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Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

- The very first Live album by The Liminanas
- 1 Hour concert performed & recorded on October 24th , 2025 in Paris at Centre Pompidou during the Because Beaubourg Event .
- Album artwork by Smith who did the visuals of the live performance.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

"Askew indie rock thrills, bubbling, synth-flecked and sitting at a perpendicular to the mundanity of the everyday" - Clash

London-based French chanteuse, multi-instrumentalist & composer Clémentine March shares her new single of entrancing avant-pop ‘After The Solstice’, from her upcoming new album ‘Powder Keg’.

Enriched by influences from jazz, folk and Brazilian music, ‘After The Solstice’ was initially inspired by a time spent touring the UK with acclaimed folk singer Naima Bock. For Clémentine, the song explores “the theme of memory and reminiscence” and employs an absorbing sense of cyclical repetition; a musical device used “to evoke the deja vu sensations we all experience in life”.

Out of life on the road, everyday recurrence and contemplative retrospection, Clémentine creates a profoundly hypnotic anthem on ‘After The Solstice’, both mellow and fervent. Evoking the likes of Stereolab, The Raincoats and Cate Le Bon, it’s a mesmeric singalong of graceful vocal lilts and poised musicianship, with every element moving in beautiful unison.

Recorded & arranged with Ollie Chapman (bass) & Sophie Lowe (drums), and featuring vocal contributions from Naima Bock, Sophie Jamieson, Katy J Pearson, MF Tomlinson, Marika Tyler-Clark, Robyn's Rocket and Alabaster DePlume, ‘After The Solstice’ is the first glimpse of Clémentine’s third album ‘Powder Keg’, following the rich international eclecticism of her debut album ‘Le Continent’, and the beguiling intimacies of her second LP ‘Songs of Resilience’.

2026 Repress

Here's to a special one..

Ashtar Afterhours is Kenneth Graham - originally from Los Angeles, he has been a defining presence in electronic music ever since the 90s. Buying his first classic synthesizer, a Yamaha CS01, in 1984, he delved into music production at an early stage. Kenneth put out over 40 releases over the years- under his own name as well as stepping up under various aliases- Estelle Montenegro, KG Beat, Exit Strategy and many others. Kenneth also formed some super-groups together with friends, his Sun Children / Sunkiss project- together with David Alvarado- put out highly influential music on legendary Peacefrog Records.

Body Music was originally released on Plastic City in 2001 and it has been a Smallville favourite since a long time, so we are super happy to present this beauty as a repress, as always with a full cover artwork by Stefan Marx.

All tracks written & produced by Kenneth Graham, B3 w&p by Kenneth Graham & Gabriel Ortega
Vinyl cut by Helmut Erler at Lathesville

The Austrian imprint Fortunea Records took a little break to fill up their batteries and comes back now this summer with a release by the Bavarian duo Decent Rides. They are around for a couple of years and are also the masterminds behind the label Interloot Records.

On the ‚Like We Do‘ EP they are your guides for a versatile house infiltrated tour. The title-track is an energetic floorfiller with modulated synth sequences and heart stomping drum patterns. Definitely the killer app on this wax.

The second track on the A-side features the tune ‚Mind Maze‘. A funky bouncing bassline, reverberant almost siren sounding tones, staccato vocal samples and high accentuated hats make you blister your feet from your high intensively dance moves.

On track B2, the duo adds further "Colours" to the record. This melancholic deep house tune exudes a beautiful, somber, and yet captivating atmosphere that is impossible to resist. This track could be very effective when played during sunrise or sundown.

And finally, they round off this release with cosmic dub sounds and shimmering chords. "Lembo" invigorates the senses. Every beat on this tech house track is an invitation to let go and feels you the pulse of the underground scene.

Go check this out!

Limited to 200 records. There will be no repress!
Mastering by Patrick Pulsinger.

Mauro Pawlowski's 'Unspectacular Times' is the sound of an artist completely at ease with himself, and with the world, in all its ordinary, unglamorous beauty. Ten songs rooted in everyday observation and emotion, produced by Scorpio Twins (Stephane Misseghers and Bruno Coussée) with a full 24-carat 80s gloss: lush synths and basslines.

Where everything around us seems to demand maximum volume and instant outrage, Pawlowski turns that logic quietly inside out. These are songs about love that sneaks up on you, desire that builds in an art gallery, and a Nobel Prize winner falling off his bike and giving a thumbs up. Small moments, but in Pawlowski's hands, that's where everything worth paying attention to actually lives.

Guest appearances from Brianne Dunne (Daryl Hall & John Oates) and Pol Coussée, a Belgian saxophonist who found his way from London to Toronto and has played alongside Barry White and Isaac Hayes.

Following the 70s-tinged 'Eternal Sunday Drive', his second album on Unday Records 'Unspectacular Times' is Pawlowski's most pop focused to date. His most recent chapter in a career that has taken him from Evil Superstars to dEUS, through theater, dance, film and more alter egos than most artists have albums.

2026 Repress

&Me, the chunky critter, did it again! This hypnotic one-off was stoically crafted to be lifted into the next dimension with thousands of people. Where the hospitality of all-encompassing love and euphoria awaits with arms raised and eyes closed.

