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Contemplating the role of the album format in an attention-deficient society, Speedy J presents Walkman -- a constantly shifting, 90-minute soundtrack to a journey of your choice. Jochem Paap's first solo album in over 20 years is a freewheeling, 20-track testament to his decades-deep studio skill and sonic versatility, running from skewed rhythmic rabbit holes to exploratory tonal abandon. For Paap, the traditional idea of the album had become obscured by listening habits and the non-stop information barrage of our digital lives. Having moved on from his breakthrough years releasing LPs and touring off the back of them, he was more inspired to develop his many-sided STOOR project and feed into a bigger artistic body of work than the temporary shelf-life of a single release. As is natural for any artist, his perspective shifted over time and he found himself drawn back to the idea of an album, realising he connected best with longer releases while he was on a walk, out for a run or generally in transit one way or another. With an endearing call back to the humble Walkman, he selected an hour and a half of material created during studio sessions at the beginning of 2025, perfectly sized to fit on two 45-minute sides of a cassette tape. As has long been the case for his studio practice, there were no fixed intentions when sitting down in the STOOR lab to start making noise -- just a wealth of experience and an expansive set of tools to start exploring with. From hours of jams Paap pulled together standout moments and moulded them into a mixtape-like narrative ranging from two-minute beat nuggets to full-tilt techno workouts and immersive ambient drops. Every sound is intentional, but the overall delivery is instinctive and curious, showing multiple new dimensions to Paap's sound and offering unpredictability at every turn. 'Arp Amp Chasm' opens the album up in a thick blanket of humming, harmonic waves with an electric emotional charge, while 'Ctrssalms17 (Cold Render)' journeys through evocative blooms of melancholic, gritty pads and rugged, half-submerged tech funk. 'Modern Birds (Origin Edit)' reaches skywards with grand sweeps of dynamic, brilliantly rendered synthesis. From the dexterous drum science of 'Drift Vector' to 'Osc Hop (Slow Collapse)'s lurching, beatless swamp of synths, on Walkman even the briefest snapshots leave an impression that lasts beyond the quick-scan cycle of the modern music experience. With his return to the album format, Paap's message is clear --put your headphones on, get outside and lose yourself in the sound of an artist constantly committed to moving forwards.

Maybe it was inevitable that Vilhelm Bromander and Fredrik Rasten would find each other. A symbiotic musical alliance of suggestive combinatory magic that stretches back to the interstitial two day space that separates their dates of birth and manifests here as the movement between ‘perfect’ or ‘just’ intonation and the ragged, psychoactive energy of the slippages from and towards that togetherness that render otherwise simple patterns or generally understood repetitions as wildly other and alive.

Astral Twins shares ‘twin’ works by each composer. The patiently unfolding real time retuning of Fredrik Rasten’s guitars on the a-side’s Sojourns and Vilhelm Bromander’s quickened steps and spry looping melodies on the flip’s Partially Dancing.

Both artists have history of going deep into the aesthetic and acoustic impact of intonation (how you think about what is ‘in tune’). Where their first LP (...for some reason that escapes us, 2019, Differ Records) shared a gorgeous set of sustained tone colour fields, this time they lean more explicitly into the folk music traditions of Scandinavia and further afield, whilst echoing the zoned minimalist atmosphere of Arthur Russell’s classic Instrumentals.

Recorded up close and in real time at Fylkingen’s soon-to-be-abandoned temporary location in Stockholm’s southern suburb of Bredäng, Astral Twins sings with the possibility that one plus one can equal more than two.

Fredrik Rasten:
 Sojourns explores the live retuning of guitar and double bass in a sequence of just intonation harmonies. A guitar ostinato runs throughout the piece where the retuning becomes an integral part of the composition. The slow pace reveals every detail in the transition from one harmonic arpeggio to another — how interfering waves emerge and disappear as the tonal interactions settle in electric clarity. The double bass shadows the guitar's process and comments with occasional pizzicato tones and register jumps, at times providing a low foundation for the sound and sometimes soaring together with the guitar. This is music that is deeply listening; experimental and at the same time humbly inviting many kinds of being with sound.

