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Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

Scott Pilgrim EX, the newest video game from the Scott Pilgrim franchise developed by Tribute Games, is out now with an all new original soundtrack from Anamanaguchi. The sprawling soundtrack, which accompanies a brand-new storyline co-written by series creator Bryan Lee O’Malley, perfectly connects the band's legendary electronic past with their fuzzed out garage rock present while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi while delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans of the band alike.

Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. the World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, USA, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.

After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases.  This process would eventually lead to Peter and Luke alongside the remaining two band members — Ary Warnaar and James DeVito — flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's Anyway, marking another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.  

Now fresh off the heels of a nationwide tour in support of Anyway, Anamanaguchi have returned to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for Scott Pilgrim EX.  A return to form that comes with a depth of knowledge and innovative skills that have allowed the band to continue to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow along with them.

The new soundtrack for the latest installment in the Scott Pilgrim franchise, Scott Pilgrim EX

After following Luke Blair's work for approaching two decades from his 2007 debut as Lukid on Actress' Werk Discs, we're humbled to present a new album on Death Is Not The End. Following relatively hot on the heels of 2023's Tilt (his first in 11 years, not counting his work with Jackson Bailey under the Rezzett guise) Underloop brings Blair's innate knack for building loops and sound structures further to the surface, while allowing his ear for emotional expression to be dialled up a notch. Those fortunate enough to be familiar with Lukid's work as a DJ will be aware of how distinct his ability is to seamlessly disappear into loop-based abstraction and back again seemingly without blinking, and often Underloop feels much like a collection of the sludgey interludes and foggy sketches that underpin his sets. Blending apparently ramshackle melodies and textures and pulling them together into an undeniable whole, Blair's tendency for pairing the simple and the indescribable with an understated vigour is fully on show here.

Written and produced by Luke Blair. Mastered by Giuseppe Ielasi.

Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Enrico Sangiuliano)

Pioneering, avant garde yet chart-storming sound designer/producer/live performer Enrico Sangiuliano drops EP ‘Order In Chaos’ as release #1 in his self-destructing countdown imprint ‘NINETOZERO’, out 20th November. The EP’s three tracks respectively represent a triptych of sound exploring tension, release, and dissolution, with violinist and composer Vito Gatto joining Italian techno/melodic maestro Sangiuliano for tracks 1 and 3. The EP blends electronic, classical and electro-acoustic genres, resulting in a fresh, unique product that defies typical techno expectation, as Sangiuliano and Gatto explore the concept of disorder as a creative playground.

‘With this chapter, we dive into chaos – something that can be uncomfortable, but is the place in which you can find unexpected or new ideas. Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Sangiuliano)

The ‘Order In Chaos’ EP continues a momentous year for Enrico Sangiuliano, and heralds his upcoming all-night-long SOLO show at Nitsa in Barcelona (Nov 28th, tickets here). His highly acclaimed NINETOZERO label has also previously featured Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX, Zimmz, Secret Cinema and About Sofiya.

Vito Gatto is a Milan-based violinist, composer and sound explorer. He is the founder of label/collective NeMu (‘Neutral Mutation’) producing Italian projects at the interface of electronic and organic sound. His self-description as ‘Making sounds, looking for silence’ makes him the perfect collab partner for ‘Order In Chaos’, which ‘embraces the paradox: chaos births order, and order dissolves back into chaos.’

‘Whilst classically trained, I have always been fascinated by the world of electronic music, in all its expressive forms’ Gatto says. ‘I use real instruments and natural sound sources processing them through electronics to enhance their unpredictability, always remembering that the core of music - whether classical or electronic - is communication and storytelling. This philosophy guided our creative synthesis on this release.’

The collaborative workflow combined remote and in-person studio work over roughly a year, culminating in these three key tracks reflecting different musical and conceptual layers.

