Liepāja’s Elektrons is a contemporary electronic music compilation on vinyl, bringing together artists connected to the Baltic city of Liepāja. The LP features eleven original tracks that reflect the diversity and vitality of the local electronic scene — from deep techno and liquid funk to experimental ambient, IDM, and broken beats. Across the record’s two sides, Liepāja’s Elektrons brings together a diverse constellation of producers shaping the city’s electronic identity. The A-side features Cliché, Nejauši, Kristaps Puķītis, DJ KEDA feat. Ieva Dreimane-Sidare, BAZIITS, and NiklāvZ feat. Kenji, moving fluidly from intricate IDM textures and atmospheric experimentation to liquid funk rhythms and high-energy drum’n’bass. The B-side continues the journey with Ksenia Kamikaza, Eque, OMIROS, ALTER V and Existal, exploring deep and peak-time techno, minimal house and progressive sonic structures.
Nightcode EP finds UK deep-house craftsman Jacksonville in full control, lacing warm chords, swinging drums and basslines built for red-lit basements. Across “Nightcode”, “Ecstasy in Starlight”, “Octobers in Love” and “Blind Spot”, he fuses classic Detroit/UK house textures with his own emotional, story-telling touch—timeless deep house for DJs who play past sunrise.
Feedbacks:
Laurent Garnier : Octobers in Love <3 <3 <3
Nick Holder : dope
Gina Breeze (Classic / Get Up / Homoelectric) : Feeling the deepness! Look forward to playing.
Nightmares On Wax (Warp Records) : Ecstasy in starl;ight and Blind spot are my jams !
Josh Wink (Ovum) : Deep, old old school flavored with new school production.
Alexkid (Rawax / FUSE / NG Trax) : Lovely
Lauren Lo Sung (LOLiFE records, e1even records) : Octobers in love is nice!
Dj Hutch (Ambers / Rinse FM) : grooves
Louise Chen (NTS) : This is so so sooo good! Can't wait to play on the radio!
Rob Pearson (Evasive Records / Sine 102.6fm) : Nightcode is the standout for me, will play tonight on Evasive
Eviltron / Paul Donton (Bombis / Triangle) : Blind Spot and Ecstasy in Starlight are the ones on the
D'Julz (Bass Culture) : feeling night code and blind spot . merci!
Junior Sanchez (Strictly Rhythm / Cube Recordings) : Really Cool EP!
DJ Three : this is all very high quality house that feels very much a
nd_baumecker (Ostgut Ton) : Nightcode and Octobers In Love for me. Quality as usual.
Sasha (Last Night On Earth) : Downloading for Sasha
William Kiss (Rekids) : very nice!
Monty Luke (Rekids / Black Catalogue) : thx for this...
Mystic Bill (Classic / Trax / Relief) : Will try some of these out, thanks!
Carista : beautiful
Crackazat (Freerange / Local Talk) : Sick sick sick
Jhobei (Bizarre Trax / FUSE / Felon 5) : Nice smooth deep
Khadija (Rek'd / Rafiki Collective) : Danke
Ben Sims : Now downloading - will check asap!
DJ Bone (FURTHER) : Very nice tunes here, thanks
Bake (All Caps/Rinse FM) : thank you!
Dj Deep (Deeply Rooted) : very nice tracks!
Oliver $ (Classic Music Company / Play It Down) : nice one!
Tripmastaz (Plant 74) : Nightcode is tight
Harvey Sutherland (MCDE / PPU / Voltaire Records) : couple of nice tunes here!
Anthony Collins (Frank & Tony / Scissor & Thread) : super nice deep tunes
Marcel Dettmann : thx
Voigtmann (Subsequent) : Ecstacy in Starlight is the one!
Gerd (4Lux / Clone) : dope house trax from the phonogramme crew once again!
Groove Armada : Great EP - Love Nightcode, Ocotber is love so good too±
Harri (Sub Club) : nice, will play and support
Jorkes (Freeride Millenium) : ecstasy in starlight..yes yes yes yes
DJ Minx (Women On Wax Recordings) : Every one of these...top tier! I'm on 'em!
DJ Rocca (Nang Records, Mantra Vibes) : Great EP. Nightcode is great, super bassline indeed
Jacques Renault : Ectasy In Starlight for me here!
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Mark Farina : dig it
Âme (Innervisions) : thanks
Djebali ( ( djebali ) / INFUSE / Freak n Chic) : Love it ! thanks for sharing. Blind Spot is my fav
Jaye Ward (Dalston Super Store / Netil Radio) : wicked release!! night code is a belter!!! thx
Iron Curtis (Mule Musiq, Morris Audio) : thank you!
Two jewels in the crown of the soulful electronic music scene in NYC unite for a spellbinding EP on Rhythm Section International. ”Full Circle” is a brand new body of work from Musclecars & Toribio.
To call this 12” simply epic would almost be doing it a disservice. The breadth of musicality and execution of ideas contained across 3 compositions is nothing short of miraculous. I use the word composition intentionally: these are not merely tracks - these are 3 movements making up a concerto - with a dub thrown in for good measure!
The record kicks off with a soulful house behemoth, “ That’s My Story” featuring NJ legend Roland Clark on vocals giving sweet sweet testimony. In many ways, this track feels like a coming together of the trios influences. The lyrics contextualise it, giving it this intimate, confessional feel. The latin drums shuffling amidst the 909 kick drive it forward and the organ swimming freely amongst it all takes us to church. It’s a timeless track - paying homage to the various New York traditions laid down by Louis Vega, Timmy Regisford, Joaquin Claussell , Ron Trent et al - all heroes and collaborators of the composers who - with this effort - have surely now earned their place in the pantheon of American Soul Music.
‘
Be Honest’ maintains the confessional tone with the lyrics but takes things right back down in terms of tempo. Is it a love song, an ultimatum or a cry for help? Whichever way you interpret it, this track is Toribio’s time to shine as a lead vocalist and he hits all the notes, leaving not a dry eye in the house. This is a delicate tour de force, delivered with such raw emotion and vulnerability it allows the instrumentation takes a back seat - just a gentle groove, swelling strings and some unresolved chords are all that’s required to transform us to the main character of this story. We’re left hanging, and it’s oh so relatable.
Agua De Florida serves as an uplifting, fast paced finale to the concerto and this one’s all about the trumpet - masterfully performed by Melbourne born, London based virtuoso Audrey Powne. If Herb Alpert was making house music - I imagine this is what it would sound like. Throbbing bass and noodling synths join the melee and crank the joy up to 11. If the EP is a story arc over 3 tracks, then we’re definitely not left hanging with this one. All is resolved, things are moving onwards and upwards and the circle is complete.
GiGi FM is going back to her first love, Jungle. It’s one of the defining genres that shaped her journey into music. The DJ, music producer, dancer and poet is releasing her first jungle EP, Shelter Our Time on her label Sea-rène.
Following her 2025 techno EP Virgo Space Acid, GiGi FM turns inward on these 5 deeply personal, pop-infused liquid drum & bass tracks. It also marks the first time GiGi prominently centers her own lyrics and singing at the emotional core that thread the rhythm and movement of the music.
Written during a period of enforced stillness, the record became a form of transportation to imaginary realms; warm sunsets, liquid horizons and underwater dreamscapes that became portals to spaces where GiGi’s mind could still move freely.
Beyond its warmth, Shelter Our Time became a space of processing. The music acted as a catalyst – transforming experience into rhythm, memory into melody. For GiGi, music has always been a form of therapy, a way to metabolize life in real time. As she puts it, “It’s about learning to hold joy and pain in the same body and choosing to keep dancing anyway.”
Our brand new Club Sweat compilation series has landed with Vol. 002 - a meticulously curated vinyl EP that captures some of our favourite releases from 2026.
From the Latin-infused energy of LO’99 & Yolanda Be Cool’s ‘Casa Cantina’ to the peak-time euphoria of CHANEY’s ‘Everybody Rising’, and Tseba’s ‘Dusk Til Dawn’, Side A is built for the dancefloor’s brightest moments.
Flip the record to Steve Lawler’s hypnotic ‘Tiny D’, the funk-filled ‘On The Limit’ by DvirNuns and a masterclass in momentum from Bonafique with ‘Sunday Routine’.
This one captures the essence of Sweat It Out’s undeniable influence on dancefloors across the globe.
You blink; eyes crusty. Last night went a little too late again, and as you stumble towards the kitchen you stare at the record player like it’s a cup of coffee. The rest of your life can wait. You stare at the record again and hit the lever and the needle falls.
First up: Gastón Cabrera’s Inhumano, a little relentless and unforgiving, like being thrown in the back of an Aston Martin and driven away. The groove builds to a haunting peak, and you want more. Then the record blurs into Alfalfa’s La Fiebre, which tickles your ears with eerie bells, and builds from bass fundamentals into something more driving. It’s hopeful, but makes you work for it – wading through acid; climbing the hill.
Everything stops. Fuck it. You flip the record, and Marcos Coya’s The Underdog starts off easy, but slips you down a dark path to a pool of churning, hypnotic synths. There’s a strange moment of quiet before the final track. vault. and Isaac Elejalde close with authority on Just Melt: a raw and writhing finale spiked with voices and sirens that will leave you out of breath, somewhere else.
Introducing The Goods. Four tracks; one abduction. Limited to 300 copies – vinyl exclusive, forever.
Following their 2023 LP Presents, Nathan Nelson's American Cream Band bring the Twin City heat back to Quindi with an album rooted in duality. From the yin and yang party-starting A side and meditative B side to the dual-attack boy-girl vocals, the nature of opposites and equals steer the expansive, artful strain of rock n' roll that spill out of this wholly unique Minnesotan export. For the ever intriguing Quindi, it's a strident step into Spring after the frosty introspection of Roudi Vagou & Läuten der Seele's Taghelle Nacht. While the world burns and injustice prevails, Twin is a celebration of unity and radical expression-all the more urgent against the backdrop of authoritarian overreach and righteous protest that has whipped through Minneapolis in recent times.
Twin continues Nelson's drive at the helm of American Cream Band to draw in a colourful cast of players to feed into his orgiastic sound, meshing the trance-induction of krautrock with the irrepressible funk of the post-punk-new-wave explosion. But principal among the cast of characters and forming a central tenet to the identity of this album is Liz Buhmann, lead vocalist and a formidable, playful foil to Nelson's own Midwestern twang. Around the electric spark between Buhmann and Nelson, a heavy duty ensemble wrangle guitar, bass, sax, a cornucopia of synths and a battery of percussion into all manner of sonic forms.
The double-sided concept manifests throughout Twin. On 'Call Me' Buhmann sings in French to contrast Nelson's English, while the strident strut of the NYC disco groove is offset by an inherent dreaminess that turns the track into a more cosmic kind of dancefloor workout. 'Ethical Vampire' is a spiky cut with a garage rock patina that spirals into a psychedelic, synth-soaked get-down. 'Don't Burn The House Down' is a loose and limber roller that captures Can at their funkiest along with the hypnotic vibe of other such esteemed long format jammers, but American Cream Band boils that energy into a hook-laden art pop sensibility before a gentle, drawn out landing.
Even the more pensive moments on Twin find space for friction. For all its tender, smoky temperament, 'Leda and the Swan' lets the electric piano and guitar fray at the edges and bleed into the red while Mat Heinrich's tumbling drums lurch with pent-up intensity on the one. 'No Funeral Necessary' skirts around the mellow pools of new age but prefers to let liberally doused Tape Echo tweak out Alex Meffert's honeyed sax inflections and Buhmann and Nelson's disparate sermons.
Nelson describes Twin as "an oppositorum coincidentia" - a reference to the mystical Latin concept of the coincidence of opposites that suggests contradictory ideas 'fall together' in a higher reality. Beyond the sound of the album, this idea also manifests in the cover photography by Sho Nikado and the swans on the LP labels by Autumn Garrington. As freewheeling and wide-open as American Cream Band feels, nothing appears by accident. The end result feels like a nourishing whole - rich with substance and nuance, deep enough to be explored and absorbed yet also so brazen and immediate you can't help but feel its surface charms from the first thrusts of 'The Hive Is Pissed' to the last ripples of 'We're Not So Sinister'.
Bienvenue Recordings head Gene Tellem is back with a first collection of tracks on sub-label GT. Three yet to be released + two hard to find songs originally released on a short run of lathe cuts. All newly mastered and together on one powerful piece of plastic.
‘Five tracks that have yet to be officially released, produced during the making of other projects over the last 5 years. All of them with a taste of their moment, presented to you as this collection of ‘unreleased’ songs.’
Molekül celebrates its 10 year anniversary with its most ambitious release to date. The label brings together 16 tracks from artists who have shaped its DNA over the years. This compilation looks to the future rather than the past and represents the result of a decade of exploration, forming into a sound that is built on multiple influences, raw, peaky and impactful. The release features peak-time cuts from BAUGRUPPE90, Mark Broom or Zisko, alongside a new generation pushing techno forward like KUSS & Sicion, Seigg and Fran LF. It also dives into more hypnotic territories with tracks by JKS or Hemka, and delivers loopy and effective tools for the dancefloor from Mython, as well as a new standout collaboration between Beau Didier, Flits and Isaiah.
For the 6th edition of Easy Tiger, Marko Nastic welcomes Bosko Balos for the first chapter of their new project, Mooshoo Clan, presented through a 4-track EP titled A Journey To Hyperspace. The record opens with Bellissimo - a wavy bassline-driven track followed by old-school drum programming that pulls you straight onto the dancefloor. Down the grooves, we arrive at Original 59. From the very first moments, you’re drawn into a vocal and bass-led paracosm, evoking the feeling of falling into a lost world of pure joy. On the flip side, the strong energy continues with Take It From The Top - a classic pumper, fueled by vintage stabs designed to get the crowd moving. Part one closes with the signature track Mooshoo Clan - a bass-heavy roller that keeps the momentum alive, this time leaning into a darker, more hypnotic mood.
The Illegal Disco Limited series never misses. It's all about the king of cheeky edits adding his own spin to a carefully curated mix of disco and funk nuggets and, once again, here Monsieur Van Pratt is back with the goods. Though he always nods to the past with these reworks, he beefs them up with grooves designed for loud systems and to move floors. This one opens with the funk licks and disco stylings of 'Watcha Gonna Do' then gets celebratory with the feel good hands in the air vibes of 'The Contest'. Last but not least, 'Dance With Me' explores a more lavish sound with big vocals and lavish string stabs for good times only. Another doozy from Mr Pratt.
A1 - THE ULTIMATE DANCE TRACK
the juno 106 main line in the front and super fat bassline make this track to a special dance floor killer!
A2 - TIMELESS WHISPER
dramatic, and in the same time beautiful moments in a one tack live jam can you hear, here. Get lost in your memories..
featuring Dawn's background drums - a LONG TIME female studio friend of MEGNA
B1 - D-PAD
in love with the envelope in the melody and a handplayed angel synth line, this track is a mix of electro and trance and presents how easy it is to combine music styles.
B2 - DIRTY WASP
8 Track Tape Beats, 3 synth lines, a super long break to set the effects to the final, bring this slower wobbling track to the next level of dreams.
A1 - THE ULTIMATE DANCE TRACK
the juno 106 main line in the front and super fat bassline make this track to a special dance floor killer!
A2 - TIMELESS WHISPER
dramatic, and in the same time beautiful moments in a one tack live jam can you hear, here. Get lost in your memories..
featuring Dawn's background drums - a LONG TIME female studio friend of MEGNA
B1 - D-PAD
in love with the envelope in the melody and a handplayed angel synth line, this track is a mix of electro and trance and presents how easy it is to combine music styles.
B2 - DIRTY WASP
8 Track Tape Beats, 3 synth lines, a super long break to set the effects to the final, bring this slower wobbling track to the next level of dreams.
Voices From the Lake (consisting of Donato Dozzy and Neel) mark the 10th anniversary of their influential self-titled album with a fully remastered reissue on Spazio Disponibile. It arrives in full on vinyl for the first time, as well as on digital formats, first quarter of 2023 as the pair continues to play select live shows around the world. The release will see the light of day as a 4-set vinyl LP release, including download. Italians Dozzy and Neel have been friends united by a shared vision of music since their teenage years. They are immaculate sculptors of sound who fuse evocative ambient and leftfield techno into multi-layered soundscapes. For many years they worked as established solo artists but came together in 2011 to craft what is now regarded as one of techno's most pure and absorbing listening experiences. It's often said that the best music comes about as a happy accident, and that is certainly true of Voices From the Lake. The career-defining album first arose in the thoughts of Dozzy and Neel when the latter was preparing a mix for the former's wedding and named it Voices From The Lake. It was a pertinent title that stuck in the mind: both grew up by waters around the coast of Italy, and in their early days the pair even held private parties on the shores of a lake. Fittingly, Japan's celebrated Labyrinth festival at that time was also held by a river and a lake in the middle of a forest on a serene mountainside. It was that exact setting the pair envisaged when making music to play live on stage. During preparations, they "accidentally" wrote an entire album. It has only ever been performed live a few times - once at Japan's Labyrinth festival in 2011, at London's Barbican, Barcelona's Mira Festival, Paris' Marathon Festival and once during 2022's Amsterdam Dance Event. Those shows saw the pair using banks of analogue and digital equipment to improvise in the moment and essentially remix the album live on stage. That spontaneity is captured in the original Voices From the Lake recordings and on later LPs such as Live at Maxxi in 2015, and the most recent EP Quarto Freddo from 2020. But the debut album remains a standout achievement. A decade on, it's quiet intensity, musical storytelling and slowly unfolding tension remain in a class of one. Each sound is meticulously designed and placed, and the spaces left behind are just as important in conveying such a captivating mood and emotion. Rather than traditional kick drums, hi-hats or snares, this is music crafted from layers of real-world sound - dripping water, chirping birds, rustling leaves or a distant breeze - and it's that which defines the album's organic allure. From deeply contemplative to cautiously optimistic, pastoral organic scenes to more underwater worlds, Voices From the Lake is a cohesive collection of tracks that add up to one inseparable whole.
Through analog synthesizers and Eurorack modular systems, in “Axis,” Equinoxious establishes an axis between electro and minimal electronics, closely flirting with the harshness of industrial. The pieces unfold under a logic akin to the cybernetics of Norbert Wiener: feedback systems, flows of information, and voltage control intertwine with the experience of the one who operates them; the synthesizer ceases to be a mere tool and becomes an organism that reacts and communicates.
These tracks are inspired by speed, the absurdity of reality, the impossibility of things, imaginaries of dystopia, and protocols of romance, delivered with mechanical frankness and precision.
Recorded between 2023 and 2025, the pieces stand out for their FM synthesis basslines and incisive 808 derived percussion; subtractive synthesis, and 90s samplers dragging staccatos and energetic sequences.
"I got to know visual artist, musician, and producer Guido Erfen and sound engineer, acoustic artist, and percussionist Michael Springer as part of a group of five by the name of SHM1. The members of the group organised concerts at Rhenania, a disused grain silo, where I performed with The Absurd in 1988 and 1989. The band was also featured on one of Erfen's tape releases. Erfen and Springer met when they were still at the same secondary school and soon became close friends and musical allies. With the other members of SHM they built an independent network for creating and distributing music beyond the mainstream in Cologne. Rent at Rhenania was incredibly low, allowing a recording studio to be established there.
The first traces of the Ukrainian Underground arrived at Erfen's door via a cassette tape with three bands from Kharkiv and Kyiv, the package including a long essay which detailed the rock scene in the two cities by Sergey Myasoyedow. In 1986, Myasoyedow, together with Sasha Panchenko, had founded the “Novaya Scena“ rock club in Kharkiv, presenting bands inspired by punk, the avant-garde, dadaism, and even medieval melodies. If Erfen hadn't been part of the independent mail-art scene, he wouldn't have had the chance to discover this unorthodox music. It was the summer of 1990, shortly before the Soviet Union collapsed and Ukraine became an independent state the following year.
In 1991, singer and keyboard player Soloveyka from Kharkiv arrived in Cologne and gave Erfen half a dozen cassettes with underground bands from Ukraine and a handful with bands from the Soviet Union. Intrigued by the original music of many of the acts, he visited Ukraine twice, made friends there, compiled a tape with his favourite tracks and finally succeeded in convincing Hamburg label boss Alfred Hilsberg to present underground music from Ukraine on the CD “Novaya Scena“ via his label What's So Funny About (the original home of Einstürzende Neubauten).
The album compiled 20 tracks recorded between 1986 and 1992 by 14 bands out of Kharkiv and Kyiv– music beyond the usual Perestroika records, often with jarring dissonances over grooves that fans of Captain Beefheart or The Fall would certainly enjoy.
On the other hand, there are tracks featuring flute and trumpet that seem inspired by folk, classical music, and punk. Ghostly chamber prog miniatures by Cukor Belaya Smert (lit. Sugar White Death) from Kyiv featuring, among others, the classically trained pianist and singer Svitlana Nianio (née Ochrimenko) and guitarist, visual artist, and spokesman Yewgeny "Yenia" Taran. Nianio sang in her native Ukrainian, as did two more of the bands. Today, this seems more relevant than ever, more culturally and historically significant from a Ukrainian point of view than it was even in 1993. Young Ukrainians were amazed at that time that rock music sung in their native tongue could work!
It is in the aftermath of the “Novaya Scena“ album that the music on this LP was created. About a year after the release of the CD in August 1993, Nianio and Taran came to Cologne to work on music for the dance production "Transilvania Smile" by the dance theatre ensemble Pentamonia2.
The seeds for the Traces of Ukrainian Underground in Cologne were sown. Starting in 1994, a series of informal recording sessions took place at Michael Springer’s Phanton Studio and at SHM studio in Rhenania. Together, these sessions formed the basis of the four different incarnations of the Ukraine-Cologne connection heard on STROOMS’s compilation.
GALA announce Ten Years of GALA – a compilation marking a decade of independent culture
Ten Years of GALA is both an archive and a horizon: a reflection on where GALA has come from, and a signal of what lies ahead.
Founded in 2016 as a one-day gathering in South London, GALA has grown into a global point of reference for dancers, artists and collectives drawn together by a shared commitment to independence, collaboration and underground music culture. Rather than charting success through scale alone, the festival has consistently prioritised integrity, community and musical curiosity – values that underpin this release.
Spanning fifteen tracks, Ten Years of GALA unfolds as a considered journey. It opens with an intimate spoken contribution from Charlie Dark, grounding the compilation firmly in GALA’s home of Peckham before gradually expanding outward into fuller, club-focused terrain. From there, the record moves between moods and tempos, tracing a path from reflective moments into the physical language of the dancefloor.
The compilation brings together longtime friends of the festival alongside newer voices drawn into its orbit in recent years. Each artist contributes a distinct perspective, but collectively the tracks form a coherent portrait – not of a single sound, but of a shared ethos shaped over ten years of gatherings, collaborations and days spent dancing together.
Rather than a retrospective in the conventional sense, Ten Years of GALA functions as a living document. It captures fragments of past editions, scenes and relationships, while remaining firmly oriented toward the future. These are not museum pieces, but records designed to be played, shared and folded back into the spaces from which they came.
