Panoram makes soundtracks for daydreams gone sideways. Picture the scene: an afternoon nap with the television on, quietly, in the corner; snatches of conversation drift in through the open window. Wandering, half-formed thoughts take unexpected detours; before you know it, there’s a movie playing out against closed lids, the colors bright, the characters unfamiliar. Accidental rhythms, incidental melodies, imitations of life, messages in code.

Across 17 fragmentary, sketch-like tracks, Panoram carves a labyrinthine path in which nothing is what it seems: a fantasy world of breathy vox pads, faux guitar, detuned synths, bursts of flute and orchestral percussion, and even the occasional cheeky cartoon sample. It’s chillout music with a chilly edge, ambient with a darkly ironic undertone. (The briefest glance at your news outlet of choice should be enough to confirm that the title—Great Times—ought to be taken with a healthy dose of skepticism.)

Panoram has been making music under his principal alias for more than a decade now, releasing albums on labels like Firecracker, Running Back, and his own Wandering Eye. (He has also performed and recorded with Amen Dunes, and has co-production credits on Amen Dunes’ forthcoming Sub Pop album Death Jokes.) Panoram’s output has ranged widely, taking in abstract pop, classical composition, twisted takes on library music, and cyborg funk. One record of “bio-acoustic transmissions” came with a cannabis leaf pressed in clear wax; his 2021 album Pianosequenza Vol. 1 gathers his experiments on the Yamaha Disklavier. But Great Times offers the truest picture yet of a project that has never been easy to pin down.

Loath to overshare details about his personal life, Panoram instead lets the music do the talking, using his cryptic tracks to express the slipperiest sorts of ideas—the thoughts that take root where anxiety, distraction, and the most fleeting traces of grace commingle. Panoram’s approach flies in the face of contemporary ambient orthodoxy, with its emphasis on immersion and uplift. Great Times expresses something thornier, more difficult to translate, yet also more tantalizing to contend with. Its 17 tracks offer a chance to get lost—and an invitation to remain in the maze as long as you like.

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Panoram, the elusive mediterranean producer famous for his 'Everyone is a Door' on Firecracker and 'A Doom With A View' on Origin Peoples, now returns with a long awaited EP for his own Wandering Eye imprint. The palette here on 'The Question' is an illustrative sound collage that leaves its listener adrift through unexplored musical territories.



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Completely unique music in it's own cosmos, the first long player from the sibylline Panoram. Experiments in evocative soundscapes, minimal rhythms and mood. Hand printed sleeves.


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Completely unique music in it's own cosmos, the first long player from the sibylline Panoram. Experiments in evocative soundscapes, minimal rhythms and mood. Hand printed sleeves.




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Ramping up the intensity from his 2025 debut, Joe Milli returns to Livity Sound with a spring-loaded EP of upfront club workouts that once again split the difference between techno propulsion and UK Funky swagger.

Milli's previous release, Deep Forest, carried a dubby atmosphere on top of its bassweight rhythms. On this new four-track EP, the shroud lifts and he leans in on raw, impactful drums and sparse sound fields.

'Retreat' piles percussion into an uptempo stomper with a looped intensity and carnival accents on top, and 'Mantra' offers a similar 4/4 thrust around the 140 mark. Meanwhile, 'Revival' locks down low into a heavy dembow-informed groove and 'The Less You Know' prizes tense, precisely arranged hand drums with a minimal finish primed for creative blends.

Zeroing in on stark, heads-down production for the club, the Repetitions EP offers a different slant on Milli's emergent, sharply executed sound.