‘Order In Chaos’ EP tracks:
Enrico Sangiuliano & Vito Gatto ‘Adaptation for Strings and 909’: A cinematic overture built from the raw intimacy of Vito Gatto’s violin, processed and layered with unquantized 909 drums. Out of grid, out of rules. Drama and turbulence surge until thunderous kicks strike like sudden storms. ‘This track symbolises both of us. Vito sent the strings, I added the iconic Roland 909. It has no structure and no grid, the arrangement is not precise, it’s a very pure track and a great example of disorder and freedom.’
Enrico Sangiuliano ‘Order in Chaos’: The title track is a pure techno weapon and dancefloor igniter: rolling, stripped, euphoric. A shape-shifting lead synth constantly mutates, flirting with disorder until the kick restores gravity. Chaos becomes dancefloor order.
Enrico Sangiuliano & Vito Gatto ‘Dissolution’: The closing moment. Strings and drums dissolve into a weightless drone. Beatless and infinite, it invites surrender into space. ‘This cinematic track slowly melts ‘Order in Chaos’, adding processed organic sounds and field recordings from the mountains.. coming back to nature, and silence.’ (Gatto).

Still #0 to go in the NINETOZERO countdown… And then what? With Sangiuliano, it’ll be something unexpected and brilliantly innovative.

Influences and inspirations come from far and wide. Sometimes they can be household names or pioneers. Other times, they can be lesser-known outfits; less known, but no less influential. Futuro belong to the latter category for Italo Moderni.

Javier and Raúl are two Spanish synthesizer sorcerers who are steeped in the traditions of italo disco and the analogue sounds of the 1980s. While Italo Moderni was still in its infancy, Futuro were a shining light with a young upstart by the name of Adrian Marth even making videos for their tracks. From these beginnings, a mutual respect and friendship developed. Now, the circle is complete with the six tracks making their way onto Accidenti; an EP that marks Futuro’s debut on Italo Moderni.

The collection showcases the breadth of Futuro’s sound. With all instrumentation played through classic analogue machines, the six works journey through neon-streaked city nights, deep uncharted jungle and sun-kissed beaches. Drawing on the music of Rimini, silver screen soundtracks and arcade innocence, this is an EP that remembers and reimagines the 1980s. Intent is immediately set, with the tense and textured “L’assalto” delivering movie score synth stabs alongside crisp percussion. “Matador” is pure elegance, panpipe playfulness countered by glacial refrains and shimmering key shifts. “Iguazu” transports the listener to the wildlife and wilderness of the Amazon; cascading chords glisten as the canopy sings. Futuro takes to the skies with the sonorous swoops of “Il sogno dell’aviatore” before the lovelorn landing of “Fantasma d’amore”, a sumptuous synthesizer serenade of unrequited romance. To close, we’re firmly on the ground for “Sotto le stelle.” Under these sparkling stars, glimmering notes glow with warmth in a finale fitting for such an EP.

And, it is fitting to finally have Futuro on Italo Moderni. A group that has inspired and will continue to do so well into the future. An accidental discovery, mutual respect and a partnership rooted in a love of synthesizers has brought Accidenti into being.

No Static Automatic is proud to cap off the year with the electrifying *Cabin Pressure EP* from seasoned producer and sound designer **Luke Sanger**.

Set for release on limited edition vinyl, this four-track weapon is a potent fusion of classic electro rhythms and Sanger’s signature world of bleeps, wobbles, and modulated
chaos.

With a career spanning two decades at the nexus of music and technology, Luke Sanger is a relentless innovator. While his roots are often linked to techno, his artistic output defies easy categorization, constantly exploring the full spectrum of electronic music. On the

*Cabin Pressure EP*, he turns his focus to electro, injecting the genre with his uniquely off- kilter and captivating sound.

The EP is a masterful display of analog synthesis. Sanger crafts simple, infectious basslines and leads, then sets them in motion, allowing them to converse, modulate, and evolve into a complex tapestry of sound. The result is a listening experience that is as intellectually fascinating as it is physically compelling. Over a bedrock of sturdy electro beats, Sanger layers acid basslines with wild envelope modulation, distorted humanoid samples, and an array of wobbly, techy textures designed to bring dancefloors to a state of ecstatic, unstable bliss.

This is a record built for impact. The *Cabin Pressure EP* is not just a collection of tracks; it's a dynamic tool for DJs, guaranteed to become a secret weapon in sets that demand character and forward-thinking energy.

