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Mr TiDy is a DJ and producer straight out of Sydenham in South London who has until now been something of a secret, but this debut 7" is such a good edit that he's likely to break out into wider consciousness. 'Share The Love Devine' is a masterful tweak of an easy listening classic that takes flight on mellifluous synth ripples and gentle breaking waves with a carefree vocal shimmering about the mix, and it's all taken from one of rare groove's most admired writers and producers. 'Style City' is another horizontal flex with underlapping rhythms and pulse-slowing drums.

Mesmerising album of Yokota’s earliest sonic explorations that demonstrates his unique vision and sublime transcendence of boundaries.

‘Image 1983-1998’ is a collection of short miniatures, composed in two different time periods. Tracks 1-5 were recorded with guitar and organ between 1983-4 and tracks 6-12 were composed through 97-98, being inspired by the earlier material.

A musical scrapbook, or sonic design board. The sleeve notes give an insight into Yokota’s belief in a close connection between music, memory and his active imagination: ‘Encountering Acid House made me visualise music – I could clearly see the sounds sparkling… this experience led me to create electronic music.’

The year is 1989 and it's the peak of the Belgium New Beat craze. Not limited to records and clubs, the New Beat lifestyle was marketed to death with all sorts of fashion items, a plethora of accessories, and at least one erotic movie.

Fast forward a few decades. In the middle of nowhere, Switzerland, tucked inside a long-forgotten video store that closed its doors in 1999 and sat untouched for 20 years, we stumbled upon a strange treasure amongst tons of VHS hidden in the adult section. A mysterious VHS labeled "Erotiques New Beat."

What we found was pure 1989 Belgian erotica-low budget, fog-drenched, and neon-soaked. Minimalist sets. Girls in PVC. Flashing lights. Mirrors. Fog machines. Loud colors. It was erotic, sure-but also oddly sweet, almost innocent in its surreal, lo-fi dreaminess.

And then came the soundtrack.

That's what really floored us. A collection of New Beat gems, raw, simple, irresistible. Somehow, it captured the full spectrum of the genre: 100-110 bpm grooves with shades of EBM, sleazy coldwave rhythms, sensual synths, proto-Goa pulses, monk choirs, oriental melodies, and a healthy dose of movie samples. It felt alive. Timeless. Utterly perfect.

We had to know more. We dug, tracked down the source, and in 2020, reissued the soundtrack on vinyl. It sold out fast. Now, five years later, we thought about pressing one final batch. A special edition on picture disc, featuring the original smileys from the VHS.

Ottagono Italian Dojo presents the second release on the Ottagono Retro outlet imprint label through South America. This special occasion marks the opening of a second Ottagono headquarters in Argentina, introducing an exclusive project that blends the essence of the Italian music family. If you’re familiar with Latin American music genres like Rock, Post Punk, Industrial, Minimal Synth, New Wave, Synth Pop, and the broader electronic music scene of the last 40 years, you’ve surely heard of iconic bands such as Virus, Soda Stereo, and Sumo. Among these bands, having in common their birth in Argentina, Alfredo Peria is another influential music pioneer and key figure in the entire Latin American underground movement. In the mid-80s, he founded the techno duo Mimilocos. Because of this, over the years, Alfredo has been renamed the “Juan Atkins de Latino America”. Later in the 90s, he joined major labels like Polygram and BGM, living between Spain and the United States. He founded another project called Limbo with Julio Moura, a member of Virus and brother of Federico Moura. In the late ’90s, he released his first solo album with Fonovisa. After spending years travelling the world, Alfredo returned to Argentina and, alongside Cecilia Olariaga, founded his own production company, Pulpería Discos. The music world once again showcases the strong connection between Argentina and Italy, evident in the heritage of artists and figures like Maestro Alfredo Peria and la familia Ottagono, including the new Latin America manager, Federico Luchetti.

A.1: Sentidos is a new wave Latin American classic! After over 30 years, it finally received its first vinyl release. Originally written in the early ’90s by Alfredo and Julio Moura, then members of Limbo, a band formed after Virus disbanded following the passing of Federico Moura, Julio’s brother, Virus frontman. This updated version, enhanced with synthesizers and additional production by tech wizard Franco Colombo , transforms the original lyrics into a retro-futuristic club anthem with 80s vibes, It captures the essence of early Depeche Mode, Nitzer Ebb, and the Chicago Warehouse scene, while also being a great fit for fans of Juan Atkins and Yellow Magic Orchestra as well.