Together, the compilation holds a piece of GALA’s first decade – not as a closed chapter, but as a foundation for what comes next.
Brown Spirits are a super-heavy psychedelic three-piece band who play raw energetic super-charged psych rock heavily influenced by krautrock, freejazz and deep funk music from the 1970s that gives them a truly unique and highly addictive sound. The group record and mix their own music to ¼-
inch analogue tape at home maintaining a strictly DIY-ethic.
Brown Spirits are Tim Wold, Agostino Soldati and Ash Buscombe. The group are from the suburbs of Melbourne, Australia, home to an ever-growing
music scene that includes Amyl and the Sniffers, King Gizzard and The Lizard Wizard, Surprise Chef, Tropical Fuck Storm and more.
The group have already released two superb critically-acclaimed album on Soul Jazz Records – ‘Cosmic Seeds’ and Solitary Transmissions’.
Soul Jazz Records are releasing three new albums from the Australian group on one day. All three albums are super-limited one-off special coloured
vinyl pressings of just 500 copies each that will all be deleted on the day of release.
These three albums were originally released (between 2017-2020) in long-deleted very short run-editions - either self-released in Australia or on an
indie German psych label. No copies of Brown Spirits #2 or Brown Spirits #3 are currently available anywhere in the world. Both of Brown Spirits two
earlier releases for Soul Jazz Records are also sold out on vinyl and these three super-limited special edition LPs will also sell out.
Brown Spirits are a super-heavy psychedelic three-piece band who play raw energetic super-charged psych rock heavily influenced by krautrock, freejazz and deep funk music from the 1970s that gives them a truly unique and highly addictive sound. The group record and mix their own music to ¼-
inch analogue tape at home maintaining a strictly DIY-ethic.
Brown Spirits are Tim Wold, Agostino Soldati and Ash Buscombe. The group are from the suburbs of Melbourne, Australia, home to an ever-growing
music scene that includes Amyl and the Sniffers, King Gizzard and The Lizard Wizard, Surprise Chef, Tropical Fuck Storm and more.
The group have already released two superb critically-acclaimed album on Soul Jazz Records – ‘Cosmic Seeds’ and Solitary Transmissions’.
Soul Jazz Records are releasing three new albums from the Australian group on one day. All three albums are super-limited one-off special coloured
vinyl pressings of just 500 copies each that will all be deleted on the day of release.
These three albums were originally released (between 2017-2020) in long-deleted very short run-editions - either self-released in Australia or on an
indie German psych label. No copies of Brown Spirits #2 or Brown Spirits #3 are currently available anywhere in the world. Both of Brown Spirits two
earlier releases for Soul Jazz Records are also sold out on vinyl and these three super-limited special edition LPs will also sell out.
Sometimes the title of an album tells you everything you need to know. Laurence Pike’s Possible Utopias for Jazz Quintet is like that: The music within represents a search for freedom, potentiality—liberatory strategies that transcend the ego and the solitary, atomized figure.
But in this case, the album title is also a red herring, because there is no jazz quintet here—just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits.
And the results, strictly speaking, aren’t really jazz, though they incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. They are some other thing, cognizant of genre but never beholden to it. Again, we’re talking about a search for freedom here.
The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings—including four albums for the Leaf label between 2018 and 2024—but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community’s Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003; and even post-punk titans Liars, whom he joined in late 2018.
Of his first album for Balmat, Pike says, “My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealised culture of the future, or even another world, utilise musical language when the conventions of style and marketing are no longer a factor in music making?”
That inquiry, he says, connects to his “guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously.”
Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces—in the ruminative piano of opener “Guardians of Memory,” for example—but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads.
Pike’s imaginary quintet is hardly without precedent; it’s a continuation of concepts floated across Jan Jelinek’s Loop-Finding-Jazz-Records, Burnt Friedman’s many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM’s catalog in the late 1970s and 1980s, which Pike says have been integral to his development since he was a teenager. Possible Utopias for Jazz Quintet is a point in a continuum, a voice in a conversation, a question with no obvious answer: How can the search for otherness in music manifest something true about ourselves?
Xistence Records is destroying the boundaries between house and techno. The Rise E.P. simply goes to show you a good label does not lose it's competency after 4 years of releasing music. This 4 tracker sounds sublime! If you like deep emotional melodic music, you should have this 12”.
Difficult to pick a standout track as they all offer something different…
The original version of Resilience is a stunning track, reminds of the early Octave One sound with a great mixture of percussion, classy bassline, nice layering of textures and melodies.
While Gerald Mitchell (Underground Resistance/Los Hermanos) retouch is a soulful stripped back tune with elegant drum work, linked together by a uplifting synth pattern.
Sunset To Sunrise, a delightful piece of haunting electronica. It’s a real journey back to the birth of Los Hermanos. Class!
Meteoric Rise original version came out as digital earlier on the label, Journey Around The Sun Mix here has the UR sound. It’s more complex, Detroit lesson in syncopation and rhythmic programming with chord stabs and shuffling drum work drives this one forward..epic!
With his highly accomplished third album If This Is It, DJ Seinfeld (Armand Jakobsson) evolves further into the artist he always set out to be, refining his emotional, club-leaning sound across nostalgic house, UKG, and 2000s-tinged trance.
The 12-track LP — featuring SG Lewis, Confidence Man, TS Graye, Dan Whitlam, ARY, “Norwegian pop witch” Moyka, and Barry Can’t Swim affiliate just lil — explores letting go in a world that can often feel overwhelming.
“A million ideas turned into a few, a few turned into no ideas at all, and no ideas eventually turned into one,” says Jakobsson of the album, which he began the week his acclaimed 2021 record Mirrors was released. “Through writing it, I’ve tried to turn long-held anxieties into acceptance, and I hope listeners can take their own meaning from it.”
With his highly accomplished third album If This Is It, DJ Seinfeld (Armand Jakobsson) evolves further into the artist he always set out to be, refining his emotional, club-leaning sound across nostalgic house, UKG, and 2000s-tinged trance.
The 12-track LP — featuring SG Lewis, Confidence Man, TS Graye, Dan Whitlam, ARY, “Norwegian pop witch” Moyka, and Barry Can’t Swim affiliate just lil — explores letting go in a world that can often feel overwhelming.
“A million ideas turned into a few, a few turned into no ideas at all, and no ideas eventually turned into one,” says Jakobsson of the album, which he began the week his acclaimed 2021 record Mirrors was released. “Through writing it, I’ve tried to turn long-held anxieties into acceptance, and I hope listeners can take their own meaning from it.”
From Wisdom Teeth’s recent compilation nagoyaka na kaze / 和やかな風 (quiet wind)—which cast a spotlight on the Japanese city of Nagoya—emerges “2++”, a new label launched by abentis, who curated the compilation alongside Facta and K-LONE as a central figure in the scene. Conceived as a series introducing facets of Nagoya’s underground electronic music to the world on vinyl, its inaugural release is abentis’ debut album, Dim Grow.
Across the album, intricately designed electronic mallet sounds—created using Ableton Live’s physical-modeling synthesizer—take center stage. Fresh and percussive like marimba or kalimba, yet simultaneously carrying an otherworldly, unreal quality, these tones form the core of the record’s sonic identity. In moments of near-silence, a crystalline resonance poised between glass and metal shimmers with subtle shifts in temperature, giving the album its distinctive texture.
While resonating with the sonic sensibilities of fellow Wisdom Teeth affiliates such as K-LONE, Tristan Arp, and Salamanda, abentis’ uniquely strange palette can be traced back to one of his strongest influences: Haruomi Hosono. In particular, Hosono’s mid-’70s tropical-infused solo albums — Tropical Dandy (1975), Bon Voyage Co. (1976), and Paraiso (1978) — serve as a key reference point. Symbolically reflected in Hosono’s marimba and vocal performance at a 1976 live show in Yokohama Chinatown, the marimba functioned as a central instrument for constructing imagined exotic landscapes inspired by Martin Denny and Hawaiian music.
For abentis—who worked at a local jazz bar before becoming active as a hip-hop beatmaker—the language of “tension chords,” a harmonic vocabulary rooted in jazz and R&B that hovers ambiguously between brightness and darkness, forms a consistent grammar throughout Dim Grow.
Behind the album’s core theme of “mallets + tension chords” lies a broad musical lineage: the harmonic sensibility of Claude Debussy, who anticipated the tensions of jazz; the proto-minimalist spirit of Erik Satie; the marimba-centered structures of Steve Reich; their continuation in Japan through Mkwaju Ensemble (with Midori Takada and production by Joe Hisaishi); and the subsequent branches into post-rock, electronica, and ambient music.
Growing up in Nagoya—an industrial city where creative independence is deeply valued—and being rooted in punk and hip-hop counterculture scenes naturally fostered abentis’ affinity with these predecessors. His practice between genres, combined with an encounter with the highly cross-pollinated musical perspective cultivated around Wisdom Teeth, provided the framework through which his own musical language crystallized. Dim Grow stands as the natural culmination of that journey.
The fifth release from Diggers Society Records is signed by one of the most influential duos in the underground electronic scene of the past 20 years: The Analogue Cops. Lucretio and Marieu deliver a finely crafted, dancefloor-oriented EP, strongly defined by the techno, electro, acid, and house sounds that have become their unmistakable signature. The A-side opens with two full-on techno dancefloor bangers, ‘Fake Black Out’ and ‘Do What You Want’, while the B-side leans more towards house, driven by the hypnotic progression of ‘Milano Gipsy’ and the intense bassline of ‘Chinese Coffee’. The duo’s creativity and brilliance shine through in raw, unconventional solutions that surface in every moment of the EP.
Artwork by @designattitude_graphic
The fifth release from Diggers Society Records is signed by one of the most influential duos in the underground electronic scene of the past 20 years: The Analogue Cops. Lucretio and Marieu deliver a finely crafted, dancefloor-oriented EP, strongly defined by the techno, electro, acid, and house sounds that have become their unmistakable signature. The A-side opens with two full-on techno dancefloor bangers, ‘Fake Black Out’ and ‘Do What You Want’, while the B-side leans more towards house, driven by the hypnotic progression of ‘Milano Gipsy’ and the intense bassline of ‘Chinese Coffee’. The duo’s creativity and brilliance shine through in raw, unconventional solutions that surface in every moment of the EP.
This special edition also includes a 10" limited to 100 hand-numbered copies, featuring two exclusive productions: “Burning Jack” and “Yes Or Not”.
Deep and moody roots from The Congos , delivered with their signature harmonies.
Originally released on their debut 1977 LP ,with a different mix later released on 7” single ,we are happy to say you will be treated to both mixes + dub on one glorious 10”.
Another gem from the Black Ark, released by us here at Studio 16.
Limited edition LP Marbled coloured vinyl in mirror board sleeve 180g marble coloured vinyl. Packaged in a heavy weight 350gsm CMYK-printed mirror board silver reflective outer sleeve with a 170gsm inner sleeve. High gloss finish on both the outer and inner sleeves. the freshly minted label NANOQ is proud to announce a new album by david sylvian titled 'the distance between the killer and the killing' it's the first album sylvian has released in 15 years. composed of sessions recorded between 2012 - 2025, the album is based on recomposed improvisational sessions with a variety of artists ranging from otomo yoshihide, ryuichi sakamoto, bilianna voutchkova and miako klein, to jamie drouin, lance austin olson and more. the 46min instrumental is unlike anything tackled by sylvian before and is seen by sylvian himself as the official follow up to his 2009 album 'manafon'. in pauline nadrigny's essay on the album, she describes something of the listening experience. '... voices surge that belong to no one in particular. One that hoots and hums across a violin, worked until it loses its voice, becomes mere matter among other matter. A voice inside the breath of a clarinet or a recorder. Grunts, gurgles, distant cries, somewhere between man and bird, woman and nuthatch. Fragments of choirs, far off, snatches of a song long since lost. Too far to be recovered.' 'What a remarkable piece of work. At times it feels like listening to a symphony; at others, as though (sylvian's) voice is speaking through the music. At first, I was trying to find my own sound, but somewhere along the way I completely forgot about that and became utterly absorbed in the music. Hearing Ryuichi's presence emerge here and there throughout the piece also brings a very special feeling for me. Thank you for creating something so extraordinary.' otomo yoshihide 2026
the freshly minted label NANOQ is proud to announce a new album by david sylvian titled 'the distance between the killer and the killing' it's the first album sylvian has released in 15 years. composed of sessions recorded between 2012 - 2025, the album is based on recomposed improvisational sessions with a variety of artists ranging from otomo yoshihide, ryuichi sakamoto, bilianna voutchkova and miako klein, to jamie drouin, lance austin olson and more. the 46min instrumental is unlike anything tackled by sylvian before and is seen by sylvian himself as the official follow up to his 2009 album 'manafon'. in pauline nadrigny's essay on the album, she describes something of the listening experience. '... voices surge that belong to no one in particular. One that hoots and hums across a violin, worked until it loses its voice, becomes mere matter among other matter. A voice inside the breath of a clarinet or a recorder. Grunts, gurgles, distant cries, somewhere between man and bird, woman and nuthatch. Fragments of choirs, far off, snatches of a song long since lost. Too far to be recovered.' 'What a remarkable piece of work. At times it feels like listening to a symphony; at others, as though (sylvian's) voice is speaking through the music. At first, I was trying to find my own sound, but somewhere along the way I completely forgot about that and became utterly absorbed in the music. Hearing Ryuichi's presence emerge here and there throughout the piece also brings a very special feeling for me. Thank you for creating something so extraordinary.' otomo yoshihide 2026
Magdalena Bay, the Los Angeles-based duo of Mica Tenenbaum and Matthew Lewin, create magical pop music that floats in the ether of our collective social cosmos. While they call California home, their essence lies in the clouds, emitting unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and warped neo-hooks. Suited for the times, Magdalena Bay blends the known and felt with innovative sonic landscapes.
Tenenbaum and Lewin met as teenagers in a Miami high school music program. Tenenbaum, who moved from Buenos Aires to Florida at age one, and Lewin, a guitar shredder influenced by his dad’s prog and concept rock records, quickly recognized their kindred spirits. They formed a prog band called Tabula Rasa and began a romance. Both were skilled musicians; Tenenbaum a pianist and singer, and Lewin self-taught in production and music theory. Despite attending different colleges, they maintained their band, traveling hours to rehearse before realizing two things: their relationship was undeniable, and prog rock wasn’t resonating with young audiences.
Shifting their focus to pop, they explored its craft, leading to the creation of Magdalena Bay. They learned the complexities of pop writing and production, striving to create something interesting within the genre. Describing their music broadly as "pop," they released several EPs and singles before debuting their album, "Mercurial World," in 2021. Praised for its melodic hooks and meticulous production, it was often labeled as "synth-pop."
Their success is reflected in streaming numbers, social media followers, and festival appearances. Magdalena Bay's stylized online aesthetic complements their music, creating a cohesive artistic vision. Tenenbaum says, “We love extending the world of our music past sound into videos or graphics.” Lewin adds, “We’re trying to create an atmosphere or an emotional quality with it.” This integrated approach, termed "world-building," is central to their artis
Looking back in hindsight to the activity and accomplishments of Axis is with much pride - to witness the relationship between the music and listener evolving to this point.
The Director's Cut reissue project is about manicuring detail. It?s about a rare opportunity to enhance what we've done so that the relationship strengthens for the long term''
- Jeff Mills
/// First track, Symmetry, debuted on BBC Radio 6 New Music Fix, 10th February: "A beautiful, beautiful album" /// I got my life back. On 17 February 2025, 1024 rays of ultra sound converged at an operation table in Bern, Switzerland, and disconnected a noisy circuit on my brain. 90% of the manifestation ceased – of a disease that I no longer wish to mention by its name. During the same period, I completed my new album: Self Help Manual. I’ve read more current research about the nameless disease than my neurologist, who despite that I didn’t follow his advice on suitable treatment, called me after the successful operation: a brave, brave man. I have composed the music in the same way as in my previous album – Songs for the Nervous System – through layers upon layers of improvisations in dialogue with my synthesizers, most of which are the same age as me. I made the majority of the songs in my studio in the remains of Old Hagalund in Solna. I edited the recordings in my bed during the waking hours of clarity at night. Some songs – NAC, Ketosis, Overkill – were recorded in the basement of my childhood home in Skutskär, in Norduppland, where I’d returned to be nurtured by my retired parents – who during a night when I couldn’t turn over in bed, or pull the blanket over me – made a list of what would happen to my belongings. To my friends who have stood out with me despite my disease, I want to state: you will not inherit me yet. On the new album, the electric bass takes on a leading role. ESG and Liquid Liquid have been important when I reinvented my baselines, limited and liberated by my poor fine motor skills. Plasma is my homage to Summertime Rolls by Jane’s Addiction, that I listened to frequently in my youth. I guess that no one will hear the resemblance. In several songs, the Fender Rhodes plays an important role, a magical instrument that I bought shortly after my diagnosis over a decade ago, and for a long time didn’t dare to touch out of respect for Herbie Hancock and Fela Kuti. A couple of songs draw inspiration from the Horn of Africa – Inner Nile and Delta. At first, subconsciously in the reverb-drenched Inner Nile, then more consciously in Delta. I’m sorry it doesn’t swing the right way, but it was my attempt to return to the cradle of humanity. Longevity is possibly my favourite. The melody is played by an arpeggiator that I controlled by pressing down different keys in an exhilarating sense of freedom. One song in particular, the second track – One – has caused friends to associate freely: one thought it sounded like Patrick Cowley, another like Sly & Robbie meets Kraftwerk, a third like Air – Moonlight Safari. I made one song just before the surgery: opening track Symmetry. It’s the mightiest and most minimal song. I made one song after the surgery: finishing track Self Help Manual. My previous medication pump is heard through the microphone of my Ovation Magnum. It’s the most hopeful song on the album. I took the cover photos with my Hasselblad during walks in Tokyo suburbs of Ōmori and Kamata more than ten years ago. It was something about the faith of the traffic cones that fascinated me – born in the same streamlined form, they had over the years become increasingly individual and lovable. The mixing was finalized by Christoffer Roth in the newly built Studio Dubious in Nacka. Rashad Becker, who in an interview said that he listens as much with his mouth as with his ears, mastered the album at Clunk in Berlin. Right now it feels like anything is possible. My recovery is perhaps a small step for mankind, but a giant leap for me. I hereby leave the music to you. Joakim Forsgren
Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.
The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."
With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.
With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.
Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.
Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.
We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.
Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.
Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.
The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.
Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.
Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:
“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992
“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.
"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.
Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992
"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.
"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.
"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.
Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.
Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.
The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.
Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.
Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:
“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992
“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.
"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.
Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992
"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.
"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.
"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.
Now into its sixth year, NuNorthern Soul’s Summer Selections series has become a popular annual fixture. Like its predecessors, 2026’s edition showcases a variety of Balearic dancefloor workouts, sensual soundscapes and tracks tailor-made for poolside sun-down sets.
As usual, Summer Selections Six is a vinyl-first affair, offering wax enthusiasts a chance to cop killer cuts set to feature on a swathe of forthcoming NuNorthern soul releases – including some that would otherwise be unavailable on physical formats.
To begin, is It Balearic? label regulars and Rotation Sound System crew members Wrekin’ Havoc turn their attention to NuNorthern Soul favourite B.J Smith’s 2014 cover of Outkast’s ‘Prototype’. Their take, which will be featured on a forthcoming collection of reworks of Smith’s NNS material, places the long-serving producer’s beautiful, beguiling vocals atop lo-fi 80s electro beats, moody pads, squelchy synth sounds and far-sighted electronics.
Up next is label newcomer Sasha Foam, a fast-rising Lisbon-based DJ/producer whose Memoria EP is set to land digitally soon. ‘Curios’, his contribution to Summer Selections Six, is a propulsive and ear-catching affair, with joyful synth melodies, rushing piano riffs and cheerful TB-202 style acid tweaks rising above a crunchy, drum-machine driven mid-tempo groove.
Rounding off side A is ‘Call To Wind’, a rootsy, warming and sun-baked slab of Balearic dub gorgeousness from Strictly Dub Records founder Saimon AKA Roots Artefact. The track, which marks his first new material since last year’s NuNorthern Soul debut Different Perspective, is one of the many highlights set to be featured on the Estonian’s forthcoming Rocking Boat EP.
Turn to the flipside and you’ll find three more inspired, immersive treats. Dan Dub Lounge, Muzka and Simon Sheldon being their Visions of Light project back to NuNorthern Soul with the borderline genius ‘ReBorn Slippy’, an exotic, intoxicating and sitar-laden slow-motion instrumental cover of the Underworld favourite taken from their soon-come collection of ‘mild pitch’ takes of dance and electronic classics.
To complete another stellar Summer Selections 12-inch label founder Phil Cooper platforms two recent additions to the roster. First is Potteries-based producer Andrew Wright AKA Lonely Deckchair. Wright offers up ‘Adaflo’ from his forthcoming debut album. Atmospheric and magical, ‘Adaflo’ is a simmering, slowly unfurling fusion of poignant pianos, minimalist beats, shuffling bass and tumble-down chords.
Then there’s Aussie artist Perth Lewis, whose first two self-released albums (Moments In Time and Distance Between) were recently reissued by NuNorthern Soul. The Sydney-based producer is set to release a new EP, Cherry Moon, soon, and ‘Monolith’ is taken from that collection. Deep, dubby and beguiling, it sees Lewis pepper a head-nodding, effects-laden beat with spacey sonics, cascading piano motifs and some seriously sparkling synths.
Despite the thousands of kilometers between them, Monterrey and Medellín have always seemed to move in parallel. Both cities rise around guardian hills that watch over their people, and if you look closer, even the concrete that forms the backbone of each city traces back to these rugged metropolises.
The list of coincidences could go on—small, almost conspiratorial links that chance has woven between the two places. Adding another chapter to this unlikely connection is Regal86, who had already crossed the bridge once before to dive into the depths of Colombia’s “city of eternal spring.”
Doble Filo, his first full-length cut to vinyl, now becomes his latest calling card. The eighth release on Discos Nutabe’s catalog arrives with six tracks—six sharp-edged pieces that lay bare Regal86’s sonic marginality.
It’s a form of exclusion that isn’t imposed but chosen, a deliberate stance to sidestep the demand for exotica that still shapes much of Latin America’s electronic landscape. This is spicy, rough-edged techno—ruleless and unruly—driven by dense, clipped progressions that plunge you into a vortex masquerading as a rayado ritual.
There’s no overload of concept here, nor any caricature of the extravagant. This album simply delivers music built to tear through any club or dive, without false promises or unnecessary labels. If there’s one thing worth highlighting about Doble Filo as a whole, it’s the way it consistently—and almost implicitly—reasserts its core premise from start to finish: these techno tracks are meant to be played wherever the hell you want.
In a moment when oddities tend to be rewarded more than usual, Doble Filo doubles down on fundamentals, reclaiming the spirit of early electronic music and carrying it into an era where immediacy seems intent on blurring the honesty of those who shape the sound.
For Regal86, sonic hustle is the only thing that keeps his spirit steady.