Mano le tough found the original Muddy Funster so boring that he ran out of cigarettes. Even as a non-smoker! With his congenial version of this evergreens, this deranged pig forces his cranky perception on us and takes us into a mystical world in which no two stones are alike, but whose unique construction represents an earthquake-proof pyramid of love whose dimensions have perfect relationships to the size of the earth and to mathematical laws. Illumination feat Roísín Murphy as Mano Le Toughs needs A Birra Light Remix persistently pulls us music-loving dance muffins under the disco ball with all the TikiTaka tricks in the book, only to let us go and spin gloriously free at the crucial moment. So beautiful, we dance, wow.

We are very happy to presents you the 3nd and last part of "The Ambient Trilogy" by Zoo Brazil on HOUSEWAX!
Don't miss this beauty!

Glasgow reggae collective Mungo’s HiFi celebrate 25 years of pulsating music with a follow-up to game-changing second studio album Soundsystem Champions. Released in 2008, the original Sound System Champions became an instant 21st century classic - thanks to its industrial strength basslines, blazing horns and lineup of scorching microphone talent. To commemorate a quarter century of rocking dances and building rhythms, Mungo’s have created Soundsystem Champions 2. They’ve lovingly assembled some of their biggest dubplates, previously only heard in a soundsystem situation, now available to the world. Fans of the first Sound System Champions will hear musical echoes in the new version. Irrepressible Junglist General Levy rides the Belly Ska riddim that kicked off the 2008 edition, with the militant Gideon Boot. Italy’s Marina P returns to the new record on the expansive Searching, as does Kenny Knots, closing the track list with heartfelt roots anthem Rise and Gravitate. For Soundsystem Champions 2, Mungo’s have invited many more voices from their epic journey. Bristol’s Eva Lazarus revisits Althea and Donna’s immortal Uptown Top Ranking. Reading’s Solo Banton turns his lyrical versatility to hip hop banger Bubble N Wine. The beautiful grainy tones of Ireland’s Cian Finn reimagine the Wailers’ Rainbow Country. With this historic sequel album, Mungo’s look back while going forward, the exclusive becomes the inclusive, and the Sound System comes to you!

Complimenting his singular debut LP, 2025’s ‘Light Months Will Fly Over Us’, singer-songwriter and producer Addy Weitzman sees his thoughtful artrock and new wave aesthetic expanded by The Time & Space Machine for a limited three-track 12".

The long-running alias of British DJ, archivist and acid pioneer Richard Norris, this trio of remixes from The Time & Space Machine’s central processing unit finds Norris in a jubilant raving mode, his trademark psychedelia contributing to Slacker at its best and baggiest. The initial mix captures Weitzman’s songwriting in full, including his portentous vocal hook – “No man is a prophet in his own land” – a proverb first found in the gospels, blessed with the innovative Norris’s application of hypnotic groove, fat low-end and a ton of percussion.

The B-side sees Norris stripping things back in two directions: the Shango Dub draws focus on the higher vibrations found in the track’s beautifully intertwined percussive and synth elements, while the Riddim Mix reduces the frequencies further still, with a phased, slightly fried drum workout primed to spin heads as the night gets deeper and darker.

A new album from Ye, the artist formerly known as Kanye West, is set to arrive on March 20.

The rapper has inked a partnership deal with the independent music company gamma. for the release of BULLY, his 12th studio album.

Tom Misch’s long-awaited sophomore album Full Circle finds the London-based artist, songwriter, and producer at his most personal and honest. Exploring the moments that have shaped him over the last four years: family, friendships, nature, and celebrates the work of finding his way back to himself. Made during his time spent between London, Cornwall, Portugal, and Nashville with a focus on classic songwriting, honing a collection of eleven timeless songs including the previously released singles ‘Old Man’ and ‘Red Moon’. While Full Circle contends with some of quieter moments of the last four years, it remains optimistic and effortlessly listenable, anchored by unadorned vocals and a warm, analogue sound. And the beauty of Full Circle lies in the universality of its lyrics, inviting listeners to inhabit Tom’s world or trace their own path within it. Full Circle stands as both a reflection of his journey and a statement of ongoing evolution.

Pure world magic brims from every groove of this new set of pearlers from the Beauty & The Beat label. We know nothing about Loopico, who is behind the originals, but they blend plenty of Latin, cumbia and expressive percussive sounds into ass-wiggling grooves. Cow bells litter 'Curimbobata', which has stringy rhythms and external synths weaving in and out. 'Maquio' has busy, relentless handicaps and acoustic strings with shamanic spoken words, then 'Upaon-acu' and 'Calma-cara' bring sunny spiritualism to another pair of urgent rhythms. Leonidas lays down hefty, bass-driven rhythms that make these suited to club deployment and open-air dancing this summer.

Last Bongo In Paris delivers a percussive-heavy 45 for selectors who dig deep.
Latin Funk heat, head-nodding hip-hop swing and subtle Bossa textures woven into raw,
organic breaks.
A versatile tool for late-night sets and serious vinyl heads.