Venice, Italy – 2025 Paolo Mosca, the Italian producer, composer, and DJ acclaimed for his soulful approach to electronic music, unveils his new alias I.O.N with the forthcoming debut EP Signals, set to be released on Ritmotherapy. Known for releases on Slow Life, Altered Circuits, and a recent collaboration with Alex Neri, Mosca now steps into uncharted territory fusing experimental electronics with rock-inspired textures and raw energy for the dancefloor.

Signals is a daring reimagining of 90s sonic aesthetics, drawing inspiration from the breakbeat and hip-hop influences of cult films like Blade & The Matrix. Each track on the EP blurs the line between nostalgia and innovation, layering hypnotic riffs, rolling basslines, and gripping vocal samples with futuristic precision.

The EP kicks off with “Camouflage” , where breakbeat rhythms and hip-hop flavors meet futuristic atmospheres. A grabbing vocal, heavy low-end, and hypnotic riff drive the track into a world of cinematic tension and release.

“Escape” follows with a slower tempo, but its restrained pulse only builds anticipation. Classical violin lines cut through break-driven drums, leading to a long-awaited drop that delivers an overwhelming yet deeply satisfying release.

Next, “Neo” builds momentum with a gritty 303 bassline and sharp synths, locked into a relentless 4x4 rhythm. The track feels like an expedition through acid-soaked landscapes, equal parts raw and refined.

“They Are Looking at You” closes the EP with explosive energy, bursting with hip-hop vocals that command “don’t stop. ” Propelled by a nasty bassline and oriental-inspired synth melodies, it’s a track built to ignite dancefloors and spark spontaneous breakdance energy.

With Signals, I.O.N presents more than just an EP; It's a manifesto for a new era of club music. It’s heavy yet soulful, experimental yet deeply physical, and above all, a fresh signal to the global electronic scene that something new has arrived. Reserved for their official release on Ritmotherapy, the anticipation around this project signals a bold new chapter for both artist and label.

Partisan and PILLZ join forces once again, this time tapping into the innovative sound world of Brazilian live act Lucas. His signature style, twisted beeps, energetic glitches and razor-sharp mechanics, takes centre stage on Sign, a vinyl journey built for the peak hours. Each track is packed with calculated machine funk, emphatic drums and a relentless bassline drive. Lucas’ rising reputation across Europe stems from his electrifying live sets, where he seamlessly shifts between electro, techno and house. This record captures that same kinetic spirit, playful and powerful, built to move the floor.

A rave-ready trip from an artist breaking all the rules.

Limited Algae Sea Vinyl. CocoRosie is Bianca and Sierra Casady. Sierra sings and plays guitar and flute. Bianca sings and does percussion (rattles things, makes things squeak, shakes a gold chain belt). They write all the music together. La Maison de Mon Réve was written and recorded in a tiny apartment in the 18th district of Paris during the spring of 2003. La Maison de Mon Réve was released by Touch and Go Records in March 2004. La Maison de Mon Réve is deceptively innocent; enchanting and sweet yet eerie and twisted. An acoustic guitar paints melody through a haze of cryptic sounds and perversely angelic voices. A broken radio transmits a music box orchestra. Tiny field mice sing opera. This 20th anniversary edition of CocoRosie's debut album La Maison de Mon Réve is pressed on transparent algae sea vinyl and limited to 1500 copies worldwide. Packaged in a gatefold jacket with neverbefore-seen photos, the vinyl includes the full album along with a previously unreleased bonus track, "Hairnet Paradise."

Following the acclaimed reissue of Sa Discossa earlier this year, Jo Tongo's third solo album Those Flowers returns to the spotlight.

Originally released just a year and a half after Sa Discossa, this 1982 gem came out on the small Context label and, in Tongo's own words, the two records are "like twins." Recorded with many of the same musicians, Those Flowers continues the vibrant fusion of disco-funk and reggae - this time dedicating one side to each, leaning slightly more into his Western influences.

But there's more than groove beneath the surface. Tracks like "People Need Peace" and "We Human Beings" channel his enduring themes of resistance, identity, and freedom. The synthesizer at the beginning of the song mimics the ominous drone of warplanes, and lyrics speak directly to global struggles - reminders that his music is both deeply personal and powerfully political. "I paid for these ideals in my career," Tongo reflects, alluding to the personal costs of his outspoken stance against colonialism and injustice.

