MUSIC

Charlie Megira’s self-reflexive final album found him far from his Beth She’an Valley home, but surrounded by a new cast of Hillbillies. After spending 15 years toying with goth, sound collage, grunge, and dark wave, Megira returned to his surf noir roots, a perfect bookend to a largely misunderstood career. Issued digitally in 2015 via Bandcamp, Boom Chaka Boom Boom is a sprawling mix of plunking country blues, Black Lodge terror, ambient montages, and noodling spaghetti western. Familiar hits like “At The Rasco” and “The Death Dance of the Busty Lifeguard” are revisited and reimagined as bongo-driven beatnik anthems. “We gave all we had to love,” he sings on “Smile Now Cry Later.” “We thought, nothing better to do.” A fitting end to a brilliant discography.

After the success of Codeine's Frigid Stars LP, the trio of Stephen Immerwahr, John Engle, and Chris Brokaw booked time at Harold Dessau Recording in June 1992 to track an eight-song sophomore album. A few days and a couple of unexplainable high-pitched frequencies later, the record was scrapped, shelved, and forgotten about. Brokaw left the band shortly after, and these songs were re-tracked in various iterations for Codeine's final LP. On its 30th anniversary, Numero has unearthed these recordings, restoring the original White Birch to the band's exacting standards with producer Mike McMackin. A slowcore masterpiece hidden in plain sight.

A dazzling 11-track journey through the rich, handpicked gems of Numero’s finest. Blending the timeless warmth of classic soul with a fresh, modern twist, Eccentric Modern Soul delivers an expansive soundscape that feels both nostalgic and new.

Half asleep you hear a guitar echo through the early morning haze, you're so zonked you cant tell if its a dream or if the droney reverb is coming from real life, you sit up, now starting to understand what is afoot. Thats right, its the errant kings of slowcore Duster returning with yet another surprise release - In Dreams. Disintegrated, half remembered melodies permeate this record like a slow tide of static soaking into a discarded slice of sponge cake, proving somehow inventive and nostalgic at the same time, in other words Duster on top form.

Propelled by his 1956 Lee Hazlewood-produced hit “The Fool,” Sanford Clark was already a rockabilly legend in his own right by the time he swapped his hair gel and switchblade for a pair of cowboy boots on They Call Me Country. Recorded between 1965-67 and originally released as a series of singles for Phoenix’s Ramco label, the 12 tracks on this LP borrow Bakersfield’s outlaw sound and ignore Nashville’s countrypolitan flair, standing as a true lost masterpiece of country music’s third generation. Clark’s booming baritone tells tales of bar fights, heartaches, and drinking til you can’t stand, while Waylon Jennings provides a backdrop of fuzzed out guitar twang. Mastered from the original session tapes and back on vinyl for the first time since the Nixon administration.

“Do you need samples?”

We all ask ourselves this from time to time, and thankfully, Frollen Music Library (FML) has you covered.

‘001-015’ is a “best of” compilation celebrating the first 15 sample packs made by Naarm/Melbourne (AUS) based Frollen Music Library. Launching in late 2021, the sample house has since been featured in productions by ScHoolboy Q, Leon Thomas, Devin Malik and more.

This retrospective “best of” traverses a wide range of styles and moods to appeal to every music enthusiast as well as producers and songwriters alike. Whether it’s bouncing Hip Hop beats or evocative cinematic etudes, FML’s 3-piece house band, comprising Henry Jenkins, Darvid Thor and Hudson Whitlock have a deep love and respect for many musical styles. FML’s diverse catalogue takes cues from the ‘Third Stream’ composer David Axelrod on their ‘Sharpen Your Axe’ (FML009) pack, as well as drawing upon cinematic themes from 60’s and 70’s Italian film score composers a la Ennio Morricone and Riz Ortolani, as heard on ‘The Fretted Neck’ (FML006). There are 90’s New York boom bap beats found in ‘Golden’ (FML013), as well as synthesiser music inspired by Tonto, which is showcased in the ‘Nina’s Exploding Brain’ (FML014) pack, utilising a locally made synthesiser from Melbourne Instruments.

Jenkins, Thor and Whitlock have been playing in bands and producing music for their local music scene for the last 15 years. Recording and performing with The Cactus Channel, Karate Boogaloo, Mo’Ju, Surprise Chef and many many more. Not only is this brand-new LP a great musical collage worthy of any music library enthusiast, but also functions as a tremendous sampler demonstrating the many styles of FML. Fast, slow, sweet AND sour!

