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2026 Repress

What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.

Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.

Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.

The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.

The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.

Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.

The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.

And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.

Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.

This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.

Larry June has built a career on making hard work look effortless, and his album Who Coppin’ stands as a masterclass in smooth, lifestyle-driven West Coast hip-hop. The album delivers a high-grade mix of Bay Area luxury, entrepreneurial motivation, and unbothered charismatic flows. Spanning a laid-back audio palette designed for early-morning juice runs and late-night freeway cruises alike, Uncle Larry balances the discipline of a hustle-first mindset with warm, sun-drenched production anchored by crisp organic instrumentation and heavy-knocking bass.

The album features a tightly curated roster of collaborators who align seamlessly with Larry's signature aesthetic. Spoken-word encouragement from Wallo267 sets an intentional tone on the opener "Go Outside Intro," framing the record around execution and focus. Soulful contributions from Jhené Aiko on "California Dream" and Musiq Soulchild on "Pretty Green Eyes" provide lush R&B textures, while NorCal legend B-Legit and longtime partner DJ.Fresh reinforce June’s deep West Coast roots. Meanwhile, Swizz Beatz injects high-energy bounce into "Flex," offering a vibrant contrast to Larry’s understated, cool-headed cadence.

Behind the boards, top-tier producers like Cardo, Teeko, Beat Butcha, Jay Versace, and June Santana craft a nostalgic yet modern backdrop filled with warm sample flips, smooth G-funk synthesizers, and relaxed soul grooves. The project builds to an emotionally grounded conclusion on "God Got Us (Ain't Too Many)," where June strips away the flexes to offer direct encouragement to his audience, proving once again that consistency, self-belief, and steady progress remain the ultimate luxuries.

2xLP, Gatefold Jacket, 18x24 Poster Included

Riding high off their Movement Detroit b2b set at the Pyramid stage, Rocksteady Disco right-hand man Eddie Logix and head-honcho Peter Croce finally share a split 12" of some of their choicest edits. Eddie takes the A-side, starting the release with the blistering and tropical "Fire Dance". "Good Time" is up next, a midtempo groover full of talking drum and juju guitar dubness. Mr. PC takes the flip, with the disco-meets-folk-meets-almost-gospel "Brothers & Sisters", which he originally made for his first Movement Detroit set. The slomo sleazy groove of "I Wouldn't Want To Be Like You" rounds out the release. Instant cop!

Fans waited up to 14 years for these tracks … the wait is finally over!

Ian Pooley returns with a brand-new collection of original productions, delivering exactly what you'd expect from one of house music's true craftsmen.
Road-tested throughout his recent live shows, these tracks have already proven themselves where it matters most: on the dancefloor. Staying faithful to his unmistakable MPC-driven approach, Ian delivers groove, feel and musical restraint in equal measure. Crisp drums, warm sampling, infectious basslines and subtle arrangements come together in a way that only he can deliver.
No overproduction, no unnecessary breakdowns, no gimmicks-just pure, functional house music built for DJs. Timeless, stripped-back and effortlessly effective, this is another reminder why Ian Pooley remains one of the genre's most respected producers.

140 gramms black vinyl edition

“Origen: Una Exploración por el Jazz Modal de los Trópicos” is a celebration of the human bonds that transcend cultural differences to create a shared language beneath the same sky. Asia, the Middle East, Africa, Europe, and the Americas are the protagonists of this sonic diaspora, where Modal Jazz, Spiritual Jazz, Egyptian Jazz, Ethiopian Jazz, Cape Verdean Kriolu, Brazilian Jazz, Latin Jazz, Caribbean Rhythms, and Flamenco Jazz come together, among many other influences, to shape a journey toward healing and a reconnection with our shared origin.

Credits

Anthonius — Composition, piano, keyboards, arrangements, production, and mixing.

Edu Pons — Saxophones, clarinets, and flutes.

Joana Morais — Vocals (B1).

Situasound — Vocals and guitar (A2).