Vilhelm Bromander: 
As the title suggests, this song has a partially dancing character. The title also has a double meaning with reference to the partials and harmonics that dance together. The basic idea was to write music in just intonation that instead of being drone-based is reminiscent of a lightly dancing folk music, where the joyous feeling of just being in the music — “musicking" — is allowed to lead the way.

The double bass plays repeated overtone double stops in an open harmonic progression with subtle modulations that is inspired in equal parts by Steve Lacy's persistent repetition of phrases as east-asian khaen music. The guitars and mandolin have a freer role, with plucked retuned strings that enhance the bass's modulations and provide forward movement. The music invites to both melodic and spectral listening, suddenly halting so that other focal points can reveal themselves. For example, a chord sequence suddenly transitions to a more spectral part where Fredrik is playing a bowed guitar with a chain, several plucking guitars, voices, and pitch pipes. I wanted to make something ‘orchestral’ with just two people and no overdubs: a dance of overtones and open resonant strings, where we seamlessly take turns standing in the foreground.

2026 Repress

French talent Hyden makes label debut on Mutual Rytm with conceptual new techno EP, 'To Whom It May Concern'. Hyden is a potent force in the French underground, creating powerful techno with dense percussion, immersive grooves and subtle nods to classic influences - all through his own unique lens. Having delivered standout releases in recent years, here he offers up sounds "anchored in psychoanalysis, time, and emotional residue" as he makes his mark on SHDW's Mutual Rytm imprint, delivering influences of dream logic and surrealism as the palette moves between brutality and introspection. "It's hypnotic music for moments of rupture where something breaks or breaks through". Opener 'Manifest Content' is inspired by Freudian theory and explores the surface illusions of thought and dream. It's about the dissonance between what we perceive and the deeper meaning that slips away beneath and is a deep and dubby techno track with flashes of unsettling melody. 'Bruises' is emotional trauma made sonic. This piece delves into invisible scars and traumas, residues of past conflict or intimacy - it's slow-burning, heavy and raw. 'Jikan' is a meditation built on time and its erosion. Inspired by the Japanese concept of impermanence, it reflects fleeting moments, decay and the tension between stillness and motion with jacked up but warm drums and turbulent bass. Next, 'Free Will' is born from inner conflict and plays with deterministic rhythms and evolving layers, questioning whether we are truly in control or just passengers in a prewritten sequence. The vocal mentions, "creatures, you're out of time" to bring darkness to the intense but sleek rhythms. The streamlined physicality of 'Swarm' channels the primal force of collective movement and is a nod to the loss of individuality in group behaviour. In addition, the package is loaded with digital bonus cuts. 'Yumehara' is a dive into surreal dream-states and evokes subconscious landscapes where logic dissolves and emotion reigns, while 'Lu Bu' is brutal and warlike and named after the legendary Chinese general that captures impulsive violence, betrayal and reckless glory with relentless energy and rhythm. Lastly, 'Neon Pale' is a synthetic dreamscape about fading beauty under artificial light - a melancholy ode to cities at night and the loss of warmth in modern life.

It's been more than ten years since Rolando debuted with his sought after self-titled EP on 030303 and it is thrilling to see the producer - who has always managed to remain a sort of best kept secret, admired only by the heads - still surf those high waves of creativity. Lifephorce is bound to be an instant classic, leaving instant marks on the listener's soul with unsettling yet mesmerising chord changes, a heavy throbbing bassline and generally a deep, introspective outlook on the dancefloor. Sterilize the Club brings back memories of face masks (thank you Rolando), but soundwise this is face to the ground stomping braindance material. Just as driving but more melancholic are Dot Zoner and Exit Your Own Realm. Classic Rolando Simmons, this one. If you know you know...