Punisher is the second studio album by American singer-songwriter Phoebe Bridgers, released on June 18, 2020 by Dead Oceans. Bridgers first established herself with her 2017 debut, Stranger in the Alps, a widely acclaimed indie rock effort. In the years preceding her second album, the California native formed the bands boygenius and Better Oblivion Community Center. On Punisher, Bridgers' songwriting is somber and sardonic; deeply personal in nature, it explores topics like dissociation and fragmenting relationships.

Phoebe Bridgers wrote her first song at age 11, spent her adolescence at open mic nights, and busked through her teenage years at farmers markets in her native Los Angeles. By age 20, she'd caught the ear of Ryan Adams, who listened to her perform her song "Killer" in his L.A. studio, inviting her to come back and record it there the next day. The session blossomed into the three-song ‘Killer’ EP, released to much acclaim on Adams’s Pax-Am label in 2015. In the two short years since, Bridgers has toured or played with Conor Oberst, Julien Baker, City and Colour, Violent Femmes, Mitski, Television and Blake Babies among others. On September 22nd, Phoebe Bridgers will release her debut full-length, Stranger In The Alps. From the weeping strings and Twin Peaks twangs of opening track Smoke Signals, to the simple heartbreak of Funeral and melancholic crescendo of Scott Street, Stranger in the Alps is a swooningly beautiful record with a gothic heart.

In the fall of 2022, celebrated UK chill-out institution Seahawks landed in Los Angeles for the first time in their 15-year history, with plans to record a sweeping new age downtempo “exploration of visionary California.” Instead, they immediately fell ill with flu (Fowler collapsed next to a taco truck; 911 was called), and were bedridden for the better part of a week. Upon recovering, they resituated at the synthesizer sanctuary of Brian Foote (Peak Oil, Kranky, Leech), channeling their post-sickness psychedelia into one of the band’s lushest and most elevated creations to date: Time Enough For Love. Inspired by the “groove and mood” of Harry Nilsson demos, as well as its wider 70’s wavelength – Rhodes, Wurlitzer, wood paneling – Seahawks transposed their classic post-rave ambient exotica onto a warm and woozy Golden State palette. Buoyed by the liquid touch of English maestro Kenny Dickenson on keys, the results rank high among the duo’s smoothest and most multi-sensory voyages. “Sail Across The Moon” delivers on its title, a simmering, phaser-smeared cruise through the beauty of the night. “Messengers” echoes the cosmic lounge of Air’s Moon Safari, shuffling, weightless, and ethereal, while “Falling Deep” reaches for the stars, pure cascading bliss, the ecstatic moment writ large. The album skews steadily more astral as it progresses, drifting towards jazzy, galactic outer reaches. “Like A Grain Of Sand” opens with a spoken sample by the celebrated late American poet Rachel Sherwood (“The children watch, breathless / with the birds / They feel an emanation / from this shuddering place”), before taking flight on a Balearic trip through island house, PM Dawn gold dust, upright bass meditation, and kaleidoscopic light. A remix of the title track by Chicago trio Purelink closes the record in a suitably subdued and skittery state of mind. Time Enough For Love radiates color, complexity, and positivity, infused by the “life enhancing” nature of the band's time in Los Angeles – sunsets, sound systems, and sativa, framed by coastlines and cloudbanks, the city’s mystic sprawl glittering beneath purple dusk.

Originally named „Merz“, this album should have been Merzbow's first vinyl release, but never came out on vinyl. So actually "Yantra Material Action" is „Material Action 1“, recorded in 1981 - with sticker and insert

The clear vinyl version is only available in the limited 99 copies boxset "artefAKTs from the Early Japanese Experimental Noise Music Scene"

This album was released in 1970 as one of the Victor “Jazz in Japan” series. We are Japanese, so I think we have to make something that only Japanese can do. These were the words of Akira Miyazawa during this period. It was inevitable that Miyazawa would choose his hometown, the place where he was born and raised, as the motif for his work, which only a Japanese person could create.

Winter/Summer
THE NORTH FACE Sphere, an ambitious new store building to be opened in Harajuku, Tokyo in 2022.