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No nostalgia trip. No museum piece. This is a living signal.
Three decades in, Freerange doesn’t look back - it expands. 30 Years Of Freerange begins here: 30 tracks from
30 artists across Five EPs. A slow-burn rollout culminating in a beautiful boxset meticulously assembled to outlast
trends, algorithms, and short attention spans. A handpicked cross-section of the Freerange continuum from artists
who’ve shaped the sound alongside up and coming voices pushing it somewhere new. Different shades, different
voices, same ethos: independence, longevity, and an unwavering commitment to the dancefloor and beyond.
Kicking things off on Vol. 1 we have an incredible track from Ralph Session ft. Brandon Markell Holmes.
Everything is aural proof that original new music can still hit hard when in the right hands. Inspired by the golden era
of Philly Soul (but no throwback retro rehash!) Everything delivers emotion and energy in equal measures thanks to
Brandon Markell Homes incredible vocals, a track that will stand the test of time and guaranteed to light up dance
floors for time to come.
Next we have Berlin-based New Zealander Philippa who continues to impress with her original sound and delivers a
string-laden, subtle tension builder entitled Mixed Emotions. Vocodered vocals, rolling bassline and simple analogue
synth hooks all go in the melting pot, making for a club track that sounds fresh and unique.
Closing the A side, Palm Skin Productions brings his darker sonic explorations to the release in fine style. Shark
Drunk goes heavy on the acid and sound design textures, all underpinned by a crunchy groove to get the dance floor
locked in during the heavier, tripped out hours.
Flipping over we have the Philadelphia legend Josh Wink and his contribution to the release cryptically entitled NGF.
Here he delivers a masterclass in emotionally charged contemporary house with his signature depth and musicality.
Spanish producer Nacho Marco makes a very long overdue return to Freerange with a sublime of classic feel-good
rolling deepness entitled The Flying Fox. His Sweetest EP dropped almost 20 years ago (and still gets played by
Jane Fitz) and he’s recently released on Chiwax, Phonogramme and his own Loudeast. Fans of his sound will know
what to expect - sun-streaked, hypnotic grooves with a melancholic undercurrent perfect for the heads down 4am
moments.
Ending on a blissed out, chilled vibe we have a very special track from Lovebirds entitled Janet Nice. The perfect
closing track for this landmark release, Lovebirds goes heavy on the emotive pads and reverb-soaked stabs all
underpinned with a slo-mo house groove making for a sultry, otherworldly track to lose yourself in.

A1 - Ralph Session - Everything feat. Brandon Markell Holmes
A2 - Philippa - Mixed Emotions
A3 - Palm Skin Productions - Shark Drunk
B1 - Josh Wink - NGF
B2 - Nacho Marco - The Flying Fox
B3 - Lovebirds - Janet Nice


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Warm Waves’ first appeared in 2020, ten years after Turn On The Sunlight’s debut self-titled album was first released in Japan. During that decade, Turn On The Sunlight’s Jesse Peterson and Mia Doi Todd welcomed their first child and co-founded a music venue in Los Angeles. When performance spaces were required to close at the start of the pandemic, Jesse’s focus shifted back towards home recording. Since ‘Warm Waves,’ five more Turn On The Sunlight albums have followed (including ‘Drives To The Beach,’ also on Tokonoma Records), all of which can be seen as an expansion of the musical direction set forth on this album.

The group heard on ‘Warm Waves’ consists of musicians who Mia and Jesse were regularly playing with at the time - Sam Gendel, Mitchell Brown, Andres Renteria & Gabe Noel - joined by Laraaji, Arji & Luis Pérez Ixoneztli, making their first recordings together.

The group’s blended signal was routed through Mitchell’s tape loops and modular synthesizer, which contributed to the unique communal sound of these recordings. Further extending this approach, Carlos Niño then reprocessed and reimagined ‘Passing Rain’ with Jamael Dean for his Elemental Beat Mix.

Originally released one week into the official lockdown period, some listeners found the warm, collective sound well-suited for the time of introspection and shifting priorities that followed. Now, in 2026, ‘Warm Waves’ returns on vinyl to once again encourage peaceful contemplation and open-hearted togetherness, in echo of the spirit of its creation.

Credits
Sam Gendel: Saxophone & Electronics on A1, A2, A3, B1, B2, B3
Laraaji: Voice & Zither on A3
Luis Pérez Ixoneztli: Bird Sounds on A1, Aerophones & Water Drums on B2
Mia Doi Todd: Voice on A1, A2, B2, B3; Piano on A3
Jesse Peterson: Guitar, Bass, Organ & Bird Sounds on A1; Organ on A2; Guitar & Bass on A3; Wooden Whistles, Guitar, Ukulele & Piano on B1; Ice Breaking on B3
Andres Renteria: Percussion on A1, A2, B1, B2, B3; Marimba & Percussion on A3
Mitchell Brown: Synthesizers & Magnetic Tape on A1, A2, A3, B2, B4
Gabe Noel: Bass on A2, A3, B1
Arji: Bells & Shells on A3
Carlos Niño: Production / Remix on B4
Jamael Dean: Additional Keyboards on B4

