Friday, May 01, 2026

Betty Ford Boys - Trinity Park



After a 10-year band-break, the Betty Ford Boys are back with a brand-new album: “Trinity Park” is a musical full circle moment – celebrating uncompromising sound aesthetics with a clear signature, without falling back on dusty repetitions.

Like a roller coaster, the album races through different moods and soundscapes: from bouncy West Coast baselines and Boom bap neck-breakers, soulful trap tunes and pumping ghetto tech to atmospheric compositions that evoke memories of library sounds from the 70s, each of the 15 album tracks is an attraction of its own. To stay with the imagery of the album cover, the three-headed beat Cerberus, known as Betty Ford Boys makes it clear once again that the original cannot be copied.

Album cover artwork by Mias ZK

Tracklist:
1. Marvelous
2. M.O.E.
3. Heeey! / Versace Bathrobes
4. Money On The Floor
5. North North
6. As Long As My Dizzack/ Pimp Weirdo
7. Sound Check
8. 4-O
9. P Grip
10. Dogg Food
11. You Don't Owe Me Back
12. Every Morning (Get That Doe)
13. Really Want The $
14. Gotta Find A Way
15. Bossy Nova

IKE - On Other Dreams: London

A year on since we first opened your ears to the lush, cinematic, international sounds of Italian producer and musician Isaac de Martin, and following on from the recent Clay EP, IKE returns with more re-imaginings from 2025's highly praised On Higher Dreams LP.

Last year's debut for Wah Wah 45s blended jazz and electronic influences into warm, evocative, global soundscapes. Having signed to the label, IKE spent much of 2025 in his new “second home” of London, connecting with musicians and creatives with a view to always expanding his global sound. It was in the capital that he had previously met harpist Rachel Kitchlew, bass player David Bardon and esteemed drummer Sholto, and it wasn’t long before this newly formed quartet were working on reinterpreting some of the highlights from the album. Isaac himself explains more:

“I met Rachel Kitchlew, SHOLTO and Dave Bardon at their concert at The Standard in late 2023, a tribute to Ennio Morricone. Later I saw them again at the London Jazz Festival, and it became clear how much I loved their music and their distinctive approach. The sound they create is tightly woven, warm, and deeply cinematic — like the soundtrack of a life where it’s easy to feel safe. A cocoon. I invited them to play three songs from On Higher Dreams, and in two days at SFJ Studio in London we captured everything. It was magic and easy, because magic is often an easy thing. Later Rachel joined me, Valerio and AHU for a concert at The Clock Tower during the On Higher Dreams release concerts in May 2025. I have to say I could not ask for better dreamers in London when it comes to music.”

Look out for On Other Dreams: Cairo, the companion piece to this release, due in May. IKE brand new album will follow later this year on Wah Wah 45s.
 

Tracklist:
1. SIDDA (London Version)
2. Eventide (London Version)
3. Risorgini (London Version)

Anthony Joseph - The Ark

With each new recording Anthony Joseph presents an imaginative, personal vision of contemporary black culture, and The Ark is yet another compelling album by the award-winning Trinidadian poet and musician. This second part of a sequence of two albums launched with 2025's Rowing Up River To Get Our Names Back, there is a specific thread running through the glorious offering of sounds. "I was especially interested in the idea of using Afrofuturism as a means of using the future in order to correct the wrongs of the past," explains Joseph. "And so a lot of lyrics reimage or imagine an alternate black history. At the same time there are elements of autobiography." The aforesaid cultural phenomenon, a view of the black experience through the prism of science fiction and ancient Egypt and Africa, as mapped out by visionaries from music and literature such as Sun Ra, Parliament-Funkadelic and Octavia E. Butler.

