Ozobby Horn was a very obscure band from Nigeria composed of three musicians that only released one and only very hard to find cult album that has finally been reissued by Afrodelic. “Born To Move On” is an absolutely killer album that sums up the best of 1970s Nigerian sound. Heavy wicked psychedelic Afro-funk; phat drums and hefty, chunky bass with shredding fuzz guitar insertions on a bed of analogic keys.
Harap-Alb is the first full-length album by Articulat, following a trilogy of EPs (two released on vinyl) and previous appearances on Rotterdam’s Afrobotic Musicology label. This new project deepens Articulat’s commitment to narrative-rich electronic music – blending structure, rhythm, and texture to evoke both dancefloor tension and cinematic storytelling.
“This album is a personal exploration – an attempt to deconstruct and reimagine, through sound, a story that has been familiar to me since childhood. I first encountered Harap Alb as a crackling, timeworn radio play on vinyl, and its atmosphere has lingered with me ever since. This is my way of keeping that story alive, not by preserving it in amber but by passing it forward in a different form.
Perhaps, years from now, someone will discover this record the same way I found the original. And in doing so, they too will add their own craft and love to the tale.”
Kimatika, the 3rd album by the Slovenian audio-visual trio Etceteral, is a visceral plunge into the raw undercurrents of futuristic jazz, motoric propulsion, free improv and elastic compositions. A growling baritone sax weaves through pulsating electronics and restless drums; the bass frequencies dense and cavernous. It is an arresting and thick tapestry of texture and tension, where noise and polyrhythms collide with urgent, melodic riffs.
J.E. Movement’s groundbreaking ‘Ma Dea Luv’. Toward the end of the 1980s South Africa’s recording industry was booming. Searching for a sound that could cross over to all in the country’s segregated society while also eyeing international success, a new duo emerged that quickly rendered its ‘bubblegum’ predecessors obsolete. Drawing on international trends and crafting lyrics for local ears, J.E. Movement – a duo made up of James Nyingwa and Elliot Faku – exploded onto the local scene with their debut album, ‘Ma Dea Luv’. The future had arrived. The six tracks on J.E. Movement’s 1988 debut give firm nods to UK Street Soul, New Jack Swing and Stock Aitken Waterman’s ‘Hit Factory’ sound and infuse them with an African rhythmic flair and homegrown lyrical sentiment.
Tired of it all? Dreading your routine? Try the all new second set of ears by Hayter! Contains eight unique treatments against fatigue and low excitement disorder. Ranging from Electro Groove to bit-crushed Industrial. For side effects, consult your sound engineer.
Detriti Records presents “Guarda come balla”, the long-awaited second album by Parole e Azioni. True old-school EBM, no compromises.
An electrified meeting of minds, Candy Girl is a lost 1975 session by jazz pianist Mal Waldron, recorded in Paris with core members of the mighty Lafayette Afro Rock Band, the American funk unit who had made France their home and whose deep grooves would later be mined by generations of hip-hop producers.
By the end of the 1970s Linval Thompson had cut out a successful dual career for himself as both singer and producer. Naturally he moved in the dub field as well, getting further use out of rhythms he used in his other works. Dub had begun strictly as an album format with limited pressing runs for scene insiders, but it had swiftly gained the interest of the rank and file reggae buffs. ‘Negrea Love Dub’, originally released in 1978, is a cornerstone in the reggae dub scene. The sound of the ten dubs featured here is hypnotic and its effects are euphoric to say the least.
“Speech synthesis, also known as text-to-speech, is the process of converting written text into spoken words using computer algorithms. The goal of speech synthesis is to create a synthetic voice that sounds as natural and human-like as possible, with the ability to convey emotions, tone and intonation.”
Influenced by the likes of Wanexa, Eddy Grant, and YMO, Legowelt teams up with synth-funk artist Shook for a colorful, fun, and melodic new LP on Nightwind Records. A raw mix of saturated Italo disco, city pop, and electro-funk — drenched in haunting melodies that will linger in your mind for months to come.
Formed by George Thompson, Kyle Martin and Jonathan Nash, Kommune were active between 2014-2015. As close friends living near each other, their musical journeys were intertwined; Nash and Martin had recently completed their debut album as Land Of Light, while Thompson (aka Black Merlin), at that time putting the finishing touches to his debut album ‘Hipnotik Tradisi’, was also working with Martin as part of the duo Spectral Empire. Sharing equipment and ideas, Kommune arose organically, serving as a creative outlet for exploring analogue machine music in an improvisational context. Sessions in their North London studios led to a handful of gigs at venues including Hamburg’s legendary Golden Pudel and London’s LN-CC. This fleeting chapter of musical history may well have gone entirely undocumented had it not been for the fortuitous decision to meet up for a recording session in October 2014. Filling a car with their machines, they drove to a converted barn in the south of England, proceeded to set up, settle in and hit the record button. Over the course of two days, fuelled by the experiences of recent performances, the trio immersed themselves in the machines, crafting subtly evolving, long-form compositions with an enchanting balance and flow. Across the four long-form compositions that make up ‘Oast’, the trio summons barely controllable scrapes, acid-like bubbles, and bleeps from their machines, leaning on dub mixing techniques to give the tracks a sense of depth, dynamism and organic ambience. Mastery of the TR-808 drum machine is central, with remarkably nuanced drum programming imparting a hypnotic rhythm to the work, allowing other elements to emerge and unfold at a beautifully measured tempo. Recorded entirely live and improvised without any overdubs, ‘Oast’ offers a profound journey into minimalist electronic music while serving as a tribute to friendship, curiosity, and the spirit of experimentation.