A.2: Yo soy su Cuba – 3.0 Adicta mix is the latest version inspired by the original demo from the 80s. This mix showcases Electro Tech Synth Pop music created by Alfredo, Rudie Martínez, Joaquín Franco, Juan Pablo Bidegain, Germán Moreno, and Pablo Torterolo, collectively known as Adicta.

A.3: Castillitos de arena – original ’87 demo, it’s a classic in Argentina underground music movement, among fans and people lost in club culture, even though it never got an official release in any format. This was frequently performed during the early years of Mimilocos live shows, but it was never officially released. A few years later in Spain, a Latin pop tropical house version was released, presenting a fresh and entirely different take from the original’s obscure essence marked by minimal synth, EBM, and deep, atmospheric sounds, which thanks to Ottagono family will see the light.

B.1: Gesell – From Villa Gesell to Ibiza, from Alfredo with love to another renowned
“Argentino” known as DJ Alfredo. This is an Ottagono tribute to one of the Isla masters and the Balearic sound. Gesell feels like a fresh 90s UK track by Farley & Heller or DJ Harvey, immersed in the emotive Alfredo Peria landscape—something you could easily hear at Café del Mar during sunset, played by another maestro we all miss, José Padilla.

B.2: Yo soy su Cuba – Now available on vinyl for the very first time, featuring the original demo. There’s not much to add—just sit back and enjoy this pure 80s treasure in all its glory.

B.3: Over the past months, Claudio and Federico have listened to many unreleased
demos and tapes from Alfredo’s extensive musical career. Among them, “7 Days” stood out for its simple beauty and potential as a hit for underground enthusiasts. This track seamlessly combines post-punk, new wave, and tropical Balearic vibes. From ’95 to ’25, it has remained fresh and innovative, once again proving that the Ottagono crew understands the essence of timeless music.

Dave Davis, a legendary name in Belgian electronic music, made his mark with classics on Bonzai Records, including the iconic "Transfiguration." Known worldwide for his DJ sets and as a vocalist under the alias JD Davis (Chab’s "Closer to Me," David Guetta’s "The World Is Mine"), he now teams up with ID10-T, a Swiss producer making waves with his raw, no-compromise techno style.

This release features two tracks crafted for peak-time dancefloors:

• "Insane": A dark, powerful underground techno bomb with deep basslines, sharp textures, and relentless energy. Built to shake the walls and ignite the crowd.
• "RDH": A groovy jackin’ techno weapon, combining bouncy bass, funky patterns, and infectious rhythms. A fresh yet respectful nod to classic techno foundations.

With this electrifying collaboration, Vibes Addikt continues to push boundaries, showcasing a cross-generational vision that fuses rave culture heritage with modern sound design.

Français

Vibes Addikt, le label de N.O.B.A reconnu pour sa ligne artistique mêlant techno et trance de manière percutante et novatrice, présente sa nouvelle sortie : un single explosif signé Dave Davis & ID10-T.

Dave Davis, figure incontournable de la scène électronique belge, connu pour ses classiques sur Bonzai Records — notamment l’intemporel "Transfiguration" — et pour ses prestations aux quatre coins du globe, s’associe ici au producteur suisse ID10-T, talent émergent dont le style se distingue par une techno brute, percutante et sans concession. Dave Davis est également connu sous son alias JD Davis, voix emblématique de titres cultes tels que "Closer to Me" de Chab ou "The World Is Mine" de David Guetta.

Ce single comprend deux titres taillés pour les dancefloors les plus exigeants :

• "Insane" : Un banger techno underground, sombre et puissant, construit pour retourner les clubs à coups de basses profondes, de textures métalliques et d'une tension hypnotique. Ce morceau capte l’essence même de la rave moderne : brut, direct, sans artifice.
• "RDH" : Une véritable arme jackin’ techno, groovy et irrésistible, mêlant rythmiques incisives, bassline bondissante et arrangements funky, qui captiveront autant les puristes que les amateurs de sonorités plus organiques. Un hommage contemporain aux racines du genre, avec une touche résolument actuelle.

Cette sortie marque une nouvelle étape dans l'évolution de Vibes Addikt, toujours en quête de projets audacieux et authentiques. Avec cette collaboration intergénérationnelle, le label affirme une fois de plus son engagement envers une techno de caractère, entre héritage rave et innovation sonore.