WRWTFWW Records is very happy to announce the release of Renga, the new collaborative album from Gak Sato and Tadahiko Yokogawa - available on limited edition LP (300 copies worldwide !) housed in a heavyweight sleeve with inside out print of a beautiful artwork by Aoi Huber Kono.
Renga (??, linked poem) is a genre of Japanese collaborative poetry in which alternating stanzas, or ku (?), of 5-7-5 and 7-7 morae (sound units or syllables per line) are linked in succession by multiple poets.
Inspired by the traditional Japanese poetic form of linked verses, Renga unfolds as a fluid 10-track journey spanning ambient, jazz, breakbeats, electronica, environmental music, techno, cinematic, library music, and musique concrète. Much like its literary namesake, the album is built on intuition and shared momentum, each piece emerging from what came before while opening new paths forward. Beats appear, disappear, then reassemble, while textures shift between organic warmth and electronic abstraction. The result is music that resists fixed categorization, existing somewhere between known subgenres and free-form exploration.
The album's visual counterpart, created by Aoi Huber Kono, mirrors the sensibility of the music. It's elegant, modern, and quietly expressive, extending the idea of linked forms from sound into image.
Points of interest
- For fans of ambient, experimental electronic music, jazz-inflected compositions, breakbeats, techno, cinematic soundtracks, library music, musique concrète, genre-blurring sonic exploration, linked verses, and dark blue.
- A unique collaboration between Gak Sato and Tadahiko Yokogawa, inspired by the Japanese poetic form of linked verses.
- Presented on limited edition LP housed in a heavyweight sleeve, edition of 300 copies.
- Artwork by acclaimed visual artist Aoi Huber Kono, extending the album's concept of interconnection across disciplines.

Black Truffle is pleased to present Radis, the first recording by the Oslo-based trio of Andrea Giordano (voice and organetto), Kalle Moberg (accordion) and Jo David Meyer Lysne (guitar and snare drum). Now based in Norway, Giordano is a native of Cuneo, in the Piedmont region in the north-west of Italy and her exploration of the Piedmontese language provides the starting point and conceptual anchor of the trio improvisations heard on Radis, which make use of the words of 20th century Piedmontese poets Nino Costa, Bianca Dorato and Oreste Gallina. As the musicians explain, the project is an attempt to preserve the beauty and singularity of a language at risk of extinction.

Fittingly, the first sound we hear on the opening piece ‘Fiorìa’ is Giordano’s unaccompanied voice. She sings a poem from Oreste Gallina as a kind of floating cadenza, the accompanying silence sensitizing the listener to the pellucid quality of Giordano’s voice and the unique sound of the Piedmontese language. The voice dies away and into the silence swells a single tone, sounded by Moberg’s accordion and—special guest on this opening piece—the alto saxophone of Mario Gabola. Extended techniques and preparations create unexpected timbres from the acoustic instruments: Gabola’s saxophone is augmented with tin cans and springs and Moberg’s unorthodox techniques allow the accordion to generate wheezing, buzzing textures and patterns of microtonal beating. Giordano’s voice returns, picking up the thread of the languorous opening melody, coexisting for a while with the shifting drone before the piece takes an unexpected yet organic left-turn into a delicate saxophone solo of sorts.

Recorded in several locations across Italy and Norway over the course of three years, Radis documents an ensemble who have developed both a distinctive sound-world and a remarkably sensitive group dynamic. Moving from folkish duets between accordion and Giordano’s organetto (the small accordion used in Italian folk music) to episodes of metallic guitar scraping from Meyer Lysne, the music is both quietly contemplative and gently chaotic. Ensemble roles shift with disarming ease. If on ‘Profij dëspers’ Meyer Lysne’s prepared guitar adds a haywire noise element to a lyrical episode of organetto and accordion, the next piece, ‘D’antorn a lor’, is grounded in chiming guitar chords of stunning beauty; once Giordano’s joins, the result calls up the most spacious moments of Maria Monti’s Il Bestiario. Throughout the seven pieces, the trio explore countless possibilities of group interaction and the margin between conventional euphony and pure abstraction: at times the voice floats against silence or seems almost disconnected from the gentle clatter of the instruments (sometimes reminiscent of Nikiforas Rotas’ haunting settings of Cavafy), while at other points the instruments touch on conventional harmonic accompaniment. What is perhaps most striking of all is the way that voice and instruments relate to each other, the extended technique reframing the voice as a kind of abstract sound object, while the melodic beauty of Giordano’s voice lends a contemplative, almost melancholic air to the wheezing and scraping of accordion and guitar.

Captured in gorgeously intimate recordings, Jim O’Rourke’s careful and beautifully spacious mix highlights the wealth of textural detail in each element. Accompanied by notes, session photos and the text of the Piedmontese poems, Radis is a work of stunning beauty that demonstrates the vitality of exploratory music in Norway today.

DJ Support: Garnier, Opolopo, Worldwide FM, Marcia Carr, Bill Brewster, Timeout Moscow, Craig Smith, Delfonic, Tony Nwachukwu, Marcel Dettmann, DJ Rocca, Shuya Okino, Borrowed Identity, Titonton Duvante, Alex Attias, Rainer Truby, Sol Power All-Stars, Kyri R2, Robert Luis, Severino Panzetta, Lars Behrenroth, Kassian, Alkalino, Getdown Edits, Moodymanc, Gerd, Lea Lisa, Young Pulse, Mark de Clive-Lowe, Mark Grusane, Alex Barck….