In recent years, Blackploid has come to be one of Central Processing Unit’s signature artists. The German producer has averaged more than a record a year for the Sheffield imprint since he first landed on CPU in 2021. This prolific run continues with Cosmic Drama, Blackploid’s second LP for the label. The album takes the baton from its predecessor Enter Universe in style, delivering twelve tracks of top-quality machine-funk that draw down from electro’s classic artists while also imbuing proceedings with a playfulness that very much gives things a signature Blackploid-ish flavour.
In a sea of disposable cookie cutter music Hieroglyphic Being continues to be a singular voice in the crowd. The 12 track album “The Sound Of Something Ending” deftly maps the intersection of house, techno, and EBM, while maintaining the curiosity of free jazz & the DIY of punk.
UK electro wizard Plant43 marks his 20th year in the game in the only way he knows how: with another wonderful album, his 10th overall. It comes on his own now five year strong Plant43 Recordings. ‘Feeding The Machines’ is full of signature excellence, from the lithe rhythms of ‘Information Decay’ to the jittery drums and introspective chords of ‘Anthropomorphic Algorithms’ via the dark, hurried urgency of the paranoid ‘Absolute Inertia’. This is another long player that is as adventurous as it is emotive and cinematic.
Here it is.. the final chapter from Orbital Mechanics. Founded by Sound Synthesis and JDSK back in 2021 and what a journey it has been. To finish in a nice way the 10th and final chapter is a double 12″. Transmission out…The End
Few producers have had the same seismic impact on techno and rave music as Joey Beltram. Hailing from Queens, New York, Beltram was a key architect of the early ’90s rave explosion and responsible for some of the most influential electronic records of the era – and it was Belgium’s R&S Records that gave many of these tracks their first home. Originally compiled and released by R&S in 1996, Classics brings together the core of Beltram’s groundbreaking early output – namely the Beltram Vol. 1 (1990) and Beltram Vol. 2 (1991) EPs, alongside the legendary Second Phase productions ‘Mentasm’ and ‘Mind To Mind’ (1991), plus a selection of aliases and collaborative work from the same period, including tracks under Mental Mayhem, Open Mind, and Disorder. Now remastered and reissued as a 2LP, Classics is available on vinyl for the first time since 2006, offering a long overdue opportunity to own these timeless cuts in their purest form. Across the 13 tracks, you’ll hear the sheer force and innovation that made Beltram a household name in underground techno.
Max Schreiber is the more introspective guise of Mule Driver, reserved for drifting into fragile and haunted sonic territories. Variations on Memory Vol.2 deepens Schreiber’s exploration of collective sound and personal distortion. This time, fragments of lullabies and children’s songs resurface along side memorial songs – distorted by time, memory, and a quiet sense of unease. Schreiber treats these melodies not as sacred relics, but as raw material: vulnerable to noise, decay, and reinterpretation. Recorded in intuitive, often single-take sessions, the album challenges the listener’s sense of nostalgia. Sentimentality collapses into abstraction, and familiar tunes unravel into drifting soundscapes – like half-remembered scenes from a film that never existed. Variations on Memory Vol. 2 is less about what these songs once meant, and more about what they might conceal.
Back from the Rendez-vous at Rimini… All the Alden Tyrell classics finally available on vinyl again. Remastered by the man himself to make his tracks, that inspired a generation, ready for the next decade.
Strut present the first international release in over 30 years by legendary Afro-jazz group Oneness Of Juju with their new album “Made Through Ritual”. In 1975, the late DJ / producer and jazz distributor Jimmy Gray and James “Plunky” Branch joined a musical revolution, founding Black Fire Records and releasing the label’s debut album, the classic African Rhythms by Oneness of Juju. Now, Plunky brings this important musical relationship full circle with Made Through Ritual, produced by Plunky’s son Jamiah “Fire” Branch and Jimmy’s son Jamal Gray. The album takes a novel approach to beat culture. Working from demos created by Jamal using a selection of original jazz samples, Plunky took the tracks, replayed and re-interpreted the arrangements using live musicians. “The album explores the art of deconstruction and reconstruction in music – sampling, sequencing, and live improvisation merge with multi-track recording to craft intricate harmonies and arrangements,” explains Plunky. “The process became a ritualistic expression of creativity and transformation.” The resulting album is a fascinating listen. Opening with the meditative soul chant ‘Share This Love’ voiced by regular Oneness vocalist Charlayne “Chyp” Green, the album opens out into a series of jazz vignettes including the title track, ‘In Due Time’ and ‘Free Spirit’. The powerful album closer, ‘Children Of The Drum’ celebrates black culture and legacy through the poetry of Roscoe Burnem.
‘Casablanca’ first started as a party exploring the depths of Arabic grooves from Northern Africa and the Middle East, brought to life by two musical legends…Parisian digger Victor Kiswell, known for his journey through the world’s rarest records and influential NTS radio sets, and Dez Andrés, a Detroit native whose roots in the city’s hip-hop and house scene are matched by his love for soul, fun, and jazz. The two artists have stepped into the studio to bring the same energy and ethos from their party to this album.
The Hipodrome Of Music 