A time capsule of Long Island boogie-funk history – officially reissued for the first time!


Founded in 1978 in Amityville, Long Island, VAP Records (Virgin Archer Production) became a cult independent label known for its infectious dance grooves, soulful vocals, and DJ-friendly 12” singles that lit up clubs from New York to beyond. Now, for the very first time, the label’s most iconic tracks are compiled on vinyl in one explosive package.
What’s inside?


This “final edition” includes the best of VAP’s rare 1979–1983 output, with tracks from the label’s flagship act Final Edition (“No Limit”, “Betcha Can’t Love Just One”, “We’re Moving On Straight Ahead”), alongside club favorite Broadway – “Let’s Make It”, plus deep gems from Kevin Keys, Jazzee, and Olivia McClurkin.
Why is this essential?


• “Betcha Can’t Love Just One” gained legendary status after appearing on General Hospital and HBO’s How to Make It in America.


• Armand Van Helden’s old-school remake of Final Edition’s B-side “I Can Do It Anyway You Want” went viral, surpassing 10+ million views on YouTube, proving these grooves still ignite dancefloors.


• Original VAP 12” singles are impossible to find and often sell for hundreds of dollars. This reissue brings those classics back, mastered from the original tapes.


Collectors, DJs, and boogie enthusiasts – this one is for you. With its blend of raw disco energy, soul-drenched vocals, and timeless funk, Best of VAP Records – Final Edition is not just a compilation, but a celebration of a family-run label whose legacy shaped the underground dance scene.

Daniele Baldelli
Considered one of the first DJs in Italy, Daniele Baldelli began his career in 1969 mixing vinyl at the Tana Club in Cattolica (his hometown),
predating the birth of the modern DJ by several years. In the following years, he solidified his talent and technique at histor such as the Tabù Club, Baia degli Angeli, and Cosmic. From 1979 to 1984, Baldelli created his unique and eclectic style, blendi ic clubs ng seemingly distant sounds and musical styles, complementing them with tempo adjustments (bpm) and deliberately extreme equalization,
creating a truly distinctive sound, known as "Afro Disco." Soundscapes and tribal percussion blend with early electronic music experiments, and Baldelli's sets become truly mystical experiences, where, for the first time, the temples are replaced by the dance floor.
The documentary film "A Cosmic Life" has just been released, starring Daniele Baldelli alongside other illustrious guests from the nightclub scene, recounting the history and formation of this movement from the 1970s to the present.
Gaudi
A producer/musician among the most highly regarded on the international dub/electronic scene, over the past 30 years Gaudi, from his
London studio, has contributed significantly to expanding the boundaries of musical genres with high-profile releases and innovative
music production techniques. Recently nominated for a Grammy Award with 'Mass Manipulation', the album he produced for the reggae
band Steel Pulse, and also nominated for a World Music Award with his album 'Dub Qawwali' with Pakistani singer Nusrat Fateh Ali
Khan, Gaudi has collected a series of number 1s on the international charts: Billboard - with the album 'Heavy Rain' by Lee "Scratch"
Perry, 'Vessel of Love' by singer Hollie Cook and with 'Mass Manipulation' by Steel Pulse -, UK Chart n.1 with the album 'Prism' by the
band The Orb (with whom he has collaborated as a producer and keyboardist since 2008), with 'Blue Monday' - by Gaudi himself with
the band Dub Pistols -, UK Dance Chart n.1 with 'Jus Come rmx' produced with DJ Angelino for Cool Jack. He also reached no. 41 the UK charts with the album ‘Midnight Rocker’ by reggae singer Horace Andy (known to the general public for his hits with Massive in
Attack), no. 13 with the album ‘Dubwise 2’ by the band Dreadzone and no. 5 in the Italian charts with the song ‘Lasciala Andare’, written
by him for Irene Grandi. With 19 solo albums and 350 remixes and productions under his belt, Gaudi, with his artistic versatility, has
worked with Groove Armada, UB40, Simple Minds, Brian Ferry, Devo, Big Audio Dynamite, Damian Marley, Seun Kuti, Mad Professor,
Trentemøller, Grandmaster Flash ft KRS-One, Lamb, Don Letts, The Beat, Deep Forest, African Head Charge (in which Gaudi is a keyboardist and dubmaster), Elisa, Scientist, Dub FX, Roedelius, Caparezza, Caravan Palace, EMF, Sizzla, Jovanotti, Sly & Robbie, Piero Pelù, Youth of Killing Joke, and Maxi Priest, to name just a few. Capleton,
Daniele Baldelli & Gaudi
DJ Daniele Baldelli and producer Gaudi first met three years ago at the Jazz Cafe in London. Mutual respect and an innate need to
create new stylistic fusions were the catalysts for Baldelli and Gaudi, leading to a series of subsequent meetings that inevitably culminated in the need to create music together. The project began at Gaudi's Metatron Studio in London using analog equipment and later
moved to Baldelli's studio in Cattolica, where the two organically defined their sound, also inspired by Baldelli's precious record collection. The duo consolidated a powerful compositional symbiosis, and the project, born from a simple initial groove, later transformed
into an entire EP consisting of four original tracks and a highly innovative sound, featuring fusions of psychedelic-funk, tribal-dub,
electronic-disco, and, of course, "Afro-Cosmic"! Daniele Baldelli and Gaudi began their sonic collaboration without setting any stylistic
direction and with the intention of not creating pre-established goals to achieve; it is a project of pure artistic freedom guided by their
compositional instinct and their experience. Constantly active with their evenings and live concerts, Baldelli and Gaudi have performed
individually in many of the best international clubs and festivals.

