Klangpalette und zu einem authentischen, persönlichen Zugang zum Songwriting. Inspiriert wurde sie gleichermaßen von ihrer Erziehung in Louisiana und dem Studium am Bostoner Berklee College of Music. Ihr Debütalbum "From Way Down Here" zeigt die Dynamik und Tiefe ihrer großartigen Stimme und ihrer nachdenklichen, humanistischen Texte, sowie die raffinierte Komplexität ihres Gitarrenspiels. Während der Entwicklung vieler dieser Kompositionen, bei frühen Live Auftritten in und um Boston und Cambridge, lernte Kerber den Songwriter Will Orchard kennen, der schnell zu einem Partner und Kollaborateur in der Entstehungsphase ihrer Aufnahmen wurde. Orchards Fähigkeiten als Produzent und Multiinstrumentalist heben Kerbers Arrangements auf eine neue Ebene, mit einer entwaffnenden Reinheit und Emotion in einer Dynamik, die derjenigen von Gillian Welch und David Rawlings angelehnt ist. Mit den Traditionen der Americana erschaffen Kerber und Orchard zusammen mit Mischtechniker Charlie Dahlke von The Brazen Youth ihr eigenes Subgenre, das gleichzeitig intim und und universell, tröstlich und rau ist. Über das gesamte Album hinweg erhält Kerbers reicher, samtener Tenor eine tiefe Zärtlichkeit und Wärme, während unterschiedliche Elemente wie Pedal Steel, Wurlitzer, Schlagzeug und Ambient-Gitarre für den schimmernden Background sorgen. Der Einfluss ihrer Erziehung - und und das, was sie liebevoll als ,Abgehobenheit vom Rest der Welt Gefühl" des tiefen Südens nennt - zeigt sich in den ehrlichen, geradlinigen und zeitlosen Qualität ihrer Kompositionen. "From Way Down Here" ist das seltene Debüt, das alle Merkmale einer erfahrenen Songwriterin aufweist. Sie konstruiert eine fesselnde Welt von rauer Schönheit und Wahrheit, deren Bann lange nach dem Verklingen der letzten Töne anhält.

Introducing 'Higher' - the first release in a powerful new series from the Higher label.
This heavyweight track is a collaboration between renowned producer Bukkha and soulful vocalist Ites Vibration. It features the rich brass of King David Horns, deep-rooted percussion from Don Fe, and an analogue mix from Mysticwood.

The Higher series proudly delivers bass-heavy, rootikal music built to resonate through sound systems - music that moves the body and speaks to the heart, mind, and soul. Each release honours the foundations of traditional roots while pushing spiritual and sonic boundaries.

'Higher' calls us back to our natural state-a reconnection with the earth and surrender to the universe's rhythm. With its mystical melodies, swinging groove, and deep flow, this track invites listeners into a space of elevation and meditation.

Different Rooms is the sophomore album by Jeremiah Chiu & Marta Sofia Honer. The followup to their critically acclaimed Recordings from the Aland Islands, this collection extends the path of pastiche forged by their debut: quietly multi-rhythmic, modular-trance-meets-processed-and-unprocessed-chamber strings, bewitching and bewildering field recordings-all knitted tightly, an LA patchwork.

'Find El Dorado' is a deeply personal new album of reinterpretations, that sees Weller revisit songs that have long lived in the back of his mind - now reimagined with fresh meaning and a sense of reverence. Less a covers album and more a map of his emotional and musical DNA. Produced by Steve Cradock, the album includes further guest appearances from Declan O’Rourke, Noel Gallagher, Amelia Coburn, Seckou Keita, Robert Plant and more.

First single Lawdy Rolla on 7” due out on 20th June.

A journey back in time to the Halcyon days of 1991/92. K69 & Dream Frequency build 4 dancefloor bombs from scratch with the sounds we know and love. Layered breakbeats, underground rave stabs, uplifting pianos, layered pads and strings leaving you with the hairs on the back of your neck standing on end. . Limited stock as only 300 pressed, get it in your basket, you know it makes sense. 12" Blue Marbled vinyl full colour picture sleeve with spine

Born from the warm and vibrant local markets of Italy, 180 GR has always been a celebration of vinyl culture. Now, it takes the next step—evolving into a full-fledged record label dedicated to strictly 180-gram pressings, in vinyl-only, limited quantities, crafted for true collectors and connoisseurs.

The label’s inaugural release, Music & Territory, is helmed by none other than its founder, N-Zino. On the A-side, the Original 180 GR Mix of You Can’t Change Your Mind takes you on a mind-expanding journey—soulful, sensual, and deeply immersive.