If you’ve spent any time in a London club over the last few years, you know the name. Rossi. has gone from being the “secret weapon” of the underground to the guy everyone is trying to book. After cutting his teeth with a residency at Fabric and tearing the roof off Printworks and Studio 338, he’s finally given us the anthem we’ve been waiting for.
The bosses new single on Homegrown., ‘Ease Your Mind,’ isn’t just another tech-house filler. It’s the perfect distillation of that “Rossi. sound” that’s been vibrating through the UK scene lately.
New repress of the first album "Midnight Walkers". We have used the same vinyl metal works as the first 2012 pressing.
After several releases on 7 and 12inch, Stand High Patrol, the french crew of Pupajim, Rootystep and the legendary Mac gyva is back with a long awaited LP. With strictly brand new killer dubadub, digital and hip hop tracks including crazy echos, “Midnight Walkers” is totally unique! It contains all elements of a Stand High live session and offers an evolving dubadub. With the crazy voice of Pupajim and totally timeless dubs, the first album of the three “dubadub musketeerz” deals with the particular originality that made of Stand High Patrol one of the toughest dub sound system of France. Every bass addict and every dub fan should enter the Stand High experience. If you are ready, fasten your seat belt and run the track! We hope that you will enjoy the flight!
Originally released on the cult V4 Visions label in 1991 & 1994, Ashaye’s 'Dreaming' and 'What’s This World Coming To' showcased the sound of Steet Soul, a genre that emerged in the 1990s, blending elements of soul, R&B, and hip-hop, that could be heard playing across London’s pirate radio stations. As the popularity of UK soul has grown in the last 5 years, DJ’s and tastemakers have put 'Dreaming' and 'What’s This World Coming To' into heavy rotation which has only increased demand & price for the original vinyl considerably. At present this demand is so high that it’s not even possible to purchase 'Dreaming' on the second hand market, while copies for 'What’s This World Coming To' are changing hands for £50+. On this fully licenced, RSD release, two of Ashaye’s biggest tracks are together on one 12 inch for the first time! Don’t sleep on this double header of premium UK street soul on South Street International's debut foray into vinyl!
More Modern Soul madness from the team at Celestial Echo. No Stranger To Love is one of those rare tracks that crosses over both Modern and Northern scenes & has long been a favourite of collectors and selectors with original copies regularly changing hands for £100 + on the second hand market.
This lead to the synth laden funk track being picked up by Dam Funk & the Stones Throw crew, who shone a new light on the track via online mixes which has only increased the demand.
Officially reissued for the first time in 40 years and as always, officially licenced and remastered by Celestial Echo Records. Needless to say, buy or cry.
Jorge Ben is someone who needs no introduction. Since his first hits in the early 60s, this the greatest icons of the greatest icons of Brazilian pop music. His anthems 'Mais Que Nada' or 'Pais Tropical' are among two of the most ever listened Brazilian songs of all time. Ben's self-titled 1969 album is a true samba-soul masterpiece from one of Brazil's most creative voices. This isn't your typical late-'60s LP: Jorge Ben blends the hypnotic swing of samba with funk, psychedelia, and sun-soaked soul in a way that feels both classic and ahead of its time. Released in November 1969, this was Jorge Ben's sixth studio record, and his first back with the Philips label after a creative hiatus. He recorded it with the tight-knit, percussive groove of Trio Mocoto -- whose rhythms lock in beautifully with Ben's laid-back guitar and vocals. On top of that, the album features lush orchestral arrangements from Jose Briamonte and Rogerio Duprat, adding a soaring, psychedelic dimension to Ben's sound. Standout tracks? You've got the joyous anthem 'Pais Tropical', a perfect celebration of Brazilian life.
Then there's 'Take It Easy My Brother Charles', a socially conscious number that tells the story of a rebellious sailor -- Ben weaves in themes of race, identity, and resilience. And songs like 'Que Pena' bring in that sweet, soulful melancholy, while breezy cuts like 'Criola', 'Domingas', and 'Barbarella' highlight his playful, poetic side. This record is a rare blend of genres -- samba, soul, funk, psychedelia -- and it's got a timeless energy. Whether you're already into Brazilian music or just looking for something fresh and soulful, Jorge Ben's 1969 album is a joyous entry point. Reissue on 180g vinyl.
Beaubien is the name of the street I lived on in downtown Detroit in the late ’90s. Sometimes people forget how much trance influence was in that early techno from the area. I made this string patch back in 1999 in my loft above Nikki’s Pizza, and it’s been sitting on my hard drive with that title ever since. I never imagined I’d be playing it at Panorama Bar in Berlin one day, and that it would work. That track went off!
Six years after their last standalone release, TESTE return in full raw power!
Following their 2020 double 12" on L.I.E.S. - which marked a renewed phase after years of silence - David and Martin (TESTE) now open a new chapter.
ERASED FROM MEMORY is a 4-track EP developed between 2023 and 2026, continuing their exploration of sharp, unconventional sound design - suspended between chaos and decadence.
The visual direction features a key contribution from the late Juan Mendez // Silent Servant via his SILENT EDITIONS imprint, combining archival TESTE materials with his legendary punk vision.
He completed the cover and zine before his passing in January 2024.
This release is dedicated to TESTE and their three decades of legacy, and to Juan Mendez - one of our greatest heroes.
One year on from his first Samurai release, Vardae returns to plunge even deeper into his mesmerising strain of hyper-mobile drum mantras and textural intrigue. Cédric Arnous' prolific run over the past few years has rapidly positioned him at the forefront of a scene between scenes where the rhythmic intrigue of drum & bass collides with modern techno's hypnotic linearity. On The Energy Of Presence he relishes the flexibility afforded by this intersection to deliver four distinct, high-impact workouts made with his ever-evolving live set in mind. 'Grounded Attachment' leads with the sonar strafe and broken beat pulse readily associated with the Vardae sound, threading twitchy percussion and steely brushstrokes around the bedrock of low-end pressure. It's the slowly emerging drone sweeps that round out the character of the track, betraying a warmth encased within the metallic overtones that deepens the emotional weight immeasurably. By contrast, 'Magnetic Flux' swerves towards a more direct thrust with its high-tempo 4/4 undercarriage and a limber, acidic lead line that helps join the dots between Vardae's modernist sheen and the roughneck days of free party tekno. This is still charged, atmospheric dance music, but it has no problem showing its teeth, too. 'Electric Feelings' is similarly sprightly in its tempo, but as ever Vardae runs a tight game with the weight of his drums, finding lightness and dexterity even at 170BPM while the transcendental wormhole opens up around the rhythmic force at the centre. Ensuring there's no space for predictability on this release, 'The Energy Of Presence' plies its own trade in sumptuous dub techno chords and angular groove designed to make you move on a different kind of downbeat. The consummate title track, it's the most roundly melodic offering on the record, served as a crescendo to the whole listening experience comfortably nestled on the B2 of the physical edition. Capitalising on the hypnotic codes etched into the dub techno sound, Vardae dials up the delay feedback for a psychedelic release at the end of a record that covers a lot of ground without losing focus.
Special UK Import from the headquarters of Stay Up Forever; Low Quantity Available ! Benji 303 delivers one of the best Acid Techno EPs he’s produced so far for Triple A (Acid Artists In Action) with loads of attitude and funked up 303’s, and a strong anti racist message on the A1 !
A closing chapter for Iro Aka: ambient introspection and precise IDM meet in a deeply personal, memory-driven LP.
Barcelona-based duo Iro Aka present "Memories Exploration" (GLOSSY025), a record that marks the closing of a creative chapter. Set for release on May 29th via Glossy Mistakes, the LP unfolds as a personal archive-tracing ideas, influences, and emotional states shaped over time.
The A-side moves through ambient-leaning territories, building meditative landscapes where time seems to dissolve and blur. Through tracks like "Frozen Sun" and "Golden Sea", the duo showcase a refined approach to sound design, shaped by carefully distilled emotion. Meanwhile, "Gendo" and "Intervertert" lean further inward-sketching moments of deep introspection through soft textures and a minimalist sensitivity that invites contemplation.
On the B-side, the record shifts. Rhythmic structures come into focus, drawing from IDM and broken beat patterns with a precise, understated touch. "L", "Ozadene" and "Phased9" introduce movement while maintaining the album's introspective core. Closing track "We Felt in Love with a Loop" brings the album to a gentle, open-ended close.
The artwork by Jack Anderson reflects this sense of fragmented memory and process, complementing the album's emotional tone.
Rather than a definitive ending, "Memories Exploration" feels like a transition-an understated way of closing one chapter before the next begins.
"An autumn evening - without a single tear, things come to an end."
Timeless and built by one of the legends who helped define the language of house music. Huge support by Ricardo Villalobos. KBMV001 is not just a debut catalogue number on Shelby own label, it is a foundation stone. Authentic, timeless and built by one of the legends who helped define the language of house music. Klassik Blueprint Muzic opens its catalogue with a statement. Widely regarded as one of the pioneers of the Chicago house sound, Shelby?s history reaches back to the formative years of the culture, with early milestones including ?Essence Of A Dream? under his Risqué III alias in 1987 and ?All For Lee-Sah? on Derrick May?s Transmat in 1989.
That legacy is exactly what gives ?OMG (Oh My God)? / ?Who Wants It DEEP?? its force. This is not nostalgia packaged as heritage, it is a living connection to the raw machinery, groove science and emotional depth that made Chicago house a global language in the first place. Shelby has long been associated not only with classic Chicago house, but also with the tougher edges where acid, techno and Detroit-inspired futurism meet, a cross-current reflected throughout his discography and in the way later reissue culture continues to treat his catalogue as foundational. Pressed on 180g vinyl and coming straight from Chicago, USA, this is a release that connects past, present and future in one gesture: authentic house music from a genuine architect, still speaking with authority.
"I wanted to travel / Home into somewhere,"Ana Roxanne breathes across an eerie suspended drone on "The Age of Innocence". "I wanted to try / And go very far." These are the first words we hear on Poem 1 and reintroduce an artist who's in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago.
Heartbroken and reflective, Roxanne surveys the transformations that followed and displays a new-found boldness. Her voice is naked, vulnerable and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures.
Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on "Berceuse in A-flat Minor, Op. 45", making each word count.
On "Keepsake" meanwhile, she sounds as if she's alone in an abandoned bar, stroking the dust off the piano's keys as she inventories her emotional scars. There's a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides. "Untitled II", the album's pronounced, uninhibited centerpiece, delivers on the Lynchian promise that's been present since her first EP, 2019's ~~~. "
And when she interprets the Robert Schumann's lied "Stille Tränen" on "One Shall Sleep", she turns Justinus Kerner's words into a whispered echo of her own grief, narrating the 19th century poem over syrupy synthesizers and strings. There's a light emerging on the horizon, though; burying her past on the choral standout '"Cover Me", Roxanne shifts the pace and the mood on 'Atonement', lifting her voice into a gentle lilt.
Wenn Sie Joey Quiñones fragen würden, woher er die Inspiration für seine Musik bezieht, müssten Sie nicht weit von dem Ort suchen, an dem der Sohn aus East LA aufgewachsen ist. Wenn man seine Werke hört, fühlt man sich in einen Umkreis von zwei Blocks seines Viertels versetzt - vom Spirituosengeschäft zum Plattenladen ,Sign of Music" am Whittier Boulevard und zurück zum Haus eines Freundes. In diesen zwei Blocks hört man Cumbia aus den Geschäften dröhnen, Punk-Proben aus einer Garage, Oldies aus dem Garten eines Nachbarn - eine Reizüberflutung, die Sie bis nach Hause begleitet, all diese Genres, die gleichzeitig in Ihrem Kopf erklingen. Für langjährige Fans von Quiñones' Musik ist das keine Überraschung. Er hat sich als einer der führenden Interpreten seiner Generation etabliert und seine Karriere der Vermittlung seiner einzigartigen Perspektive auf das Chicano-Soul-Songbook gewidmet. Doch vor Thee Sinseers, vor den üppigen Orchestrierungen und den perfekten Harmonien, die zu seinem Markenzeichen wurden, sammelte Quiñones erste Erfahrungen als Leiter verschiedener Begleitbands für jamaikanische Ska- und Dancehall-Acts, die durch Südkalifornien tourten. Er beschreibt diese Jahre als Reggae-College, in dem er von jedem jamaikanischen Künstler, der eine Platte herausgebracht hatte, angeschrien wurde. Diese Jahre der Ausbildung in Rocksteady und Roots-Reggae prägten alles, was danach kam - und auf seinem neuen Soloalbum ,Inna Soul Steady Situation" stellt Quiñones diese Einflüsse endlich in den Vordergrund.
Nate Krafft (Nathaniel Killins IV) is a visionary Detroit producer whose 1990s work were released under his own name and aliases such as Super Nova and Naquil and have since become highly collectible. He later re-emerged as Nate Nubia, continuing to experiment techno infused with machine soul and cosmic imagination.
In 1995, he dropped two cult 12"s on his own Infra label: Man ?? Machine and Crimson Arsenal, blending Detroit techno with electro edges and sci-fi atmospheres exploringuncharted territories. These sought-after EPs, which sounded futuristic long before their time, are brought together for the first time as one limited edition red vinyl 2x12".
Please also consider his Planetary Invazion EP, under his Super Nova alias, reissued in 2018 on the same label.
Farron is back on Shaw Cuts with his next EP called ãHuman LanternsÒ - a tale of social jealousy and long-standing rivalry transformed into 4 bass-heavy broken techno tracks.
The two wealthy kung-fu masters Lung and Tan are embroiled in a long lasting game of perpetual one-upmanship. Vowing to show Tan up, Lung enlists the aid of a man he defeated in a duel years ago in fashioning a masterful lantern for the upcoming festival in which both masters will compete. ãWe Are The WaveÒ and its noisy fragments and broken rhythmics led by a hefty stormy bassline, underline the tension and aversion between the two competing masters.
But the eccentric artisan is more interested in seeking revenge for his old defeat, in taking away everything Lung holds dear. The bass-driven ãSwitch OddÒ and its sharp percussions and phat kick underline the ulterior motives of the shady character.
The evil villainÕs plan of revenge contains kidnapping several beloved women of Lung, skinning them alive and using their flaps of skin to create the ordered lantern. ãGX100Ò and its fast-paced drum pattern carried by virulent synth fragments and raucous pads, epitomises the merciless act of violence.
Tan and Lung falsely accuse each other but feel constrained to eventually team up and hunt the criminal together. ãTalking To ThemÒ rings in furiously and chases the enemy with its rolling bass, chopped vocals and stomping drums, but the villain is sneaky and recalcitrant. Silence before the attackÉ
Active for more than a decade within the Geneva scene, DJ Laxxiste A. has established himself as one of the key figures of the local club culture. A DJ digger, musician, producer and experimenter, he moves between rave culture, dub and adventurous electronic music. As one half of Oram Modular, a project that left a mark on Geneva's house and techno landscape, and through several live projects, he has long navigated between soundsystem culture, the dancefloor and free party. This new release, composed of five original tracks and two remixes, offers a synthesis of Laxxiste's musical obsessions. Jungle, acid, breakbeat and dub collide in a dense, textured universe shaped by a distinctly dub-driven mix. The tracks were first tested in a hardware live set, where machines, FX and samples were pushed and reshaped in real time before being refined into finished pieces. The result is an organic and sometimes raw sound, combining lo-fi textures, twisted samples and deep basslines designed for adventurous dancefloors.
The record also features two collaborations. Lateena, a key voice of the Swiss dancehall scene, appears on one track, bringing a distinctive vocal presence. Another piece unfolds through a double transformation, with a remix by Bony Fly later extended into a dub version by dubmaster Androo.
Charles Webster, one of the most influential deep house producers and a true master of his craft, makes his debut on Pariter with a landmark reissue of one of his most timeless records, The Strength.
Originally released under his mid 90s alias The Presence, the record has long stood as the most coveted release from the project. Nearly three decades on, The Strength remains a benchmark for sophisticated deep house, effortlessly fusing emotional depth with driving, tech leaning groove that commands dance-floors and creates a truly immersive atmosphere.
This special reissue not only reintroduce a certified classic on Pariter, but also marks the 30th anniversary of its originally release. An essential piece of house music
Produced by Masters At Work (Kenny Dope and Louie Vega).
'Collaboration is stimulating, it's in my blood.' Thus speaks Brian Jackson and his philosophy for making music and it's indeed collaboration that runs through this amazing album of reimagined and revisited songs from his artistic past. Featuring artists such as Black Thought, Rahsaan Patterson, Josh Milan, Moodymann, Omar, J. Ivy and others and being produced by Masters At Work, Now More Than Ever takes the enduring classic tracks that Brian made with Gil Scott-Heron and places them in the now over nineteen tracks and across a triple vinyl LP or double CD.
Songs such as Lady Day & John Coltrane, The Revolution Will Not Be Televised, Home Is Where The Hatred Is, Winter In America, The Bottle and more soundtracked a generational movement of Black Consciousness in the 70s and 80s. As Brian says, 'This album is one way to connect to what we were about in the 70s; we were about change and this is part of the lineage of resistance. These tracks mark a period of time when resistance was essential and now a younger generation has picked them up.'
'As young men in their twenties we (Brian and Gil) just wrote about what we saw and were feeling and people interpreted these songs in ways we never thought about but as Sly stone said the song comes from me but it's for you.' This statement from Brian perfectly sums up the collaborative nature of Now More Than Ever and the relevance of these songs in a contemporary perspective can be perfectly summed up by the songs themselves. The formidable stable of artists contributing to each track and the excellent production from Louie Vega and Kenny 'Dope' Gonzalez make this album an event in itself. However, these songs are there to be enjoyed as a canon or as individual masterpieces, whether on the dancefloor or on a home system. ‘Now More Than Ever’ just has to be in everybody’s music collection.
The world of discovering Soul music and artists can lead to sheer moments of jubilation. The thought of igniting a long lost sound, reviving the energy of a once exuberant individual . But not every story that's told is filled with joy. Some are peppered along the way with struggles and heartache. Over time artists have battled with over powering label owners, record executives who just don't back what you do. The story of Tommy Hill is one such story. Tommy along with friend and longtime collaborator Ricky Tarbo had a deal with Motown records back in the early 1980's which turned sour very quickly. His release "Flame"/"Super Star Of Love' was dropped pretty quickly with no promotion and record boss Sylvia Rhône calling the shots within the duo questioning skin colour within the group and even trying to get vocals wiped off the release to sabotage it.
This said the single didn't amount to much and nothing else was recorded for Motown records. The duo did record some 4 demo's in LA before Tommy headed to re-record them again in New York circa 1982.
The A side has never been released until now, which is such a crying shame as the quality is so damn good. It's an uptempo boogie cut called "All My Love" which we gave a sexy 45 mix so you get some slamming synth work half way in. Tommy Hill's vocal range is nothing but astonishing. Just check out the 2 step ballad of "Can't Get Over You", which was recorded and released back in 1980 by The James Simpson penetration Band written by Tommy Hill, who went back into the studio 2 years later to give the song much more depth not only within the production but also to his vocal range. Tommy Hill headed back to LA after not securing a record deal and a few years later tried to get this singing career back on track. Like many of the artists who have moved on to a higher place Tommy succumbed to his own mental health issues and took his life. We hope this record does you proud Tommy Hill
Surrrealism label boss EdOne returns to HABITAT with the ‘Show Me Love’ EP, following the release of his track ‘Madness Diary’ on the ‘METAFLORA III’ compilation in April 2025. Dropping on 26th February,
‘Show Me Love’ is a striking four-track EP that captures the full emotional range of his meticulously crafted sound. With multiple top ten Beatport chartings and releases on respected imprints such as Innervisions, Bedrock, Global Underground, and Renaissance, EdOne now brings his signature intensity, tension, and melodic precision into one of his most complete and expressive works to date, with the package featuring a collaboration from Rotterdam’s Beswerda.
Title track ‘Show Me Love’ opens the EP, delivering a backbeat-driven, clap-heavy groove, with soothing maracas, sundrenched synths, and warm pads creating an inviting, melodic house cut. ‘DTS’ serves as a moodier counterpart; its thudding bassline, rattling central synthline, and atmospheric low-end strings build a deep, cinematic tension. On the flip side, ‘The Next Men’ leans into EdOne’s progressive, hypnotic sound, featuring preaching vocals, minor-key progressions, and steadily building emotional weight. Closing with ‘Lahn’ , EdOne and Dutch mainstay Beswerda descend into a raw aesthetic, blending industrial grit with dub-like textures for a brooding final statement.
Crayons is the seventh studio album by the Queen of Disco, Donna Summer. Originally released in 2008, Crayons was her first full-length studio album in fourteen years.
Summer worked with a number of different producers and songwriters on the album, including Greg Kurstin (Adele, Paul McCartney, Pink & Foo Fighters), J.R. Rotem (Bad Bunny, Linkin Park & Rihanna), Wayne Hector (Nicki Minaj, One Direction & Westlife), and Toby Gad (John Legend, Fergie & Beyonce) and Lester Mendez (Shakira & Nelly Furtado).
Four singles were released: “I’m A Fire”, “Stamp Your Feet”, “It’s Only Love” and “Fame (The Game)”. The title track contains a guest performance by Ziggy Marley.
Crayons is available on black vinyl and includes a 4-page booklet.
Following two 12-inch singles released via the self-run label Plastic & Sounds, which launched unexpectedly this past July, the culmination of their work to date—the album Silent Way, comprising ten tracks—will be released on 27th March as a coloured vinyl 2LP (gatefold sleeve/33RPM/limited press) and digitally.
Mastering and record cutting by Rashad Becker in Berlin. The artwork centres on photographer Yusuke Yamatani's work, with Satoshi Suzuki—who handles all P&S releases—constructing the overall aesthetic.
Last October, they appeared on Resident Advisor's popular series “RA Podcast”, with audio from their world premiere live performance in April 2023 released. They held the “Plastic & Sounds” label launch party at Shibuya. In January 2026, they performed a live set of their acclaimed album “Haet” at the venue's New Year's party.
This release comes amidst growing international acclaim, with their previous album ‘Discipline’ featured in Pitchfork's ‘The 30 Best Electronic Albums of 2025’, and one of their signature tracks, ‘Butterfly Effect’, selected for RA (Resident Advisor)'s ‘The Best Electronic Tracks of 2000-25’.
- 1000 Hand Numbered Limited Edition rsd 2018
- First UK release
- Original US copies worth £300
- Curtis Mayfield song, first released on Curtom
These two classic tracks from the elusive Mary Clark were originally released on the P&P distributed La Shawn label in 1980. The Original 45 is now extremely rare and in demand and now sells for circa £200 if you can find one.
'Take Me I'm Yours' has that classic Patrick Adams NY Disco/Boogie sound and is a very popular club anthem, being reissued on 45 for the first time here.
'You Got Your Hold On Me' is a beautiful Modern Soul /2-stepper that has gained popularity in recent years. It is re-released on a single for the first time here.
This single will be very popular with DJ's and Disco and Soul collectors.
Limited to 1000 hand numbered copies with RSD and date in text.