Still, Those Flowers carries joy at its heart. Songs like "Ain't No Man Like A Real Friend" celebrate trust and loyalty, while the title track offers a tender ode to love and kindness - "picking flowers from the soul," as Tongo puts it. These songs reveal the inner world of a man who has always viewed music as a mirror of life.

This reissue marks the second installment in the African Edge series from The Outer Edge label. Fully restored and remastered, Those Flowers is now set to bloom again - another vital chapter in the legacy of Jo Tongo.

It's time for the next instalment from our gracious Spiritual Vibes label to bring some joyous musical upliftment and what better way than to introduce an inspirational piece we entitled 'Hands of Moses'; a revamp from the vaults of Bushman's works from the 80s and known to many as a one-away dubplate called 'Moses' in which we have now brought up to speed inna 2025 style with some exceptional musicianship involvement from the Spiritual Players of Instruments bringing emphasis to the majestic soundscapes on this project! ????

As it's the 2nd edition on Spiritual Vibes and to keep the theme of the release - we have decided have the main run in a special luminous red colour disc pressing and if that wasn't enough we are also giving away an EXTRA DUB CUT as a digital download to the first 100 copies sold via Bandcamp as a token of appreciation for all the support for both Ashanti Selah & Bushman's works over the years!

This vinyl comes complete with 4 stomping cuts mixed down in the Selah Dub studio with precision and quality ensuring to bring the right energy to the sessions through the sound-system style selection!

Originally Written by S. Richardson (Bushman) & Re-worked by both Bushman and Ashanti Selah for Spiritual Vibes recordings!

To celebrate two decades of passion, innovation, and dedication to underground music, Playbeatz Labels Network proudly launches "Tribe", a new compilation project that pays tribute to the artists and sounds that have shaped its journey.
For over 20 years, Playbeatz has been a platform for creative freedom and genre-crossing experimentation—championing independent voices and uncovering unique talents from across the electronic music spectrum. "Tribe Vol. 1" is the first chapter in a special series of releases that reflect the label family’s diversity and forward-thinking spirit.
Kicking off with a limited edition vinyl, Vol. 1 features four carefully curated tracks by long-time Playbeatz affiliates —each bringing their unique sonic identity, from house to melodic textures, tech tools to soulful grooves.

A1. Erly Tepshi – Dreamer Emotionally charged and atmospheric, a deep dive into the melodic house realm, “Dreamer” wraps a haunting male vocal around lush synth lines and hypnotic rhythms.

A2. DJ Simi & Antonio Grassia – Nuestro Fuego With its driving groove and minimal yet powerful arrangement “Nuestro Fuego” is crafted as a peak-time tech and house tool. The track is all about raw energy and club efficiency.

B1. Mind The Gap DJs – Eclipse Of The Soul This old-school house jam delivers uplifting piano riffs, classic drum programming, and a timeless sense of groove. A heartfelt homage to the golden era of house, reimagined for today’s floors.

B2. Giomini & Marcus Raute – Tape Sweat A fresh and summery house cut with shimmering grooves and playful percussion. The track recalls the clean, infectious style of Deetron, blending crisp drums with melodic finesse. A pure dancefloor delight for the warmer seasons.

Die legendären und sich ständig weiterentwickelnden Zamrock-Pioniere WITCH (We Intend To Cause Havoc) verschieben mit ihrem neuen Album 'SOGOLO' weiterhin die Grenzen. Nach ihrem bemerkenswerten Comeback und dem von der Kritik gefeierten Zango von 2023 - ihrem ersten Album seit fast 40 Jahren - beweist 'SOGOLO', dass ihr innovativer Geist nach wie vor ungebrochen ist.