Flipping to the B-side, the legendary Glenn Underground graces us with two masterful interpretations. His vocal version is a lush, organic groove filled with warmth and virtuosity, while the instrumental mix strips it back, letting the raw musicality shine through. Both versions embody the unmistakable touch of Chicago house—authentic, deep, and timeless.

This is more than just a record—it’s a collector’s gem, a piece of house music history pressed in its purest form.

To quote GU himself, HOUSE MUSIC WILL NEVER DIE.

Having James Shinra back on AF is always a cause for celebration, and doubly so this time because we present 'Meteorites', his second album following the highly acclaimed Vital Heat (2018). During 2023-24, James uploaded a series of digital releases called 'Meteorites', a set of dreamy and introspective tracks where the artist showed his evolution and maturity, refining the emotive sound that's his trademark and has garnered so much praise in recent years. We should do justice to that material, giving it a worthy treatment/format, so we decided to release all together. James has revisited and reworked many of the tracks for the occasion, polishing, adding, removing... and the result is 'Meteorites', the album. A MUST for all braindance sensibilities and nonconformist electronic heads. We're sure it will remind you exactly why you loved this talented guy for so long and why he's one of the most uncompromising artists working in electronic music these days.

"6-track house finesse from Amsterdam mainstay Beraber, topped off with a killer remix by Brazilian artist Zopelar. Expect six melodic tracks for the body & mind. Beraber returns to United Identities with Gentle Actions, setting the tone for long summer evenings and sun-soaked days. The Amsterdam based producer and DJ organically blends Chicago's classically-schooled keys and machine backdrops with subtle, atmospheric textures. This long-awaited record by Beraber (Baris Akardere) is a deeply personal collection of music, encapsulating a period of creative and personal growth. Rather than a concept record, it serves as a document of the past years, bundling some of most cherished productions into a cohesive and heartfelt gift to the audience. This EP marks the first time the producer has used his own vocals in his productions, next to vocal contributions from Barcelona-based artist Ivy Barkakati, whose lyrics perfectly resonate with the journey of the EP. Gentle Actions opens with Between Us, a calm builder, gracefully layered with meandering pads. Distant Language picks us up with its dubbed-out groove, guiding our feet on a journey through melodic landscapes. It flows into Responsibility, an introspective track with a powerful message about turning dreams into reality, before continuing with Lost in Loops, a loose and soulful house cut featuring his own vocals. The journey ends with the more upbeat, instrumental Good Company, topped off with a deep, nocturnal remix by Zopelar. Written and produced entirely in his Amsterdam studio -- housed in the same building that once held De School -- Beraber continues to rely on a deeply analog and outboard gear-heavy approach. The result is a record that stays true to his soulful and introspective signature, mirroring the sonic identity of his acclaimed radio show, Gentle Actions on Amsterdam's online radio station RRFM."

The analog version of the masterpiece EP "I'll", released in 2018 as a work that expresses the continuation of the world view of the debut album "Grace",
has been repressed on turquoise blue vinyl!

Haruka Nakamura herself is in charge of the lyrics, composition, and all the instrumental parts. Janis Crunch, who was in charge of vocals on "Grace",
is featured again. The dreamy number "I'll" evokes the beginning of spring and hope, which synchronizes with the fantastic world depicted by photographer
Shiori Iwakura, who collaborated with Haruka Nakamura on the jacket and music video, "Arne", a reconstructed version of the famous song "arne" from the
debut album "Grace", and "Lilium", a song that was used in the climax scene of the movie "Every Day", for which Haruka Nakamura was in charge of the
music, are newly recorded and included.

The B-side includes "Anne", which can be called a different version of "Arne", which was included in Schole's compilation "Joy" in 2013, and is exclusive to the LP.
It connects the worlds of "Grace" and "I'll". It also contains warm songs that bring to mind childhood scenes, such as the nostalgic "Abandoned School Organ" and
"Your Canon", which combine church organ, muted piano, and field recordings.

The artwork, like the 8cm CD, depicts beautiful natural scenery, and the jacket and insert feature a series of photos by the immensely popular photographer
Shiori Iwakura, creating a package that beautifully blends the sound world of "I'll" with the scenery. As with the analog version of "Grace", the mastering was
done by Gen Tanabe, a close friend of Haruka Nakamura's who works on the sound of his works. It is a deep sound production that will give new discoveries
to listeners who were captivated by the release of the 8cm CD.

Bangers from Nesh Mayday and Wonka, remixed by eachothers : melted styles in an Acid 160 BPM night music sound.

Rave.