International dance music heavyweight, producer and DJ Alexander Lay-Far returns with a powerful new chapter - Lay-Far Dance Orchestra (LFDO) - a fully-fledged live band project that reconnects him with his jazz-funk and fusion DNA while pushing dance music forward with unmistakable groove, musicianship and emotional weight. Formed in early 2024, LFDO is no nostalgia exercise. With Lay-Far at the helm as bassist, bandleader, composer, arranger and sound engineer, the orchestra has already been turning heads with explosive live performances, reinventing classic Lay-Far cuts, and now unveil their first album “Skybreak” with all new and original material written and produced by Lay-Far together with his bandmates and star guests, including Lipelis, Antoha MC and Seven Davis Jr. This work shows the departure from the predominantly electronic sound of Lay-Far's previous solo albums in favour of live instrumentation recorded to analogue tape and effortlessly bridging the gap between Jazz, Library Music, Disco-Funk, House, Broken Beat and Drum’n’Bass. “Skybreak” is dynamic, passionate, spiritual, cinematic, playful, heartfelt, life-affirming, dreamy and deeply romantic. Ultimately, there’s something profoundly romantic in recording and releasing such music in this day and age!


“Take Flight (Part 1)” is opening the album with style. It takes us on a beautifully orchestrated journey, blending the sensuality of Library Music with high-octane Jazz-Funk and raw b-boy breaks, propelled by breathtaking flute and Rhodes solos of Timur Nekrasov and Maxim Glonti. This aural symbiosis of “beauty and the beats” will become more and more prominent as the album unfolds.



It’s time for “Aquarius Love” created with the inimitable artist and vocalist Seven Davis Jr. (Secret Angels, Ninja Tune). In this composition cinematic soul and heavy jazz meet the restless energy of live drum & bass with deep and heartfelt vocals - timeless sound combined with a timeless message about love and life!



Next is “Head In The Clouds” - a theme for an imaginary rom-com, an ode to all the dreamers - sweet, light, naive and heartwarming. Space-Disco-Funk at its best!

“Where You From” is a fiery Soulful House number with heavy Afro-Latin influences recorded in collaboration with Lipelis. It’s full of Sun, joy and passion. Its irresistible rhythm is emphasised by funky octave bass, wah-wah guitar, catchy piano riffs, guitar solo by Lipelis and seemingly light conscious message delivered by Lay-Far and Maryag. Summer is here!

Now the album takes an unexpected twist in the form of “The Harp of Boom” which at first glance appears to be a classic-sounding Boom-Bap banger. Yes, It’s loud, raw, and gritty, yet it gradually evolves into something delicately-touching and deeply-soulful thanks to a memorable flute melody and lush string arrangement. Definitely recorded with tongue in cheek.


Next is “Feel The Moment” a remarkable collaboration with one of the most recognisable and distinctive Russian artists, singer, trumpeter and cultural icon Antoha MC. It’s a feel-good song, hopeful, life-affirming and bittersweet. A stylish excursion into Brit-Funk and Soviet Jazz-Fusion sound, drawing inspiration from the likes of Atmosfear, Light Of The World or Soviet Jazz bands like Allegro and Arsenal, but reimagining the influences through the modern West London broken beat lens.


The spectacular music journey continuous with “Take Flight (Part 2)” - it’s all about the deep infectious jazz-funk groove, heavy beats, rolling percussion and the glory of the soloing instruments - saxophone and flute by Timur Nekrasov, demonstrating the wide range of emotions from thoughtful and lyrical to restless and borderline vicious. One for freestyle dancing!

As the album draws to an end a vibrant musical triptych “Soul Constant” awaits, mixing together the deep and sensual mood of spiritual jazz with heavy syncopated drum’n’bass rhythms by Michail Fotchenkov, lush orchestration, expressive saxophone solos and the ending which can simply be described as “aural bliss”. It’s breath-taking!

A pleasant bonus is the exclusive version of “Where You From” by Lipelis himself, who is taking it into dub territories, further enhancing the rhythm section and enriching the song with his trademark playful synth flourishes and dreamy guitar solos for maximum effect (and appeal).

The album “Skybreak” by Lay-Far Dance Orchestra is the work of real artistry and craftsmanship with timeless sound that’s not only deeply-rooted but also forward-thinking.

‘Cécile McLorin Salvant ... sings standards, show tunes and old novelties in a taut, flinty, elusively beautiful voice, erring toward material with difficult lyrics and tough places in history. Salvant wins over her audiences by tweaking them slightly: daring them to go there with her—not just into the archive, but toward the darkness of the past.’ – New York Times

‘Although Salvant is known as a jazz musician, her approach to music is defined by her instinct for experimentation ... Her music is beloved for ... embracing theatre and subverting classics with playful renditions.’ – Guardian

Salvant, who has performed with orchestras regularly over the last decade-and-a-half and intended to make an album with one sooner in her career, but logistics and her abundant creative ideas led to other new projects intervening. Having finally found time to make this album, With Every Breath I Take is a different sort of record than it might have been even ten years ago.

“It is a rare opportunity to be able to make an album at this scale, which has been a dream of mine for many years,” Salvant says. “Darcy James Argue wrote stunning arrangements and the Metropole Orkest, conducted by the extraordinary Jules Buckley, gave these stories a cinematic dimension. We overcame quite a few obstacles to even get into the recording studio for this project; it took almost four years for us to do so, and I am so incredibly proud to share it.

“I did not choose these songs because they are beautiful, but because they are crucial to me,” she adds.

Cécile McLorin Salvant, a 2020 MacArthur Fellow and three-time Grammy Award winner, is a singer and composer bringing historical perspective, a renewed sense of drama, and an enlightened musical understanding to both jazz standards and her own original compositions. Classically trained, steeped in jazz, blues, and folk, and drawing from musical theater and vaudeville, Salvant embraces a wide-ranging repertoire that broadens the possibilities for live performance.