4/5 Mojo review: ‘Sparse, hypnotic big-room techno that builds from the bass drum up
Double LP is released on 140gm black vinyl in a transparent gloss foil sleeve, artwork and design by Ian Anderson for Designers Republic. Circuitry Electronic launches with a release that stands as a statement of intent - an artist with few true peers within English electronic music, with an album that jumps out of the speakers and slaps you around the chops. G-Man is Gez Varley - one half of Sheffield pioneers LFO, and thirty years into his solo career, with his first vinyl album release since Avanti on Force Inc way back in 2002. Speaking to DJ magazine in 2014 Gez recalled his early days working with Mark Bell as LFO: “We were influenced by groups like 808 State. Unique 3, Nightmares On Wax and also stuff like Kraftwerk, Detroit techno and early electro. So when we first hooked up and made tunes together we just wanted to rock the dancefloor at our local club The Warehouse”.
Their eponymous track ‘LFO’ – a classic of the bleep and bass techno movement – was one of the first releases on the Warp label, gate- crashing the UK’s Top 20 whilst annoying Simon Mayo along the way. Having worked with the likes of Richie Hawtin, Karl Bartos, Laurent Garnier, Art of Noise, Radiohead, YMO and Alan Wilder, in addition to the LFO output, you'd expect Gez to know his way around a techno dancefloor rhythm and drum pattern, and this is an inventive funk-filled journey that never veers too far into experimental territory yet avoids the cliches and generic tropes that too often lose the listener when techno manifests in album form.
Systematic Gent EP brings together four distinctive cuts from artists who each embody a different shade of the label’s sound. For this special various-artists release, Ghent-based Maxim Lany delivers the deep, driving, atmospheric and immersive “Noise”; Dimitri Andreas adds rhythmic drive and tribal energy with “Jungle Circus”; Robert Babicz contributes the hypnotic, progressive and emotive “Soul Traveler”; and Drumcomplex & Frank Sonic round out the EP with the powerful, forward-moving techno gem “Solar.”
Released on 12” vinyl, Systematic Gent EP arrives in perfect sync with the label’s showcase at Wintercircus in Gent on May 8, 2026, creating a direct link between the music on wax and the energy of the dancefloor. With a tracklist that balances atmosphere, groove and peak-time impact, the EP captures the essence of Systematic’s sonic identity while celebrating a special night in one of Belgium’s most exciting cultural spaces.
Marc Romboy, A&R of Systematic, says: “I’m very glad to present this EP, showcasing the different shades of music Systematic currently stands for. Each track could be an A-side on its own. The vinyl will be released on the day of our label showcase at the local record store GENX Recordstore in the city centre, as well as via our distributor, Word and Sound.”
“One of Berghain’s longest-serving residents, Luke Slater has been defining bleepy, polyrhythmic, industrial-strength techno as Planetary Assault Systems since the mid-nineties. P.A.S albums tend to come together in their own time:
“External signals and signs combine until the recipe feels right, both musically and from being ‘out there’,” Slater adds. “10 years since I released Arc Angel on Ostgut Ton, and it’s a fitting pleasure to combine live show ideas and studio work for the new album, served up with raw energy” That patience runs through his whole Ostgut catalogue; since Temporary Suspension brought its machine-tooled weight and alien feeling to the label in 2009, each P.A.S. release on Ostgut Ton has been its own quest for discovery, from The Messenger’s search for sounds not yet present in club music to Arc Angel’s focus on melody to the deep hypnosis of Plantae.
His new album, Planetary People has the deliberate imagination and depth of a record that took its time, shaped as much by live rooms and crowds as by the studio.
“Into The Night” creates a haunting, dystopic environment of corroded acid saturated in echo, absorbing from the first second. “Labyrinth” breaks into buoyant tribal percussion, modulated chirps trading off over propulsive drums. “Quadrant 10” is clean, delay-drenched techno, buzzing with noise splatters over saturated thuds. “Sermon Of The Light Tides” scrambles metallic bell sequences that distort and evolve throughout, reminiscent of a dial-up modem crossed with a game of Frogger, squelching between percussive bursts and stripped-back kicks. “Brave Cosmo” is tormentingly menacing, eerie synths panning around buried vocal fragments over frantic percussion. “Retina Burn” rolls on fierce, cement-mixer 909 cycles, rave stabs over a ride that locks you in, the whole track stuttering and repeating before stripping back to a bare echoing kick and building itself again. “Thunder Major” barrels on open hats and reverb-drenched claps ricocheting through twisting wreaths of delay, mesmeric and relentless. “Beton Brut” marches juggernaut percussion stamping through hall reverb so vast you can visualise the room, the darkest and most unrelenting track on the record. “No Ninja” crunches in metallic and immediate, a wiry plucked lead threading through glitch with the bass held low and deep, mixed so precisely you can see every layer stacked in your mind’s eye. “Ha Jam” is danceable techno with plenty of funk and a sophisticated looseness, a vocal laugh bouncing off clanging metal blocks and rave stabs. “Lynx” lowpasses its rave stabs and crystalline beeps, chirpy hats ticking, cold metal repeats, old school and mesmeric. “Generation Slip” closes everything out, ominous and churning, skittering percussion and electrical sparks rattling through steel, a freight train barrelling on into oblivion.
One of the most innovative and ambitious albums ever made, Genioh Yamashirogumi’s Ecophony Rinne is a sonic masterpiece featuring over 200 musicians that expanded the limits of what music and sound could do.
Before Akira there was Ecophony Rinne. Originally released in 1986, Ecophony Rinne is a four-part symphony of “ecological music” by Geinoh Yamashirogumi that married ancient tradition with technological innovation, and changed the way we listen to music in the process.
Half-speed mastered at Abbey Road by Miles Showell, Time Capsule’s high-tech analogue reissue is the first to reproduce composer Ōhashi’s ground-breaking “Hypersonic Effect” theory on vinyl, cutting frequencies beyond the realm of human hearing into wax to capture the full spectrum emotional impact of this extraordinary work.
Founded by genius polymath Tsutomu Ōhashi aka Shoji Yamashiro, Geinoh Yamashirogumi is a shapeshifting collective of over a hundred members from across disciplines. Rejecting professional musicianship, Ōhashi cultivated an ethos where neuroscientists, psychologists, doctors, journalists, engineers and students could critique society through artistic expression and pursue their research in ethnomusicological performances that spanned global traditions, Eastern spirituality and Western classical form.
Ecophony Rinne represents the pinnacle of this vision - an expansive orchestral suite made with over 200 musicians that channeled Ōhashi’s thinking about mankind’s relationship with nature, and fundamental questions of life, death and rebirth.
Here pipe organ synths made from sampled Tibetan horns sit alongside field recordings from Central African forests, Buddhist mantras circle dummy head microphones, Javanese Jegog percussion ensembles pulse like verdant ecosystems, and the acoustics of temples, caves and landscapes are conveyed in the mix. Weaving together culture, nature and technology, it is a record that vibrates with the polyphony of life on Earth.
But Ecophony Rinne was not only musically innovative. Noticing the difference between vinyl and CD versions of the album where digital reproduction limited the sound, Ōhashi developed a theory of “Hypersonic Effect”, determining that ultra-high frequencies above 20khz can impact human perception even if they are inaudible. At once a physical and a psychological experience, to listen to Ecophony Rinne is to feel music differently.
The rest is history. After its release, Ōhashi was approached by director Katsuhiro Ōtomo to produce the soundtrack for Akira, the work for which Geinoh Yamashirogumi is best known. Emerging from the shadows at last, Ecophony Rinne was its transcendental blueprint, reissued in its most complete hypersonic form on vinyl for the first time.
Rather than describe nature, Ecophony Rinne embodied it. Rather than reflect culture, Ecophony Rinne defined it. Rather than explore technology, Ecophony Rinne changed it. As a work of art, it is more relevant than ever. You won’t have heard anything like it.
In 25 Jahren Bandgeschichte kommt einiges zusammen. Über 180 Songs auf 14 Alben und einigen EP’s hat die Band im laufe der Jahre veröffentlicht. Mehr als 12 Stunden non stop Electro, Dance & Indierock. Auf dem 25 Years Album finden Fans die besten und erfolgreichsten Tracks der letzten 25 Jahre.
Insbesondere das 3 x 12“ Vinyl sollte viele Fans und Sammler ansprechen, da die meisten Tracks schon seit Jahren nicht mehr auf Vinyl erhältlich sind.
Oben drauf gibt es noch 3 exklusive nicht veröffentlichte Tracks auf diesem Album.
A Chicago legend who paved way in the underground with his Mr. Peabody record shop, the one and only, Mr. Mark Grusane steps up to L.I.E.S. with his "Angry Birds" lp. On this six tracker Grusane locks in and demonstrates an important facet of the Chicago sound that is often overlooked with a nod to the infamous "Reactor" sound pioneered by DJ RUSH. A rare style mostly shunned by jocks (and producers) on the modern floor, this record is full of straight up circle pit rx-7 programmed madness, chaos of the highest order...This is for the ones who know, the ones who have been obsessed, and the ones who need to know...this record sets it all off. Full on referee whistle chippin, neck snappers for those who dare to step into the real jackin zone. Hi octane, full swerve, blowing through red lights all nite long!
Back on PANORAMA Records, we turn to a beautiful slice of under-the-radar Jamaican reggae with Horace Martin – “Me Rule.”
Born in Kingston, Jamaica, Horace Martin was just 20 years old when he stepped into Channel One Studio to record the track in 1974. At the time he was building his name locally, performing in clubs and talent shows around the city while cutting sides in Kingston’s vibrant studio scene. “Me Rule” captures that moment perfectly — youthful confidence over a deep, steady rhythm.
This record earned its place among the deepest collectors: Proper rootsy dancefloor reggae that feels just as good today as it did when it first came out of Kingston.
On the flip, things open up with a dubbed-out version of the rhythm titled “Rule,” credited to Prince Huntly. Stripped back, the dub extends the track — echo, percussion, and bass doing the work.
As always, PANORAMA Records continues its search for overlooked gems from across the globe — records with history, character, and real musical weight. Carefully remastered and brought back on 7inch, PAN013 is another example of these records finding their way back to the turntable.
‘Sustained’ is the new album by Jungstötter, the solo project of Berlin-based songwriter and musician Fabian Altstötter. With sparse, poignant arrangements of piano, strings, electronics, and noise, Jungstötter composes a tender, raw, and poetic song cycle of exquisite romanticism, featuring a cast of close collaborators including the Berlin-based artist Ronja (Roomer). Evoking the fervent vocal versatility of ANOHNI and Scott Walker, Jungstötter adopts the human breath as a central metaphor in a miraculously moving opus of intimacy, vulnerability, and communion.
Across ten tracks of experimental pop songcraft, notes oscillate, soft strings linger, piano ambles, noise billows up and sears back into itself – and all of it is bound by a distinct voice that roams from a remote, warped undertone to an immediate melodic intensity.
Distorting the soft edges of vocal melody with rattling tactile noise, ‘Sustained’ is a mercurial portrait of layered lyric and contracting sound. The third album by Jungstötter, ‘Sustained’ bends away from the more dense, knotted sounds of his last two solo albums, ‘Love Is’ (2019) and ‘One Star’ (2023), toward a particular rawness that reestablishes the strength of poetics, of vocal sound, and the softness of song when reduced, restrained, redirected.
Aspetuck has been steadily carving out a name for himself through releases on Never Late and Oslated, garnering a respected following for his DJ mixes and festival performances. Aspetuck’s latest record, Immersion, was sequenced and curated from dozens of ideas spanning a transformative few years in Griff’s life. The album is less a snapshot in time and more of a memory bank - flashes of fatherhood, loss, modular rabbit holes, late-night studio sessions, and long walks by the Hudson River with his daughter.
The emotional undertow of the album is immediate. Opener Hit Me With Your Pet Shark is one of the earliest compositions in the collection, created just months after the loss of Griff’s brother and during the sleepless swirl of new parenthood. Built around a single sound from Spectrasonics Omnisphere, found while rediscovering his brother’s studio gear, the track sets the tone: restrained yet searching, personal without becoming precious.
From there, The Printing Press captures the raw energy of a live jam in Griff’s upstate New York basement, running through a 1980s Tascam mixer like a lo-fi assembly line of synths, pads, and drum machines. REI, named after a spontaneous family mission to find a pink water bottle, encapsulates his knack for imprinting daily minutiae into sound. And title track Immersion- once known simply as Tuesday 303 Jam- emerges from a dinner break and a blender, distilling modular sketches and distorted drums into a powerful, slow-motion march.
Under, Under The Tree hits hardest. Built around a grainy iPhone voice memo of Griff’s daughter singing by the Hudson. And closing the album is Bobik, a collaborative studio session with Moon Patrol channeling the playful chaos of a close friendship and modular exploration. Named after a joke about their golden retriever and filled with alien textures from Griff’s beloved EMU XL7 gifted years ago by his late brother, it’s a fitting send-off to an album that straddles celebration and mourning with grace.
The artwork comes courtesy of Peter Skwiot Smith, whose textured analog/digital aesthetic resonated immediately with Griff’s original vision. Peter’s treatment draws on Griff’s personal photography and leans into motion, blur, and the layered nature of memory, echoing the album's sonic tone without overexplaining it.
Mastered by Sven Weisemann, Immersion is available on blue smoke colored 12”
memotone returns to Accidental Meetings with a collection of stunning and delicately crafted songs, featuring Ugné Uma, guest (Jabu) & Typesun!
Multi-instrumentalist, producer & composer memotone (Will Yates) announces the release of his album Warm Shadows and a homecoming on Accidental Meetings. Warm Shadows sees Yates’ discography continue to flourish and traverse into new territory once again, his ever-growing sound palette commands total attention throughout the LP. Within the album sees delicate collaborations with Lithuanian artist Ugné Uma, Jabu’s guest and percussionist, Typesun.
Memotone is a learn-by-playing multi-instrumentalist and producer, working with minimal, ambient and contemporary classical music. Predominantly an improviser, recent years have seen memotone lean towards a more free-form approach, exploring jazz, drone and more meditative music, also showing a keen interest in sound design and textural experimentation. Will has released music with various labels over the years to critical acclaim, most notably; World of Echo, The Trilogy Tapes, Sähkö Recordings, Accidental Meetings, Patience/Impatience & Black Acre.
If art is to be exhibited, then Ulrika Spacek will ensure that their art is collective; that even as the world becomes inhospitable to community, their intentions are an act of resistance.
Whether it is Oysterland, the self-curated night the band have been Hosting for over ten years to platform artists of other disciplines in live music spaces, or Total Refreshment Centre, the East London studio Syd runs which connects the dots between the jazz scene and like-minded experimental artists of the capital and beyond, or their creative bleed as musicians and producers over the years with the likes of Crack Cloud, caroline, DIIV, Holy Wave and Slowdive, the band’s existence is inseparable from their community.
In a hyper-individual world, the band’s fourth album, ‘EXPO’, offers an antidote. It’s there, in the shared dream logic of the music, the off-kilter melodies, jagged guitars and cirrus cloud atmospherics. It’s there, in all the things that are said and unsaid between them; there in the writing, producing and mixing processes they share in. And even as each of their parts Moves toward a unified vision, it’s never more keenly felt than in the bigger Picture to which Ulrika Spacek belong.
Though their well-established foundations are in the art-rock world - and though they are inspired by electronic elements more than ever - Ulrika Spacek are interested in the glitch that exists between the two. Their Music reckons with human warmth and digital isolation, equal parts welcoming and altogether alienating. “Our music has always been a collage - a bit patchwork, sonically - but what makes this album a landmark for us is that we went one step further and made our own sample bank,” explains singer / guitarist Rhys. They create their own doppelgängers in a world of almostreal, where the band appear as if in a hall of mirrors. Digital drums are sampled layered upon real drums, and the effect is almost like birth in reverse - pulled from the ether and returned back to the tangible world.
“There’s a lot that can be said about writing when there is no aim, there is a freedom and a purity in it which opens a door to more music, and in this case, it set a mood for a new album, one that would be colder, darker and one that would embrace electronics and new instrumentation in a new terrain,” the band share. “The album’s greater theme is isolation and alienation in an online world where it seems everybody around you is constantly exhibiting themselves, living in public wanting to be seen and heard. The age of ‘individuality’ is lonely, it’s a room of concave mirrors, and with this in mind, we set upon making our most collective effort; ‘It’s back to strength in numbers, count in fives.”
For fans of Radiohead, Moin, DIIV, Astrel K, Slowdive.
Sirens" resonate a lot in 2026. "Sirens" are everywhere right now, in the many fields of the human reign, sounding at its highest level ever... Pioneering Swiss DJ and electronic music producer Ripperton joins forces with Berlin-based singer, composer and passionate aural storyteller Joy Frempong (OY) to create a beautiful and deeply moving piece of electronic music. And after three years in the making, “Sirens” finally emerges. The roots of this collaboration however reach back more than a decade. Around 2010, Ripperton first encountered Joy’s first album with Oy after hearing it on Swiss national radio Couleur 3. Shortly after, he saw her playing live — a moment he describes as pure magic. So inspired, Ripperton approached her label with a request to remix her music. The label agreed, and in exchange, Joy promised to feature on one of his future productions. What began as a mutual artistic gesture quietly planted a seed and eventually, pretty much fifteen years later, that seed has fully grown. “Sirens” began as one of Ripperton’s nocturnal modular jams — exploring and playing around with pulsating sequences, pure analogue sound textures and fluid, hypnotic structures. The track was then elevated to an entirely new level by Joy Frempong’s deep, evocative lyrics and her celestial voice, transforming the song into something haunting and profoundly human. The song also grew on a shared work ethos rooted in patience, trust and refinement. A slow process, shaped by intuition and feeling rather than pressure. Listening over noise. The result is an emotionally charged composition that blurs the line between inner reflection and collective awareness — a sonic response to the sirens of our time.
Quotes: Laurent Garnier: “This is lovelyyyyy * “ Aera: “Love it! A brooding masterpiece. Simple yet multilayered, the real action is happening beyond the surface.” Acid Pauli: "This is really special. Like it a lot." Kalabrese: "Wonderful collaboration between two outstanding artists. Fresh sounds, deeper rauschen, beautiful vocals, hypnotic tribe. a bliss!” Vladimir Ivcovic: "Das ist so gut, aufrichtig, rein und kommt zum richtigen Zeitpunkt. Die Abwesenheit von Hysterie. Ich liebe es. Downcast Euphoria of the highest order und gerade. In der Tat wunderschön. Besonders Clouds Mix, gerade."
J-Walk return to BiD with a one off single 'Never Go Home' ahead of an album of new works to be released next year...
Recorded in his Stockport studio & channeling the DIY ethos of his previous BiD release Broken Beauty, 'Never Go Home' is a paeon to the mind-altering oeuvre of late 80's indie psychedelia, influenced by artists such as Spacemen 3, Nick Nicely & The Field Mice.
On the flip 'Dub Never Go' expands the vision with a version that wades deeper into dub territory, spacing out the stems & positioning the song in an abstract format.
This limited-edition vinyl release comes in a homemade sleeve which is stamped, numbered & implanted with J-Walks DIY DNA.
A reissue of Volumes 1 and 2, originally released on the Rephlex label in 2007. This time, both volumes are brought together in a superb gatefold sleeve 4LP, taking you on a journey through the very best of Andy Jenkinson's work: Cool music, a blend of such quintessentially British culture that swings from gabba to IDM, from rough techno to electro to acid and analogue sounds - all packed into over two hours of madness. Here we go again!
F
ourth record already here, new Triptych being scooped out of the drawers. This one is heavily video game inspired and marks a turning point for me. I’ve somehow been very much drawn to what I call “boss fight techno”, this is the result of this cogitation.
Total Debauchery kicks off the record with truculence. The title says it all, we’re very far away from warm up time, all hell let loose, big energy discharge, weird stereo bassline, pure madness. Gate Middletone certainly is wonky. It sounds like an anesthetized telephone call. I don’t know if we can refer to this as techno, but who cares, groove is spotless. Absolute Buffoonery started off as a joke with hoover sounds in mind. Turns out it is very danceable and weird enough to be on the record. It still is a foolery.
The B side starts with Demonic Shine. This one is purely dedicated to zombie games. I’ve been thinking about how techno could be interpreted for this kind of stuff. Turns out you can shoot dead people and dance at the same time. Good time. Zany Ditherings is a hard drive that keeps crashing. It disrupts the track, making it spasmodic. You are in a convulsive loop of data being thrown out the window. dc11 accepted this remix operation. His work acts as counterpoint to the record, bringing flawless techno tunneling. Buckle up mate.
Farfalla Records presents a reissue of Jungle Obsession by Nino Nardini & Roger Roger. On this LP, they present their own musical vision of The Jungle Book.
This official reissue of this classic library album comes as a 50th-anniversary edition on 180 grams vinyl with two bonus tracks. Jungle Obsession is one of the true masterpieces of Pop Exotica. Includes "Safari Park" and "Tropical" that have been sampled by Madlib and Danger Mouse.
“When forty, I was still wearing miniskirts, extravagant patterns, pink, fluorescent colours, star shaped earrings. I walked around with my leopardskin hat, my fluffy bag, my floral outfit, until the gaze of others made me feel like it was not age appropriate anymore. Although I am still the same person I was at 16. It's the others I see changing."
There's no better way to describe ageing than through the gap that arises and continues to grow between physical reality and the specular image of the self : one deteriorates over time, exposed to the cruel laws of gravity and oxydation, while the other never ages, remaining intact and unaltered… frozen in a moment of blissfulness. The more time goes by the more the gap becomes a separate entity (ou “world” pour etre plus prosaïque). It can become so painful that many try to escape it, using and abusing every trickery.
“Youth looks so good on you” is a sonic ballad which bizarrely explores the world that lies between reality and self-fantasy, a world where the aesthetic cult of youth becomes sovereign to the people.
This piece was produced in 2022 as part of the Festival « Les Heures Sauvages - Nef des Marges dans l'ombre des certitudes », at the Centre Wallonie-Bruxelles in Paris.
After "A Story of a Global Disease" in 2022, "Youth looks so good on you" is the second piece of music by Naomie Klaus released on moli del tro records.
Shokolokobangoshay was a collaboration between three members of Pogo Ltd. The three of us felt we were crazier than the other members of Pogo Ltd. and decided to work together on the Kosmik 3 album. Robo was worked in the graphics department of NTA Benin. He was an amazing artist, a crazy guy, he was extremely creative, he invented a musical notation language that only he understood. He was amazing, he took me to his place in Asaba and showed me his compositions, he must have had over 500 songs.
Emman Osagie was my floor manager when I was a producer at NTA (Nigerian Television Authority) Benin. We were all on the same wavelength. He was a member of Severe 7, and heavily involved in the Bini music scene working with Ehi Duncan and others. we really enjoyed making Shokolobangoshay, it’s a river of influences, a bit of this, a bit of that, but it is really our thing. The musical ideas we were playing with at the time.
Emmanuel Ogosi. 3rd March 2026.