The Ark is produced by Dave Okumu, the prodigiously talented guitarist-vocalist-composer known as the leader of Mercury Music Prize-nominated The Invisible. Joseph knew Okumu was the ideal producer for this latest project, which has a freewheeling, almost black psychedelic thing. After sifting through demos and loops the guitarist made on pro-tools the poet started to live with the music. Many months later words began to take shape. Joseph then went into the studio with Okumu's band and set about creating a magnum opus.

Boasting a stellar cast such as vocalist Eska Mtungwazi, drummer Tom Skinner trumpeter Byron Wallen and keyboardist Nick Ramm, saxophonist Colin Webster The Ark is a highly intricate musical mosaic framed by simmering funk grooves, wily jazz improvisation and haunting dub effects. Through the use of many genres the music has simply become its own genre. The Ark can be perceived as a vessel or means of transport to new worlds, along the lines of Sun Ra's Ark or Funkadelic's Mothership, and the material it contains is a unique blend of who Anthony Joseph is and how he sees the world and society in these stimulating, challenging times. "It balances the personal with the universal in a much more vulnerable, accessible way than on previous albums," Joseph explains. "It has become less about a personal experience and more about a collective, communal experience in which the artist is conduit, messenger, urban griot."


Tracklist:
1. James
2. Blue Susan
3. Transposition of Space (Glissant)
4. The African Origins of UFOs
5. The Ark
6. Your Bird & I
7. Baron Samedi



Dj Koco Aka Shimokita - Cuban 45s (DJ Mix)

The last time we had DJ KOCO aka SHIMOKITA curate a Mr Bongo boxset, we dropped a surprise mixtape on the day of release. No build up, no PR, just one of the world’s favourite DJs doing what he does best. This time we’ve done it again. The Japanese turntablist wizard returns for the first edition in our Cuban boxset series, putting together a blistering 60-minute mix to accompany the limited-edition vinyl release. Digging deep into the archives, KOCO has selected some of the finest recordings from Cuba’s vast and vibrant musical landscape, weaving them together in his unique and breathtaking style.

With a deep-seated passion for Cuban music, its melting pot of cultures, its focus on rhythm, and its undeniable groove, DJ KOCO gives a glimpse into some of Cuba’s most dancefloor-focussed records.

From the Afro-Cuban jazz-funk of Grupo Irakere to the psychedelic fusion of Grupo Los Yoyi, the soaring orchestral-infused style of Raúl Gómez to the slow-mo disco grooves of Farah María. The mixtape provides a snapshot into the wealth of incredible music produced across the ‘70s and early ‘80s in Cuba, presented with the imagination, creativity and class of one of the world’s finest DJs. This isn’t just a showcase of supreme technical ability; it’s a display of gifted curation and programming that show why KOCO is rightly regarded as one of the best of the best.

Tracklist:
1. Grupo Ismaelillo – Galaxia
2. Los Reyes 73 – Sí, Llegó la Primavera
3. FA-5 – El Blue
4. Grupo FA-5 – Yo Tengo un Amor Verdadero
5. Irakere – Valle de Picadura
6. FA-5 – Muévete con las Fuerzas del Corazón “DJ KOCO aka SHIMOKITA Edit”
7. Tema IV – Yayabo
8. Farah María – Ámame y No Pienses Más
9. Orquesta Riverside – En Casa del Trompo No Bailes
10. Los Reyes 73 – Necesito de Alguien Como Tú
11. Grupo Monumental – Sí, Para Usted
12. Juan Pablo Torres – Son a Propulsión
13. Grupo Ismaelillo – Amanecer “DJ KOCO aka SHIMOKITA Edit”
14. Grupo Algo Nuevo – Nocturno Op. 1
15. Grupo Los Yoyi – Paco la Calle
16. Raúl Gómez – Mi Samba Carnaval
17. Ricardo Eddy Martínez y Expreso Rítmico – Tambo Iyá
18. Ricardo Eddy Martínez y Expreso Rítmico – La 132
19. Juan Almeida – Ritmo Abierto
20. Irakere – Iyá
21. Mirtha y Raúl – Casina y Epidecus
22. Juan Pablo Torres y Algo Nuevo – Rompe Cocorico
23. Grupo Ismaelillo – Oye Cómo Va
24. Juan Pablo Torres y Algo Nuevo – Extracto de Son
25. Grupo Los Yoyi – Ruta 30
26. Grupo Los Yoyi – El Fino
27. Los Reyes 73 – Grandes Amigos
28. Rembert Egües – Tema para un Amanecer
  