In response to a request for "one album for each of the four seasons, spring, summer, fall, and winter," haruka nakamura created "Light years" as the soundtrack for the new building, which became a project to produce four albums over one year.
The LP is divided into "Spring and Autumn" and "Winter and Summer" based on the world view of the production timeline, and is the best of the four original albums.

The "Winter/Summer" album is the best of the first album "Light years" and the third album "from dusk to the sun".
（The "Spring and Autumn" version will be released at the same time.)

Limited reissue in heavy black vinyl of the second Happy End album released on November 20, 1971, which is highly acclaimed as a classic Japanese Rock album.

Ryuichi Sakamoto held a no-attendance online solo piano concert "Ryuichi Sakamoto: Playing the Piano 12122020" on December 12, 2020. The live performance was directed by Rhizomatiks and filmed by Zakkubalan, and was simultaneously broadcast worldwide from a studio in Tokyo. The live performance was a one-night-only event with no archive, making it a rare and precious event that will never be seen again.

London rapper, poet, and producer John Glacier releases his long-awaited debut album, Like A Ribbon, on . The album chronicles Glacier's life from a simple upbringing in Hackney, in the northeast corner of the capital's central London, to growing up at a phenomenal rate, with the lead single, “Found,” a floaty sound with a powerful message of overcoming daily struggles. Participating artists include Kwes Darko, the producer of the film, as well as Flume, Andrew Aged, Eartheater, Sampha, and others, all of whom complement John Glacier's unique musical style. John Glacier's sound, which combines contemporary yet dreamlike electronic tones with subtle beats, has the ability to draw out the listener's emotional depths and draw them in.

This reissue of the “Collection” is limited to just 299 hand-numbered copies, making it a truly special release for fans and collectors alike. Encased in a beautifully crafted wooden box, this deluxe edition features ten LPs, each adorned with original collages by Masami Akita, printed in black silkscreen on Cordenons Astropack ivory cardboard sleeves. Accompanying the vinyl is a 12-inch booklet, also printed on the same high-quality cardboard as the cover, containing 32 pages filled with previously unpublished photographs, as well as artwork and collages by Masami Akita from 1981-83. This booklet includes exclusive notes by Lasse Marhaug, Thurston Moore and Masami Akita along with a unique interview of Jim O’Rourke with Masami Akita.

The long-awaited DJ Sprinkles reworkings of Will Long’s Acid Trax finally arrive on vinyl, beginning with this first instalment in a three-part EP series via Comatonse. Mastered by Terre Thaemlitz and cut by Rashad Becker, EP 1 features DJ Sprinkles’ ‘Acid Dog’ remix – a resoundingly trippy, sensual 11-minute journey of padded subs, shimmering percussion and richly layered 303 tones. One of the most immersive entries in the Sprinkles catalogue, it’s club music with both emotional depth and hypnotic power.

On the flip, Long’s original takes a more minimal approach, delivering a meditative groove that floats raw drum machine rhythms and restrained 303 sequences in wide-open space. Both tracks embrace the ascetic, introspective aesthetics that define this project.

Note: The correct tracks on this 12” are ‘Acid Trax N’ and ‘Acid Dog (DJ Sprinkles Remix)’ – centre labels are incorrect.

Artwork by Terre Thaemlitz.

CEM has gained international notoriety over the past years for bewitching club and festival audiences alike with his feverish, polymorphic and richly referential DJ sets. For his debut full-length album, FORMA, the Berlin-based Herrensauna founder momentarily departs the dancefl oor, instead contributing a refl ective and at times menacing compositional study on terror and temporal anachronism for our perplexing times. All six pieces were originally commissioned to accompany Portuguese artist Mauro Ventura’s performative installation of the same name, shown fi rst at the Volksbühne in 2022; the work engaged notions of labor and repetition through a multiplicity of gestural and corporeal interventions. Featured prominently on FORMA are the sound of bells—doorbells, meditative bowls, farm cowbells, Shinto bells—a motif CEM distills repeatedly onto the record to presage and work through both the violent specter of order and discipline, as well as the reparative qualities of harmony and retreat.