This record is why I went into reissuing records with Odion. The feeling to sharing records that went under the radar when they were initially released, with a greater audience. Shokolokobangoshay is uniquely Nigerian in a very personal way, it makes references to the societal and political ills that plague us in Africa. It’s title, Shokolokobangoshay, references a play song, kids in Lagos and western Nigerian sing when they play in the streets. Most Nigerians can relate. The music references afro beat, country music, reggae without falling firmly on any side. This is one for the ages. Amazing production, I personally love this record for the free spirit, creativity and excellent song selection. We had to licence it, we just had to. Limited repress only 500 copies.
It is also excellently produced. Big up to all involved, from the Vinyl Rip (James Law, Fidgit Studio, South Africa), to the master production by DJ Simbad (Cape Town, SA) and the cover restoration by Angelo Mitchell (SA). I am so happy to be doing it with the boys in the motherland. Peace and appreciation to all. Special dedication to Mother Tongue for creating a great pressing. Please file under Afro.
Blessings,
Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE
Celestial Echo returns with a proper UK soul classic — The Cool-Notes “I Forgot How To Love You”, back on 12” and cut loud for the dancefloor.
Hailing from South London, The Cool-Notes were one of the UK’s most consistent soul outfits through the late ’70s and ’80s. While many know them for their chart successes later in the decade, this early period shows the band in a formative state — warm basslines, tight rhythm section, rich harmonies and that unmistakable Britfunk feel.
“I Forgot How To Love You” is one of those records that’s quietly done the rounds for years. A favourite of Frederika’s back in the day, it’s about time it has it’s first ever reissue.
Presented on 12” in a clean company sleeve, this edition gives the record a new lease of life.
Celestial Echo is here to put proper soul records back into circulation — Buy or Cry
LIMITED TO 350 COPIES! 2 x 12" Gold Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.
‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.
The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.
Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.
‘Elevation’ is that record.
Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.
Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.
Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.
Fresh from the success of his debut solo LP ‘How To Kill A Butterfly’ out last year on High Focus Records, Farma G returns with the anticipated full-length follow up ’Nearly Nothing’s Enough’.
An album anchored in his notorious musical adventures as 1/2 of Task Force, Bury Crew and Mud Family, but very much informed by the state of 2026 Britain and beyond, Farma’s new body of work is fuelled by equal parts venom and deep introspection across 12-tracks courtesy of Brighton based producer Relense.
With one eye on following ‘How To Kill A Butterfly’ with something of equal standing, Farma revisited the fundamentals in the hope of better understanding what he really wants to say with the music he makes. By channelling feelings of familiarity and seeking out emotional connections to his past he created a record that feels both concise and expansive.
With the help of Relense’s gritty analog instrumentals, Farma found himself journeying across subjects and bandwidths; from exploring the mind of a conspiracy theorist on ‘X-Files’, to being a zen master with a mountain on his back on ‘Sun Wukong’, before returning to earth for a typical day in the life on ‘Mr Moany’, ‘Nearly Nothing’s Enough’ is an album that took Farma home and he is delighted to welcome you on the journey.
We have released two Darrow Fletcher CD on Kent but he has never had a vinyl LP of his own - of any description.
This compilation concentrates on his Chicago years, though it adds a rare demo, ‘Hope For Love’, only previously available on a “Masterpieces” Kent CD. Also, we have included his one-off late-70s version of fellow Chicago-born writers Grey & Hanks’ ‘No Limit’, also originally a “Masterpieces” track and a now-deleted Kent Select 45; these fetch £100+ on some sales lists.
The mid-60s sides speak for themselves. He began his career with the acclaimed soul blast of ‘The Pain Gets A Little Deeper’ (an Elton John favourite of the time!) and followed up with dancefloor classics ‘My Young Misery’, ‘What Good Am I Without You’, ‘Infatuation’ and ‘Gotta Draw The Line’.
As was common in those days, the hip dance sides were coupled with tender ballads such as ‘Sitting There That Night’, ‘Little Girl’ and ‘My Judgement Day’. Those were particularly well received in his Chicago homebase and have been admired by slow-groove scenes like Lowriders in Los Angeles ever since.
Darrow’s late 60s recordings, though recorded in Chicago, were issued on Los Angeles labels controlled by Universal. By 1971 his producer - stepfather Johnnie Haygood - had reverted to using his own Chicago imprint Genna for the last recording.
For almost two decades, Igor Škafar has honed a own unique sound. Warm and nostalgic, the Slovenian artist melts unctuous analogue tones with subtle percussive patterns. This palette is at the heart of Ichisan’s fifth appearance on Bordello A Parigi. An undulating and understated introduction ushers in “Erotika,” the cosmic gazing sounds of the 1970s and the turquoise waters of Balearic flowing as one. Swirling space synthlines are countered by punchy beats, fudgy basslines balanced by the gently rippling melody. The break offers new directions, drum patterns scatter before regrouping around those sunkissed scaling chords care of Škafar’s impeccable craftsmanship. The beats take on a disco snap for “Midnight House,” a smouldering snaking synthline unfurling itself to glorious heights. Bongos and toms support the sci-fi dipped keys of this seven-minute journey into the musical mind of Ichisan. Two tracks that offer a deep dive into the sounds of a truly singular artist.
Another massive offering from the one and only Mick Harris, continuing on in his Culvert Dubs Sessions experimentations with a new 2xlp. Once again Mick delves deep into the shadow realm of slow beat, psychedelic heavily textured, grinding dub techno. Eight tracks of absolute industrialized, delay swept, full pressure, sound system shaking murk ridden, dark water dubs. Top form work when Mick lets loose in this wild style, just the right balance of beauty, restraint and brutality. Total heavy weight music!
LEYO returns with his most refined and personal album to date
Following the success of his debut album on Cécille Records, released in September 2024, which surpassed millions of streams and firmly established his signature sound, LEYO now returns with his second full-length LP on the imprint - a project that marks both artistic growth and a deeper exploration of his musical identity.
Building further on that momentum, LEYO followed up with his ‘Circus’ EP, a release that quickly became a standout moment, with the title track ‘Circus feat. Easttown’ gaining strong support and resonating widely across dancefloors and reinforcing LEYO’s position as one of the label’s most exciting and distinctive artists.
Now, with his new eleven-track album, LEYO opens the next chapter.
Featuring collaborations with Thierry Ganz, 3DDY and Native, the project showcases LEYO at his most refined and confident to date. Building on the foundations of his debut, he continues to blur the lines between soulful house, disco-tinged grooves and raw, stripped-back club cuts - all while maintaining a sound that is instantly recognisable as his own. Where his first album introduced the world to his unique blend of influences, this new body of work feels more focused, more mature and emotionally resonant. Each track carries its own weight, with moments ranging from intimate, melodic compositions to high-energy dancefloor pieces - true gems that reveal themselves over time.
The project has been a long time in the making, reflecting a period of artistic evolution and dedication in the studio. It captures not only LEYO’s growth as a producer, but also his ability to craft music that connects both on a personal and collective level.
At Cécille, we are incredibly proud to have LEYO as part of our family. Releasing his second album on the label is something truly special for us, and a testament to the journey we’ve been on together so far.
This album is not just a follow-up - it’s a statement.
"Life & Death has been a bucketlist label for me since day one. I've always been inspired by the way DJ Tennis approaches music and the whole philosophy around the label. What always stood out to me is the variety in the releases. One record can be deep and emotional, the next one raw and club-focused, but it still feels like it belongs to the same world. That balance is something I am always chasing in my music. Next to this: in a world that is focussed more and more on short term wins and commercial performance, i really can tell that Tennis still values the art and process of making music the most, which is something i really appreciate"
I remember hearing him play at Circoloco in Ibiza and later in the Loft in Amsterdam and thinking: 'fuck, I should've send him the tune I made last week.' When I came back home, I immediately put together a pack of tracks to send to him. Two were released as part of the Fabric release, and 4 of them are on this EP.
For me, this release is a next step in my career, and I'm happy and proud to be part of a label that is both legendary and super relevant in 2026."
Sublunar is proud to present the new EP from Georgian talent Pierce.
Already affiliated with labels such as Token Records and WSNWG, and following his contribution to Veil Of Echoes II, Pierce returns with a release that further defines his voice, establishing him as one of the most eclectic and distinctive emerging artists in the scene.
The EP opens with Luminous, driven by a solid groove and a uniquely recognisable vocal, before moving into Sentimento, a direct and powerful cut built around raw, gritty synth work. Cassiopeia follows, darker in tone, carrying a sense of melancholic tension that sets it apart. On the flip side, Gunslinger delivers high-impact energy with a driving groove, while Twisted Fantasy explores a more chaotic and textural approach, shaped by distorted elements and unpredictable arrangements. Delira continues the journey with hypnotic vocals and an intense, immersive groove.
With this release, Pierce firmly positions himself as one of the most compelling emerging voices in the current techno landscape.
Lars Huismann makes a quick return to SHDW & Obscure Shape's newly minted Mutual Rytm imprint as he delivers a medley of classic, groove-driven techno productions via his "Sounds From The Past I" EP.
With recent releases via labels such as Slam's iconic Soma, Berlin-based DJ and producer Lars Huismann is quickly growing to become a familiar name of note within today's modern techno landscape. Having featured as one of the artists on the label's debut V/A release in February, with the German set to feature as a regular across the imprint in coming months, he unveils fresh shades to his sound palette on his return to Mutual Rytm with a combination of six slick techno cuts across his "Sounds From The Past I" EP.
The powerful, rolling dynamics of "Surge" open proceedings as Huismann quickly sets his stall, while "Collison" veers into slick, looping territories as the energy and tension are kept tight and high. Next, "Echo" ups the pace as tough kicks meet zipping melodies, filtered chords and looping vocal interjections amongst a medley of flurrying percussion licks, before "Funk Shed" takes cues from its title and showcases a classy blend of classic Detroit-influenced sonics guided by sweeping synths. Title cut "Sounds From The Past I" brings with it flashes of serenity and peace, before erupting and spiralling effortlessly into infectious and captivating drum grooves, before closing the show via the rich yet muscular tones of final offering and digital bonus track "Jackin".
Lars Huismann "Sounds From The Past I" EP drops via Mutual Rytm in March 2022.
Chronicle continues his journey through the cosmos on Spatial bringing a stunning array of inspired atmospheric bliss with Aqua Pura. A1 - Pure Alchemy Chronicle opens his latest EP for Spatial with a sprightly track, introduced with purposeful synthwork, echoing effects and a wonderful 808 bassline reminiscent of the late 90's Progression Sessions era. Energetic, layered breaks drive and build throughout Pure Alchemy with joyous vigor, while a cluster of subtle melodies intertwine across a varied and memorable mix from the label regular. A2 - Endless Ocean Next up Chronicle treats us to an amazing array of atmospheric synthwork with Endless Ocean, notes yoyoing across the soundscape through a gorgeous intro. Flecked with shimmering, buoyant melodies and bringing an immediate injection of pace, the breaks drop delivering a driving, distinctively head-nodding energy punctuated by a blippy micro melody and suitably deep bass. AA1 - Shared Consciousness Opening with a playful intro featuring subtle hi hats, twisted bells and a classic film sample, Chronicle deftly juggles excitable effects with his inimitable cheery atmospheric style before a real feast for the ears and the feet arrives - breaks reminiscent of those long lost nights at Shepherd's Bush in 1998 bring an essential hypnotic energy to a track simply dripping with style and rhythm. AA2 - Water World Straight into the action with crisp two-step breaks, Water World needs no introduction as a myriad of atmospheric effects, samples and quirky melodies seize your attention for a decidedly dancefloor-friendly track for 160bpm heads. Beautiful breakdowns play their part as well as the subtle yet room-filling 808 bass, rumbling persistently beneath another remarkable track from one of Bristol's finest.
Austrian musician, painter, and filmmaker Kimyan (formerly Kimyan Law) combines sound and visual design in an impressively direct way to create a comprehensive artistic experience. He takes an open, intuitive approach to his compositions, connecting the
resonances of traditional instruments and rhythmic patterns from Central, North, East, and Sub-Saharan Africa with sophisticated production techniques. Kimyan's current album,
“Coloria,” in which he explores the concept of timbre in a multifaceted way, marks the pinnacle of his artistic development to date.
For his Live -concerts, Kimyan relies on the organic element of playing, using instruments such as electronic drum pads and MIDI controllers.
This gives his pieces a spontaneous, physical presence on stage that goes far beyond mere reproduction and makes his performances a lively interplay between improvisation and structure. In conjunction with his self-designed artwork and videos, corresponding audiovisual worlds are created in which cultural influences and identities, moods and timbres shine together radiantly. Kimyan's works tell stories in many colours, yet always in one language: his own.
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.
Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020
KIZZY is the breakthrough EP from rising East London artist Bel Cobain, one of the most distinctive new voices emerging from the UK alternative R&B and soul landscape. Written across 18 months of late-night ideas, scattered sessions, and quiet breakthroughs, the project captures an artist in motion. Following a string of singles that introduced her raw lyricism, KIZZY marks a confident step forward with intimate, sharp, and melodically rich songs that sit in the space between endings and new beginnings.
Across these six tracks, Bel moves with striking emotional honesty through a rich palette that encompasses rock’s bite, jazz’s looseness, R&B warmth, hip hop rhythm, folk intimacy, and fractured breaks. She blends conversational storytelling with her distinct smoky vocals, reflecting on change, learning to let go, and finding light in the aftermath. The EP invites the listener to listen closely to the cracks, the softness, and the pulse of the beauty that still rises when a chapter turns.
Bel Cobain is fast becoming known for her ability to connect deeply with audiences, pairing classic songwriting instincts with a contemporary sonic edge. Early support has come from tastemaker radio and press, with momentum building across streaming platforms as listeners discover her unique perspective on vulnerability and self-awareness. Released as Brownswood Recordings celebrates its 20th year, KIZZY continues the label’s tradition of championing the most singular artists.
Marking a significant milestone in her career, this release is Bel Cobain's first-ever record. It is presented as a Collector's Edition Limited Edition 1xLP gatefold vinyl, pressed on Terracotta colored wax. With short-form video campaigns, targeted digital marketing, radio support, and a growing live presence, this release positions Bel Cobain as one of the UK’s most compelling new artists for 2026.
This is the first 12" Vinyl Ep within the ANAOH physical catalog. A perfectly balanced release in every sense, with strong power and a production level of the highest range.
Dig-it is one of the most talented and respected artists in Mexico. Co-founder of ANAOH, mixing and mastering engineer, expert sound designer, DJ and producer. Paths is the clear result of a career based on learning and artistic development, raw and powerful techno, with complex
synthesizer lines and an elaborate rhythm, nourished by organic and forceful elementsAs the first remixer we have Bailey Ibbs, a serious protagonist of the new Berlin techno scene, resident of the Tresor club and a fundamental piece in the development of a sonic evolution in contemporaryGermantechno.Hehasaddedagrooveandfreshness to the track Unheard Path.
On the other hand, Fixon and Gene Richards Jr are back home, a duo that has managed to fit perfectly into their joint productions. A percussive version of Untrodden Path, with a dirty texture designed to tear up any dance floor.
Shimmering Xhosa traditions and deep electronic futures vibrate as South African sonic poet and composer Dumama unveils her groundbreaking debut solo album, Towards An Expanse. Sometimes gospel, sometimes electro-psychedelic space travel, Towards An Expanse unfurls from a languid lament into an ever-expanding sonic universe. Dumama defies conventional genre boundaries while excavating deep personal and cultural histories in this concise but boundaryless collection, recorded between New York, Johannesburg and Berlin. Dumama first gained international attention with her acclaimed 2020 collaborative album, Buffering Juju, created with fellow South African musician and artist Kechou, and lauded as Global Album of the Month by The Guardian. Her new solo work draws on a rich lineage of South African voices. Gugulethu Duma (aka Dumama) is a musician / composer / sonic poet / creative producer from the Eastern Cape Province of South Africa. Dumama is one of the few uhadi players in the world. Her use of the traditional Xhosa bowed instrument guides her profound story-telling, blending ancestral roots into an urgent electro-acoustic palette. The album was born out of sessions with acclaimed musician and producer Shahzad Ismaily in New York and South African powerhouse Nandi Ndlovu in Johannesburg.
Paul Weller releases Weller At The BBC (Vol.2) on Friday 24th April.
This second BBC outing gathers live session and live in concert performances, including intimate stripped back acoustic versions and re-workings of tracks across The Jam, The Style Council and Paul’s extensive solo career.
From timeless classics such as Start!, Shout To The Top and Wild Wood, to deep cuts and covers, like The Zombies’ Time Of The Season and Billie Eilish’s What Was I Made For?
The album also features some beautifully orchestrated tracks with the London Metropolitan Orchestra, arranged and conducted by Hannah Peel, including Aspects, Boy About Town and Have You Ever Had It Blue.
UK Techno and House lynchpin Mark Broom returns to Radio Slave’s Rekids with the ‘Touch’ EP, landing 8th May 2026. Active since the late ‘80s and widely regarded as one of UK dance music’s most enduring figures, Broom’s catalogue spans key imprints including Warp Records, M-Plant, Hardgroove, and his own Pure Plastic and Beardman, alongside collaborations with the likes of Riva Starr, Baby Ford, and James Ruskin. Since fi rst appearing on Rekids in 2019, he’s gone on to deliver 13 further releases, including his five-part ‘Mutated Battle Breaks’ EP series on sister label RSPX.
Following 2024’s ‘Showtime’ EP, his last House-leaning outing for Rekids, Mark Broom now drops the ‘Touch’ EP.The title track leads the charge, pairing a nostalgic vocal with a Disco-House hybrid feel and jackin’ edge, setting the tone for ‘Eyes’, where he works the filters to build suspense as a loopy sample drives those feel-good dancefloor moments. The B-side shifts into Techno territory with ‘MXM’, a robust, driving groove marked by a machine-like swirl that steadily pushes the pressure, before closer ‘Don’t’ rounds things out with a hard-hitting drumline and tough, strobe-lit stab work.
Golden Seconds has arrived — a brand-new Disco label brought to you by Johannes Albert.
In the 1990s, Disco House records became dancefloor anthems, drawing on the nostalgia of disco's golden era while incorporating modern production techniques like sampling. Pioneered by influential producers like JohNick or DJ Sneak, Disco House revitalized the uplifting spirit of Disco while infusing it with the infectious rhythms of House Music. A young Johannes became addicted to this happy music in a heartbeat. Fast forward two decades, and he’s crafted his own updated take on the genre, guided by one simple philosophy: "Sometimes all it takes to make a room go bang is a beat and a sample."
Golden Seconds Vol. I opens the vaults and delivers a selection of tracks straight from the stash — timeless grooves, dancefloor heat, and that unmistakable disco glow. Sexy cover included.
Clairvoyant Dimensions is the first album by Mei Honeycomb, a new duo of Jordan Czamanski, renowned as a member of the acclaimed Juju & Jordash and the Magic Mountain High project, with solo work released as Jordan GCZ, and legendary saxophonist Jeff Hollie, known mostly for his work with Frank Zappa and Ike Willis. An explorative ambient album, Clairvoyant Dimensions is an exercise in distance and contemplation, and the exhilarating feeling of insight, however fleeting, like staring at the midnight flicker of an old VCR. Czamanski's music has a trademark tenderness and soft-spokenness, an ability to maximize minimalist musical elements and bring them to an open-ended conclusion. Jeff Hollie provides interpretative sax lines on all tracks, slipping into the scene like a shadow, silent and unexpected, touching upon emotional registers almost explicit, yet confounding.
As musical signifiers keep turning around themselves, they set up a mood of euphoria, one that suggests understanding. Never explicitly spaced-out, there is continuous reference to cosmoses both inward and far away. Ambient music in modern form. Jordan Czamanski uses his experience in producing off-the-charts club music to come up with five tracks that at times are standstills, and at times dwell in forward momentum. Jeff Hollie provides both comprehension and beautiful confusion. As grainy images switch into focus, Clairvoyant Dimensions is a beautiful and contemplative trip that suggests its own reality in delicate ways. One of the five tracks, the gorgeous live-recorded Painted Desert Pastel, features composer, performer, and researcher Ilya Ziblat Shay on double bass and electronics.
Screen-printed cover designed by Johan Kauth.
Mastering by Rashad Becker
Mark Pritchard (Global Communication / Africa Hi-Tech / Reload / Harmonic 313) produced gem from 2004. Featuring Eska, Nina Miranda and other vocalists. TIP!
An expanded edition of a long out of print Far Out classic. This double vinyl edition will include the track 'Strikehard' for the first time, which was omitted from the original pressing, only released on a separate 12" and CD.
Far Out Recordings announces the Record Store Day 2026 deluxe double LP reissue of Troubleman’s Time Out of Mind. Originally released in 2004, the album marked a distinctive turn in Mark Pritchard’s expansive career, channeling his pioneering electronic instincts through a filter of Brazilian grooves, African rhythms, and global soul. This special edition includes the underground club classic “Strike Hard” (previously unavailable on the original vinyl), alongside the album’s flawless blend of early-noughties space-age bossa, broken beat, future soul, and psychedelic downtempo.
Under the Troubleman alias, Pritchard stretched his focus outward in every direction. From the UK rave continuum to Brazil, the US, Africa, and beyond, he drew on the psychedelic soul of Dorothy Ashby and David Axelrod, the Afrobeat drive of Fela Kuti and Tony Allen, and the samba-doido energy of Azymuth. Filtering golden-era seventies influences through early-2000s pop, club, and rave lenses, the album moves effortlessly between club-ready tracks like “Strike Hard,” and more laid-back, tripped-out moments that highlight Pritchard’s range, shifting seamlessly from dancefloor heat to outer-bongolian cloud watching.
Featuring vocal contributions from Nina Miranda (Smoke City, Da Lata), Steve Spacek (Spacek, !K7), and Eska (New Sector Movements), the record captures Pritchard at a pivotal moment, exploring how electronic production could absorb and expand the rhythmic complexity of global sounds.
One half of Global Communication and Jedi Knights with Tom Middleton, and Harmonic 313 with Dave Brinkworth, Pritchard has since built a dense, acclaimed discography across numerous aliases and labels. His work on Warp Records has included collaborations with Thom Yorke, and his remix portfolio spans Depeche Mode, PJ Harvey, Underworld, Aphex Twin, Lamb, KRS-One, A Tribe Called Quest, The Orb, and The Beloved.
Remastered from the original sources and pressed to vinyl exclusively for Record Store Day 2026, this edition also faithfully reproduces the album’s psychedelic artwork by renowned British artist and designer Swifty.
Hekt's debut album Forever is released 1st May 2026 on Numbers, with the first single "Someday" featuring Valeria Litvakov out now.
Made with his friends Henriette Motzfeldt & Catharina Stoltenberg (solo and together as Smerz), Copenhagen-based composer/producer Fine Glindvad (who records as Fine), and Valeria Litvakov, Forever is built around juxtaposition: pop and bass brushing shoulders with dopamine fueled EDM. The record is a funhouse of mirrors where polystyrene arpeggios skitter underneath uplifting chords.
As Hekt describes the record: "Forever is desire and digital synthesis, car rides and lingering perfume. It’s missing someone who was never really there, holding on to something you didn’t want in the first place. The songs you hear when you’re falling in love on the dancefloor, and the songs you hear when you open your eyes and realize it’s just you alone with the DJ, the last one to leave. Songs to make out and break up to. A party so good you get depressed it can’t last forever."