808 State - In Place of Language

British electronic music pioneers Graham Massey (founding member of Manchester legends 808 State) and Brian Dougans (the mind behind acid house milestone Humanoid and one half of The Future Sound Of London) join forces for their debut collaboration In Place Of Language, released on Belgian label De:tuned.

Both 808 State and Humanoid helped shape the UK’s early rave and acid house movement. Here, Massey and Dougans channel that legacy into a beautifully balanced four-track EP that radiates warmth and energy, drawing on more than three decades of experience in electronic music. Inspired by key elements of the ’89-91 era while embracing a contemporary edge, the duo merge their distinct sonic identities into a sound that feels both timeless and forward-looking.

In Place Of Language is not a nostalgia trip, but a natural evolution: a meeting point between foundation and future, and a blueprint for a new wave of electronic experimentation!

Tracklist:
1. Optica
2. Vasco
3. Raid
4. Ruby Chan

Adrian Younge - Younge

Younge is Adrian Younge’s magnum opus: a record that redefines what orchestral composition can mean for a new generation of jazz and hip hop. It is a bold, instrumental statement that positions Younge not only as a composer, but as an architect of a new musical language, one that looks backward and forward at the same time. 

The album is rooted in the lineage of composers who unknowingly laid the foundation for hip hop decades before it existed. Figures like Lalo Schifrin, David Axelrod, Ennio Morricone, Galt MacDermot, Bo Hansson, and later visionaries such as Portishead’s Geoff Barrow created cinematic, emotionally charged music that was often overlooked in its time. Their records would later be rediscovered by crate diggers and transformed by producers searching for sounds that felt timeless, dangerous, and unexplored. 

Hip hop expanded by inheriting this forgotten language. Through sampling, producers didn’t just borrow melodies; they absorbed orchestration, mood, tension, and storytelling from composers who were operating far outside the mainstream. In many ways, hip hop became the vehicle that preserved and amplified these ideas, introducing new generations to music that had always been ahead of its time. 

Younge is composed with that full historical awareness. It is orchestral music written from the perspective of today’s producers, music that anticipates reinterpretation, deconstruction, and reuse. Think of it as a 1970s soundtrack album imagined through modern ears: arrangements built around space, restraint, and texture; movements that feel cinematic yet modular; compositions that invite dialogue rather than demand finality.

Tracklist:
1. Portschute
2. Human Absence
3. Galt
4. Moon Traveling
5. Different Directions
6. Visual Assault
7. Respond to Sound
8. Clockwise
9. Il Mattino

Parlor Greens - Emeralds

Emeralds, the sophomore long player from Parlor Greens, finds the trio serving up a beautifully curated sampler of what funky organ music can be. On Parlor Greens’ debut LP In Green We Dream, they announced their existence boldly to the welcoming arms of funky instrumental fans around the world. Now, two years later, they’re back to up the ante. Three true masters of their respective crafts: Tim Carman (Canyon Lights, formerly of GA-20) on drums, Jimmy James (True Loves) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Seasoned and soulful pros coming together to make infectiously funky instrumental jams.