There is a hush most of us only knew as children, the warm drift between familiar household sounds and being carried to bed, a place that belongs to you and to some self you have not met yet. June McDoom’s debut full-length, Follow the Light, lives in that dream space and then keeps walking, slipping out of time and waking somewhere new, barely familiar enough to feel like home yet wholly your own. She came up in a Jamaican household on the edge of the Florida Everglades, an existence built of extended family, communal care, bass and harmonics. Her father, a carpenter and a student of sound, built his own speakers and kept three sound systems going across as many rooms. His low end would rise through her bedroom floor like some wayward cat while she lay above it with folk records, finding harmonies that were new and hers alone. Two musics in one room. Lushness as past and premonition. She found folk on her own, somewhere between the cast recording of The Sound of Music and Simon and Garfunkel, while everyone around her called it sleepy music. She did not mind being the only one. The solitude let her fall for harmony first, before words, before anything else, and harmony is still the thing she reaches for. Generationally speaking, the music was already in the air. Her grandfather, Colin Smith, is a distinguished mento man who played banjo and guitar and built his own rumba boxes, worked to keep Jamaica’s oldest acoustic folk form alive. Mento is the root of all of it: ska, rock steady, reggae, dub and everything after. He is the one who put a guitar in her hands. An inheritance, a gift and a map. Even her name is part of it, though she will tell you she landed on it more by feel than reason. She records as June McDoom, born Alyssa, June being a nickname one of her grandmothers, Joan, went by, a name she thought was cool to carry and simply liked the sound of. An etheric channel that reverberates all the same. A dub all its own.


Made slowly and by hand with her longtime partner Evan Wright, Follow the Light lays the harmony of folk over the rhythm of dub, with Dionne Warwick, Minnie Riperton, Pentangle and the washed guitars of Cocteau Twins haunting its outer edges. Voice and guitar seeking each other out first, then everything else stacked across long days in the studio they keep at home, restraint kept on purpose. The lead single “Without You” is the whole method surfacing, split open and sparkling like a geode in a creek bed. Angelic heroics, and nothing less.


At the heart is family. Her grandmother Aggie, the light behind “Memory,” guiding still. And underneath, the quieter truth the record keeps: none of us are only one person, but a continuum of selves, the ones who shaped us and the ones we have yet to meet. Future you is an ancestor your current self gets to greet. Press play and the same invitation is yours: A few minutes out of time, a place that turns familiar the longer you stay until you surface somewhere new and find it was yours all along

Few records sit between genres as confidently as Schöneberg. Not quite techno, not quite trance, not quite house, and precisely because of that, instantly recognisable as something of its own. Originally released in 1993 as part of Marmion's Berlin E.P. on Superstition Records, the track became one of the defining anthems of early European club culture, championed by Tony De Vit at London's legendary Turnmills Trade events and played in the best clubs across the UK, Benelux and beyond.

Schöneberg grew directly out of the duo's DJ sets at the Bunker in Berlin-Mitte. Between techno and trance, Mijk van Dijk and Marcos López were looking for a common ground. The track was recorded in a single night, the result of that search. Its defining details were deliberate: the hi-hat arriving unusually late, the short disorienting break that became a trademark. As López puts it: "For me the piece is still a condensed version of an entire DJ set."

In 2023, Superstition marked the 30th anniversary with a 21-track remix collection spanning three decades of reinterpretations. Now the track returns to vinyl, focused and stripped back to three versions: the original 1993 mix, the in itself legendary Marmion Remix, and the interpretation by DJ T., appearing on vinyl for the first time.

Pressed on orange coloured vinyl, this 2026 reissue sees all three versions carefully remastered from the original sources and newly recut for vinyl, bringing renewed depth and clarity while preserving the character that made Schöneberg a classic.