Abgeleitet vom sambischen Wort für 'Zukunft', verwebt 'SOGOLO' den von der Garage inspirierten Psych, Funk und Rock, den WITCH in ihrer Blütezeit in den 1970er Jahren buchstäblich miterfunden haben, mit dem experimentellen Geist des Augenblicks. Aufgenommen in Berlin während ihrer Welttournee, strotzt 'SOGOLO' vor Dringlichkeit, Aufregung und Entdeckungen, wie immer angetrieben von der magnetischen Präsenz des Frontmanns Emmanuel „Jagari“ Chanda.

Die Geschichte von WITCH ist fast zu außergewöhnlich, um sie zu glauben. Bekannt als die „Beatles von Sambia“, gründeten sie die Zamrock-Bewegung und veröffentlichten in den 70er und frühen 80er Jahren sieben Alben. Tragischerweise beendete die Aids-Epidemie die Zamrock-Ära und kostete allen Bandmitgliedern außer Jagari das Leben. Ihre Musik wurde 2012 wiederveröffentlicht und löste eine weltweite Wiederentdeckung aus, die zu ihrer triumphalen Rückkehr führte. Zango wurde von der New York Times in den höchsten Tönen gelobt, es gab ausverkaufte Welttourneen und einen preisgekrönten Dokumentarfilm, der weltweit ausgestrahlt wurde.

Mit 'SOGOLO' bestätigen WITCH, dass ihr kreatives Feuer noch immer brennt und beweisen, dass ihr Vermächtnis noch lange nicht zu Ende ist.

- Ltd. Col. LP: (Zamrock Dust (aka Opaque Natural) LP in einfacher Außenhülle und bedruckter Innenhülle)

Mit Selenites, Selenites! präsentiert Jimi Tenor das erste Album seiner neuen Band - ein Meilenstein in der Karriere des finnischen Multiinstrumentalisten, der 2025 seinen 60. Geburtstag feierte. Tenor, bekannt für seine genreübergreifenden Visionen, vereint hier Afrobeat, Electronica, Spiritual Jazz und experimentelle Klangwelten zu einem kraftvollen, organischen Sound. Seit den 1990er Jahren prägt Tenor die internationale Musikszene mit Veröffentlichungen auf Labels wie Sähko und Warp Records. Seine Zusammenarbeit mit Künstlern wie Tony Allen, dem UMO Helsinki Jazz Orchestra und Florence Adooni zeigt seine Offenheit für musikalische Kulturen und seine Fähigkeit, scheinbar Gegensätzliches zu verbinden. Die JIMI TENOR BAND entstand in Helsinki und besteht aus fünf virtuosen Musiker:innen, die ihre Stücke live erprobt und verinnerlicht haben. Die Aufnahmen spiegeln diese Energie wider: Direkt, roh und voller Spielfreude. Die Songs wirken wie Live-Mitschnitte - spontan, intensiv und nahbar. Mit Selenites, Selenites! gelingt Tenor ein Album, das nicht nur musikalisch überzeugt, sondern auch seine Rolle als stilprägender Künstler unterstreicht.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

2025 Repress

When people think of Tough Gong they usually think of Bob Marley and rightly so, as he was nicknamed and often called Tough Gong and from this his early releases which came out on the Tough Gong label. But Tough Gong was also the name of a recording complex named after Bob Marley hat included a top level recording studio, pressing plant and distribution centre that would allow reggae music to carry on many years after his sad and too early demise.

Bob Marley had take over the former residence of Island Records boss Chris Blackwell the Island House, 56 Hope Road around 1974. Just before the 'Smile Jamaica' concert on 03rd December the same year the house was ambushed by gunmen. Bob's manager Don Taylor was hit 5 times AND Bob was shot in the arm and his wife Rita Marley was hit in the head by a stray bullet. How no one was fatally injured is staggering. Immediately after the concert Bob Marley started his self imposed exile from Jamaica, settling in London, England. This would lead to the aptly named exodus album being recorded there in the summer of 1977. It would not be until the 'One Love' peace concert in Kingston's national arena on the 22nd April 1978 that would see Bob's return to the island. Marley felt is was important to show his commitment to the people of Jamaica and on his return to 56 Hope Road he began construction of his own recording studio with the help of music mogul Tommy Cowen. Unfortunately Bob Marley's short life would end on the 11th May 1981 from cancer which originated form a football injury. His passing would lead to 56 Hope Road being turned into a museum to the legend of reggae music.