Salvant’s performances range from spare duets for voice and piano to instrumental trios to orchestral ensembles. Her unreleased work Ogresse is an ambitious long-form musical fairy tale that is being made into a feature length animated film. She has performed at national and international venues and festivals such as the Newport Jazz Festival, the Monterey Jazz Festival, the Village Vanguard, and the North Sea Jazz Festival. Her previous Nonesuch albums, Ghost Song (2022) Mélusine (2023), and Oh Snap (2025) received critical accolades; the former two were both nominated for Grammy Awards. Salvant is also a visual artist, and Oh Snap was named a best album of 2025 by the Guardian, Jazzwise, JazzTimes, and the Francis Davis Jazz Critics Poll.

His fresh, delicate playing has captivated countless listeners, and his debut album Scenery has come to be highly acclaimed around the world. Fukui, who began playing the piano at the age of 22, recorded this album when he was just 28. The earnest passion of his youth resonates throughout the music, gently stirring the emotions of those who listen. The spacious, confident swing of “It Could Happen To You”, the refreshing joy radiating from “Early Summer”, the late autumn coolness imbued in the title track “Scenery” each embodies the uniquely expansive yet nuanced “Hokkaido sensibility” that flowed naturally from Fukui’s artistry.
Within this album, the beautiful landscapes that Ryo Fukui crafted his Scenery continue to breathe eternally.
text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

Who could have imagined that Ryo Fukui had left behind a recording like this? Captured on June 8, 1977, this previously unreleased live session was recorded at the Sapporo jazz club Vidro by Masataka Ito, the producer behind Fukui’s albums Scenery and Mellow Dream. It is unmistakably the Ryo Fukui Trio of that era, yet the performance possesses an overwhelming intensity and freshness that far surpass any studio recording—excitement in its purest form.

The 16-minute, searing performance of “Mellow Dream” is just the beginning. The propulsive energy of “Speak Low”, the beautifully woven lyricism of “Body & Soul,” the blistering drive of “Love For Sale”, the weighty depth of “Mr. P.C.”, and the crystalline fragility of “My Foolish Heart”—each track is delivered with feverish brilliance. It was this very live recording, excerpts of which were evaluated at the Trio Records headquarters at the time, that ultimately led to the production of Fukui’s second album Mellow Dream. In every sense, this is an extraordinarily precious document.

theBasement Discos continue their vinyl journey with a top-notch 4-track House record highlighting the music of Vienna’s finest Jon Gravy.

„Golden Hour“ comes with the beautiful, deep and dreamy title track and the bold, piano-infused House slammer „Let‘s Gruv“ on the A-side. On the flip side, you’ll find „Everybody“ and „Feel Like You 98“, two driving, uplifting House tunes with a nostalgic, almost balearic vibe. Gourmet House music that works on any dancefloor!

Pick a Piper is a Toronto-based electronica duo featuring Caribou drummer Brad Weber and vocalist–songwriter Sophia Alexandra. Their music pairs catchy, ethereal vocals with warm synths, upbeat percussion, and a distinctive sense of sound design that feels both grounded and vulnerable.
The duo’s live show is an intoxicating blend of vibrant physicality and immersive lights and visuals, creating an experience that is both danceable and hypnotic. Pulsing with momentum, vocally driven and haunting, it radiates a charisma that unites the band and audience in cathartic release.
Their new album "Dandelion", explores how we exist in the space between opposing feelings while calling for resilience and the courage to recognize that growth is possible and inherently beautiful, even in life’s most difficult experiences. The record employs skippy beats, bass-heavy kicks, warm subs, hyperactive percussion, woozy synths and organic textures, delivered with a lovingly human-curated feel.
Pick a Piper has toured across Europe, the US, Canada, Guatemala, and Colombia, and has shared the bill with Bonobo, Gold Panda, Blue Hawaii, Do Make Say Think and Ghetto Kumbe.

She studied classical music on viola from the age of 3 through into college where she was on a path to be a performer in a large ensemble, but eventually left after feeling frustrated and limited in a world that did not provide much of an outlet for individual creativity. But the doors of perception really opened when she moved to British Columbia and was exposed to the raw beauty of the wilderness there.

She began recording at home using a basic audio setup along with a cello, viola, violin and double bass, and spent time making field recordings of natural sounds in BC. Her next idea was to actually move into nature to record, curious as to “how it would sound if I recorded outside entirely, with the natural reverb and sounds of the environment in the recording from the very beginning. The rustling of the leaves or a raven’s beating wings were as integral to the music as whatever I played.”

Fables is a mix of pieces that were recorded in the fall of 2024, in a small, remote cabin and outside, primarily using stringed instruments. The result is a series of stunning vignettes, meditations patiently unfurling like gentle waves, slowly advancing and retreating.4, in a small, remote cabin and outside, primarily using stringed instruments. The result is a series of stunning vignettes, meditations patiently unfurling like gentle waves, slowly advancing and retreating.