There is a hush most of us only knew as children, the warm drift between familiar household sounds and being carried to bed, a place that belongs to you and to some self you have not met yet. June McDoom’s debut full-length, Follow the Light, lives in that dream space and then keeps walking, slipping out of time and waking somewhere new, barely familiar enough to feel like home yet wholly your own. She came up in a Jamaican household on the edge of the Florida Everglades, an existence built of extended family, communal care, bass and harmonics. Her father, a carpenter and a student of sound, built his own speakers and kept three sound systems going across as many rooms. His low end would rise through her bedroom floor like some wayward cat while she lay above it with folk records, finding harmonies that were new and hers alone. Two musics in one room. Lushness as past and premonition. She found folk on her own, somewhere between the cast recording of The Sound of Music and Simon and Garfunkel, while everyone around her called it sleepy music. She did not mind being the only one. The solitude let her fall for harmony first, before words, before anything else, and harmony is still the thing she reaches for. Generationally speaking, the music was already in the air. Her grandfather, Colin Smith, is a distinguished mento man who played banjo and guitar and built his own rumba boxes, worked to keep Jamaica’s oldest acoustic folk form alive. Mento is the root of all of it: ska, rock steady, reggae, dub and everything after. He is the one who put a guitar in her hands. An inheritance, a gift and a map. Even her name is part of it, though she will tell you she landed on it more by feel than reason. She records as June McDoom, born Alyssa, June being a nickname one of her grandmothers, Joan, went by, a name she thought was cool to carry and simply liked the sound of. An etheric channel that reverberates all the same. A dub all its own.


Made slowly and by hand with her longtime partner Evan Wright, Follow the Light lays the harmony of folk over the rhythm of dub, with Dionne Warwick, Minnie Riperton, Pentangle and the washed guitars of Cocteau Twins haunting its outer edges. Voice and guitar seeking each other out first, then everything else stacked across long days in the studio they keep at home, restraint kept on purpose. The lead single “Without You” is the whole method surfacing, split open and sparkling like a geode in a creek bed. Angelic heroics, and nothing less.


At the heart is family. Her grandmother Aggie, the light behind “Memory,” guiding still. And underneath, the quieter truth the record keeps: none of us are only one person, but a continuum of selves, the ones who shaped us and the ones we have yet to meet. Future you is an ancestor your current self gets to greet. Press play and the same invitation is yours: A few minutes out of time, a place that turns familiar the longer you stay until you surface somewhere new and find it was yours all along

* long version / previously unreleased on vinyl
** exclusive / previously unreleased
Felix Laband's highly acclaimed electronica masterpiece album "Dark Days Exit" (2005) is now available as an Extended Version 2LP vinyl. Originally planned for last year's 20th anniversary, this special edition features a new design by Felix Laband and includes a double-sided DIN A2 art print. Dark Days Exit features four exclusive tracks, alongside five vinyl-only tracks available for the first time in their original long versions. Listening to the key track, Sleeping Household, on Dark Days Exit is unsettling: like being an impostor rambling around an uncanny house, a Lynchian leitmotif in the form of a young girl divulging secrets that you probably shouldn't hear. Dark Days Exit is an album that paints an interior landscape, an invitation to transgress private thresholds. Made with old-school production tools that require hands-on application, Dark Days Exit is a sound-production tour de force. The music is as wide as the savannah and microscopic at the same time, a lesson in what can be achieved when 'music' is placed on an equal footing with sound as a phenomenon, by an artist who decides to apply themselves without reserve. The masterful manipulation of reverb and delays and hyper-detail was a generation ahead of its time, and Dark Days Exit is preferred by audiophiles for testing their systems. Dark Days Exit is intimate, demanding, and a masterclass in tension, and Laband's ability to use all sound without hierarchy to paint a detailed personal vision — one that is less overtly political and streetwise than on subsequent albums — is unsurpassed. Most discerning listeners are into music because, in the hands of a master, it can manipulate our mood and transport us. Felix Laband opens with a sonic portrait of spring happiness and gradually dismantles the atmosphere in front of our ears, as epitomised by the haunting track Black Shoes. No sooner are we afraid than the artist drops us off where we started. In many ways, the intimacy derives from the tight group of friends and believers whom Laband corralled as contributors: Mark van Niekerk (xylophone, "Miss Teardrop"), Jane Rademeyer (clarinet, "Black Shoes," "Radio Right Now"), Brendon Bussy (mandolin, "Black Shoes"), and Derek Gripper (sampled violin, used throughout) and Alex van Heerden on Minka. The difficulty in categorising Dark Days Exit is probably due to Laband listening mostly to ambient and classical music at the time, and consequently registering the album at the lush, cinematic end of the electronic spectrum. There is poise and restraint in the spare use of beats, and when they do appear, they hit hard. Forged in the optimistic post-apartheid years, Dark Days Exit is music about life and death, spanning hope, despair, terror, tension, with humour and empathy. Twenty one years on, the album's gravity endures, due to its almost perverse authenticity, its timeless themes of hope and despair, and its apex level of technical mastery. The additional, immaculately produced tracks add new rooms to the uncanny house we are invited into.