Forever is a continuation of Hekt's work exploring the emotional core of pop music. "Someday" is the soundtrack to a hundred imagined futures with strangers in the club, as pristine arps and heartswelling chords skitter under Valeria Litvakov's ruminations, both lovestruck and terrified. Smerz add a level of fantastic to the slanted otherworldly pop of "Up in the Air, So" and "Forever." On both tracks, the melodies are squishy and impressionistic, the sound of all those memories we make in dance floors, taxis home, and in the blurry morning sunshine as we adjust to reality.
And while guest vocalists abound on Forever, Hekt also takes a turn at the mic himself. On "Without You" he shakes up a perfectly mixed cocktail of melancholy and beauty. And on "Promise" his voice is turned into another melodic accent against the fragile IDM sound design. Elsewhere he turns up the aggro. Dueting with Catharina Stoltenberg on Boys Noize's secret weapon, "Anytime Anywhere," the two trade bars across a compressed field of static and feedback while little hints of sub and wiry synths circle the edge of the stereo.
Hekt's music has always attempted to redefine what club music can and might be. This reimagining of the very basic building blocks of the dance floor is felt across Forever where he leans into the emotions of 2010s EDM. "What I loved about hardstyle and jumpstyle was the emotional intensity that kind of music can bring if you’re in the right setting. And I think that is what has stuck with me from EDM too. Emotional intensity," he explains. "It’s just been the soundtrack to some of the most fun moments in my life." On "But I Can't Really Show You," he compresses the EDM-era into 3-minutes. Vocal catharsis, dubstep womp, and soaring chords make it sound like the entirety of Tomorrowland being processed through MAX/MSP. This Skrillex-meets-Calvin Harris colossus is designed to destroy every sub woofer as it pulls on every last heart string.
And then there are the straight-up club stompers. "Baby" is UK club music reimagined with the steely lines of Danish modernism - think DJ Q going b2b with Errorsmith. It has a bassline made out of flubber with a vocal chopped beyond recognition as it bounces across chromatic synth lines. Even when he strips things down on the slinky garage-esque "Big Things," there are still unexpected twists and turns. The melody sounds like an Ibiza House compilation played in reverse, alongside drums that swing in and out of psilocybin bleeps and bloops. On other tracks like "Dream" and "You Won't Believe," the tropes of dance musics past, present, and future are dissolved in baths of synthesis and polished sound design.
Forever is a record where club music and Scandinavian EDM seamlessly mixes into avant-garde pop. Hekt has crafted singular and unclassifiable love songs alongside effortless bangers, making an ode to those eternal dance floor moments where time stops and you start hoping for something big.
Having tirelessly contributed to shaping the UK dance music over the past decades, Special Request needs no introduction. From the underground and resurgences of Jungle all the way through to major Pop music projects, this man can do it all. Timedance welcomes Paul Woolford's infamous alias for the first time here, unleashing the devastating “Uncanny Valley”. Woolford combines his signature comb filter rave synths alongside cavernous breaks for ultimate mindf*ck peak time energy, anticipation has been huge for this one since Paul showcased the track on his social media last year to a huge response.
Alongside the original “Uncanny Valley” comes alongside remixes from two of maddest breaks scientists in our address book. Timedance stalwart Metrist nods to his love of hi-tech neurofunk with devestating technicality and flair, whilst gyrofield adds a more hypnotic and psychedelic angle, leaning into the eeriness of the original.
Proper dancefloor wreckage here from a real power trio.
"I think I have never met anybody, with the exception of Brazilian guitarists Baden Powell and Toquinho, as connected to his instrument as Agustín Pereyra Lucena" – Vinicius de Moraes
Far Out continues its exploration into the singular catalogue of Argentine guitarist and songwriter Agustin Pereyra Lucena with a special Record Store Day edition of his most celebrated album Ese Dia Va A Llegar.
Agustín Pereyra Lucena was one of South America’s outstanding guitarists. Hailing from Buenos Aires but obsessed with the music of neighbouring Brazil, Agustin abandoned his architecture studies to pursue music full-time, earning friendship and collaborations with Brazilian music's greatest figures including Vinicius de Moraes, Baden Powell, Toquinho, Dorival Caymmi, Maria Bethania and Chico Buarque.
Originally released in 1975, the album has been better known in some parts of the world as Brasiliana – a title repurposed by Agustín's European record label in the 70s to exoticize the sounds of South America for the continental market. It finds Agustin and band—which includes key collaborators Guillermo Reuter on contrabass, and Carlos Carli on drums and percussion— at their most blissfully laid back. The album features idiosyncratic renditions of classics by Antonio Carlos Jobim, Vinicius de Moraes, João Donato and Agustin’s personal hero and friend Baden Powell, alongside Agustín's own works which ooze with captivating mystical wonder.
The analog warmth of the recording is such that it feels like you’re there in mid-seventies Buenos Aires, on a balmy late night session at Estudios Audión, with a group of phenomenally impressive musicians. The heat generated is offset only by the cool temperament of everyone involved. On the handful of vocal tracks on the album, Agustin’s gentle voice is responded to by the liquid smooth vocals of Laura Hatton, Luis Maria Cosenza and Patricia Scheuer.
Agustin’s unique position in the annals of his continent’s musical history has been lovingly maintained by Agustin’s nephew Jose Luis Pereyra Lucena, who has entrusted Far Out Recordings to preserve and re-release Agustin’s works. The music has been professionally remastered at London’s Metropolis Studios, using multiple copies of well kept original vinyl.
Reissued worldwide for the first time under its original title and cover as Agustin originally intended, Ese Dia Va A Llegar will be presented in a limited edition obi-stripped gatefold replica sleeve.
London's underground upstart D'Monk opens proceedings on the A side with two new cuts showcasing his raw and intuitive approach to production with an innate sense of swing. His grooves are literally steaming from the first bar. You can feel the condensation of bodies in the room, feel the bass rattling the building and feel hips grinding to the syncopation.
The flip side features long-time Berlin resident and currently Sydney-based Frank Dasent. Don't be fooled by this cat's lo-key approach to releasing music. Upon further research one can see that Dasent has been behind the scenes on many productions spanning the world of jazz, R&B and dance music, as well as building his own catalogue of soulful and electro-inspired dance music.
Extremely Limited Black Screen-Printed Jacket / Glow in the Dark Ink / Red Insert Printed Sleeve 7Inch Black Vinyl
Hidden Revealed is one of Joaquin Joe Claussell Aliases which features a more Experimental Cosmic Jazz Side of Joaquin garnering just as many music supporters as his other aliases.
Sold out on our Bandcamp in only a few days; we are now offering copies of this highly sought-after record to our distribution partners. This is an Extremely Limited Specially Packaged 7" Black Screen-Printed Jacket using Glow in the Dark Ink. The record itself is housed in a special Red Insert Sleeve which is also printed. Musically Speaking this concept showcases the cosmic Jazz side of Joaquin Joe Claussell. All human musicians, no computers. Joaquin has been featuring these compositions in his DJ sets for quite some time now garnering inspiring crowd response.
Made up of Matt Tuck, Michael ‘Padge’ Paget, Jamie Mathias, and Jason Bowld, Bullet For My Valentine return with their 8th album ‘Social Apocalypse’. The band have accrued multimillion album sales, multibillion streaming numbers, multiple Gold certifications at home and abroad, plus three UK Album Chart and Billboard 200 Top 10 placement.
Thematically, ‘Social Apocalypse’ combines the bare-faced lyrical introspection of people weathered and worn by the modern world. Working once more with producer Carl Bown – a veteran of four Bullet albums, alongside work with Sleep Token, While She Sleeps,
Malevolence and more – the idea for each track was diligently scrutinized, constructed and polished to its immaculate final form.
The track ‘Social Apocalypse’, rages against the end of the world as we know it, ‘I Don’t Trust Tomorrow’ is a reflection on the fear of the unknown labelled as the heaviest Bullet song ever complete with a hair-raising vocal turn from Lorna Shore’s Will Ramos. The second collaboration features Against The Current vocalist Chrissy Costanza also stepping in to duet on the exceptional ‘In The Absence Of You’.
Reminiscent of the band’s storied past without ever being repetitive of it, it’s with a steelyeyed determination to break new ground that the beloved hallmarks of Bullet For My Valentine past and present – Acid Rain and Fragile’s rapid-fire riffage, the melodic sensibility of Masquerade and Never Enough, and the anthemic balladry of Read Between The Lines and Here Without You – are refocused and re-energized for the future.
Bullet For My Valentine have established themselves as one of Britain’s all-time most celebrated rock and metal exports and now enter the dawning of a new era with the same burning drive and vision as ever.
Made up of Matt Tuck, Michael ‘Padge’ Paget, Jamie Mathias, and Jason Bowld, Bullet For My Valentine return with their 8th album ‘Social Apocalypse’. The band have accrued multimillion album sales, multibillion streaming numbers, multiple Gold certifications at home and abroad, plus three UK Album Chart and Billboard 200 Top 10 placement.
Thematically, ‘Social Apocalypse’ combines the bare-faced lyrical introspection of people weathered and worn by the modern world. Working once more with producer Carl Bown – a veteran of four Bullet albums, alongside work with Sleep Token, While She Sleeps,
Malevolence and more – the idea for each track was diligently scrutinized, constructed and polished to its immaculate final form.
The track ‘Social Apocalypse’, rages against the end of the world as we know it, ‘I Don’t Trust Tomorrow’ is a reflection on the fear of the unknown labelled as the heaviest Bullet song ever complete with a hair-raising vocal turn from Lorna Shore’s Will Ramos. The second collaboration features Against The Current vocalist Chrissy Costanza also stepping in to duet on the exceptional ‘In The Absence Of You’.
Reminiscent of the band’s storied past without ever being repetitive of it, it’s with a steelyeyed determination to break new ground that the beloved hallmarks of Bullet For My Valentine past and present – Acid Rain and Fragile’s rapid-fire riffage, the melodic sensibility of Masquerade and Never Enough, and the anthemic balladry of Read Between The Lines and Here Without You – are refocused and re-energized for the future.
Bullet For My Valentine have established themselves as one of Britain’s all-time most celebrated rock and metal exports and now enter the dawning of a new era with the same burning drive and vision as ever.
May 2026 marks the arrival of TYGAPAW (aka Dion McKenzie)’s first full-length album on Tresor Records, entitled Together You Gather All Power Applied Worldwide. An acronym of its creator’s name, TYGAPAW’s third studio album is a deeply personal collection of music building worlds where Black queer and trans siblings can thrive, while unifying dancefloors worldwide. A proposition that collective wisdom liberates us from the matrix of domination we live within. The album unfolds as the latest chapter in TYGAPAW’s ongoing techno opera opus, continuing to center the voices of Black women, which surface as layered incantations rather than lyrics - powerful, haunting, sensual, activating.
With the process of creating the album starting in 2023, as TYGAPAW (Dion McKenzie) was in the first year of their transition, the music reflects the intensity of that period, where they were experiencing deplatforming as a response to the shift in their physical appearance: Tracks like ‘M32 Riddim’ and ‘Helicopter hovers over my Crown Heights Apartment’ feature high-paced rhythms intersecting with intense siren-like synths to form demanding compositions echoing a heightened sense of alert. Yet throughout the album, relief comes in the form of TYGAPAW’s vocal features, co-conspirators, and chosen family, whose voices are treated with reverb and echo, a sonic fingerprint that leads back to the pioneers in the legendary studios of TYGAPAW’s native land, Jamaica, an important reminder that the past will always inform the future. It is an album for dancers first and foremost, where joy, defiance, and integration with the natural body coexist, and every drop feels less like a climax than a transformation. Expect a bass that permeates your soul and melodic synthesized sequenced phrases echoing the dancehall eras of TYGAPAW’s youth, reshaped into hypnotic melodies that glow over industrial kicks designed to command attention, reasserting Jamaica's pioneering yet often overlooked contribution to electronic music.
In the opening track, ‘Can I Live’, Precious Okoyomon’s words feel like the beginning of a ritual; setting the intentions for the rest of the proceedings. As McKenzie puts it, their “work is about regeneration, resetting, getting integrated into nature, and about rebirth. That’s the tone I wanted to set at the outset of the album.” Ms Carrie Stacks continues this thread of support in ‘Don’t Panic’ with heavily processed vocals on top of a beat that takes inspiration from another important ingredient in the antidote to the oppression of isolation: Ballroom culture. “ I feel like I found my queerness in Ballroom, that’s why this track is very important to me.”
Echoes of NYC Black queer nightlife scene also permeate in the energetic drums of ‘Exorcise the Language of Domination’, in which Julianna Huxtable’s spoken performance complements the various movements and tones of the music. “My producer brain thought this was the one that Juliana’s vocals would be best suited for. I hinted: ‘what do you think of this one?’ She just went into her notes and picked some passages to go with the first section of the track. From there, it was a year-long process of development. It required time and space for this thing to evolve, but I think it’s one of the most powerful tracks on the album.” London’s SUUTOO contributes the album’s only musical collaboration on ‘B2B’, a track that emerged from sessions in McKenzie’s New York studio where the real objective was to connect and have fun; a time out from the demands of life outside.
The album closes out with a double hit of emotion in the form of ‘Effects of Resistance and Black Trans Masculine Experience’. The former features South African scholar Khanyisile Mbongwa drawing connections that exist between Africa and the Black diaspora, whilst looking to the future and calling for a shared sense of community.
The latter piece, an instrumental version of the piece which featured on the IMMIGRANT E.P. of 2025 is a gentle and deeply affecting end to the record, a place of peace and acceptance. This end-of-cycle tone is mirrored in the sleeve photography, which also ties back to IMMIGRANT by finally revealing what was hidden: a portrait of the artist fully self-actualized; a step towards true inner liberation. TYGAPAW is sonically defiant across this album; bass frequencies feel tactile — less heard than inhabited — infectious lead synth melodies remain with you long after the track ends. An overall sound that leaves asserting an urgent need for connection. From Detroit to New York to Berlin to Jamaica, despite geographic distance, this album reminds us that we remain in solidarity, recognising that meaningful world-building requires collective input and action, both personal and communal, if we are to move toward liberation.
“Música Para Caminar” is the new album by 80%Baul, and the record that confirms his definitive leap from revelation to legend. Following the critically acclaimed debut Ayer y Ahora, this release positions 80%Baul alongside the great names of Spanish post-punk, standing shoulder to shoulder with seminal acts such as Décima Víctima and Parálisis Permanente. Rooted in a dark, introspective sensibility, Música Para Caminar also connects seamlessly with the vitality of today’s Spanish underground, aligning with the current wave of forward-thinking artists, including labelmates like Yvgoslavia. But this album is not defined by sound alone. Once again, 80%Baul surprises with songs that function as poems—bleak, incisive reflections on a decaying, dystopian present. More than music, Música Para Caminar is a statement: music with intention, depth, and meaning—an artistic vision that transcends genre and cements 80%Baul as one of the essential voices of contemporary Spanish post-punk. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
In just five years, The Spy has gone from underground newcomer to one of the most talked-about names in the European electro and EBM dark electro scene. Early releases on Osáre Editions and Mechatronica quickly placed him on the radar of forward-thinking clubs and selectors across Europe. Now landing on Oráculo Records, he presents his most wave-driven and club-oriented material to date: pure, physical electro built for dark rooms and late hours. Driving basslines and sharp machine rhythms—infused with subtle, classic post-punk tension—define a sound that connects the dancefloor with the shadows, drawing clear parallels to artists like L.F.T, Credit 00 or Gesloten Cirkel. This is music made to move bodies without sacrificing attitude—raw, confrontational, and far removed from formulaic club clichés. Five years in, the message is clear: this is not hype, but momentum—an artist fully in command of a modern electro language built for the underground. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
Charlotte de Witte announces three brand new tracks in the form of her richly resonant EP ‘Amor’, out April 30th on her KNTXT imprint. The vinyl will include an additional Instrumental Mix of her track ‘O Movimento’.
The world's number one techno artist recently celebrated her 15th career anniversary with two monumental Flanders Expo 23k capacity performances, her long-awaited debut album (plus a new Deluxe Edition), and press support from Vogue, Grammy Museum, BBC 6 Music, DJ Mag (with cover), Mixmag, Rolling Stone, Billboard, Zane Lowe, Clash, Flood Magazine (cover).
‘Amor’ EP: each track features the breathy, full-toned vocals and Portuguese lyrics of CERES. The Brazilian singer, DJ & producer favours techno with tasty slices of UKG. Add to that, subtle motifs link the three tracks, giving the impression they form a suite. ‘This EP is inspired by my love for Portugal and Brazil, the countries, the people, the food, the culture. Made with lots of amor.’ - Charlotte de Witte
Title track ‘Amor’ (feat. CERES) delivers a galloping beat starred with spacey FX, as a hoover siren builds tension and CERES begins her rhyming chant. A sprinkle of acid becomes a sulphuric tidal wave. Next, ‘Sem Ar’ (feat. CERES): ‘Airless’; frantic rattling percussion overlays the fast beat to breakbeat-adjacent. CERES’ resonant voice is showcased in an acapella breakdown before her soulful voice becomes an acid robot’s, sharp and penetrating. Finally, ‘O Movimento’ (feat. CERES); ‘Movement/motion’, speeding beat with hi-hat backbeat duels with CERES’ voice, now sounding almost breathless, before acid filters in as the track builds.
Lady Jane Beach land on Slacker 85 with their lo-slung label debut, ‘Binman’. A short, sharp shot of minimal rhythm and rhyme, ‘Binman’ is the sound of the enigmatic London-based trio soundtracking their trips around the capital’s outer ringroads seeking adventure, trouble and corrupted drum machines. Blessed with loose, confident production and verses like glue, Slacker boss Seth Troxler doubles down on his support with a beefed-up, roadtested club edit.
An undisputed trailblazer of UK rave, Zed Bias fires up his studio for two contrasting takes on ‘Binman’, each capturing split sides of the soundsystem culture he helped define. Zed’s ‘Weighty Dub’ goes unapologetically raw, transitioning between skippy beats, heavy bass drops and a fusebox melody out of the darkness. From the basement straight through to the beach club, the ‘Nostalgia Mix’ makes good on its promise of misty-eyed reverie, recalling the first-wave of UKG domination with lush strings and steppin’ drums that still sound like a bright future.
From one generation to the next, fast-rising DJ and producer HalfPint is already familiar to dancers of Circoloco's famed Terrace and Garden. His take on ‘Binman’ finds a fresh frequency, converting the rhymes of the original into a precision-tooled tech house groove, primed for the summer season.
The origins of Body System date back around 35 years. Dissatisfied with previous experiences, the project was conceived as a meeting point between Sheffield and Detroit techno and German and Belgian body music. At the time, it never fully developed and remained largely an idea, with only a few sketches recorded on DAT. More than three decades later, that original concept has been revived. Following an invitation to contribute the track In Your Mind to the soundtrack of Electronic Body Movie, directed by Pietro Anton, the project was reopened and reworked, taking shape in the present while remaining rooted in its initial vision. These five tracks reflect an awareness of both past and contemporary electronic music, filtered through an undiminished experimental approach and a conscious refusal to adhere to stylistic conventions or predefined genres. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
Rigetto is a natural reflex of expulsion, and it is from this concept that the label is inspired.
Founded by DJ and producer CUT, aka Luca D'Elia Fiorenzano, Rigetto is a personal and direct space where sound becomes a silent way of exposing oneself. More than a defined genre, it is an attitude: a techno free from rigid structures, influenced by human movement, interaction, and the surrounding sonic matter, where elements of techno, ambient, and natural soundscapes meet and transform.
The first release, Rigetto 01, represents the starting point of this path: a first statement of intent that introduces the label's sonic identity, made of essential rhythms, subtle tensions, and immersive atmospheres where sound becomes a physical and perceptual experience.
Spinnin' Records, one of the most influential dance music labels, celebrates its 25th anniversary with the Chapter 1 compilation featuring a selection of iconic hits that have shaped the global electronic music scene. Since its founding in 1999, Spinnin' has been a trendsetter in electronic dance music (EDM), nurturing superstar artists and groundbreaking tracks across house, future bass, big room, and deep house genres.
This edition of Spinnin' 25 Years...Chapter 1 double vinyl LP collection includes memorable tracks from legends like Martin Garrix with the chart-topping hit “Animals”, "Stumblin' In" by CYRIL, "Secrets" by Tiësto & KSHMR, "Tsunami" by DVBBS & Borgeous, “Bullit” by Watermat, “Toulouse” by Nicky Romero, "Show Me Love" by Sam Feldt and 23 more tracks showcasing the signature sound and major contributions to the label.
Spinnin' 25 Years...Chapter 1 is available as a limited edition on green vinyl. The iconic Spinnin' logo is printed with an uv spot varnish on the gatefold sleeve.
Following “The Red Pill” and “Suicide Neighborhood”, VHS Horror Tape marks the next chapter in the sonic universe of Dutch synthwave wizard Adam Tristar. The album expands on his signature sound with darker tones, gritty analog textures, and a strong cinematic horror influence, evoking late-night VHS aesthetics, neon-lit nightmares, and retro-futuristic suspense. It’s a haunting journey that blends nostalgia with menace, pushing his synthwave style into deeper, more ominous territory. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK viny. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
“II” is the second album by Californian post-punk heroes Alone in My Room. Continuing their exploration of isolation and urban tension, the band sharpens their stark, stripped-down sound, blending cold-wave severity with lo-fi intimacy. Pulsed basslines, detached vocals, and raw, close-mic’d production create an atmosphere that feels oppressive yet deeply personal. Following their 2020 debut Alone in My Room—a claustrophobic, late-night statement—the band pushes further into darker, more confrontational territory, solidifying their place in modern underground post-punk. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
Scruniversal never misses, no matter what he takes aim at, be it disco, jazz, funk or whatever else. Here, label head Scru's friends are assembled to edit and remix a fine pair of jams. The first is a curious one that marries clary 80s electro and hip-hop with a hint of Latin percussion and jungle bird calls, filtered spoken word and a taught bass twang. It's body popping bait at a slow, inviting tempo. Martem & Ferdi Ferreira then step up with 'Chumba Lala,' which has muscular analogue drums and grinding bass, snappy hits and old school house chords that all add up to a colourful wedge of playful, rigid proto-breaks funk.
Spinnin' Records, one of the most influential dance music labels, celebrates its 25th anniversary with the Chapter 2 compilation featuring a further selection of iconic hits that have shaped the global electronic music scene.
Since its founding in 1999, Spinnin' has been a trendsetter in electronic dance music (EDM), nurturing superstar artists and groundbreaking tracks across house, future bass, big room, and deep house genres.
This edition of Spinnin' 25 Years...Chapter 2 double vinyl LP collection includes the hits "Lay Low" by Tiësto, "Turn Up The Speakers" by Afrojack & Martin Garrix, "Satisfaction" by David Guetta & Benni Benassi, "Intoxicated" by Martin Solveig & GTA, "Gecko" by Oliver Heldens, "Sex" by Cheat Codes x Kris Kross Amsterdam and 25 more tracks showcasing their signature sound and major contributions to the label.