A new location would have to be found to carry on Bob's work which was 220 Marcus Garvey Drive, Kingston 11. The buyer would be Rita Marley and the Tough Gong International Organisation.

Engineers working at the new facility included Errol Browne who had worked at Treasure Isle studios and Hopeton Overton Browne known as 'Scientist', named by the great producer Bunny 'Striker' Lee who worked with him previously at King Tubbie's and Channel One's studios described his ground breaking style as being like that of a scientist.

We focus for this release on the work carried out by the great Scientist on the songs of the Black Solidarity Label run by Ossie Thomas (aka Joe The Boss) recorded at Tough Gong studios. One of the foremost recording, pressing and distribution facilities on the Jamaican island set up from the work of Bob Marley to carry forward reggae music. Hope you enjoy this set......

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern underground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while staying firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Entertainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

Heralding 10 years of relentless club futurism, Timedance strikes forward once more with TD10. Batu's label has nurtured experimentation between techno propulsion, soundsystem pressure and innovative sound design since the beginning, rarely resting in one space and always reaching for new ideas. Across 23 forward-facing cuts, this compilation continues that tradition with a strong cast of scene-leading heavyweights and crucial emergent talent.

The wide-ranging styles across TD10 are bound together by a shared affinity for bassweight presence and vibrant, three-dimensional production. Fractured, artful deconstruction from Daisy Moon, Marco Shuttle and Verraco sits alongside the snarling half-step pressure of re:ni and Lurka and the jagged drum intensity of Lechuga Zafiro, 33EMYBW, Ayesha, and Jabes. There's space for big room anti-anthems from Pearson Sound, Bambounou and Batu himself, wildcard swerves from Minor Science and Skee Mask and more emotive melodic sensibilities from Polygonia, El irreal Veintiuno and BADSISTA. At every turn, the ideas are fresh, toying with the idea of an all-encompassing sound for the label and throwing open the possibilities for what it might represent in the future.

Timedance has thrived in an era where technology has eroded the boundaries between the generic formulae of dance music's past, helping set the pace for innovation and presenting compelling, immediate music across the tempo range. TD10 responds to that legacy with its gaze fixed firmly forwards, ushering in the label's next chapter in proudly unpredictable style.