After the acclaimed Bar Mediterraneo, Massimo Di Lena and Lucio Aquilina return with People Of The Moon, expanding their sound into a space of creative freedom. The “People of the Moon” are not fictional, but a dimension within us all: a deeply personal yet universal force, an alternative mindset that emerges when freed from social constraints.



Under moonlight, the album explores anxieties and aspirations through groove and rhythm, expressed in Neapolitan, Arabic, English, Spanish, and Portuguese. It moves fluidly from Afro-Cuban influences in “Celavì” to Anatolian textures in “Ma Tu Che Bbuò”, blending highlife guitars with Nu Genea’s signature mandolins-new rhythms filtered through an Italian lens.



The first single “Sciallà” (2025) introduced this direction: dance as catharsis, not escape. The title track reflects a quiet resilience-persistent rather than triumphant. “Onenon”, featuring Tom Misch, channels Mediterranean brit-funk, while “Acelera”, with María José Llergo, evokes a flamenco-tinged pursuit of the unattainable.



“Puleza” recalls Nuova Napoli with driving energy and vintage synths, while “Shway Shway”, sung by Celinatique, captures the album’s orbital flow-measured, rich, and rhythmically complex, echoing afrobeat explorations with Tony Allen.



Melody remains central, as in “Carè”. Across ten tracks, falling, flying, and dancing merge in a suspended groove. Gabriel Prado’s “Ondas Do Mar” embodies this pull: a cyclical motion, like the tides—irresistible, transformative, and alive within us.

Carrying the torch of Freeez, Light of the World, Incognito & The Warriors, INTA-CITY is the clandestine jazz-funk operation from Daniel Maunick alongside Zaidi Kiggundu & Jamie McShane AKA Zaime.Limited edition remix 12” (500 Units) with dancefloor-ready cuts from Kon, Danielle Baldelli and G&D.

Formed between London and the outskirts of Glasgow, INTA-CITY is a new clandestine jazz-funk project from Daniel Maunick alongside Zaidi Kiggundu and Jamie McShane AKA Zaimie.

With the rebellious spirit of the British funk hustlers of the 1980s — Freeez, Light of the World, Incognito The Warriors, all of which counted Maunick's father Jean Paul 'Bluey' Maunick among their founding members — INTA-CITY adopt the DIY, solidaristic and dancefloor-first ethos of the original movement: no frontman, no band photos or fancy music videos. Just music to move to.

Ahead of their debut album release next year, the band have enlisted Boston edit master Kon, Italian cosmic royalty Daniele Baldelli & DJ Rocca, and Bolognese duo G&D for a limited edition remix 12” and digital release out 18th September 2026 via Far Out Recordings.

2026 Repress

The SOUP collective return with their another premium slice of cultural reincarnation.

Four more soundsystem specific artefacts taking in a quintessentially Balearic holy grail, some crisp modern machine-soul, a fine, fine Gospel/Soul end-of-nighter and a Jazz-Rock sunset anthem - for the discerning dancers...