Chad R. Matheny veröffentlicht seit 1998 exzentrische, textlich dichte Underground-Popmusik, oft unter dem Namen Emperor X. Nach seinem Studium der Physik, Philosophie und Musikkomposition legte Matheny eine Pause von der akademischen Arbeit ein und verbrachte einen Großteil der letzten zwei Jahrzehnte damit, die Welt mit Bussen und Hochgeschwindigkeitszügen zu durchqueren, um an Orten Musik zu machen, die von einem kleinen, aber vollbesetzten Konzertsaal in Portugal über eine leere Messehalle im Norden des Libanon bis hin zu buchstäblich unterirdischen Metal-Bars in der ganzen Ukraine reichten. Er tourt oft allein mit Gitarre und Synthesizer, teilt sich aber manchmal die Bühne mit Weggefährten wie Ratboys, The Hotelier, The World is a Beautiful Place and I Am No Longer Afraid to Die, Foxing, AJJ, The Front Bottoms und Xiu Xiu. Er produzierte das neue Brian-Sella-Album ,Well I Mean", war Co-Produzent des Sub-Pop-Albums ,Bits" der Jangle-Punk-Legenden Oxford Collapse zusammen mit Eric Topalski von Don Caballero und Storm & Stress und komponierte Videoundermusik für gemeinnützige Organisationen wie Planned Parenthood und SEIU. In den Jahren 2011 und 2012 wurde Mathenys Ambient-Werk ,Keeling Curve" in einer Multimedia-Installation des Fotografen Joel Sternfeld verwendet, die im Rahmen einer Retrospektive im Museum Folkwang zu sehen war.

The album was inspired by the dislocation Kennan felt upon returning, after several years
away, to the rustic neighborhood northwest of L.A. where she’d grown up: “Wandering through a place where my life once existed but where everything had quietly shifted with time.”

The music conjures a mood of distance, dust, and dazed emotion, alternately lulling and unraveling. From shuffling tumbleweed vignettes (“The Lone West,” “Romantic Strings”) to sepia-tone torch songs (“Shadows,” “Reverie”) to oblique keyboard meditations (“Moonlight,” “Rain”) , Kennan’s soundworld moves with a muted, murky beauty, like alluring shapes seen through smudged glass. In her hands, haze is a transformative property, liberating melody and memory into landscapes still untraveled.

Atkinson first saw Les yeux sans visage when she was a teenager, around the turn of the century. The film made an impact for its iconic imagery and the way Franju draws on the aesthetics of early filmmaking, from its score that relies on stylistic markers typical of the 1940s or 50s to the decision to shoot in black and white. Even four decades after its first release, it was clear that this was a work that stood outside of the cultural moment that birthed it, speaking through time in ways that were uncanny, but profound.

A quarter-century later, Atkinson was approached by the Belgian cultural center VIERNULVIER to create a new score for Les yeux sans visage for its celebrated Videodroom series, which has seen artists like claire rousay, Mabe Fratti, Lee Renaldo, and many more create new original scores for cult classics and genre cinema. Atkinson's music, with its sublime meditations on space and proximity, its elusive sense of narrative development, mirrors the pacing and mystery at the heart of horror filmmaking. There is a shadow at the heart of her soundtrack to Les yeux sans visage, an ever-shifting wisp and an insinuation of encroaching transfiguration. Echoing a climactic moment in the film, the music obliquely points to "the Beyond," an impossible place of discovery and revelation.

Atkinson envisioned her music as something akin to the air moving throughout and beyond the many cages that appear in the film, unconstrained by the bars and with undefined borders. Those cages hold the victims of a madman surgeon, determined to graft a new face onto his daughter, the protagonist Christiane Génessier, who lost hers in a car accident while he was behind the wheel. Atkinson was reminded of her predecessors at the pioneering French studio the GRM, who approached sound in a less sinister, but similarly surgical manner, and took inspiration from their playful approach to cerebral soundmaking for the electroacoustic topography into which the piano is embedded. As such, Atkinson’s reactions to the larger themes and the minute-by-minute happenings onscreen are both audible simultaneously.

A film about a man who destroys the lives of young women marked by their beauty and similarity to his daughter in a shame-fueled rage has clear, continuous cultural resonance. "Through the music, I decided to bring back their empowerment despite what they endure," says Atkinson. "This is why the record is also dedicated to Gisèle Pelicot, whose trial happened while I was in the process of composing the music and kept thinking of her strength and her decision to share her trial in order to reverse the shame."

This recorded version of the soundtrack is a 34-minute synthesis of the full 90-minute score, presented on LP along with an essay by writer-musician Claire Cronin and drawings by Momo Gordon, together forming a complex reflection on the film's themes. If these sounds move as if the bars of cages are no barrier, they also intimate the freedom and power of those held behind them. Rather than simply mirroring the fear and confinement shown onscreen, Atkinson offers an elusive escape, a beacon for the characters, and the listener, to follow as they reckon with the narrative and move through it.

2026 Repress

Ivy Lab and Alix Perez have been astounding electronic music audiences for years throughout drum & bass and further afield with their own 20/20 and Shades projects respectively.

Now in 2016 the two forces combine for a collaborative release like no other, drawing their own distinct styles to create the beautifully diverse, 'Arkestra' EP.

RAWAX proudly welcomes Fort Romeau to the artist family!

We are very happy to present you this outstanding artist on our imprint.

Don't miss this beauty!