Parlor Greens are truly in top form: tour tight and more confident than ever in who they are and where they’re going. The album’s opener, “Eat Your Greens,” kicks the doors off with a Charles Earland-inspired four on the floor beat, with Jimmy and Scone driving the tune down the tracks like an overloaded freight train, it simply cannot be stopped. On “Red Dog,” the group channels the absolute heaviest shade of early R&B with Jimmy’s crunchy guitar paving the way for both he and Scone to take scorching solos. “Lion’s Mane” shows a slightly more sophisticated side of the trio, with nods to one of Scone’s organ mentors, the incomparable Dr. Lonnie Smith. Not to be outdone by his bandmates, Tim Carman shows off why he plays the best shuffle this side of the Mississippi on “Letter To Brother Ben,” a gospel-tinged shuffler.

And while the results are stronger than ever, the mood of this second cooking session was much different. The first time these three met in Loveland at Colemine’s Portage Lounge studio was marked by a certain freshness. It was new, it was the first time they had all played together. It was exciting, it was unknown territory. The session for Emeralds weighed much heavier on all three members. All three dealing with personal tragedies in their individual lives, the session truly served as a genuine moment of joy for the group. Just three talented musicians, writing and playing music now as friends in a familiar environment. No moment is the weight of the session more obvious than with the album’s closer, “Queen Of My Heart,” a tune Jimmy wrote for his mother shortly after she passed away.

So with a heavy and soulful heart, Colemine Records is beyond proud to present the sophomore effort from three maestros. Parlor Greens presents…Emeralds.
 

Tracklist:
1. Eat Your Greens
2. Mustard Sauce
3. Drop Top
4. Parlor Change
5. Emeralds
6. Letter To Brother Ben
7. Francisco Smack
8. Jolene
9. Lion's Mane
10. Red Dog
11. Queen Of My Heart

Oliver Night - Between The Lines (Remixes Vol 1)

Following the release of his groove-driven album Between The Lines, London-based producer, multi-instrumentalist, and vocalist Oliver Night, returns with Between The Lines (Remixes), Vol. 1.

The project features reinterpretations of key tracks by producers Coflo, Quiet Dawn, Cengiz, and EVM128, blending broken beat, house, and soulful electronic styles, while maintaining the warmth and musicality of the original album.

The project opens with EVM128’s reinterpretation of “Boss”, Oliver’s collaboration with legendary UK rapper and producer Roots Manuva. Built around the original’s broken beat backbone, the remix stretches the track into a widescreen, string-laced arrangement that adds cinematic weight to Roots’ unmistakable vocal presence. The original version stood out as one of the album’s defining moments, a meeting of two artists connected through London’s musical lineage, and the remix gives the track a fresh, orchestral lift.

Elsewhere, Cengiz, turns his attention to “Run Like The River”, Oliver’s soulful collaboration with long-time associate TREV. The remix leans further into the track’s rhythmic pulse, reshaping it into a deep, rolling house groove while retaining the uplifting spirit of the original vocal.

Bay Area producer Coflo, a multidisciplinary artist whose work sits at the intersection of movement and sound, delivers a warm, fluid rework of “It’s Alright”, the album’s jazz-tinged love song featuring Megatronic. Reflecting on the remix, Coflo says: “Oliver’s album is an absolute work of art, it almost felt sacrilegious to touch anything. I ended up rocking a “deeper cut” of ‘It’s Alright’ featuring Megatronic. Knowing I could give the dance-floor an alternative option to what was already a perfectly crafted dancer's tune. I tried to craft a new bounce and apply new timbres on Megatronic's delivery and I am very happy where I ended up. Hope others dig it as well!”

Rounding out the release, Quiet Dawn revisits “The Light” featuring KAYA FYAH, adding hazy textures and off-kilter rhythmic shifts that subtly reshape the track’s atmosphere while keeping its soulful core intact.

A kaleidoscopic blend of bruk, soul and electronic textures that traced connections between community, heritage and sound, Between The Lines features appearances from Roots Manuva, KAYA FYAH, TREV, Goldbar, Megatronic, David Mrakpor and Jay Phelps. The album moves fluidly between broken rhythms, jazz harmony and forward-looking club production.