Kelton Prima from Paris makes his debut on the label (more to come) with 2 great original tracks .

On the remix duty we find the legendary Ian Pooley and one of the most anticipated electronic artist from south Africa when it comes to deep house, Radic The Myth !

V Don and Da$h are not strangers to each other. Connecting in the past for memorable tracks like “Glad Bag”, “Redrum”, and “Now or Never”. They picked right up where they left off with a menacing five track EP back in July. “5 Deadly Venoms” put V Don’s expert production and the many flows of Da$h on front street. A duo that has always held themselves to high standards.

Rocksteady Disco comes through with more tasteful and timeless edits on this fourth volume of its series which focuses on sounds from Detroit. Gino steps up on the A-side with the leggy grooves and funky bassline soft 'Funk Beyond' then 'Sunshine Ramp' pairs a classic vocal sample with a bubbly, percolating groove full of fun. On the flip, things get more textured and expressive with the busy jazz horns of DJ Righteous's '6 Minutes Of NRG' then 'Never Forget' brings heavyweight drum-first funk with warm organ chords and a busy mix of bass and melodies under the soaring vocals. Scorching stuff.

Second release from Atari Ferrari. Inspiration from flights around the world.

The duo Jolie Gentiane come to us straight from a wild and unpredictable mountain peak, a perched place far from civilization, where the beauty and cruelty of mother nature reign but harmonize the elements. They walk the high, steep paths, looking down on the chaotic and industrial world. This increasingly smoky world, which, from the top of the mountains, looks metamorphosing dangeroulsy, but would only need a few changes to make it less crazy. Or perhaps infinitely more so. Jolie Gentiane is a skilful concoction of sound and daring. Unclassifiable, impalpable, the contemporary embracing the tradition and the acoustic swinging with the electronics. Autotuned/vocoderized vocals, 4th world, kitsch sax, psychedelic arpeggios, acoustic guitar, techno, it's all there: the story told by Jolie Gentiane on this album is rich and complete. Nature, love, celebration, struggle, work. Yes, even work. Because the energy deployed to create this album was surreal, patient, extremely methodical, and the abnegation of the protagonists has been vertiginous: the cliff of the highest peak is finally climbed. This album is like an ode to the earth, to the respect we owe it, an ode also to music in its purest essence, that which does not confine itself to borders, but shout for federation, dance and uprising.

2026 Repress!

OFF / GRID makes a captivating debut on Life In Patterns with his 'Sonic Spectrum' EP. Previously recognized as an underground gem in the techno scene due to his acclaimed, self-released EP, 'Time To Shine,' the Hamburg-based producer has garnered significant attention in 2023 with EP releases on labels like Planet Rhythm, Uncage, DifferentSound, and Entourage Concept.

On LIP009, he presents four meticulously crafted vinyl tracks and a digital bonus track, each a testament to his remarkable talent for creating hard-hitting, euphoric DJ tools. His music is distinguished by cutting stabs, hypnotic acid lines, and a distinct dub influence, all seamlessly woven together with powerful drum sounds.

Transmitting after a short signal break, the Detroit operatives of Luke Hess and Brian Kage reactivate on Michigander with the Northward EP. Voltage modulations derived from intensive analog lab sessions, these four precision-engineered cuts yield high-density, sub-bass heavy propagations. Built to transport body, mind, and soul northward into a higher dimensional frequency, this is pure sonic utility for deep-space technicians across techno, house, and dub coordinates.

2026 Repress

The first installment of Vault Records is finally here.

Stef Mendesidis takes the baton with a ravaging, no-nonsense, 4 tracker EP.

With this label we aim to focus on the art itself, we'll let the music to the talking!

We’re ecstatic to welcome to play:musik one of the scene’s most diverse producers, Sl8r, who brings with him some of the most eagerly anticipated music around currently. It also happens to be some of his finest work to date! Callisto EP covers different shades of jungle in a fresh, exciting way - from the wonderful loopy riff and shuffling beats of the title track, through a future ’95 hardstepping vibe, to deep synth grime influences, and a crazy jump-up meets edits workout.