Opening the album with poignant synths, granulated bell hits, and double bass string drones is “The Calling”, which summons listeners into a rattling and twisting soundscape that dichotomously channels alertness and serenity at once. “Bells Corrupt”, in turn, transforms the comforting chime of bells into an alarming and insistent pattern as it evolves in pitch and form, recalling the anxious fi lm grammar of Italian giallo legends Lucio Fulci and Dario Argento or Czech animator Jan Švankmajer. “An Industrial Satire” is conceived as an homage to experimentalist Limpe Fuchs, known for her Dadaist use of self-made, metallic instruments and strings. The second part of the piece takes a staggering turn with the addition of ghaita—a Northern Moroccan double reed horn with a series of holes—sampled from the Master Musicians of Joujouka’s collaborative 1971 album with Brian Jones and layered alongside CEM’s own percussion work. The horn elements—linked to the ancient fertility rites of Pan—here culminate in a melodic embodiment of panic and celebration. “Statue Garden” is a minimalist organ drone piece interlaced with fi eld recordings accumulated through the musician’s recent travels across East Asia. Its dexterous balance of stillness and depth provides a contemplative interlude amidst the album’s vigour. The album closes on a provocative note with “The Sincerity Test” that features Berlin-based Lithuanian performance artist Gertrūda Gilytė, whose wry spoken-word intervention mirrors the kind of grotesque, deluded ‘positive affirmations’ that abounds on social media, suggesting a relatedness between narcissistic online speak and the rise of reactionary politics.

CEM is no stranger to the ever-threatening past and present of fascism, having been raised in Vienna within a Turkish-Kurdish immigrant household. FORMA thus emerges as a militant sonic offering and, through its razor-sharp interweaving of atmosphere and texture, conjures a fractured, albeit elegiac, space of possibility wherein time is out of joint and the circular motion of history with a capital H is dizzyingly thrown into disarray. As our world rushes forward into the past, casting dissonant spells might turn out to be our last rempart.

"A growing, single-minded confidence in his thing practically makes time stand still and places us right in the moment and momentum of the music. Crucially, whilst clearly referencing foundational styles, it’s a masterclass in innovation not imitation" - boomkat

Carrier presents Tender Spirits, the third turn on his eponymous series that explores his abstractions at its most sparse and cerebral.

Space maintains great purpose for Guy Brewer, having experimented with this previously for multiple drum-focused missives as Carrier. On his latest release, he treads deeper into the furthest regions of dub deconstruction, with Tender Spirits offering a serene path to the inbetween.

Across 8+ minutes, Light Candles, To Mark The Way moves towards the muted sublime; a gentle half time’d bliss that ebbs and floats across the enveloping mist. Slow Punctures gradually returns to dusk, eerily surveying the hollowed-out remains of its dub architecture with an off-kilter lurch. Carpathian echoes further in stark reduction, a weightless atonal zone anchored by the abstracted pressure suspended within.

Tender Spirits tracks Carrier at exciting new parallels, unfurling his most ascendant and capacious music to date.

Narciso has been running parallel to most of his contemporaries, staying close to the main lane but researching in his own distinctive way. He takes pride in "being free from limitations and conventions. To me, music doesn't follow fixed rules; it is a field for experimentation, where any sound can be transformed into something pleasing to the ear". Depending on what one considers "pleasing", this is a pretty challenging set of tracks. The artist never loses the balance, though, mindful of a certain "dance" context in which this music thrives, but it is also that same context that is being constantly twisted and reshaped into other forms. Some of those provide fresh ground for others to follow; some are of such individuality that no one else dares disturbance; some quickly return to a safer way of communication.

"Diferenciado" does communicate, but like words can be changed to sound different and still mean the same, such are music and sound with Narciso. It's not about alienation of the listener nor alienation of the self from the surrounding areas. "I believe music is present in everything around us." And if anyone can say her/his/their music "reflects vision, experience and perception", you know the end result is not often surprising or even that different from previous examples. Well, we stand by "Diferenciado" in its obvious distinctiveness, and if all the blurb so far may read like a nervous justification it's just because of the excitement in helping put this out into the world.

As a founding element of RS Produções, where Nuno Beats, DJ Lima, DJ Nulo and Farucox are also found, Narciso has been contributing to a spiritual and creative atmosphere that permeates the environs of Lisbon where that golden, inspired air has to fight for space with many kinds of instability. The beauty and drama of opening tracks "Ziu Ziu" and "Cabelinho" (this one with mate Farucox) should be able to touch any sensitive soul that appreciates the quirkiness often attached to pure expression. As in "Pipipi" too, for example, where melody and rhythm gently and moodily lead you into a brief but sudden interruption feeling like a change into another state of being. Do not shy away. Narciso steps up as himself, not as representative of whatever or whoever.