"Waxwork Records is proud to announce the next entry into their collection of FRIDAY THE 13th soundtrack releases on vinyl, FRIDAY THE 13th PART 3. Waxwork and composer Harry Manfredini re-visited the original analog tapes in an effort to faithfully master the complete soundtrack for vinyl. FRIDAY THE 13TH PART 3 includes every musical cue featured in the film and encompasses two 180 gram LP's clocking in at nearly one hour of chilling audio which serve as a dark musical backdrop to one of the most beloved franchises for horror fans. Originally released in 1982 and in 3-D, FRIDAY THE 13TH PART 3 is the first film to feature the legendary slasher, Jason Voorhees, wearing his signature hockey mask. This image of a machete wielding, hockey masked killer became the trademark for the franchise, as well as an iconic image in American cinema and horror films in general. To keep in tune with the original 3-D theatrical release of the film, Waxwork created a deluxe quality 3-D lenticular mounted album cover for the heavyweight old-style tip-on gatefold jacket which houses two LP's featuring the complete score.

Waxwork Records incorporated the lost, deleted final scene of the film into the inner gatefold illustration. This deleted scene from the film depicted an unmasked Jason Voorhees violently beheading the “final girl"". Deemed too graphic by the film studio, the scene was cut from the movie altogether. Here's your chance to see it up close and personal through the artistic vision of Gary Pullin.

And yes, this soundtrack release includes the now famous “Disco Theme"" from FRIDAY THE 13TH PART 3's opening credits!

A cosmic journey in 8 parts: live drums and percussion looped through analog synths and vintage effects, unfolding into lush solos, deep basslines, and otherworldly textures. Anti-Planeting is Cappellato’s most exploratory statement yet—an album born of live experimentation, pressed for deep listening.