‘In Virus Times’ is an acoustic instrumental piece by Lee Ranaldo.
Composed during the pandemic, ‘In Virus Times’ is released as a onesided LP with an etching on Side B. The cover is a beautiful photo by
Lee’s friend, the great Brazilian photographer Anna Paula Bogaciovas.
 Originally released as one track as part of a collaboration with Lucien
Jean for Le Presses du Reel, the music was featured on a mini CD that
accompanied a book that featured two short stories.
 ‘In Virus Times’, released by Mute, sees the track transformed into 4
pieces and is available on transparent turquoise vinyl with digital
download and an exclusive poster, designed, signed and individually
numbered by Lee Ranaldo. The poster design is based on an electron
microscope photo of the COVID-19 molecule.
 Lee has written some of his own ‘loner notes’ for the release:
 “This recording began on an evening in September 2020, stuck at home
in lower Manhattan during the dark days of the Covid-19 pandemic as
we came out of a deadly summer. A heightened sense of anxiety
stemming from the then-upcoming US Presidential elections as well as
the virus seemed to pervade all aspects of life, for myself and everyone I
knew. Its minimal quality reflects the sense of ‘motionless time’ that
many of us felt. I set up some microphones in our darkened living room
(studios being closed due to Covid restrictions), coaxing out one simple,
repetitive phrase, and then another, sounding them out into the air. The
casual home ambience - a siren or truck rumbling down the street out
the window; someone talking around the table in another part of the loft;
water running - intrudes at points. I worked to develop a few simple
thematic elements, but mostly I wanted to hear the notes and chords
ringing out, hanging in the air for a long time on that evening when the
world seemed close to stopped on its axis.
 “I’d been listening closely to Morton Feldman’s catalog throughout the
pandemic. His sparse, long-duration music could often be heard playing
on repeat as we spent endless days locked inside. His willingness to do
very little, with very simple elements, and to such profound effect, has
been inspirational. I found the vast open spaces in his works thrilling,
miraculous, and comforting in those empty times. Additionally, the Drop
D guitar tuning used here has prompted my own variations on Bach’s
works for solo cello, open strings droning against melodic lines, so
simple and perfect…” - Lee Ranaldo, New York City, August 2021

"Ed DMX has been part of Shipwrec since the label's inception. Under his DMX Krew moniker, this analogue wizard has released four Eps and one LP on the Nijmegen imprint. DMX Krew returns to Shipwrec for a brand new album, a collection that displays yet another side of this sculptor's sound. Brutal and cold, shadows are long and shades dark from the outset. Drum patterns twist in tempo and intent, from hard and punishing to gentle and fragile. Elements of breaks and industrial are also present in the percussion, this fragmenting allowing deep and soulful melodies to counter the battery. In fact, echoes of electronica permeate the harmonies across the LP such as deep and divergent "Interrupt." No single style is adhered to. Instead, the full palette of machine music is employed. From the squelchy Tudor electrofunk of "I Wonder Why" to the melancholic braindance of "Rephlections in Time", genre boundaries are given little credence. Instead, Ed DMX draws on his decades of experience to create sounds that are both familiar and completely one of a kind. The deep-sea dive of "Final Comedown" is juxtaposed with the ambling calypso of "Dinosaur Reaction", styles reimagined and reshaped to the creator's evolving purpose. Echoes of the halcyon days of Rephlex permeate the 2LP. The harshness and softness of the Cornwall imprint being present throughout, those more subtle tones coming to the fore in the delicate beauty of the "Phaser Level 2." A transcendent album and a certified future classic. To accompany this very special release, there will be a limited edition run with full cover art by Ruwedata. An artist very close to Shipwrec's heart, Ruwedata was responsible for the sleeve work on DMX Krew's Cosmic Awakening."

After ten years 12 Inch Lovers has become a household name not only because of their parties but also because of the fantastic vinyl samplers they released over the past few years, which were sold out in no time and have become true collector's items.

They now continue in the same vein and once again bring a fresh and contemporary mix of hard to find, original house classics or even classics that never had a vinyl release.

These samplers should therefore not be missing from any 12 Inch Lovers collection.

"Gregor Salto" is at it again! Sampler 6 opens with that other and hard to find classic of his "Your Friend". A club classic that has won the hearts of countless clubbers and house fanatics around the world since 2009. And speaking of hearts; Belgian dj-producer "DJ Wout" released this beautiful and emotional remix of "D. Van Horn's" "Somebody Now To Love". A true trance classic and typical in sound for that period that you can find on A2.

On B1 we find a more recent track but which you can already say is a future classic. "MZ" from "Sascha Funke" is still played to this day by top DJs like Solomun and very hard to find on vinyl. A must have! Dutch producer "Karmon" delivered this catchy deephouse remix of "Fabo's" "Where I Stand" in 2012. You can find it on B2.

On C1 we find the beautiful "Andain" classic in the "Gabriel & Dresden Unplugged Mix". "Beautiful Things" was picked up by "Tiësto" at the time and has made it a true classic. Hard to find on vinyl.

"Moko" "Fly" on C2 is a very catchy and quirky track from 2010 that never had a vinyl release! Highly recommended!

D1 brings the dreamy and highly sought after "Today" from "POB & Taylor" in the "Seismic" remix after which we close with D2 with a true classic.

"My Moon My Man" by "Feist" is probably that record which remix is better than the original. "Boys Noize" was responsible for this in 2007 and the rest is as they say history.