Jus-Ed's Underground Quality label has been living up to its title for more than 20 years now. The brief is simple - deep, smoky house music with soul, and it keeps coming at a steady rate from a blend of newer names and more established stars. Next up this late summer is a three-part remix package that revisits a gorgeous original by Nathalie Capello and Rose Lonegran. TrackHeadz kicks off with a nice swaying and dubby rework that is blissed out and spine-tingling, while Melchior Sultana taps into a melodic and Mediterranean sound perfect for sunset. DJRYDER's closer is a more percussive and prickly affair and Patrice Scott locks you into a zoned-out, late-night roller. Top-notch deep house.

The third and final volume of remixes of 'Come Into My Life' by Nathalie Capello and Rose Lonegran is yet another doozy for lovers of emotive, meaningful deep house. Another bunch of heavyweights step up, starting with Mystic Bill who teases out a steamy-hot lead and builds a vibe around it. UK mainstay Jimpster plays with a dubby and bubbly low end, while Move D finds jazz-funk in the squelchy bass. Last of all, Underground Quality head DJ Jus-Ed steps up with his remix and explores more dusty textures, a slightly unsettling synth vibe and roomy, hypnotic grooves for late-night dancing.

Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.

BONUS 7”

A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)

NNHMN — DARKLINGS: a lethal club edge of dark electronic, pounding EBM and gothic synths that turn floors into battlegrounds. Headliners at Ombra, Grauzone, Extramuralhas, Subkult, Infest and Unterwelt Berlin.

Opera of Lust & the Art of Sorrow II — an intoxicating, cinematic opera of longing and loss: razor‑sharp arpeggios, cavernous bass, hypnotic rhythms and ghostly vocals—sensual, melancholic and brutally dancefloor‑proven.

Music On Vinyl celebrate their 100th 12" release by releasing a classic!

Greece 2000 is a classic international house tune by Dutch progressive trance duo Three Drives. It peaked at number 12 in the United Kingdom and number one on the UK Dance chart.

The original 1997 extended mix defined an era with its hypnotic melody, warm groove, and Balearic vibes.

Vintage Culture deliver a deep, melodic, and emotionally charged club weapon. The Max Styler rework elevates the original theme into a 2026 peak‑time banger. KREAM brings their signature big room future‑progressive sound. The Sebastian Davidson & Melosense remix is a warm, organic, and melodic downtempo mix.

This release celebrates nearly three decades of dance music history.

It’s the last W133 release for the summer of ’26 and it’s a big one. Label Papa Pino and Rotterdam’s samwho pair up for a banging, driving, proggy collaboration/split EP entitled “Baobab”. The duo behind W133 bestseller “Jacarandas” unite again for two more collaborative productions, complemented by one solo track each! Samwho starts off the EP with “D’espia”, a highly energetic progger with dreamy pads, crispy dembow percussion and sexy vocal stabs! On A2, we find the first collaboration, “Caramelo”. The two producers return to their signature percussion work, paired with a venomous rolling bassline and mysterious vocal snippets. On the flip side, the second collaborative track, “Lemon Hasj”, bangs in! A highly intense breaker with catchy vocal shots and chart-hit character. To close it off, Pino Peña delivers his solo production “Swarm Mystique”. The tune starts with a laid-back yet energising groove before swarm-like melodic pads creep in mysteriously! The cover artwork features a photograph taken by Philipp in Kyiv, Ukraine, printed on a two-sided cover sleeve. “Baobab” will be released worldwide on vinyl and digitally on 16th October.

A raw, groove-driven selection of previously overlooked 1990s recordings by legendary Turkish jazz impresario Okay Temiz, compiled here for the first time.



As the story goes, throughout the 1990s, Okay Temiz roamed the nights of İstanbul in search of rhythm — moving through its far corners, from the seedy underbelly to gypsy neighborhoods, from the outskirts of the city to smoke-filled taverns where cigarette haze turns into a living cloud atlas — capturing a largely unknown and maverick period of his work.