Releasing music – or art in general – goes beyond merely showcasing one’s performance skills or pursuing fame. Often, artists feel compelled to share certain works as a way to grow and transition into the next phase of their journey. The material may not always be easily digestible, but it is within these complexities that deeper meanings and innovative ideas emerge. This is what “Anti-planeting” embodies within Cappellato’s current musical landscape: a yearning to break free from a mindset that has long influenced society on this planet. Each track on “Anti-Planeting” carries a title that contributes to the overall narrative, revealing different aspects of the artist’s personal journey. Through these subtle feelings and intuitions, the album unfolds, gradually unveiling a complete puzzle that reflects the artist’s exploration and musical growth. “Anti-Planeting” is a fully realized album consisting of 8 tracks that emerged from these live experiments. The foundation of this project revolves around the use of live drums and percussion samples, which were then processed through an Electroharmonix 45000 looper and a Kaoss Pad II.

Peach Discs’ first EP of 2025 comes from DJ, producer, curator and all-round doer of great things James Priestley aka Secretsundaze.

The Mordisco EP accumulates inspiration from James' past and present, whether it be echoes of his time as a drum & bass DJ in the late 90s on "Closer," the UK Bass-referencing percussive drive of "Treat That Doll" or the title track's vocal contributions from partner Paula Juana, the result is a personal and true record that always retains the laser-focused dancefloor energy that James is so good at dishing up.

Lead single "Mordisco" serves to highlight both the UK x Colombia connection found in James' relationship to Paula, as well as his love for Latin American music in general. Paula's sultry vocals wrap themselves around tumbling drum fills, arcing synths and an insistent rhodes riff, creating something unclassifiably groovy, riding the line between house and techno while never settling into either. Sansibar takes the baton and runs further into propulsive, progged-out, dubbed-out territory on his remix – the first officially released remix on Peach Discs.

James founded Secretsundaze as a party series in 2002, and since then it's established itself as one of the most reliable names in electronic music, encompassing a record label, festival (Multi Multi), live band (Spirit of Sundaze Ensemble) and production outfit. The four tracks that make up this EP fit neatly into the lineage that James has cultivated over the past 23 years – paying tribute to history while not being beholden to it. Mordisco continues the deep, rhythmically ambiguous approach to house music that Secretsundaze championed since the first EP for Phonica Records in 2018, and continued with stand-out releases for Mule Muziq, Live At Robert Johnson and more recently Warning.

As long-time fans and affiliates of Secretsundaze (Shanti released her Alma EP on the label back in 2015), we're thrilled to be working together again and releasing this record into the world.

Jamwax is thrilled to announce the reissue of the iconic 45 RPM single “The Man Who Sold The World” by the Wally Brothers, originally released in 1974 on the Explosion label, a subsidiary of Trojan Records. This deep roots reggae track stands out with its unique orchestral strings, delivering a soulful and distinctive interpretation of David Bowie’s legendary song. Some even argue that this version surpasses Bowie’s original in coolness and creativity.

Produced by Desmond Bryan and Webster Shrowder, the Wally Brothers, better known as the renowned reggae band The Cimarons, brought their signature style to this remarkable track. Featuring Bobby Davis on vocal as confirmed by Locksley Gichie of The Cimarons, this version bridges Jamaican roots music with international influences.

At the time of its release in 1974, The Man Who Sold The World was relatively unknown to the general public, making this reggae adaptation a daring and unconventional choice. Decades later, Kurt Cobain’s unforgettable performance of the song during Nirvana’s MTV Unplugged in New York introduced it to a new audience, transforming Bowie’s original and its various covers, including this reggae rendition, into a cornerstone of music history.

Originally released in 1974
Licensed courtesy of BMG Rights Management (UK) Ltd.