Produced, mixed & recorded by Jesse Peterson
Except B4, produced by Carlos Niño

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Gatefold Sleeve

M’Bamina – African Roll (1975)
The story of an album born between Africa, Italy, and the nightclub culture of the 1970s
In the heart of 1970s Italy — a country undergoing profound social change and a music scene just beginning to open itself to distant sounds and cultures — an extraordinary, almost improbable story took shape. It is the story of a group of young African musicians who found their way to Europe, of a Turin nightclub that became a crossroads for communities and experimenters, and of an album which, released in small numbers and largely unnoticed at the time, is now considered a rare jewel of Afro-fusion.
The band called themselves M’Bamina — an ensemble of musicians from Congo, Cameroon, and Benin, who arrived in Italy in the early Seventies. Settling between northern Italy and the Pavia area, they began performing in small clubs and community events, bringing with them a vibrant rhythmic heritage: African polyrhythms, call-and-response vocals, funk-infused bass lines, and Caribbean or Afro-Latin colours absorbed along their musical journeys. Their raw, contagious energy on stage quickly drew attention.
Meanwhile, in Turin, another story was unfolding. There was a venue becoming almost legendary: Voom Voom, one of the city’s liveliest nightclubs, run by Ivo Lunardi. The club attracted an eclectic crowd — students, artists, foreigners, night owls — and Lunardi quickly understood that the dancefloor wasn’t just a place for music, but a melting pot for a new kind of cultural energy. Out of this vibrant atmosphere came his idea: to turn the club’s name into a small independent record label, Voom Voom Music, capable of capturing the spirit of those years and giving voice to unconventional projects.

When Lunardi heard M’Bamina, he immediately sensed that this was the sound he had been searching for: fresh, different from anything circulating in Italy at the time, and capable of blending African tradition with funk and European sensibility. He brought them into the studio.
Production was handled by Lunardi along with Christian Carbaza Michel, while the engineering was entrusted to Danilo Pennone, a young sound technician with a sharp, intuitive ear.
The recording sessions — held in Turin in 1975 — produced a remarkably warm and direct sound. The music feels almost live: grooves rooted in African tradition, but open to funk-rock structures and modern arrangements. It is a natural fusion, never forced. Tracks move between tribal rhythms, funk basslines, light electric guitars, congas and Afro-Latin percussion, with call-and-response vocals and melodies that echo both Congolese tradition and the lineage of Latin jazz. Not by chance, one of the album’s most striking tracks, Watchiwara, reinterprets a Latin standard through M’Bamina’s own rhythmic language.

The album was titled African Roll — a name that was already a statement of intention. It is African music that “rolls,” that moves, adapts, transforms within a new geographic and cultural setting. It is not strictly Afrobeat, nor Congolese rumba, nor Western funk: it is a spontaneous, hybrid blend, shaped more by lived experience than by any calculated aesthetic program.
When African Roll was released, the world around it barely noticed. Distribution was limited, and 1970s Italy had yet to develop a cultural framework for receiving such music. The national music press rarely paid attention to African or “world” productions. The album slipped into silence — though the band’s own story did not.

M’Bamina continued performing across Europe and Africa, even sharing a stage in Cameroon with none other than Manu Dibango. By the late Seventies, they moved to Paris, signed with Fiesta/Decca, and recorded a second LP, Experimental (1978). Meanwhile, the peculiar record they had made in Turin began to resurface quietly among vinyl collectors, Afro-funk enthusiasts, and DJs hunting for forgotten grooves.
That is when the album’s fate began to shift.

Over the decades, African Roll emerged as an almost unique document: a snapshot of an intercultural Italy before the word “intercultural” even existed, a fragment of migrant history, a spontaneous experiment in musical fusion born far from major industry circuits but rich in authenticity. Original copies began commanding high prices on the collector’s market, and the album became recognized as one of the hidden classics of European Afro-fusion from the 1970s.
Today, more than fifty years later, this reissue finally restores visibility and dignity to a project that deserves to be heard, studied, and celebrated. It is not simply an album: it is the testimony of a rare cultural encounter, born in an Italy unaware of how fertile such exchanges would one day become.