Hailing from Tanzania's bustling cultural hub Dar Es Salaam - the biggest city in East Africa - young beatmaker DJ Travella is setting the breakneck pace for its musical evolution. He's been producing since he was just 10 years old and has already bent singeli into surprising new shapes, welding euphoric EDM breakdowns and earworm-y R&B riffs to the Tanzanian genre's frenetic rhythms. 'Twende' is a straight-to-the-point set of the producer's most requested secret weapons - four hyper-melodic floor fillers that were developed shortly after releasing his acclaimed debut album 'Mr Mixondo'. Featured on his popular Boiler Room performance, these tracks will be familiar to anyone who's managed to catch one of his sets.

Starting things out right with 'Trust', a wonky, festival-ready 170BPM ass shaker that shuffles a familiar singeli beat around wormy synths, Travella keeps things moving with the blink-and-you'll-miss-it 'Believe', a minute and a half of brassy pop fanfares and buzzing rhythms. On 'Mchakamchaka' he introduces quivering soukous guitar phrases into the mix, keeping up the momentum with crowd noise and pneumatic sound design vamps, and 'Vumbi Vumbi' slows things down, just a bit, splaying plasticky, acidic leads over blown-out syncopated beats. It's one for the feet, no doubt.

Recorded in Kampala, 'Mapambazuko' pairs Peruvian artist and researcher Alejandra Cárdenas (aka Ale Hop) with Congolese guitarist Titi Bakorta, who locate a balmy junction between their respective approaches. Bakorta's debut album 'Molende', released on Nyege Nyege Tapes in 2023, was an eccentric rumination on his years performing a unique fusion of Congolese soukous and folk sounds, and 'Mapambazuko' picks up where it left off, looping Bakorta's wiry guitar solos around Cárdenas' psychedelic Afro-Latin rhythms and fractured synths. Cárdenas' last run of albums have bounced her around the stylistic map: on the acclaimed 'Agua Dulce', she deconstructed traditional Peruvian rhythms with Laura Robles, while she traversed radically different territory on 2021's 'The life of Insects', imagining an abstract universe from the inside of a terrarium. All this experience - in pop music, electroacoustic experimentation and avant-garde minimalism - is applied to 'Mapambazuko' as she skews Bakorta's exuberant themes with subtle sound design elements and powerful, uncompromising drumwork.

Opener 'Bonne année' is a twitchy, effervescent party starter, with a frenetic rhythm from Cárdenas that gradually picks up grit, only enhancing the vivid soukous-inspired phrases from Bakorta. And on the title track, Bakorta's rubbery improvisations sound as if they're bouncing off Cárdenas' dissociated whirrs and squeals, while the duo's furious pulse holds their raw experimentation in check. Their worlds collide even more conspicuously on 'Una cumbia en Kinshasa', that identifies the similarities between psychedelic Peruvian cumbia and Congolese pop, and on 'Así baila el sintetizador' they ratchet up the tempo, smudging Bakorta's fictile riffs into Cárdenas' zesty oscillations. The acceleration only lets up on the album's gauzy finale 'Nitaangaza', where Bakorta plays dizzy psych-rock wails over Cárdenas' syrup-laced thuds and lopsided drones. And the album is filled out with three exclusive remixes. Kenyan sound artist KMRU strips the beat from 'Nitaangaza' and brings out its latent sensuality, adding light-headed pads and soft-hearted tones to re-contextualize the original track.

On her rework, Cárdenas augments 'Una cumbia en Kinshasa' with an even more belligerent rhythm, cutting further into Bakorta's glistening riffs and eventually guiding the track into chattering chaos. While Flora Yin-Wong marches towards the end credits with a sultry, percussive version of 'Así baila el sintetizador'. Slowing it down to a crawl and emphasizing the eerie, artificial landscape, Yin-Wong shines moonlight on Bakorta and Cárdenas' sun-baked grooves, providing the necessary wind-down as the party comes to an end.