‘Diré’, Idrissa Soumaoro new album, comes as a surprise to Malian and international audiences. Composer, singer, guitarist and master of the kamalen n’goni Idrissa Soumaoro presents here a beautiful collection of songs on his third album, Diré, named in honor of the town where he met his wife and where his first daughter, who is no longer with us, was born.
In 1971, after his studies at the INA in Bamako, Idrissa was transferred to Diré to teach music at the lPEG (Pedagogical Institute of General Education). He was 22 years old when he arrived in Diré. Idrissa has always been nostalgic for this beautiful place in the 333 Saints of Timbuktu region. As Idrissa sings in ‘Diré taga’ (Going to Diré), the track that opens the album, the city evokes deep emotions for the artist, as if it were a long-lost friend or lover. Celebrating the memory of the city of Diré leads the artist to retrace stories and lived situations that marked and animated him in years gone by: ‘I really miss the people, the colleagues, the friends and that period. Despite the time that has flown by, I would ardently wish to see Diré again’. Today, at the difficult time Mali is experiencing, remembering the city of Diré in the 1970s also means for the artist not giving up hope for peace: ‘The memory of Diré, a beautiful town in northern Mali, strengthens my hope for peace, union and real independence for the happiness of my people’; as he sings in ‘Sababou’, ‘Without hope, there is no life. Together we will succeed’.
The ten highly original compositions of the album are strongly based upon traditional music of Mali, but Idrissa’s life experiences, travels, education, collaborations and personal musical career have led him to compose and perform music with other influences. As Idrissa quotes: ‘My inspiration generally comes from the donso n'goni, a Bambara instrument played by and for hunters throughout Mali. This is a pentatonic instrument, similar to the blues exported to the USA by black African slaves. I've also spent so much time playing a variety of music that my music also reflects rumba, salsa (as well as Bamanan blues and a few derivatives: jazz, country, soul, rhythm and blues) etc. I have looked for and hope to have found my own form of expression from these influences’.
Throughout the album, his strong, clear voice sings in French, Bambara and English. It rides seamlessly upon a complex rhythmic sea of distinctly West African stringed instrumentation and percussion with accents of flute and balafon. There are keyboards in a few songs, but these, happily, do not dominate the music as we hear so often in today’s music. This album presents the music of a mature artist who has ‘been there, done that’ and returned to celebrate his country, his roots and his dreams in a flawlessly produced collection of songs of love, reassurance, fatherly advice and hope.
The album already has a long history: it was initiated in 2012 by Marc-Antoine ‘Marko’ Moreau, former producer and manager of Amadou and Mariam. Moreau had plans to produce the album and invited Idrissa Soumaoro to start recording in Manjul's studio in Bamako. When Moreau suddenly passed away, work on the album was still missing. The pandemic still added time for the production to continue. With the help of Climax Orchestra, arrangements and orchestrations were finalized in France. At the artist's behest, 'Diré' will finally be presented to the public by Mieruba, the independent label based in Ségou, the home of the blues in Mali. 'Let's stand together so that Mali can flourish': from conception to production and distribution, this is the message that 'Diré' carries.

All the gems of Electronic Music in a 5 LP boxset with : Fakear - Kölsch - Fritz Kalkbrenner - Laurent Garnier - Bicep - Kerri Chandler Thylacine - Bob Sinclar - Mr. Oizo - The Prodigy - Alex Gopher - Purple Disco Machine...

The WINPROD 08 is fresh !!

A side from Square is a in-Spirally tune full of that old school sound we love. BIG !
C.Ysme and 1NC1N then brings a Techno mental progressive track, whales acid shouts !


The Flip starts with a collab EP with hidden names sutch as Elie and Win : as you can expect from them we got here an Acid-Bath. Deep and banging !
Samoth and Speejay from Exit 23 finish the EP with a minimal tribe tunes. Very beatiful as well as very dancefloor... Something that totally match with Spered Acid Night release by the way...

Finally this EP brings 4 real bombastic tunes, each having something to say, a story-telling de ouf.

enjoy !!!