Mustard Yellow Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

200 Records marks its 50th release with a four-track EP showcasing both fresh faces and long-time contributors to the label. M.R.E. opens with a vibrant house cut, full of energy and warmth. Blauert follows with a deep, dub-tinged house track, subtle but with a steady, driving rhythm that keeps things moving. Havantepe contributes a deep and intricate Detroit-inspired techno track, rich in texture and unmistakably his own. Till Krüger rounds off the release with a timeless B2 track: —subtle, melodic, and unmistakably his in style.

Highly recommended by Paul Nazca, Tim French, Chad jackson, Brett Gould, Johan, Sinca, Spencer Brown, Steve parry, Ruede Hagelstein,
Karotte, Alexander maier, Greg Eversoul, Dibby Dougherty / Island Hill, Adi Shabat, Michel de Hey, Francesco Chiocci, Paul James Nolan,
Yas Cepeda, Urmet K, Satoshi Fumi, Steve Raschke, Siavash, Ranj Kaler, Nhar / Bernhard Siefert, Four Candles, Alex Neri, Dimitri Schnider / Definition,
Yves Eaux, Cerillio, Paco Osuna, Lonya, Richie Hawtin, Just Her, Stefano Lotti, Nick Stoynoff, Joseph Capriati, Luke Garcia, Mihai Popoviciu, Daniel Mehlhart, Joris Voorn, Jamie Jones, Greg Fenton, Audio Jack, Stefan Weise....to name a few!

Butterfly Records is proud to release a vinyl reissue of Radio Babilonia, the fourth electrifying studio album by Uruguayan alternative band Traidores. The album was originally released on CD and cassette in 1995 and it stands as one of the most representative works of their career. In Radio Babilonia voices of Juan Casanova and Víctor Nattero converge into a symphony of intense emotions and profound reflections. Each note resonates with their musical legacy, rising as a testament to the reality that surrounded them, where pain and beauty intertwine in a powerful auditory experience. With a style that defies convention, their lyrics transport us to a world of poetic chronicles, inviting us to explore the catastrophes of the present and future through their vibrant and critical lens. This album from 1995 is a masterpiece for those who seek an authentic and moving sound - a sonic journey that reflects its time and makes a bold statement. Released in August 1995, Radio Babilonia opens with its title track- a sonic storm that sets the tone with poetic urgency and avant-garde defiance. Songs like "Máquina" and "Crónica del Sur" explore inner turmoil and fracture realities, wrapped in melodic brilliance and sharp arrangements. Nattero's guitar work shines, especially in tracks like "Ella sabe bien" and "Pasajero de un tren," where a sense of déjà vu echoes through the lyrics. Side A closes with the haunting waltz "Como una plegaria," evoking blood-stained devotion. Side B deepens the album's mystique, offering lucid hope through punk anthems like "Enemigo del mundo" and "Fragmentos de mí." It culminates in the defiant "Canción rebelde": "There is no worse evil than chaining oneself to pain." Traidores channel poetic rage into a powerful, redemptive soundtrack for a disenchanted era.

As The Matrix ushered in the new millennium, voices of apocalypse and optimism alike wrestled for the narrative high ground over what the future held in store. Ever more inclined toward skepticism than hope, we have since grown prone to withdrawing in exhaustion when confronted by such gargantuan expectations — “lost in the Matrix,” if you will.

Less’s new album opens by building a bridge back to his previous album “Stranger” (released on the “Freude am Tanzen” label and conceived as an imaginary Blade Runner soundtrack). In the intro, breathy references from vocalist Alice immediately set the tone for the journey ahead: Electro, High Energy, Acid, Chicago, Italo Disco.

A full-fledged club album quickly unfolds—one that invites the listener to dance and switch off, while at the same time, if you allow it, provoking reflection through its lyrics. Now a Berlin-based artist with Thuringian roots, Less draws on deacades of DJ experience and channels it deftly into ten tracks. Less (real name Stefan Leßner) isn’t afraid to go “old school.” Classic touches like vocoder effects are as integral here as Alice’s irresistibly
cool spoken-word vocals—delivered in English (“I Care”, “Mirror, Mirror”) and German (“Alles was du willst”). This retro spirit even extends to his remix of the French-language Underground Cottage track “Canada (2003 Less Remix)” which surfaced in DJ Hell’s setlists last year—bringing things full circle.