The debut recording by The Ancients, the intergenerational coalition of Isaiah Collier, William Hooker, & William Parker formed by parker to play concerts in conjunction with the milford graves mind body deal exhibition at the institute of contemporary art los angeles & now a working group. across x2LPs of side-length long-form improvised sets recorded at 2220 arts & archives in LA & the chapel in San Francisco, The Ancients bring the free jazz trio languages first explored by the Cecil Taylor Unit & Ornette Coleman’s -Golden Circle- band (expanded upon in later eras by Sam Rivers' Trio & Parker’s collective trios with Charles Gayle/Graves & Peter Brötzmann/Hamid Drake) into their own unique & scintillating realms of expression.

As we tumble further into the throes of history’s tides, people of hope & creativity rely on the works of our great artists to lift our spirits & focus our resolve. -ascension- was recorded less than a year after the passage of the civil rights act & four months after the assassination of Malcolm X. -journey in satchidananda- was recorded the month reagan was re-elected governor of California. M’boom made its debut recording weeks after the watergate scandal broke & a couple months after the wounded knee occupation ended. The music of the ancients builds on these great musical legacies. it resounds with the pride of survival & the joys of making & sharing music. It delivers to us hope & balm. something real in you, real in history, & real in the music is shared, right on time.

When Eremite records commenced operations during the 1990s free jazz resurgence, heavyweight freedom-seeking tenor saxophonists such as Fred Anderson, Peter Brötzmann, Charles Gayle, Kidd Jordan, & David S. Ware were at the height of their powers. Isaiah Collier’s tenor playing in the ancients is bracing testimony that the wellspring lives on. to hear the young chicago firebrand blowing freely with veteran improvisers in an entirely open-form group music is a revelatory study of his vast talent, personal voice, & the intensity of his expression —as well as a bold complement to his composition-based albums as a bandleader (including -the almighty-, a new york times' best albums of 2024 selection).

I've admired drummer William hooker since first encountering his music in a hartford ct city park, early ‘90s (on a double bill with Jerry González & Fort Apache Band). From the man himself right off the bandstand i bought his even-then rare 1st recording, the 1976 self-released x2LP opus -is eternal life- (reissued 2019 by superior viaduct). An imposing force on his instrument & an intrepid DIY cat, Hooker’s been exuberantly swinging in&out of free time for 50+ years. informed by the innovations of Sunny Murray & Tony Williams yet entirely himself, there is no other term for it than “pure hooker.” at age 78, with the ancients & everywhere else, THE HOOK is in peak form.

With a discography approaching 600 entries & 50+ years working across the musical maps, including in the history-defining bands of Don Cherry, Cecil Taylor, Bill Dixon, Peter Brötzmann, in his own wondrous ensembles from small group to orchestra to opera, a bastion of compassionate leadership & a poetic champion of his musical community, in tireless service to what he rather egolessly refers to as “the tone world”, multi-instrumentalist, improviser & composer william parker is a living hero of the grassroots & the black mystery musics, not to mention one of the great bassists in the history of jazz. To quote George Clinton, conquering the stumbling blocks comes easier when the conqueror is in tune with the infinite.

Live to 2-track concert recordings by Bryce Gonzales, Highland Dynamics. Mastered by Joe Lizzi, Queens, NY.

Zeta Reticula and Helga Neuer return for their second and final collaborative EP on Mechatronica, with an outstanding collection of interplanetary electro rollers for the mind, body and floor. In loving memory of, and dedicated to, Helga Neuer aka. Damjan Bizilj.

Sneaker Social Club welcome a veritable supergroup of bass heavyweights in the form of Legion. Made up of Trends, Boylan, P Jam and D.O.K., this four strong collective first came to light with the We Are Many 12" on Artikal Music in 2021, and now they regroup for another four-strong payload of soundsystem pressure that embraces the darkness in devastating fashion.

The Sister Abigail EP leads with 'Rastaman', an ice-cold half-step drop that summons the spirit of early dubstep in its raw minimalism, eerie atmospherics and snarling low-end wobble. Without an ounce of fat, it's a lean workout of drums and bass that finds catharsis in simplicity without compromising on high definition detail. 'Souls' locks into a jerky groove to set the dance off at acute angles, nudging the textures up a notch without disturbing the spartan mood of the release. 'Sister Abigail' pushes the underlying malevolence of the Legion sound to the forefront with dissonant sheet-metal tones while packing the rhythm section into a tight, vicious formation of gnashing, chrome-plated teeth. 'Play That Vibe' seals the deal on the EP with a hard-thumping, propulsive groove that calls to mind the techy development of dubstep in the 2010s — a taut, tracky throwdown to keep the intensity on a rolling boil.

Drawing on the grounding principles of OG dubstep with a sharp line in crisp, modernist production and a ruthless economy of arrangement on display, Legion prove many cooks can still result in a potent, brutally focused broth.