Spinnin' 25 Years...Chapter 2 is available as a limited edition on blue vinyl. The iconic Spinnin' logo is printed with an uv spot varnish on the gatefold sleeve.
NO “ORDINARY JOE”!!! Our finest double-hearder ever… TERRY CALLIER was born in Chicago in the shadows of Curtis Mayfield, Major Lance,Ramsey Lewis and his mentor Jerry Butler. He would become one of the greatest Soul/Jazz voices of all time, although he barely new it in his own lifetime. Both his debut album, ‘The New Folk Sound’, and single, “Look At Me Now” had failed commercially when he was contracted by JERRY BUTLER to his Songwriters Workshop. It was here that he wrote his timeless masterpiece “Ordinary Joe” which first appeared on Butler’s 1970 Mercury album ‘You & Me’. Butler’s version of the song has been largely overlooked, underrated and undervalued, until now, 50 years on when it finally makes its 7-inch single debut! Callier’s definitive rendition of “Ordinary Joe” appeared a couple of years later, in 1972, on the second of his three critically acclaimed Cadet albums ‘Occasional Rain’. The ’72 single was taken from the album and now commands a hefty £700+ price tag.
The experiment aboard orbital station Sequoia-4 began as a routine test of the acoustic array. The team attempted to synchronize an analogue resonator with a quantum audio synthesizer. The two incompatible frequencies were expected to cancel each other out. Instead, the instruments registered a stable wave. It didn’t fade, on the contrary, it did respond to every sound, every movement around it.
At first, they assumed a coding error, but the wave began adapting to the researchers’ voices, shifting its amplitude and rhythm. Within hours, its spectrum started to resemble a heartbeat. The recording was forwarded to the Analysis Division, where it was named Hybrid Dub — a hybrid resonance formed between the machine and the human senses. The phenomenon proved unpredictable: each listener described different effects, from gentle euphoria to vivid recollections of memories that had never occurred.
Even after the system was powered down, a faint signal persisted in the ether — as if the mechanism had learned to breathe on its own. Some claimed that, when replayed, traces of the ocean, rustling leaves, and distant voices could be heard — as though the signal had passed through layers of living matter and remembered them.
The project was shut down, and the archive sealed. Only one line remained in the final report: “The signal wasn’t created — it discovered us.”
With Get Together III, the journey moves into its next chapter, as four artists come together once again to bring the many colors of electronic music to life.
modul808 opens the journey with deep, warm chords and a driving groove that instantly pulls the listener into the depths of its sonic landscape. In “Kamuro”, shimmering details line the explorer’s path, while the magical vocals of Igor Pose are elegantly woven into the arrangement, creating a dense and hypnotic atmosphere. With “Habits”, Heidmann continues the journey in a similarly groovy fashion, leading the way to sunlit clearings filled with memorable melodic gems. Cie effortlessly picks up the uplifting mood on the B-side, where the magnificent “Schlosshotel” unfolds with majestic chords and shimmering strings, inviting every house lover to stay for a while.
Finally, the journey home begins with Dip’s “Module”, which follows a deep path once more, uncovering sparkling sonic secrets along the way.
Together, the four tracks form another chapter in the Get Together series - a warm and timeless deep house journey shaped by four distinct artistic voices.
Mit Get Together III geht die Reise in ihr nächstes Kapitel: Vier Künstler kommen erneut zusammen und bringen die vielfältigen Farben elektronischer Musik zum Leuchten.
modul808 eröffnet die Reise mit tiefen, warmen Chords und einem treibenden Groove, der den Hörer sofort in die Tiefen seiner Klangwelt zieht. In „Kamuro“ säumen glitzernde Details den Weg des Entdeckers, während die magischen Vocals von Igor Pose elegant in das Arrangement verwoben sind und eine dichte, hypnotische Atmosphäre entstehen lassen. Mit „Habits“ führt Heidmann die Reise ebenso groovig fort und öffnet den Weg zu sonnendurchfluteten Lichtungen voller einprägsamer melodischer Klangperlen. Die gute Laune greift Cie auf der B-Seite mühelos auf: Vor ihm erhebt sich das prächtige „Schlosshotel“, das mit majestätischen Chords und schimmernden Strings jeden House Liebhaber zum Verweilen einlädt. Beschwingt beginnt schließlich die Heimreise mit Dip’s „Module“, das erneut einen deepen Pfad einschlägt und auf seinem Weg funkelnde klangliche Geheimnisse offenbart. So entsteht ein weiteres stimmiges Kapitel der Get Together-Reihe - vier Künstler, vier Perspektiven und eine gemeinsame Reise durch warme, zeitlose Deep-House-Landschaften.
Early DJ Feedback:
Christian Seitz / Show "Neuland" on Radio Z
A beautiful compilation that brings together deepness and dancefloor
Sebastian / f.a.r.e.s / Bass And Space
Great EP, thanks!
ed2000 / Dangerous Drums, Cashmere Radio, Face Radio, dub intervention
Very nice set of tracks, support and thanks radio and dj set plays.
Sasha / Circus Recordings, Renaissance, Global Underground
Cool from Cie
Anthony Pappa / Selador / Renaissance
Nice tunes. Thank you.
Timo Maas / Cocoon Recordings, Crosstown Rebels, Rockets and Ponies, Mobilee, Moon
Harbour, Tenampa, etc etc
Nice Heidmann
Stéphane Chambord / Radio Resonance ("DeeJay Academy" Radio Show)
repérages : Kamuro & Habits je prépare une émission spéciale avec un mix des productions du label
Cyprien Rose / Lui, Houz-Motik, Waxdoesmatter
Amazing > Modul808 - Kamuro feat. Igor Pose
Rob Zile / Brain Food Radio (Kiss FM) / Brain Food Records
Great deep tunes
John Digweed / Bedrock Records
Downloading
T. Carlita / In My House
Good Vibe
Laurent / WTM
Another wtm's playlist is coming soon…;)
Douglas Arellanes / Radio 1
Cool chilled out vibe on this record.
Valerio Vaudano
I like "Kamuro" and "Habits". Will try these warming up the dance floor. thx for sending
Stuart Bruce / Chain DLK
Downloading for possible review on ChainDK
Noah Pred / Thoughtless, Biotop, Highgrade
Some nice ones here, thanks.
Ninu / Hipodrome
I like Habits
BARRcode / Backseat Mafia
Solid release.
Carl Craig / Planet-E
dl 4 erno thx!
Ilario Alicante / Cocoon Recordings, Alphahouse, Bosconi, Prism
Downloading for Ilario Alicante, thanks for the music!
Andrew Till / Machine, Fnoob
Cool dubbed out grooves ,,,Heidmann - Habits is my pick.
Ju / Upperberry
Dope =)
Kat Davids
nice and smooth!
Como Las Grecas / Kali Modernphase, Denis Yurgens, Alejandro Club, German MT, Como Las
Grecas
Deep mind in house groove. Interesting VA of deep house.
Dole & Kom / Death By Disco, Mixmag
Really liking Modul808's and Cie's traxxx Thank you
SK_eleven celebrates a decade of sonic exploration with a 13-track compilation showcasing its signature tension, technical discipline, and stylistic spectrum. Reuniting a tight circle of artists whose contributions have helped shape the label, the release offers an unrelenting sequence of pressure, mental twists, and textural collisions; a multifaceted snapshot of techno's enduring capacity to evolve, disturb, and seduce.
The compilation resists uniformity. Instead, it thrives on contrast: tension versus release, density against spaciousness, rhythm in all its permutations. From high-energy metallic openers and dub-inflected body rollers, to disorienting, delay-heavy experiments and stripped-back percussive tools, each contribution reveals a unique grip on groove and detail. Some tracks move like engineered machines: sharp, robotic, and syncopated to surgical precision. Others embrace sensuality and unpredictability, exploring spatial motion, layered harmonic friction, and states of controlled chaos. Each piece acts as a structural component in a larger sonic architecture, where tension is built, collapsed, and rebuilt. Friction becomes a form of choreography. Across the record, a shifting palette of emotional mechanisms takes form; granular and magnetic, haunting and quietly forceful, restrained, then disruptive.
More than a retrospective, SK_eleven's first compilation becomes a collective gesture toward techno's unresolved possibilities: its ability to hold contradiction, remain in flux, and mutate without conclusion.
With Black Koyo, Mattias De Craene enters a sound world at once intimate and vast. Born from journeys in Morocco and Brussels, the project traces the rhythms, chants, and spirits of the Gnawa tradition, revealing a quiet resonance that echoes De Craene's own search for depth and presence. Guibri, qraqueb, call-and-response chants, saxophone, loops, and electronics come together in a trance-induced dialogue - ritualistic, elemental, and dreamlike - creating a space where listening becomes immersion, tradition meets imagination, and music unfolds as a shared act of reflection and wonder.
About Mattias De Craene
Mattias De Craene's artistic path is marked by rare coherence. As a central voice in Nordmann and MDC III, he developed a physical, rock-inflected jazz language driven by propulsion, volume, and trance-like collective energy. Over time, a period of personal rupture - burnout, tinnitus, depression - shifted his focus inward. The saxophone became a breathing, textural presence, and in his solo work, he weaves saxophone, electronics, loops, and minimal forms into a cinematic, hushed world where repetition, resonance, and silence slow perception. Rooted in ambient and introspection, his music prizes attention over impact, precision over excess - a quiet intensity recognized with a nomination as Musician for the Music Industry Awards (MIA's).
About Black Koyo
Black Koyo is a Brussels-based ensemble and one of the most compelling voices of the Gnawa tradition outside Morocco. Led by maalem Hicham Bilali, the group brings guibri, qrraqueb, and call-and-response chants to life with trance-like intensity and ritual precision. Their music is both rooted and contemporary, weaving earthbound rhythms and vocal invocations into ecstatic, immersive soundscapes, creating a space where ancestral resonance meets present-day imagination.
About Jan Bang
Jan Bang is a pioneering Norwegian producer and musician, celebrated for his mastery of live sampling and his ability to merge electronics with improvisation, rhythm, and texture in real time. He mixed the album and occasionally joins live performances, bringing his signature approach to sound as co-founder of the influential Punkt Festivaland collaborator with artists such as Jon Hassell, David Sylvian, Arve Henriksen, and ECM Records' roster. As a performer and sound architect, Bang creates immersive, trance-like sonic textures where silence and sound carry equal weight. Within Mattias De Craene ftBlack Koyo, his live sampling becomes an organic instrument, weaving saxophone, electronics, and Gnawa rhythms into hypnotic, physically charged soundscapes.
Line-up & credits
Mattias De Craene - sax, electronics | Hicham Bilali - guibri, vocals, qraqueb |Ismael Akhraz - vocals, qraqueb | Marwan Abantor - vocals, qraqueb
All tracks are original gnawa traditionals played by Black Koyo and arranged by Mattias De Craene.
Album produced & recorded by Mattias De Craene in Essaouira, Morocco and hometown Ghent, Belgium 2025.
Text by Hicham Bilali.
Mixed by Jan Bang at Punkt Studio
Mastered by Lieven Van Pee
Artwork by Marina Sviridova
Design by Benoit Van Geel
Manufactured and distributed by N.E.W.S.
Executive production by W.E.R.F. records
Supported by Flemish Government, Jazzlab, nona, HA Concerts, Aubergine artist Management,
KAAP, La Bestia (Wout Van Putten) & mdcmu.sic vzw.
2026 (c) W.E.R.F. records
The fifth transmission in the XTRICTLY ELEKTRO series connects the past and future of the genre in one powerful statement.
Side A channels the sharp, forward-driven pulse of the new school — EC13, Elektrotechnik, and Parand deliver cutting-edge vibes built for the modern floor. Side B pays tribute to the roots with Calagad 13, DJ Overdose, and Motorobot — a legendary alliance between Bass Junkie and Dynamik Bass System, returning for only their second-ever collaboration.
A bridge between eras: classic heritage meets futuristic sound design — timeless, synthetic, and deeply interconnected.
In 2023, when Stately Records was playing in Berlin, we connected with Philipp Priebe, the man behind one of the most unique sounds in the world of everything that’s deep & dub. After a long and inspiring night at Golden Gate, the Stately Crew spent the after-hours listening to tracks Philipp had prepared, ultimately selecting four. Two of these tracks were previously released on the digital 'Oh, Why EP', and the remaining two are now coming to life on this very special 10” record.
These beautiful cuts are intrinsically linked to that memorable Berlin weekend and are now permanently etched onto two very special 10” editions in our STLR10 series. The A-side features our signature Stately Records logo stamp. The flipside is stamped with an image of a chair, a subtle nod to Philipp’s label, Stólar, which holds a special place in our hearts.
This black DJ version is vinyl only and limited to a 100 copies and.
You can always rely on Burnski and his many labels to keep DJs and dancers well-oiled with plenty of fresh house and garage tackle in various different guises. Constant Black keeps it stripped back with this new one from Rotterdam resident Fabio Santos. 'Midnight Protocol' is an ice-cold stepper, and 'Duster' gets more sleazy and raw with a heavy house foundation. There's wub-wub filth underpinning the garage shuffler 'Breather', old school ragga vibes on 'Request To All Junglist' and 'Conspiracy' is a light-footed hot-stepper with mutant energy. An absolute no-brainer that will become a go-to for months to come.
This EP marks the first release from a collaborative project between Tokyo based DJ/producer Iori Wakasa and Okayama's Keita Sano, born from a quiet resonance between their musical sensibilities.
In Japan, the academic year begins in April. Though born in 1988 and 1989, the two artists belong to the same school-year cohort under this system, yet within Japan's gengo era structure they stand at the symbolic end of one era and the beginning of another. The title 'A Shift of Eras' points to the moment when one era gives way to the next, suggesting not only the passage of time, but the subtle renewal of culture, perception, and values.
'Filtered Jewels' draws from the image of light shimmering like gemstones, or a space scattered with countless jewels, perceived through an imagined filter that gently alters the way the scene reveals itself.
'Heaven's Door' envisions the ascent of a transparent staircase floating above a sea of clouds, leading toward a quietly resting emerald-green door.
'Shocking Yellow', originally created in response to a specific request, incorporates carefully placed vocal samples while grounding the track in warm, rounded low frequencies and organic textures, shaped with DJ use in mind.
And finally, 'Time To Change' was reconstructed repeatedly with the hope of offering both solace and a quiet sense of encouragement, ultimately becoming a piece that reflects the underlying theme of the EP.
As one of the foundational artists of Flipsight, it is only fitting that ColorJaxx gives the first major 2 x 12" gatefold statement on the label. The debut album 'In Between' of the Belgian producer gives a full overview of his trademark deep grooves with a re-invention of his club sound.
The first record is your invitation to the beach. The A-side kicks off with the ambient "Playamer", setting a scene of salt air and warm breeze. The shoreline waves combine with an electric piano groove to "Out The Door". This is where a slick trumpet gets the parole and cuts through the atmosphere, signalling to the dancefloor. "Never Enough" serves as a spiritual successor of his first EP on the label "Tales of never": shimmering guitar samples, a warm, everlasting groove, and that unmistakable "ColorJaxx" swing that we fell in love with initially.
The B-side is where Jordy catches the first hints of Spring with "Just Around" by blending uplifting trumpets and sax melodies with a fresh forward-moving baseline. "Higher" elevates the mood further with smooth rhodes keys and a jazzy piano lead. As the evening chill sets in, the first disc concludes with the literal end of the day: "The Beach Is Closed".
Time to grab the second wax out of your gatefold: leave the sand behind for the strobe light as this is where the maestro gets in club mode. "Back Then" serves as the bridge into "Discotheques," a heavy-hitting wink to the old-school Belgian club scene that shaped the underground of the early 2000's. This vibe created "Moving On," a sophisticated French-like house tune with Chris Farmer where the vocalist enters into a constant conversation with rhythmic elements, creating a versatile track that fits in any part of a DJ set.
The finale is reserved for heavy hitters: "This This" and "Disco Trouble" are pure, pumpy club rollers. Peak-time bangers designed for maximum impact, before the album dissolves into the hazy, cinematic outro of "Blurred Lines."
Flexi is wrapping up their 40th-anniversary celebration with a bang, and trust me, the wait was worth it. This VA 12” is a heavy-duty blend of family ties and international heat.
The Breakdown
* Gratts: The Adelaide-based crate-digger returns to Flexi with "Ghost Swell." It’s a deep, atmospheric builder that keeps the soul intact.
* Slowaxx & Ai Lati: Pure "rollin" energy. This Tuscan duo delivers a rhythmic, four-handed organic groove that’s been the secret sauce in the Italian underground.
* Melchior Sultana: The Maltese Deep House maestro brings the sub-heavy vibes. Total class, total depth.
* Robotalco: Fresh off his LP, he drops an Acid House banger. This 303-laced heater is strictly for the warehouse heads.
* DJ Soch: the "Italian Stallion" puts his classic old-school vein aside and reveals a darker, more minimal side: sharp drums, soulful vocal touches, and an essential, hypnotic groove shape a timeless track.
Forty years of curation distilled into one essential plate. It’s raw, it’s solid, and it’s built for the crates. Don’t sleep.
"After being praised as one of the best releases of 2025 by multiple platforms, the highly praised debut album from Obeka lands on vinyl via YUKU.
The rhythmic dynamics and emotive attitudes of A World No More captures the density of soundsystem culture in Obeka's ancestral roots. YUKU presents the Bermudians debut album capturing a Neo-Colonial dystopia, protest and Afro-Futurism hyperextended through decaying sonic structures of a dark past and its grievances which very much exist today.
Growing into adulthood within the walls of British and European Colonial systems meant the disconnection and lostness in a new country hid me from the world at a young age. Unlike London's vast and culturally engaging migrant communities, the industrial milling town of Stockport introduced a coldness towards people from other countries I experienced in my first year after relocating from Bermuda. I couldn't understand why. Whether cold words thrown towards me or actions upon other people who look like me, it has shown to be a dooming societal virus with no cure. The most comfort was found through what was familiar - drums and rhythmic spirituality of my homeland. It was a safe-haven, a place to empty the anger and confusion. It's been 15 years since relocating and as my sound evolved, it seems classism, racism, oppression and civil control of ethnic peoples has become worse - even now more legalised and normalised. Ogun (a powerful Yoruba deity associated with anger, justice and war) acts as the opening sequence of the record and its symbolism. Using distorted bass frequencies and dissected Regga-Dub immersed in live-sampled ghostly voices of the lost ones. This sonic exercising is also applied in Drillaman - a stampede of industrial framework and metallic instruments wielded over moody Dancehall MC'ing, magnifying two parallel worlds in cocooned evolution. The resurrection of Transatlantic African cultures and identity have never been silenced, rather carried elsewhere through trade routes of enslavement, which was pivotal when composing and completing the album upon returning home to the Caribbean for the first time ever. After reconnecting with my heritage my blurred vision of what's wrong in the world became so clear. Guidance in empty plains seek truth throughout the pain - A statement of finding oneself expressed on the poetic closing track A World No More.
On Fawohodie (A West African Adinkra symbol that represents independence, freedom, and emancipation stamped on the album cover) the motive and atmosphere begins to change. Afro-Caribbean idealism which refers to the philosophical concept that emphasizes the interconnectedness of individuals and the importance of community, often contrasting with Western individualism, begins to take shape in a new universe. We can co-exist. The track framework uses machine-led software forming frequencies we have no control over, then manipulated through decomposing soundscapes, scattered hand-drums and human-made weapons of control - exposing the hidden disparity that's been carried over generations whilst balancing hopeful and musical foundations towards equality and peace. On Pressure and Kuduro! the writing direction attempts to wake people up. Not settling for a composed approach like in past projects, quite the opposite. A call for native sonic awareness, dismantled vocals of protests, eroded percussion using chains, gears and motorised harmonies sculpted in challenging abstract behaviors far outside my comfort zone. A direct abrasiveness and weight I want people to feel, whilst finding hope and solace through enchanting choirs and hypnotic basslines in complete synchrony.
"Purity in sound manifests when you least expect it. The smallest memory or feeling grows from a seed into a sonic language that you, and only you can interpret and release back into the world." "
“The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions—the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder.
“Two songs established the spine of this music. Songs I’ve always loved, it seems even before I’d heard them. The first one, and the source of the title is ‘You Belong to Me’ by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it’s also a beautiful mid century romance—and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth.
“The second song is ‘Promised Land’ by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he’s safely arrived in the new one.
“The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open.
“The cover is a photo of my mom—one I never saw when she was alive. With the headscarf and that excited, nervous expression, she looks about to embark on a journey. Ready, finally, to cross the tarmac and board the Silver Plane. “Wishing safe travels to all.” — Mark N / Pan•American
Gap Mangione's monumentally influential Diana In The Autumn Wind. AKA BEWITH200LP. And, without question, Be With's White Whale.
They said it could never be done. And with good reason.
We've spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.
It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.
But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.
With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.
The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music."
Opener "Boy With Toys" triumphantly swaggers out the gate, all big band horns, flutes and dextrous organ work. The synthesis of everything going on is nothing short of stunning. When one wise YouTube commentator called this tune "old school superhero music", Gap agreed. Rap luminaries did, too, amongst them Talib Kweli, who rapped over DJ Scratch's chopped up intro for "Shock Body" on his Quality album back in 2002.
You've barely recovered from that incredibly affecting opener when you get hit over the head with the exquisite title-track. And now you see how two of the greatest beats of all time emerged from one single track produced nearly 50 years earlier. Unforgettably utilised by Dilla for Slum Village's heartbreakingly good "Fall In Love" and then Madlib for his "Official" beat for Dilla to rap over, on the Jaylib record. Regardless of the records it went on to spawn, this is just a staggering tune in its own right. Be beguiled by the flutes and the flutter tonguing, the counter-melody from the trombones, the soprano sax solo. All of it. Simply beautiful.
The questing organ and horn workout "Long Hair Soulful" deserves a lot more attention, overshadowed somewhat by the opening two monsters but no less fantastic. It swings, it grooves and Gadd and Levin truly cook. Up next, Gap's wonderfully percussive, mellifluously piano-heavy cover of "Yesterday" by some fellas called The Beatles. It's a subtly arresting gem. "The XIth Commandment" is damn fine, with thick, gorgeous electric piano and snappy drum work underpinning chaotic soundtracky horns. To close out the side, "St. Thomas" showcases the "fourth" member of the Gap Mangione Trio, conga drummer Dhui Mandingo. Having performed with the Trio since 1965, Dhui‘s African-based and jazz-latin-influenced style amazed listeners and its way to hear why.