“Living in the Matrix” on Lebensfreude Records is not merely a nostalgic reference to times past, but also counters exhaustion with a sense of trust in the future. It is, in essence, a call — an appeal — not to lose oneself in any kind of ‘Matrix.’ Accordingly, the album will be released both digitally and analog. The latter will come as a 180g double vinyl with a high-quality, thematically appropriate gatefold cover.

Right now, right this second and of course right this moment while you listening to it or even while reading this line of text may be witnessed the real royalty of the underground of Thailand - DOTT. Pakarapol, the mastermind behind this release has made his name in concrete actions towards the development of the local and international scene whether it’s to play sweaty basements or grand festivals, releasing quality music or being one of the driving forces behind the record store called “More Rice” which is located in the heart of the capital city - Bangkok. On the title track of the release there has been intensive remix work done by the Uruguay’s own diamond level producer Luis Malon. Luis has brought his view and vision of how things are done and has flawlessly executed this doing so. With this Thai - Uruguayan connection the release is born for our ears and souls to indulge in and of course without any doubt to raise that dust from the floors, roofs or any given surfaces once the low ends of the record starting to give off its vibrations.

TALCO melden sich mit ihrem bisher wohl ambitioniertesten Werk zurück. "Freek" erscheint am zweiten Freitag des Jahres 2027! Eine kühne und unverblümte Reise durch mentale Käfige, ruhelose Gedanken und schwebende Träume. Das Album präsentiert TALCOs unverkennbare Punk-Ska-Energie mit einer schärferen, introspektiveren Note. Geschrieben von Tomaso De Mattia (Dema), Sänger und Frontmann von TALCO, setzt sich das Album mit den unsichtbaren Strukturen auseinander, die uns in einer von Image und Performance besessenen Welt prägen. Im Zentrum steht die Frage: "Lohnt es sich, den Traum vom offenen Meer aufzugeben, nur um ein von anderen entworfenes Rennen zu gewinnen?" Es ist ein Konzeptalbum, das mit surrealem Storytelling eine statische, dekadente Gesellschaft reflektiert, die unfähig scheint, kulturelle oder politische Risiken einzugehen. Die italienischen Alternative-Ska-Punk-Rocker aus Marghera/Venedig haben sich mit ihrer Kombination aus schnellem Punkrock, Ska-Einflüssen, Blasinstrumenten und italienischer Volksmusik sowie ihren sozialkritischen, oft politischen Texten in ganz Europa einen Namen gemacht. Freek markiert eine Rückkehr zu den Wurzeln des Albums "Gran Galà", angetrieben von der kalifornischen Punk-Energie von "Videogame". Und dies ist erst der Anfang einer Reise, die weit über die Musik hinausgeht. Viele Überraschungen erwarten uns. Ein volles Dutzend Tracks im beliebten Punkchanka-Stil zum Genießen (plus vier weitere (die B-Seiten)), darunter das bereits digital veröffentlichte "Dalla Mia Parte Ella Strada" und die kommende Single "Disco Inferno". Das "Freek"-Konzept wird von einer Geschichte begleitet, die in den offiziellen Videos, den zusätzlich digital veröffentlichten B-Seiten (auch als Bonustracks auf CD erhältlich) und einem Graphic Novel/Comic aufgegriffen und erweitert wird. Das Comicbook ist Bestandteil der limitierten Freek Deluxe Pizzaboxen der beiden Formate. Als LP schwarz, LP farbig, CD mit Bonustracks und limitierte Deluxe Pizzaboxen mit Extras erhältlich.