Based in Kampala, Arsenal Mikebe are a groundbreaking Ugandan ensemble who playfully dance around the fringes of of acoustic and electronic music, infusing tempo-fluxed polyrhythms with dizzying chants and ghostly synthetic drones. The band is made up of percussionists Ssentongo Moses, Dratele Epiphany, Luyambi Vincent de Paul and was co-founded by Portugese sonic alchemist Jonathan Uliel Saldanha, together they straddle a unique custom instrument dreamt up by Ugandan master sculptor Henry Segamwenge, better known simply as Sega. By reverse engineering Roland's iconic TR-808 beatbox, they devised a steel-cast "percussion machine" that allows Arsenal Mikebe to seamlessly integrate bass-heavy electronic sounds into their frenetic performances, and it's this device that lies at the core of their debut album.

'DRUM MACHINE' is a rhythmic masterclass that's impossible to slot into any particular niche or other. Moses, Vincent and Dratele's kinetic beats appear to bisect each other, slipping between time signatures as fluidly as they pierce the membrane between the organic and the digital. On opening track 'Okuleekaana', brushy high-end hits coalesce into quivering patterns that bounce off the trio's guttural chants before the track's shuttled into peak-time by an ear-splitting distorted kick. Harsh death metal-style growls echo and spiral into the distance, and Sega's percussion machine is nudged into overdrive, its smorgasbord of distinctive pulses lifted skyward by glassy, evocative synths and resonant twangs.

It's extreme music, in a sense, but Arsenal Mikebe command startling dynamics, veering off course whenever possible. 'Omuzimu' is the perfect example, a labyrinth of itchy rhythms and anxious pauses that only slowly converges into a discernible beat, with its jerky bumps and muted crashes underpinned by eerie, almost inaudible B-movie whines and stifled shouts. And on the lengthy 'Boiller Omukka', the trio sing soulfully and wordlessly over feverish hollow thuds and cowbell knocks, referencing traditional Ugandan song forms while simultaneously excavating the bones of techno. It all builds up to the rubbery, intense 'Bell Ghost', that carves energetic vocal snippets into an undulating rhythmic concertina and fractalizes the atmosphere with swirling, psychedelic flutes and haunted intonations.

Since the release of 2021's 'Bubbling Inside' - a collection of Dutch wunderkind Guillermo Schuurman's most vital early productions, plus a few recent additions - the DJ and producer has been touring incessantly, introducing the wider world to his feet-forward, hybrid style. Rooted in the Netherlands' Afro-diasporic bubbling sound, it's an effervescent cocktail of dancehall, electro, EDM and R&B that fizzed to the surface back in the late 1980s, dominating Den Haag's vibrant club scene in the '90s and '00s. Spurred on by his uncle DJ Chippie, who helped co-found the genre, De Schuurman revitalized the movement in the late '00s, and has been instrumental in bringing bubbling back to the main stage, puzzling out its intersections with trap, techno and beyond.

'Bubbling Forever' is another unforgettable arsenal of acidic laser synths, Antillean tambu percussion and swirling vocal snippets, all anchored to an all-important dancehall swing - the backbone of the sound since its earliest days in Den Haag. Like its predecessor, the collection is a wide-reaching set of vintage cuts and twitchy new productions, kicking off with the curled 'Raw', an immaculate introduction to De Schuurman's world: cybernetic electronic swooshes, backed by rattling percussion and the kind of kicks that don't cut, they bounce. And although it's relatively hotfooted, De Schuurman's music is blessed with unexpected lightness, coaxing movement sensually rather than demanding it. On 'Stylez Two' for example, fiery screams and breakneck beats are disencumbered by steel drum chimes and cheery whistles, splitting the mood between the sweatbox and the carnival.

But De Schuurman's greatest talent is his ability to absorb ideas from all across the musical map. 'Scratchin' fuses urgent turntablist scrapes with nostalgic 8-bit bleeps, and on 'Bubbling Meets Kaseko', he teams up with DJ Electro to blend big-room air horns and wobbly synths with traditional Surinamese melodies and percussion. He even brings bubbling OG DJ Chuckie along on 'Gangster Sht 2', flipping rap samples and stuttering ATL trap percussion into a whirlwind peak-time banger. And there even a few moments when De Schuurman takes a breather and turns down the tempo a little: he pulls back on 'Fucked Up Industrie', layering tangy lead zaps over a hiccuping Caribbean step, and leads the album out horizontally with 'Fashion Week', curving plasticky flutes around piercing woodblock cracks.

Bubbling might be approaching its fourth decade, but with producers like De Schuurman constantly breathing new life into the formula, it's not about to disappear any time soon. 'Bubbling Forever' is some of the most viscous, energetic and original dancefloor material you're likely to hear this year. Play loud!