Das Avant-Rock-Sextett aus Beirut verschmilzt auf diesem großartigen Nachfolger seines gefeierten 2023er Debüts "Mais Um" Psych/Kraut, Improv/Skronk, Elektronik, Gothic und Jazzelemente mit traditionellem ägyptischem Gesang und moderner arabischer Poesie. Produziert von Radwan Moumneh (Matana Roberts, Sarah Davachi, Jerusalem In My Heart). Der Titel des zweiten SANAM-Albums ist ebenso vielversprechend wie die Musik der libanesischen Band. "Sametou Sawtan" bedeutet aus dem Arabischen übersetzt "Ich habe eine Stimme gehört". Spukhaft oder spirituell, wie auch immer man die Phrase liest, sie spricht von der Fähigkeit von Klang und Sprache, innezuhalten, Aufmerksamkeit zu stehlen und uns für den Moment zu öffnen. In ähnlicher Weise vermischt die Musik von SANAM zarte Rasereien und feuerverbrannte Balladen, indem sie frei fließende Rock- und Jazzgerüste mit der tief verwurzelten arabischen Tradition verbindet. Sie in vollem Flug zu hören bedeutet, in der Gegenwart gehalten zu werden und sich neu zu orientieren, um einen offenen Horizont zu eröffnen. Die Arbeit an "Sametou Sawtan" begann im Frühjahr 2024. Die ersten Ideen, die in den Tunefork Studios in Beirut entstanden, wurden im April während eines Aufenthalts in Beit Faris, einem mittelalterlichen Haus in der Küstenstadt Byblos, weiter ausgearbeitet. Das Sextett: Sandy Chamoun (Gesang), Antonio Hajj (Bass), Farah Kaddour (Buzuq), Anthony Sahyoun (Gitarre, Synthesizer), Pascal Semerdjian (Schlagzeug) und Marwan Tohme (Gitarren), wurde vom Produzenten Radwan Ghazi Moumneh (Jerusalem In My Heart) unterstützt. Die letzten beiden Tracks des Albums sind Aufnahmen aus den Beit Faris-Sessions, während der Rest in den La Frette Studios in Paris während der Europareise der Band im Sommer 2024 aufgenommen wurde. Die Platte verarbeitet Gefühle der Distanz und der Entwurzelung. "In den letzten fünf Jahren hatte ich das Gefühl, dass jeder den Libanon verlässt", erklärt Chamoun. "Das Album handelt nicht wortwörtlich davon, sondern von der Vorstellung, dass dich etwas verlässt. Eine Distanz zu den Ereignissen, obwohl du in ihnen lebst, eine Distanz zu deinem Haus, obwohl du in ihm wohnst." Ob in der sehnsüchtigen Ballade "Goblin" oder dem langsam brennenden, autotune-überladenen Freakout von "Habibon", Sametou Sawtan fängt das Streben nach festem Boden in einer Welt ein, die diesen nur selten bieten kann . Das Album hat die hypnotisierende Intensität des SANAM-Live-Erlebnisses, während es der Musik Nuancen, Tiefe und eine enorme dynamische Bandbreite verleiht. Wie bei ihrem Debüt sind die Texte vieler Tracks entliehen, Worte, die in neue Kontexte gestellt werden, um die Gegenwart zu verarbeiten. "Hamam" interpretiert ein ägyptisches Volkslied neu. In "Hadikat Al Ams" treibt der krachende Hardrock-Stampfer den Text des zeitgenössischen libanesischen Schriftstellers Paul Shaoul an. Und sowohl "Sayl Damei" als auch der Titeltrack verwenden Gedichte des iranischen Dichters und bahnbrechenden Mathematikers Omar Khayyam aus dem zwölften Jahrhundert. "Wenn man etwas von Omar liest, fühlt man eine Verbindung zur Gegenwart", sagt Chamoun. "Das Gefühl, dass es keinen klaren Weg gibt." "Sametou Sawtan" enthält auch zwei Lieder mit Chamouns eigenen Texten, darunter den Opener "Harik". Es war die Keimzelle des Albums, geschrieben von Chamoun im Februar 2024, wobei die Band den Track um ihre Worte herum aufbaute. Es beginnt mit einem Schauder, zerfetzter Elektronik und einer keuchenden Stimme, die das Schlagzeug durchdringt, bevor sich die Band zu einem triumphalen Aufstieg aufschwingt. Es geht um Eintauchen in "ein unendliches Feuer", verrät Chamoun. Den Text zu "Tatayoum" schrieb sie allein, bevor sie ihn der Band vorlegte. Er spiegelt eine andere Art von Intensität wider, "eine Schleife, eine Besessenheit", wie sie sagt. Buzuq webt durch schwebende Elektronik und drängende Trommeln, während Chamoun arabische Worte rezitiert, die die Liebe beschreiben. Die unaufhörlichen Energien, die in diesen Tracks erforscht werden, sind nicht unbedingt negativ. Sie vergleicht deren Intensität mit der eines Schriftstellers, der in einem Gedankengang gefangen ist, im Guten wie im Schlechten. "Es geht nicht darum, deprimiert oder traurig zu sein", sagt Chamoun. "Es ist eine Falle, aber sie kann auch magisch sein." "Sametou Sawtan" wurde von Farah Fayyad mit ikonischen Grafiken und Design versehen.

Transversales is very glad to announce the release of « Unreleased & Rareties » spanning 1972-2002, revelatory collection of short and secret music by electronic music pioneer, Jean SCHWARZ. He served as an engineer at the CNRS in the Ethnomusicology Department of the Musée de l'Homme in Paris, and was a member of the Groupe de Recherches Musicales (G.R.M) from 1969 to 1999.

This compilation allows us to discover some of unreleased rarities from Jean Schwarz’s personal archives and unpublished recordings which were composed for the dance, screen or the performing arts.

Remastered high-resolution audio transferred directly from the original master tapes.
Exclusive liner notes. Deluxe LP with printed innersleeves & OBI