TALCO melden sich mit ihrem bisher wohl ambitioniertesten Werk zurück. "Freek" erscheint am zweiten Freitag des Jahres 2027! Eine kühne und unverblümte Reise durch mentale Käfige, ruhelose Gedanken und schwebende Träume. Das Album präsentiert TALCOs unverkennbare Punk-Ska-Energie mit einer schärferen, introspektiveren Note. Geschrieben von Tomaso De Mattia (Dema), Sänger und Frontmann von TALCO, setzt sich das Album mit den unsichtbaren Strukturen auseinander, die uns in einer von Image und Performance besessenen Welt prägen. Im Zentrum steht die Frage: "Lohnt es sich, den Traum vom offenen Meer aufzugeben, nur um ein von anderen entworfenes Rennen zu gewinnen?" Es ist ein Konzeptalbum, das mit surrealem Storytelling eine statische, dekadente Gesellschaft reflektiert, die unfähig scheint, kulturelle oder politische Risiken einzugehen. Die italienischen Alternative-Ska-Punk-Rocker aus Marghera/Venedig haben sich mit ihrer Kombination aus schnellem Punkrock, Ska-Einflüssen, Blasinstrumenten und italienischer Volksmusik sowie ihren sozialkritischen, oft politischen Texten in ganz Europa einen Namen gemacht. Freek markiert eine Rückkehr zu den Wurzeln des Albums "Gran Galà", angetrieben von der kalifornischen Punk-Energie von "Videogame". Und dies ist erst der Anfang einer Reise, die weit über die Musik hinausgeht. Viele Überraschungen erwarten uns. Ein volles Dutzend Tracks im beliebten Punkchanka-Stil zum Genießen (plus vier weitere (die B-Seiten)), darunter das bereits digital veröffentlichte "Dalla Mia Parte Ella Strada" und die kommende Single "Disco Inferno". Das "Freek"-Konzept wird von einer Geschichte begleitet, die in den offiziellen Videos, den zusätzlich digital veröffentlichten B-Seiten (auch als Bonustracks auf CD erhältlich) und einem Graphic Novel/Comic aufgegriffen und erweitert wird. Das Comicbook ist Bestandteil der limitierten Freek Deluxe Pizzaboxen der beiden Formate. Als LP schwarz, LP farbig, CD mit Bonustracks und limitierte Deluxe Pizzaboxen mit Extras erhältlich.

TALCO melden sich mit ihrem bisher wohl ambitioniertesten Werk zurück. "Freek" erscheint am zweiten Freitag des Jahres 2027! Eine kühne und unverblümte Reise durch mentale Käfige, ruhelose Gedanken und schwebende Träume. Das Album präsentiert TALCOs unverkennbare Punk-Ska-Energie mit einer schärferen, introspektiveren Note. Geschrieben von Tomaso De Mattia (Dema), Sänger und Frontmann von TALCO, setzt sich das Album mit den unsichtbaren Strukturen auseinander, die uns in einer von Image und Performance besessenen Welt prägen. Im Zentrum steht die Frage: "Lohnt es sich, den Traum vom offenen Meer aufzugeben, nur um ein von anderen entworfenes Rennen zu gewinnen?" Es ist ein Konzeptalbum, das mit surrealem Storytelling eine statische, dekadente Gesellschaft reflektiert, die unfähig scheint, kulturelle oder politische Risiken einzugehen. Die italienischen Alternative-Ska-Punk-Rocker aus Marghera/Venedig haben sich mit ihrer Kombination aus schnellem Punkrock, Ska-Einflüssen, Blasinstrumenten und italienischer Volksmusik sowie ihren sozialkritischen, oft politischen Texten in ganz Europa einen Namen gemacht. Freek markiert eine Rückkehr zu den Wurzeln des Albums "Gran Galà", angetrieben von der kalifornischen Punk-Energie von "Videogame". Und dies ist erst der Anfang einer Reise, die weit über die Musik hinausgeht. Viele Überraschungen erwarten uns. Ein volles Dutzend Tracks im beliebten Punkchanka-Stil zum Genießen (plus vier weitere (die B-Seiten)), darunter das bereits digital veröffentlichte "Dalla Mia Parte Ella Strada" und die kommende Single "Disco Inferno". Das "Freek"-Konzept wird von einer Geschichte begleitet, die in den offiziellen Videos, den zusätzlich digital veröffentlichten B-Seiten (auch als Bonustracks auf CD erhältlich) und einem Graphic Novel/Comic aufgegriffen und erweitert wird. Das Comicbook ist Bestandteil der limitierten Freek Deluxe Pizzaboxen der beiden Formate. Als LP schwarz, LP farbig, CD mit Bonustracks und limitierte Deluxe Pizzaboxen mit Extras erhältlich.

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. 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 original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

“BIR004 – Ultranoise – Circuit Breaker” is a bold and exhilarating five-track statement from Believe In Records, placing Ultranoise firmly at the forefront of forward-thinking electro. Fusing raw textures, heavy low-end pressure, and meticulous programming, the release channels the spirit of industrial and grunge aesthetics—reimagined through a sleek, modern electronic lens.