It is the story of a visionary producer, an extraordinary band, and a fleeting moment in which music, migration, and nightlife came together to create something genuinely new.
African Roll is — now more than ever — the sound of a bridge: between continents, between eras, between cultures. A record that, after rolling far and wide, has finally come home.

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Upit Sarimanah's self-titled album is here, a captivating collection of songs that reimagined what Sundanese music really means. Originally released by Mesra Records, it finally got repressed by LaMunai Records after out of circulation for decades. Born Suryamah on April 16, 1928, in Sadang, Purwakarta, Upit Sarimanah was a famous Indonesian singer, particularly known for her traditional Sundanese songs in the 1950s. She was a prominent figure at RRI Jakarta from 1950 to 1984 and also led the Gamelan Siliwangi.

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Brazil is a treasure trove of inspirational music from the past, present, and future. Here we head back to 1976 for a one-of-a-kind kaleidoscopic journey, melding Brazilian regional rhythms with funk, rock, soul, and psychedelia by the married couple Eduardo Araújo and Silvinha. A cult classic and beloved record for some of the scene’s biggest DJs including Floating Points, it was further immortalised when Madlib sampled ‘Opanigê’ for his track ‘São Paulo’.

Singers Eduardo Araújo and Silvinha Araújo had successful careers in Brazil beginning in the 1960s. Eduardo broke through with the rock-infused Jovem Guarda hit ‘O Bom’. Stepping into more soulful territory, Eduardo released ‘A Onda É Boogaloo’ in 1969, produced by a young Tim Maia and followed it up with a number of other notable releases. Also part of the Jovem Guarda movement, Silvinha recorded a string of excellent albums and numerous 7” compactos for Odeon and RCA.

In 1976, the duo set forth the landmark underground album Sou Filho Dêsse Chão, complete with its eye-catching psychedelic cover art by Gustavo Matula and Jan Matula. The album featured a heavyweight line up of musicians, including accordionist supreme Dominguinhos, the drummer Dirceu Medeiros, who played on the first Os Mutantes album, and members of the esteemed bands Banda Black Rio and Som Nosso.

Sou Filho Dêsse Chão was inspired by the pair's travels to Salvador, Bahia. Eduardo was influenced by the Brazilian culture of the region and wanted to incorporate and capture the sounds of capoeira, Forró, and candomblé into the album. Here we have the traditional African-Brazilian culture of Northern Brazil fusing with the contemporary commercial music of Rio and São Paulo’s Tropicalia, MPB, psych-rock, and Black Rio movements. Uniting the cultures, Eduardo and Silvinha managed to combine these genres seamlessly.

It's an album full of highlights, with the Tim Maia-esque funk of ‘O Tempo Que Esse Tempo Tem’ laced with its rock tones, sitting side by side with the accordion-driven ‘Sou Filho Desse Chão’ and rolling groove of ‘Manda Embora A Tristeza’. Elsewhere the elegant trippy psych-funk of ‘Capoeira’ sees Eduardo and Silvinha effortlessly trading vocal duties. The record would also reach a new audience outside of Brazil when one of the standout tracks, the highly original spacey ‘Opanigê’, was sampled by Madlib for his track ‘São Paulo’.

Even though on release it was not a commercial success, Sou Filho Dêsse Chão has since found its place as an iconic and treasured LP.

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Released in 1979, Tete Mbambisa's Did You Tell Your Mother delivers the ultimate blend of African groove with American modal grace, making it one of the all-time classic albums of South African jazz. With Mbambisa presenting original compositions at the piano alongside Basil "Mannenberg" Coetzee on tenor sax and flute, the acoustic quartet featured here is rounded out by Zulu Bidi from the band Batsumi on bass locking in with Dollar Brand drummer Monty Weber. This 2026 reissue presents a flat transfer of the master tapes with album artwork restored using illustrator Hargreaves Ntukwana's original ink drawing.

A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career took off. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's solo recordings from the 1970s, produced by Rashid Vally for the independent As-Shams/The Sun record label, document his creative peak as a recording artist and have contributed to earning him an honorary doctorate and a place among the figureheads of South African jazz history.

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