Among its standout moments was “Boss”, Oliver’s long-awaited collaboration with Roots Manuva, a figure he first connected with during his time performing in Roots’ Banana Klan. The track quickly became a fan favourite, pairing Oliver’s groove-led production with Roots’ unmistakable delivery - a meeting point between generations of UK sound system and hip-hop culture.

Between The Lines picked up spins from the likes of Deb Grant, Gilles Peterson, Don Letts, and Lauren Laverne on BBC 6 Music, as well as Dom Servini on Jazz FM and Heléna Star on Radio 1 Dance, alongside a Huw Stephens' Roundtable on BBC 6 Music Roundtable - reinforcing Oliver’s reputation for crafting music that sits comfortably between live musicianship and dancefloor energy. With Between The Lines (Remixes), Vol. 1, that world opens up once again, offering a new set of interpretations from artists who share Oliver’s instinct for musicality.
 

Tracklist:
1. Boss (feat. 
Roots Manuva) (EVM128 'Strings' Remix)
2. Run Like The River (feat. 
TREV) (Cengiz Remix)
3. It's Alright (feat. 
Megatronic) (Coflo Remix)
4. The Light (feat. 
KAYA FYAH) (Quiet Dawn Remix)
5. Boss (EVM128 'Strings' Remix Instrumental)
6. Run Like The River (Cengiz Remix Instrumental)

Immanuel Wilkins - Immanuel Wilkins Quartet: Live at the Village Vanguard Vol. 2 (Live)

GRAMMY-nominated alto saxophonist Immanuel Wilkins has released Immanuel Wilkins Quartet: Live At The Village Vanguard, Vol. 2, the second installment of a searing 3-volume document of his acclaimed quartet in action at the hallowed NYC jazz shrine. Vol. 1 was released last month on LP, CD, and digital formats. Vol. 2 and Vol. 3 (out May 15) are digital-only releases.

The albums capture Wilkins’ quartet featuring Micah Thomas on piano, Ryoma Takenaga on bass, and Kweku Sumbry on drums taking flight on expansive explorations of Wilkins originals, and one Alice Coltrane composition, in a room steeped in jazz lore. Wilkins indelibly etches his name onto the list of jazz greats who have made seminal live recordings within these same walls.

“Live at the Village Vanguard is a bold endeavor to summon the Vanguard’s sonic history and make it audible,” writes Tina M. Campt in the Vol. 1 liner notes. “It harnesses this legacy and reactivates it as what he defines as practice – a practice of improvisational sounding, congregational listening, and devotional ritual.”

Tracklist:
1. THE BIG COUNTRY (Live)
2. WAITING PT. 1 (Live)
3. CITRINE (Live)
4. GRACE AND MERCY (Live)
5. GO 'HEAD GET DOWN (Live)

Budamunk - Catalogue

Budamunk’s KPM Library remix project feels less like a reinterpretation and more like a quiet conversation across time. Drawing from one of the most influential production music catalogues ever assembled, the Tokyo-based producer approaches the KPM archives with restraint and intent, treating its cinematic jazz, soul, and orchestral foundations as narrative devices rather than raw material. The result is a body of work that blurs the line between library music and contemporary hip-hop, where atmosphere and pacing take precedence over obvious reinvention.

The album’s production leans into texture and negative space, dusty drums, muted basslines, and carefully chosen fragments that breathe rather than dominate. “Mystical” exemplifies this approach, unfolding with a slow, meditative pulse that feels equally suited to late-night listening or visual storytelling. Elsewhere, “Library” introduces verses by ISSUGI and Mr. PUG from Tokyo Japan, two artists whose measured delivery and introspective writing mirror the album’s understated tone. Their presence is less a guest appearance than an extension of the project’s ethos, grounded in crate-digging culture, minimalism, and a deep respect for lineage.

Rather than positioning itself as a nostalgic exercise, the album functions as a modern continuation of the KPM philosophy: music designed to support mood, scene, and story. In Budamunk’s hands, the library becomes both archive and instrument, reframed through a contemporary hip-hop lens that favors subtlety over spectacle, and longevity over trend.