A1. “Thread Execution Failed” kicks off with urgent glitch-laced detail, instantly gripping the listener.
A2. “Operator Activated” follows with tight, kinetic rhythms and metallic flourishes, blending mechanical precision with creative unpredictability.
A3. “Rebel Code Injection” delivers a concentrated blast of sonic attitude—disruptive in all the right ways.

The B-side expands the scope.
B1. “Transmission Line Corrupted” plunges into a darker, immersive landscape, balancing tension and groove with finesse.
B2. “db Unit Assembly” closes the EP on a richly layered, atmospheric note—anchored in rhythm but open to abstraction.

Energetic, suspenseful, and sharply crafted, Circuit Breaker is more than a genre exercise—it’s a high-impact, high-integrity release for adventurous selectors and deep listeners alike. Each track carves out its own moment, built to move both the floor and the mind.


Believe In Records is a division of MixCult Records

Limited edition

Subtil welcomes back French producer VENDi for its 29th release, Zndya EP - a three-track collaboration featuring BH2M and T.N.O.
Built on tight grooves, layered textures and spacious atmospheres, the EP blends minimal foundations with genre-fluid ideas and detailed sound design.

The title track Zndya, produced with T.N.O., opens with a fusion of stripped-back minimal and cosmic synth work, drawing influence from Nordic space disco. Arpeggiated leads and a steady, motorik groove stretch the track into wide, cinematic territory — functional and trippy in equal measure.
Session Height, co-produced with BH2M, shifts into peak-time mode with a rolling groove of syncopated basslines, cascading synth delays and chopped vocal fragments.

On the flip, Session Four, also in cooperation with BH2M, closes the EP on a jazzier note. Its full-spectrum sound design — from tight percussion to scattered melodic elements — plays out like organized chaos, balancing deep grooves with intricate detail.

With Zndya EP, VENDi delivers a focused and versatile record that fits naturally into the Subtil catalog — refined, functional and full of character, equally suited for peak-time tension or late-night introspection.

Radio City EP marks the vinyl debut on DOTS. Music, showcasing three distinctive cuts from Dutch producer Pascal Benjamin, along with a standout remix by Argentinian artist Alexis Cabrera. Built around tight grooves, warm analog textures, and playful percussive details, the EP captures a rhythmic, dynamic, and dancefloor-ready energy.

Opening the A-side, Radio City blends sexy chord stabs with Rhodes keys and tiny vocal fragments that lock effortlessly into the groove. Cabrera’s remix flips the original into funkier territory, adding a gliding bassline, electric guitar riffs, and an irresistibly rolling swing that complements the original’s flow while offering a fresh twist.

On the flip, Rewind explores a more underground dimension with sharp drum programming, subtle acid touches, and chopped vocals. A groovy, short-note bassline drives the rhythm forward, while deep chords make the track equally effective in afterhours sessions or peak-time club sets.

Flat Sprite closes the EP with a forward-driving acid hook riding over rolling snares and synths — a functional groove weapon with hypnotic momentum.

With Radio City, Pascal Benjamin delivers a tightly curated selection that merges minimalistic sound design with groove-driven charm — a confident debut that balances functionality with character on the dancefloor.

Interactions is a new vinyl imprint based in Mallorca, emerging from an event series dedicated to connection, collaboration, and the exchange of sound. What began as intimate gatherings with handpicked artists now evolves into a label, extending its ethos from the booth to the studio. With a focus on minimal house aesthetics and a detailed approach, Interactions aims to highlight the subtle edges of groove-driven electronic music through artist exchange and collaboration.

The debut release comes from Veruh, an artist whose refined productions strike a balance between rhythmic detail and emotional restraint. The EP’s title track, Eurivor, is an atmospheric roller built on intricate FX and fleeting vocal snippets — minimal but with character, playful yet anchored by a persistent groove made for the club.

On the remix front, Sepp delivers a peak-time tech-house rework. A defining force in the minimal-tech scene, his version is a tight, rolling burner packed with late-night tension and summer-floor energy.

The B-side shifts into broken-beat territory: Abil Revis & Olab bring emotion to the surface, pushing the vocals forward in a remix made for after-hours sessions, where subtlety, mood, and movement take over. Finally, For·at craft a stomping reinterpretation — minimalist yet forceful, teeming with fractured rhythms and deep pressure.

Eurivor marks a confident first step for Interactions — a label grounded in collaboration, rooted in minimalism, and dedicated to the quiet magic that happens when artists connect.