Opening the B-Side, standard "You're Nobody Till Somebody Loves You" breezes along in the late-night jazz club fashion before things get super deep with the outstanding and - up to now - un-sampled "Pond With Swans". It's simply heavenly, and how its moody, melancholic intro has yet to be pilfered is anybody's guess. It oscillates between gentle, sombre movements and bombastic grooves, equally hypnotic and joyous. The rendition of "You Are My Sunshine" is yet another showcase for Gap's virtuoso playing and Gadd's mastery of the pocket. Indeed Gadd's drumming on "Free Again" is nothing short of neck-SNAPPING! Ghostface took it for not one but two "Iron's Theme" tracks across his seminal Supreme Clientele. It's got that Galt MacDermot "Coffee Cold" feel. Suuuuuper cool. The frantic "Dream On Little Dreamer" hurtles along and must've surely had the whole room absolutely swinging from the chandeliers back in Rochester in the late 60s. The album closes with the magnificent Graduate Medley, featuring memorable renditions of "Scarborough Fair", "The Sounds of Silence" and "Mrs. Robinson". The warm electric piano lines of the former were sampled by The Ummah (Dilla again!) for Tribe's "Pad & Pen" from their reappraised final album, The Love Movement, as well as by Large Professor on his much-loved "The LP (For My People)".
Under the watchful eye - and extremely attentive ears - of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland. The artwork restoration has taken place here at Be With HQ and has that drop-dead gorgeous cover artwork popping like new. Buy on sight!
How do losers dance? According to Helmut, almost weightlessly, with soft feet, warm gestures, sometimes alone, sometimes together. Content Creatures, Helmut's fourth album, evokes the pop archetype of the "beautiful loser", who had almost disappeared from view in so-called late capitalism. In a present in which even suffering is often similarly instrumentalised and tailored to clicks like a competitive sport, this album sets a counterpoint: those who listen to it suddenly want to be enchanting losers again, useless and joyfully messing up, losing something beloved, having their hearts broken, giving up a dream, sinking into beauty.
You don't sink alone. Comforting harmonies envelop you, the voices of friends appear, accompany you for a while and then disappear again. Warm grooves, floating synths and delicate guitar lines characterise an indie sound that remains open and breathes.
Self-produced for the first time in his home studio in Neukölln, 'Content Creatures' sounds thoughtful and light at the same time. The album will be released digitally and on vinyl on 10 April 2026 on Berlin-based label St.Vladimir. There are four songs on one side and four songs on the other. The cover is adorned with an exceptionally pretty guinea pig. Helmut shows the special in the seemingly ordinary: a child's pet, the most ordinary of all, is his cover star and headstrong protagonist.
Wie tanzen Verlierer? Wenn man nach Helmut geht, dann fast schwerelos, mit weichen Füßen, warmen Gesten, manchmal allein, manchmal gemeinsam. Content Creatures, Helmuts viertes Album, evoziert den Pop-Archetypus des "beautiful loser", der im sogenannten Spätkapitalismus fast aus dem Blick geraten war. In einer Gegenwart, in der sogar das Leid oft ähnlich durchinstrumentalisiert und auf Klicks getrimmt ist wie ein Leistungssport, setzt dieses Album einen Kontrapunkt: Wer es hört, möchte auf einmal gern wieder ein bezaubernder Verlierer sein, nutzlos und freudvoll abkacken, etwas Geliebtes verlieren, das Herz gebrochen bekommen, einen Traum aufgeben, in Schönheit versinken.
Man versinkt nicht allein. Tröstende Harmonien legen sich um einen, die Stimmen von Freundinnen tauchen auf, begleiten einen ein Stück weit und verschwinden wieder. Warme Grooves, schwebende Synths und feine Gitarrenlinien prägen einen Indie-Sound, der offen bleibt, atmet. Erstmals in seinem Neuköllner Homestudio selbst produziert, klingt "Content Creatures" bedacht und leicht zugleich.
Das Album erscheint digital und auf Vinyl am 10.04.2026 auf dem Berliner Label St.Vladimir. Es hat vier Songs auf der einen und vier Songs auf der anderen Seite. Das Cover ziert ein außergewöhnlich hübsches Meerschweinchen. Helmut zeigt das Besondere im scheinbar Gewöhnlichen: Ein Kinderhaustier, das normalste von allen, ist bei ihm Coverstar und eigensinnige Protagonistin.
A new 12” on Studio Barnhus from Sexy Lazer and Kaktus Einarsson, carrying dis4nguished Icelandic bloodlines into decidedly humid club territory. Across two tracks, the pair favor reduc4on over spectacle: taut beats, disciplined arrangements, and a strong sense of space, with the kind of detail that makes simple ideas hit with pure geyser force. While one side draws on 4ghtly coiled rhythms and freaky nocturnal tension, the flip sees the formula in its straightest, driest and most relentless form. Both sides moving with the calm confidence of a track that knows its DJ is expertly handling their task.
Roberto Zanetti, better known as Savage or Robyx, is without a doubt a fully realized artist. When he stepped into the world of dance electronics in 1983, success came instantly. Not only across Italy, but far beyond its borders. Alongside his own chart-defining run as Savage, Zanetti was simultaneously shaping the scene from behind the desk, developing talent and refining a signature sound that would define an era. By the late ’80s, Robyx was already an established powerhouse producer. Around that time, he wrote three tunes for Maurizio Felici, performing under the alias Wilson Ferguson. These tracks carried all the hallmarks of Zanetti’s late-’80s aesthetic: lush melodies, smooth, flowing arrangements and high-energy grooves built for the dancefloor. In Europe, where house music was rapidly taking over, this sound faced tougher competition, but in Japan, where Eurobeat was exploding into the mainstream, these productions were untouchable. Felici’s rich, throaty vocal delivery gave the tracks an unmistakable emotional weight and identity.
Responding to long-standing requests from fans, Vintage Pleasure Boutique now revisits the most melancholic and emotionally charged of these three recordings: “I’m Singing Again”, a bittersweet tale of lost love told through the language of Italo disco. It’s a perfect fusion of Savage’s late-’80s sonic elegance and a truly distinctive vocal performance.
For this new release, the story is pushed one step further with a fresh remix, slightly faster in BPM and clearly nodding to Robyx’s classic Eurobeat instincts, a version built to move bodies while keeping the original’s emotional core intact.
Silvana Rossi emerges from the new wave of Italo revivalists with a sound that feels both timeless and sharply contemporary, where vintage drum machines, analog synth lines and nocturnal romance collide with a modern club sensibility. Rooted in classic Italo disco but filtered through today’s underground circuitry, her music speaks directly to selectors navigating the space between wave, electro and slow-burning techno. The tracks carry a distinctly personal edge—melancholy, desire, and late-night introspection wrapped in icy melodies and hypnotic grooves. This is music made for dimly lit booths, smoke-filled basements, and DJs who still believe in storytelling through vinyl.
A seductive opener “Elixir Of Love” built on cascading arps and a steady pulse, romantic but restrained, like a whispered confession over a rolling bassline. Perfect for setting the tone early set. Tension-driven and emotionally charged, italo anthem “Breakdown” balances crisp electro rhythms with a sense of inner collapse. A cold wave-leaning cut that hits hardest when the lights stay low and the energy turns inward. Shades Of The Night – a cinematic slow-burner drenched in shadow and atmosphere. This one is all about texture and space. Walk In The Night, another italo classic on the EP, stripped-back and hypnotic, with a confident groove that nods to classic Italo while staying firmly rooted in modern club aesthetics. “Bad Girl” brings a sharper, more playful edge, driving, stylish, and slightly dangerous. A weapon with crossover appeal for electro and wave crowds alike. A versatile tool for both warm-ups and deeper moments. Emotionally direct yet sonically controlled lush pads and restrained vocals create a sense of distance that pulls you in “Don’t Leave Me”. A melancholic highlight for DJs who know how to play with tension.
Twenty Years Ago, Jan Jelinek's Debut Album Personal Rockwas Released By Source Records. Under The Pseudonym Gramm, It Brings Togethereight Tracks That Have Not Been Available On Vinyl Since Their Original Release.faitiche Is Very Glad To Announce The Re-release Of The Album: Personal Rockwill Appear As A Double Lp Featuring The Original Cover Artwork. What People Wrote About Personal Rock Two Decades Ago: "situated Somewhere Between Jelinek's Much Loved Loop-findingjazz Records, Farben, Move D's Conjoint Project And Atom Heart's Most Immersivework For Rather Interesting, It's A Late Night Album Full Of Subtle Productiontricks And Melodic House Structures That Belong To The Pre-millennial Idmheyday, But Which Transcend Its Overly-masculine Templates." (boomkat) "a Serene Little Masterpiece" (de:bug) "though Many Producers Have Pushed Forward Theclicks-and-cuts Style Of Experimental Ambience Developed By Germanexperimentalists Oval (among Others), Few Have Been Able To Matchtheir Knack For Making Abstract Cuts Into Pieces Of Undeniable Beauty. Janjelinek's First Lp As Gramm Is One Of The Precious Few, And It'sobvious From The Opener." (allmusic) "organized In Organic Structures And Minimal Movements, Thetracks Get Into Utopian States And Super-desirable Moods, Offering Superiorcontentedness And Dependable Taste Of The Kind Seldom Sustained For A Wholealbum. (...) Subway-escalator-soul." (spex)
DJ Ron's forgotten classic 21st Century finally gets the release it deserves, arriving on 12" black vinyl alongside a brand-new Bladerunner remix Originally recorded for DJ Ron's debut album Quintessence back in 1997, Hospital Records proudly welcomes it back into the world in style. The A side carries the original in all its glory. 21st Century is a timeless and futurefacing weapon - analogue at heart, hand-controlled automation and carefully curated sounds take you centre stage, giving it a unique, personal texture and depth that has lost nothing with age. Flip it over and Bladerunner steps in with an equally powerful B side remix, bringing his own vision to a track that was always ahead of its time. Born and bred (and still resident) in Hackney, career-long Rinse/Kool FM DJ, the first jungle/ D&B artist to record an Essential Mix for BBC Radio 1, host of the London Something podcast and more, DJ Ron is a multi-faceted creative and an uncontested foundational figure within jungle and drum & bass. This 12" is long overdue. The first time that DJ Ron's '21st Century,' taken from his unsung debut album, will be available digitally & physically alongside a fresh remix from Bladerunner. One for the heads - this one is all about flying the flag for DJ Ron, one of the foundational figures of jungle and drum & bass.
We're celebrating the 35th anniversary of Cherry Moon withan essential collection of the anthems that defined a generation. Hard to find tracks, classics and sounds from the underground combined in a splendid 10x12" Vinyl Box Set.
From the first beats of 1991 to the peak of the "House of House", this is the ultimate tribute to a legendary venue.
The original mix of one of the biggest ever rave-classics is on this 12”-record. And that’s not all, Mr Sam made a massive remix of one of the most groundbreaking EDM-tunes of all times.
Belgian/French DJ-producer Mr Sam turned this amazing classic in a massive peaktime trance-gem for the future. Using the iconic parts of the 1991 original and adding the well-know futuretrance sound that made him famous.
Die Original Vinyl-LP von 1984 wurde in einer kleinen Auflage neu aufgelegt. Die Songs wurden von Barrington Levy im Channel One Studio eingesungen, mit den Roots Radics als Backing Band, um dann von Soldgie Hamiltion, Scientist und Sylvan Morris im Harry J und Channel One Studio abgemischt zu werden, als Produzent zeichnete Henry "Junjo" Lawes verantwortlich. Das Titelstück "Prison Oval Rock" war als Single bereits 1982 erfolgreich in Jamaika erschienen und ist hier neben dem Original auch in der Dubversion zu hören, und wurde später von Collie Buddz in "Hustle" (2001) und von Mr. Vegas' "Mus Come A Road" (2008) gesampled. Als weitere klassische Reggae Riddims wurden identifiziert "Skylarking" ( Song"Good Loving"), Pressure And Slide (Song "Please Jah Jah") und "Boops" (Song "Rip & Run Off").
"There is a suspicion that no one really knows how to deal with the legacy of the past." — Siarhiej Kraŭčanka
Malenčyk / Lami is a double vinyl release pairing previously unpublished archival recordings of Belarusian fiddler Stanisłaŭ Malenčyk with a response to that archive by Italian sound artist Giovanni Lami.
Stanisłaŭ Malenčyk (1928–2007) was a self-taught fiddler from a small village in Western Biełaruś, born on land that was then Polish territory. He never studied music formally and never worked on a collective farm — he supported his family solely through playing, crafting his own violins and harmonicas by hand. The music he played was made for a community: weddings, christenings, a room full of people, a shared life. As life shifted toward the cities and the village dissolved, that music lost the only place it could exist. By the end of his life, Malenčyk — nearly blind — was playing for whoever happened to be there: at the local bazaar, on district buses, moving through the aisles. He simply couldn’t stay home. He had to play.
These recordings were made by ethnographer Mykoła Kozienka in Ščučyn in 1999 and have not been released until now.
Giovanni Lami approaches this archive from a distance that could hardly be greater — geographical, cultural, temporal.
Credits:
Record 1 (Side A/B) — performed by Stanisłaŭ Malenčyk,
recorded by Mykola Kozenka in Shuchyn, Grodno Region, Belarus in 1999.
Record 2 (Side C/D) — produced by Giovanni Lami.
Mastering by Siarhej Cviki and Anton Aniščanka
Archival research by Alaksej Krukoŭski and Alaksandr Baroŭski
Cover Artworks by Volha Savič
Cover design by Ihar Jukhnievič
Project curation by Anton Aniščanka
Project assistance by Alaksiej Šumakovič
Texts by Siarhei Kraŭčanka (essay, editing, translation),
Alaksej Krukoŭski and Alaksandr Baroŭski (Malenčyk biography),
Giovanni Lami (artist statement)
Originally from Florence, Italy, Elio made an impression in the Seattle underground through his deejaying at DAZED parties alongside his evolution as a producer. On his first vinyl EP, two original productions channel an early 2000s melodic minimalism with a touch for evocative composition paired with memorable grooves. A remix of each completes the record.
The title track “Still Love” opens the EP with a series of contemplative notes. As the bass stirs, the track expands, adding energy alongside the breakbeat. The synth unfurls in a melodic crescendo before pads add emotive accents.
Kurilo steps into the lab to reconstruct “Still Love” into an afterhours potion. The Ukrainian producer showcases the psychedelic and sumptuous grooves that established him as one of the finest purveyors of hypnotic tech house at Trance Pandemic. The influence of cinematic acid house washes over the driving groove.
“Vegas Jam” opens side-b and again emphasizes Elio's sense for musical composition and progression. Adding swing and jazz techniques to the synth melody, variations of the piano hook improvise blissfully above the rolling bass.
A warm yet powerful kick sets the tone for the final track of the EP. China's electro and techno wiz B.AI remixes “Vegas Jam” into a mind melting sensory stimulus. The remix gathers intensity and drive, an irresistible late night brain worm.
Dino Lenny returns to Rekids with the ‘Piano Lessons at Eight’ EP, complete with a Tal Fussman remix. It follows Lenny’s ‘Not About The Volume’ EP, released in December 2025.
London-based DJ, producer, vocalist, and Fine Human Records label owner Dino Lenny returns to Radio Slave’s Rekids with the ‘Piano Lessons at Eight’ EP 24th April 2026, alongside a remix from label regular Tal Fussman. The EP follows Lenny’s ‘Not About The Volume’ EP, which released late 2025, and won support from Laurent Garnier, Chloé Caillet, Catz ‘n Dogz, and more.
‘Piano Lessons at Eight’ centres Lenny’s own vocals over a dark, chugging rhythm that develops steadily, tracing a personal journey from formal piano training to the discovery of electronic music. The biographical thread running through the record gives it an identity that sits apart from purely functional dance music. Rekids regular and Survival Tactics boss Tal Fussman then provides the accompanying remix, a crunchy, percussive rework that brings his characteristic blend of deep house and raw techno to bear, adding melancholic piano stabs that add texture without crowding the arrangement. The outcome is focused, atmospheric, and built for extended play.
With releases on R&S, Diynamic, Innervisions, Crosstown Rebels, Strictly Rhythm, Bedrock, and his own Fine Human Records label, and collaborative work alongside Underworld, Missy Elliott, Wu-Tang Clan, and Madonna, Lenny holds a long-established position within both underground and mainstream electronic contexts. Consistently supported by Pete Tong, Solomun, Carl Cox, and Groove Armada, he maintains a presence that spans scenes without being defi ned by any single one. Since 2021, he has hosted Tomorrowland’s CORE radio show, platforming artists including Nina Kraviz, Ellen Allien, and DJ Tennis.
D Train delivered a run of early-’80s hits, earning multiple chart successes and becoming a staple in iconic clubs like New York’s Paradise Garage. Their influence has endured far beyond the original fanbase—from being sampled by The Notorious B.I.G. in 1997 to appearing in Grand Theft Auto V in 2013. The Best Of The 12" Mixes, which compiles extended 12-inch versions and remixes by legendary producers Paul Hardcastle and François K, was first released on CD in 1992. Now, for the first time and exclusively for Record Store Day, Unidisc presents the collection as a double LP pressed on 180-gram heavyweight vinyl.
Benge is the influential electronica artist who launched the Expanding Records label in 1995. Polyrythmic Electronica is one of the underrated gems from Benge's discography, opening the series of re-issues from digital to vinyl on the new System Of Objects imprint.
En Route is Oddisee’s latest EP—a soulful snapshot of motion and meaning. Each track is a reflection of movement—physical, emotional, and spiritual. Its music for the journey, wherever you're headed. One time pressing on CD
“In The Mix: Volume 1” is the first vinyl compilation of artists that have performed in one of New Orleans most beloved record shops - NOLA Mix Records. Though these aren't live recordings, they capture the spirit and soul of both the shop and the Crescent City itself. You’ll hear everything from Jazz and Funk to Hip-Hop, House, and Latin — all infused with the unmistakable energy of New Orleans.
The artists included on this 10-track compilation are: Flagboy Giz, Troy Sawyer and The Elementz, Water Seed, Santero, ET Deaux, Alfred Banks, Connie Price & The Keystones, A Lovely Triangle, Lisbon Girls, Loucey, Bo Dollis Jr., Hasizzle and more…
"Melodic, dreamy bedroom pop with a nostalgic sheen" is how Tom Davies, creator of brand new dream-pop artist Flopsy's dream, describes this charming little album.
Some of you may know him as GeoWizard; the mad British adventurer/YouTuber who travels in straight lines, but here you get to see or indeed hear a completely different side to him - one that sings in soft, tuneful tones reminiscent of Damon Albarn or Ray Davies, builds ethereal, layered harmonies that wouldn't sound out of place on a Fleet Foxes track, and crafts gorgeous guitar and synth parts that could easily have come straight out of John Frusciante or Kevin Parker's handbook.
Written in a young Davies's bedroom between the years of 2008 and 2014, the songs themselves are far from brand new, but with the help of his good friend and writing partner Liam Rhodes (with whom he played in Birmingham Psychedelic outfit "Kinds of light"), Davies has brought these sentimental tracks to life whilst keeping them bang in line with their original vision.
The result is an album that doesn't really fit into any specific genre, in fact you could argue it's just regular old generic pop, but there's an innocence and a playfulness in there that disarms the listener and transports them to a simpler time when melody ruled supreme.
Losh is a series of parties held at the magical Chapala lake in Ajijic and Guadalajara, Mexico, aimed at preserving the essence of underground sound and its culture. The event has hosted performances by artists such as Satoshi Tomiie, Shonky, Priku, Arapu, Markus Nikolai and more. Now, Losh is exploring new horizons with the launch of its own vinyl label. The music for this second release features tracks by Tomodachi Club owner and Real Gang founder Miller, Head Honcho of Vatos Locos Héctor, Perlon legend Dandy Jack and one of Losh Team member James Bott.
RAWAX proudly welcomes Steve O'Sullivan to the artist Family!
We are more than happy to present you one of the most influential artist for our label with the "Three Trax" - EP. This beauty came originally out on iconic ONGAKU Musik in 1999. All tracks are re-mastered and A1 + B2 for the first time available in extended versions! Steve became his own catalog number - series (RSO). Watch out for more!
Nickodemus is a globally respected DJ and producer who has been touring nonstop since the mid-1990s, consistently drawing capacity crowds at clubs and festivals worldwide. As a producer, he has released five acclaimed albums (Soul & Science, A Long Engagement, Endangered Species, Sun People and Moon People) and curated eleven volumes of the influential Turntables on the Hudson compilation series. His work bridges hip-hop, house, jazz, and global sounds, highlighted by collaborations and cultural milestones including the Jungle Brothers' genre-defining legacy and the enduring house-rap classic "I'll House You" with Todd Terry. Nickodemus' hit "Mi Swing Es Tropical" (with Quantic & the Candela All-Stars) has surpassed 50 million streams and featured prominently in the film Chef. He has received extensive international press (Billboard, Rolling Stone, The FADER, Paste) and widespread radio support from tastemakers such as Gilles Peterson, BBC 6 Music, KCRW, and KEXP.
Scissor and Thread presents Tailored Cuts, Vol. 06, a four-track selection that accompanies the digital compilation album. All four tracks appear on vinyl for the first time. Opening the A-side is a brand new and exclusive dub mix of Soela & Module One’s Drowning, reworked by Matthias Reiling (one half of Session Victim). Originally taken from Soela’s Dark Portrait album, the track is reshaped here into a spacious and hypnotic dub that emphasizes texture, atmosphere and patient groove. "I have been a fan of both Soela's and Module One's music for quite a while now," says Reiling, "so getting the chance to remix their collaboration from Soela's beautiful Dark Portrait album is a huge honor. I tried to keep the elegant and somewhat tender synth work close to it's original spirit and combine it with simple drumkit samples, acoustic guitar, electric bass and a dash of space echo. The process put me in a slightly eerie, yet romantic mood, which, so I hope, translates a little when listening to the result."
Also on the A-side, Black Light Smoke’s Love Triangle appears in ZG’s remix, a lush and understated reimagining that balances warmth with rhythmic precision. On the B-side, Hidden Spheres remix of Francis Harris’ Earth Moves feat. Eliana Glass appears alongside DaRand Land’s Passion Motion from his album Wander Being, "a more upbeat ride, with melodic overtones that drive the “passion”. Personally, it’s my interpretation of some of the sounds from mid-90’s Chicago." says DaRand Land.
Skull Snaps 1973 album on GSF is iconic because of the huge number of times tracks on it have been sampled by the Hip-Hop community.
The album, produced by genius George Kerr, and featuring the talented Ervan Walters and Sam Culley, was released with a flourish and in a classic gatefold sleeve but GSF floundered and the album flopped. It’s discovery by Rap music makers has been well documented but before that happened it was discovered by UK Soul detectives in the 70s.
As the Northern Soul scene shapeshifted on from 60’s Motown sound alikes into contemporary black music a whole new music rosta took over the dancefloors. And just as Gil Scott-Heron and Brian Jackson’s “The Bottle” got its debut British spins in the North, so did a whole slew of other acts - includung the Skull Snaps.
“My Hang Up Is You” became a single from the album and an underground anthem. One venue that became synonymous with the track was the Ritz in Manchester where the legendary Soul and Jazz -Funk All-Dayers helped shape UK dance music culture. Paul Mooney has created two 2026 remixes - one vocal and one instrumental - that pay homage to that 1970s golden era when Soul and Disco gelled into an unstoppable force. Fittingly both remixes have been dedicated to those Ritz All-Dayers.