For more music in the series, please follow:

defpresse.bandcamp.com

Tracklist:
1. Early Harvest
2. Light Seed
3. Evidence (feat. Kojoe)
4. Mystical
5. Hot Speak
6. Random
7. Library (feat. ISSUGI & Mr PUG)
8. Around
9. Dawn Platform 

Squarepusher - Kammerkonzert

Tom Jenkinson, aka Squarepusher, presents Kammerkonzert, a riot of onyx-hard, hyperfast riffs, fiendish orchestral themes, and handbrake turns through varieties of progressive, ambient, electronic and experimental music.

The singular hardcore rave / IDM producer, experimental musician and creator of futuristic forms of fusion, has a three-decade-long back catalogue studded with a variety of jewel-like records. From the furious breakbeat acid and pulverising live bass guitar attack of Feed Me Weird Things (1996) to the literal and self-explanatory Music For Robots (2014) via the virtuosic live showcase of Solo Electric Bass 1 (2009) and the otherworldly concrète jazz of Ultravisitor (2004) few contemporary musicians have covered as much ground in as sure-footed a manner. But despite this reach, his three decade output is only typified by two things: unpredictability and rule breaking. Given that his new album on Warp, Kammerkonzert, is essentially a chamber concerto with him playing all of the parts it’s safe to say he has come a long way since his crystalline drum & bass debut for the label in 1996, Port Rhombus EP.

Twenty-one albums in, Kammerkonzert is the start of a new era for Squarepusher as a composer.

Tracklist:

1. K1 Advance
2. K2 Central
3. K3 Diligence
4. K4 Fairlands
5. K5 Fremantle
6. K6 Headquarters
7. K7 Museum
8. K8 Park
9. K9 Reliance
10. K10 Terminus
11. K11 Tideway
12. K12 Uplands
13. K13 Vigilant
14. K14 Welbeck



Yaya Bey - Fidelity

When Queens-born Yaya Bey released her third album, do it afraid, in 2025, she yearned to move past the topic of grief after feeling her work was increasingly viewed through the narrow lens of loss. That said, there was plenty to mourn, from the death of her father, the acclaimed Juice Crew MC, Grand Daddy I.U. as well as a creeping sense that a particular Black American experience, the one she grew up in, was disappearing. The week the album dropped, despite the critical acclaim, she found herself on the road in a Miami hotel room, crying uncontrollably. She wasn’t just tired, but also coming to the realization “there was no place for that grief to exist that would not become a spectacle. I had been holding it in. Maybe, to protect myself. Maybe to prove the onlookers wrong. Whatever the case, it was spilling over now.”

What Bey was pondering was “what part of that ache is specifically Black?” and clarity followed. Yaya quickly returned to the studio after last summer and crafted a new body of work, an album that works as an accompanying piece to do it afraid, called Fidelity, the result of that breaking point. It is a record born from a summer of reflection on what it means to be a Black artist when your grief becomes a commodity, another sob story for onlookers to feast upon. Fidelity is a bold step forward, and in this new act, Bey moves past the surface-level labels to examine what she calls the "Three Deaths": the personal, the communal, and the loss of innocence.

The album confronts Personal Death through the passing of her father in 2022. Bey questions why the life expectancy of Black musicians is so short as we continue to lose consequential artists, only to receive their flowers too late, too far after the fact. "Why are we more interesting as ghosts?" she asks, looking at the mid-career mark where so many artists are left to die by a system that prioritizes the "shiny and new."

On Fidelity, the social and the personal are inseparable. Bey explores the Death of Home and community, charting the displacement of native New Yorkers and the fracture of the Black diaspora. She critiques the rise of Black capitalism, or the "individualism and tribalism" that have replaced community solidarity. From the gentrification of her native Queens or Brooklyn’s Bed-Stuy to the "diaspora wars" online, Bey navigates the ways we’ve been pulled apart, weaponizing our differences instead of addressing the collective ache of being "made new" in a world that demands our constant adaptation.