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

When we started Ilian Tape 10 years ago in 2007, we were both basically kids at the ages of 23 (Dario) and 18 (Marco). There was no plan behind it, no concept, no promotion campaign or any budget, but just an early vision of where it could go. We wanted to build something that lasts. After a few years of playing at parties and producing music, it was the next logical step to start a label. You can clearly see us growing up through the label in terms of artwork, compiling the records and handling things. We made some mistakes along the way and there are surely things we could have done better, but looking back after 10 years now it all makes sense as it was a natural and human development with all its ups and downs.It was always a very personal project, never about making money, but about creating a platform for music we believe in and building relationships with artists in a transparent and fair way. We really appreciate that we were able to work with so many great artists, who shared the same vision and trusted in us, over all the years. A while ago we moved away from the ordinary release info write ups, because in general writing about music is tricky and who isn't tired of the typical, full of praise for every detail of a record, release textsBut this might be starting to get boring for you too, so just buy this lovely triple vinyl package including a poster and download code, light one up and turn up the volume!One last thing though - we want to deeply thank our parents for teaching us to live our dreams and find out who we really are, our friends for the vibes and honesty, all the artists releasing on the label, all the supporters & fans for buying vinyl and files, all the DJ's playing out the stuff, all the diggers selling the stuff overpriced on Discogs, all the dancers working out on the dancefloors & all the clubs doing label nights over all the years.

Onna Last Live 1983 includes the final performance by the original line-up of Onna, the psych-rock project of revered Japanese manga artist, Keizo Miyanishi. Onna’s legend has largely rested, until now, on one self-released and self-titled seven-inch from 1983. Reissued by Holy Mountain in 2009, its rediscovery, along with several archival live and studio sets that leaked out across the 2000s, signalled to a wider audience the power of Miyanishi’s strikingly hypnotic songwriting. With Onna Last Live 1983, though, we hear the group’s perfect line-up performing at its peak.

While Miyanishi was the core member and conceptualist of Onna, the other members of the group would also go on to make significant contributions to the Japanese underground. Guitarist Michio Kurihara would eventually be known for his membership of YBO2, Ghost and White Heaven, and collaborations with the likes of Boris and Damon & Naomi. Drummer Ken Matsutani formed Marble Sheep & The Run-Down Sun’s Children and The Mickey Guitar Band, while also running the Captain Trip label. Joined by the late bass player Yasui Yutaka, to whom the album is dedicated, this quartet only performed live in 1983; the live set here was recorded at Silver Elephant.

It’s a different line-up to the Onna duo that’s documented on their single. After Miyanishi and fellow manga artist Mafuyu Hiroki recorded that material, Miyanishi decided he wanted to start playing gigs; Hiroki left, and Kurihara, Matsutani and Yutaka joined soon after. This line-up allowed Miyanishi to significantly expand Onna’s powers, leading to a sound that Kurihara once described to Ptolemaic Terrascope magazine as “repetitive and heavy, yet quite orthodox.”

The songs here are simple yet deeply effective in their repetitive power, generally revolving around two or three simply strummed chords for guitar. Bass and drums repeatedly lock into mantra-like grooves as Kurihara’s guitar scales the walls, with Miyanishi’s consumptive moans and sighs sent torquing through FX. The cumulative effect of the seven songs here is very heavy indeed; if the prologue “Always…” drifts beautifully through five minutes of placid, beseeching melancholy, the epilogue, “Never Seen A Light Like This”, spirals out into sixteen minutes of glazed-over psych-rock, completely monomaniacal and thrilling in its slow-motion tumult.

Throughout, you can hear Miyanishi and co. reaching for something ineffable, something beyond and between the notes. It’s a phenomenal performance; it’s also no surprise that the group disintegrated after this show, given its intensity. Matsutani and Yutaka left after the Silver Elephant show, with Miyanishi and Kurihara continuing through the first half of 1984 firstly as a duo, and then a trio with new drummer Yoshiki Ueonyama. Kurihara left soon after. But Onna Last Live 1983 is proof plenty of the powers of the original Onna quartet, sending their Rallizes/Velvets dream-mantras off into darkened, stormy skies.