Compiled by long-time producers Haluk Damar and Erinç Güzel, the album brings together Turkish folk textures, İstanbul tavern sound, spiritual jazz, raw street groove, and flashes of Turkish psychedelia — with moments shaped by Temiz’s own distinctive vocals. The result is a deep, percussive, and highly playable set.



Positioned between global jazz, rare groove, and dancefloor material, İstanbul Groove is a strong crossover release with appeal across both listening and DJ set contexts.

Doctrine Audio launches with Wetworks’ The Spraypaint Audio EP, featuring two original cuts built around raw percussion, nasty grooves, and uncompromising dance-floor energy. The release is completed by powerful remixes from techno veterans Cari Lekebusch and Glenn Wilson, bringing their unmistakable production quality to a record rooted firmly in the tradition of timeless underground techno.

Axis Expressionist Series

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works. Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listeners, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life. Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life".Soundtracks for people in their evolutionary process.

This release 'Drifter' is about 'Hype'.



Hype

An animal that prowls on the vulnerable - it excites those who might be looking the other way or with their eyes and minds wide shut.

What is life without hype?

As a transitional tool, hype can be most effective especially when impulse reactions are at play. Something of a psychological currency, there is a lot to gain by giving people what they want - the rush that comes with taking part in a process of making something bigger, more successful and more preferred. Even if there is nothing there.

What's wrong with getting exciting about something?

There are only a few rare masterclass cases that have lasted a lifetime.

As Andy Warhol proclaimed that "everyone will be World famous for 15 minutes" rings darkly true in an era when each one of us can be the talent scout, artist, critic, audience.......and then a revisionist, hoping to bring hype back again by reminding people how great the first round felt.

We are all free to use our attention and time anyway we please. This is the freedom we have, right?

In most cases, we wake up and at some point, the question of justification becomes a debate between those who found unconditional solace and those who re-discovered the subject of substance and "kicked the tires".

Should I care if others like or dislike something?

For some, the hype of something never ends. It hardens and becomes part of a foundation like a cement podium. Something to be stood on to speak over all dissenting voices.

Minimalista Records' first vinyl does not choose one face: it chooses four. Two MURI collaborations (with C.I.S.C.O and C4STRO), a track from Martim Tonic, and the production debut of Little Freak, the new alias of Alex Mendes, form an Assemblage that favours diversity over uniformity. A conscious decision: to show from the very beginning that the label's philosophy, minimal as a lens not a limit, holds more than one sound. Lisbon, 2026. The first pressing of a scene taking shape.

Healing Patterns is the debut full-length release on Appendix.files from Clima, following 2025's Transient State EP. Written between 2025 and 2026 during a period of chronic illness, the seven-track LP translates physical restriction into deep, spacious electronic compositions. Using palatial pads, slow-decaying echoes, and bodily low-end, Clima reminisces over residual club ambience and shared listening experiences with friends.

The record moves from the gradual, dub-heavy pressure of "Weight" through ASMR-like vocal glitter and tight rhythmic clusters, before dissolving into the quiet introspection of the title track's theme. Healing Patterns is a patient study in focus, repetition, and the spaces left behind.

Artist Info: Clima is an experimental electronic music project exploring spatial sound, texture, rhythm and the emotional residue of club culture. Their work moves between ambient environments, dub-weighted rhythm and abstract electronic composition, with a focus on deep listening and subtle shifts in perception.

PATENT004 presents DOWNTOWN DUBS 2. The second chapter of our Downtown Dubs series brings together OFF/GRID, Gockel, Linus Quick and Volpe. Four tracks somewhere between deep techno, dub-infused rhythms and late-night pressure. Deep basslines, dubby grooves and enough space to let the sound breathe. Limited to 300 copies, handstamped & handnumbered, incl. stickers, pressed on lemon-icecream colored vinyl.