Finally, the record addresses the Death of Innocence—the crash back to reality for a generation raised on the empty promises of the 90s and Y2K eras. Bey reflects on the transition from the "Golden Era" of Black media to a landscape of global pandemics, state violence, and an industry that exploits and disposes of Black artists that were once held in high esteem.

The songs showcase Bey’s range as a performer from lead-off single “Blue” which opens like a breath of fresh air to the project. Yaya says: “Blue” is the first song I wrote for the album. I wrote it when I was rock bottom coming off the heels of do it afraid. When I realized I had to make a big shift mentally and emotionally or I was gonna drown. The production is really reminiscent of early 2000's Pop/R&B like something red-haired Kelly Rowland would sing over on one of her solo projects. The nostalgia drew me to it. Almost like I'm coaching my younger self through something. Which I guess ultimately I am.”

Equally bright and effusive, “Forty Days” glimmers with clarity, a song with a heavy theme about a phase transfer that is unexpectedly buoyed with a Disco-Funk confidence. “There’s a belief that after a loved one dies you give them 40 days to pass over into the ancestral realm and that got me thinking about what is the time frame for the grieving to transition into a new life that is absent of the lost one’s physical presence. How do both acclimate to new conditions of the relationship?”

Fellow Queens native NESTA drops in for “Egyptian Musk” , a surprise chance moment turning into a key moment in the album. “I ran into NESTA at an event the night before and invited him to a session. We had this really dreamy reggae track that sounds like something old with a fresh spin. I named it Egyptian Musk ‘cause it reminds me of the scent. Rich, sweet and comforting.”

The core of the album is indeed found in its title. For Bey, Fidelity is the ultimate Black skill. It is the ability to fall down and get back up—to be "religiously joyful" even while the world is on fire. It is a grand pivot away from a yearning for mainstream accessibility, and toward a radical faithfulness to self and community. Fidelity is not just a foil to do it afraid; it’s a reclamation. As she puts it, the veil is lifting and the work is being done, and she’s still here. Cheers to hers, and our fidelity.
 

Tracklist:
1. Me and Mine (feat. Samantha G. & Anastasia Antoinette)
2. The Towns (bella noche pt. 2)
3. The Great Migration
4. Forty Days
5. Higher
6. Dream Girl (Lexapro Mix)
7. Freeze Flight Fawn
8. Slot Machines (feat. Deem Spencer)
9. Simp Daddy Line Dance (feat. Exaktly)
10. As the Ocean
11. Blue
12. Cup Of Water
13. In the Middle
14. Egyptian Musk (feat. NESTA)
15. The Breakdown
16. Who Are You



Atlantis Jazz Ensemble - Mystic Suite

ATLANTIS JAZZ ENSEMBLE – MYSTIC SUITE

Let us take you back. Waaay back.

According to early Greek mythology, the three powerful sons of the god Kronos divided up the cosmos after overthrowing their father: Poseidon ruled the sea, Zeus commanded the heavens, and Hades reigned over the underworld. Conversely, this latest offering from the Atlantis Jazz Ensemble completes the group’s corresponding trilogy – "Oceanic Suite" (2016), "Celestial Suite" (2023), and now "Mystic Suite" (2026).

As you might expect, this "Mystic Suite", inspired by Hades’ supernatural realm, is perhaps the most intense, unusual and sublime of the three albums. It channels the energy of the spiritual jazz offered back in the 1970s by labels such as Strata-East, Tribe and Black Jazz, mixed with the urgency presented by the best of today’s jazz underground, fiercely struggling and searching for meaning within this era of global tumult. This is a meaningful record, driven by human connection, the kind that is only possible when like-minded musicians interact face-to-face within the same room.

The set flows as smoothly as the mythical River Styx. The Fender Rhodes electric piano starts things off slowly by churning an ominous brew during the intro to “Damocles”, before the full band drops a dark Elvin Jones-style mambo, set in a menacing Phrygian mode. The Coltranian vibes continue on the spiritually-charged “Spirits Unseen”, a fast-paced jazz waltz exploring the possibilities of polymodality, before settling into the softer contemplative sonorities of “Persephone”. Side A closes off with the sinuous bossa-tinged “As the River Flows”, before Side B picks things up again with the otherworldly harmonies of “Elysian Fields”. The 12/8 polyrhythms of “Asphodel Meadows” and the highlife jazz of “Gates of the Sun” bring in percussion-heavy Afro sounds into the mix, before things wind down with the horn-drenched melancholy soul-jazz of “Broken Dreams”.

It’s also worth mentioning that the core quintet of the Atlantis Jazz Ensemble is joined here by brilliant tenor saxophonist Petr Cancura, an alum of bassist Cecil McBee’s group, relocated to Canada after a long stint in New York City, as well as versatile percussionist Marielle Rivard, best known for her work as member of the Souljazz Orchestra. Engineer and co-producer Jason Jaknunas recorded the album live off-the-floor at his Metropolitan Studios location, subsequently mastering it to his beloved 1965 Studer Revox G36 all-tube 2-track tape machine. Cover artwork is based on a late 19th century water-colour sketch by Norwegian artist and explorer Fridtjof Nansen.

"Mystic Suite" is the Atlantis Jazz Ensemble’s 3rd album and is released by Marlow Records in vinyl LP, CD, and digital formats on February 27th 2026. LP format was meticulously cut, plated and pressed in Canada at Precision Record Pressing's state-of-the-art facility.
 

Tracklist:
1. Damocles
2. Spirits Unseen
3. Persephone
4. As the River Flows
5. Elysian Fields
6. Asphodel Meadows
7. Gates of the Sun
8. Broken Dreams

Knxwledge. - VGM.42

Tracklist:
1. loosechnge
2. kards
3. bakdash
4. ryde
5. gobynw[TRO]
6. wkeme
7. fixit
8. shrtcircuit





VA - Oonops Drops Vol.3

Named after the Latin word for the humble house spider, Oonops started his career as a club DJ in the early 2000s and has been collecting and playing strictly vinyl ever since.

In 2013, he started his own radio show »Oonops Drops«, a monthly mixtape-style show featuring a host of international top DJs, broadcast on Brooklyn Radio in New York City. This show inspired the first volume of this compilation, which was released in early 2018 on Agogo Records, alongside the album and 7-inch releases featuring artists from his radio network. Then, exactly five years ago, Oonops finally founded his own sustainable music label bearing the eponymous name.

Now, just in time for the 200th episode of his Brooklyn Radio show, Oonops returns to Agogo Records with Vol. 3, which is packed with favourites and rare gems discovered through his extensive community of like-minded collaborators. As you would expect, it includes many unreleased songs that were previously only available digitally or were incredibly difficult to obtain on vinyl – true rarities from the crates. Expect a broad selection of genres, ranging from Japanese jazz and head-nodding beats and hip hop to samba-esque funk, rare groove, reggae and Brazilian-influenced styles. Get ready, enjoy and rewind !

Tracklist:
1. Lamp - 二十歳の恋
2. Nautilus - Empire State Of Mind
3. Nova70 - Sarah's Theme
4. 45trio - Valdez In The Country
5. Kazumi Kaneda - Being Suggestive
6. Kutiman - Dover D
7. Hover - Campus Suite
8. Pat Van Dyke - All Caps / Supervillain Theme
9. Emapea - Head Nod Shxt
10. HF International - Be
11. ShinSight Trio - Do Da Dance (Kool Breeze Version)
12. Groove Train - Mas Que Nada
13. Golden Throat Note - A Song For You