By popular demand, Far Out are delighted to present Estatica- remastered edition of the classic 2010 album from the original Rio beach boy Marcos Valle
Evoking his Carioca sound - where expansive orchestral sweep meets beautiful melody and complex harmony - Valle mixes perfect romantic bossa-pop with cinematic brass and strings. This recording explores a six decade career that has swung between pop, bossa nova, delicate psychedelia, jazz, and funk. Responsible for bossa classic 'Summer Samba (So Nice)' Valle has collaborated with Leon Ware, Sarah Vaughan, & Chicago, seen his track 'Ele E Ela' sampled by Jay Z for Blueprint 3, and his songs recorded by the likes of Frank Sinatra and Bebel Gilberto.

DJ Support: Louie Vega, Dave Lee, Mousse T, The Brothers Macklovitch, Folamour, Bellaire, Moonboots, DJ Spen, Terry Hunter, Michael Gray, Dr Packer, JKriv, The Shapeshifters, Moplen, Melvo Baptiste, Saucy Lady, Tedd Patterson, John Morales, Maurice Joshua, DJ Minx, DJ Dove and DJ Disciple.

Big Love return with EP 7 in the A Touch Of Love vinyl series. Label head Seamus Haji kicks off proceedings with his popular ‘Disco Dreams’ feat Chicago legend Mike Dunn on vocals given a fresh new lick by Toronto’s jackin’ house master Hatiras. Shawn Christopher‘s 90’s house classic ‘Don’t Lose The Magic’ gets a sublimely soulful update from Chicago’s Emmaculate. On the flip side we have 2 French House veterans with Art Of Tones serving up the Chic inspired disco beauty ‘Hoping For Another Chance’ followed by Yass feat the vocal powerhouse Michelle Weeks on the disco driven gospel stormer ‘Hallelujah’.

We’re kicking off the new year with a very special Australian vinyl release.
Our 8th record comes from Sydney and features Zankee Gulati with stunning vocals by Amega on Dark Side, alongside a beautifully crafted remix by Pambouk. The release is completed by two captivating B-side tracks, Sojourney and Agida, from fellow Sydney artist mredrollo.

London-based producer IZCO is set to release his latest single, “Guiding Star (feat. Reek0)”, blending soulful nostalgia with the raw energy of the capital’s underground sound.

Drawing from influences that span UK dance music, hip hop, and soul, IZCO’s music captures both the energy of the dancefloor and the emotion of lived experience. Over the years, IZCO has become a key figure in London’s cross-genre underground scene, collaborating with artists like Reek0, Greentea Peng, Sam Wise, Liam Bailey, and Novelist, and performing at iconic venues and festivals across the UK and Europe.

His previous releases, including tracks like soulboy - IZCO Remix, Beauty Inside, and OBiNRin - IZCO Remix, showcase his knack for crafting warm, sample-rich productions that balance classic influences with a distinctly modern edge. Whether behind the decks or in the studio, IZCO continues to push boundaries, creating music that feels timeless, authentic, and deeply rooted in community.

“Guiding Star” is no different. It pairs warm, vintage soul textures with the sharp percussion and bass-driven pulse that have defined IZCO’s sound across his discography. Featuring long-time collaborator Reek0, the single bridges eras and styles; a homage to the past while firmly rooted in the energy of today’s London.

Speaking on this release, IZCO says:
“Guiding Star. That classic shit, Combining the soulful sample with the London grit, real London track. Inspired by a mixture of 70s soul, US hip hop and UK grime.

Made this track without thinking much, the sample spoke for itself.
Reek0’s vocal was from one of the first sessions we ever did years ago, and it had never been released but it sounded perfect on this track. A taste of nostalgia, this track reminds me of good memories and friendships. Simple but meaningful. And an honour to use such a beautiful sample”

Later this year, fans will be able to own an exclusive 7-inch vinyl edition of Guiding Star, featuring both the original and instrumental versions - a collector’s piece for crate diggers and fans alike. Out on the 5th December.

With “Guiding Star (feat. Reek0)”, IZCO continues to carve out his place as one of the most versatile and soulful producers in UK production, grounding every beat in authenticity, emotion, and connection

uper Deception dives into the uncanny beauty within the everyday, drawing inspiration from M.C. Escher’s idea of “super deception”: the art of creating the impossible without illusion. Nelson of the East translates that concept into sound: deep, tactile basslines and intricate percussion twist familiar rhythms into hypnotic new forms. Textures and samples are lifted from their origins and reimagined, creating tracks that feel both ancient and futuristic, physical and dreamlike. The result is an electronic landscape where sound folds in on itself: a timeless, shape-shifting exploration of rhythm, resonance and perception.

Nelson of the East is a Berlin-based sound artist, producer and educator. He operates at the intersection of experimental composition and club culture, shaping his craft both as a music teacher and behind the scenes as an experienced ghost producer.

Artwork & Layout by Alicia Carrera

WRWTFWW Records presents the first ever vinyl release for the Startled Insects’ 1984-1985 abstract/synth-pop/post-punk/electronic run compiled into one album : The Antenna Years. The Bristol music must-have comes as a limited edition LP with astonishing artwork, liner notes and a heavyweight sleeve.
The Antenna Years compiles the independent EPs/mini-LPs the Startled Insects released in 1984 (self-titled) and 1985 (Underworld/Black Spring), with two bonus unreleased tracks that were only ever played in their live shows (W.W.W and What A Waste, both amazing).
Astonishingly futuristic when they landed in 1984, the Startled Insects sounded like they came from another planet while staying rooted in Bristol’s underground. Abstract electronic, leftfield synth-pop, dub science, gamelan heat, post-punk edge, cinematic atmosphere : The Antenna Years delivers one beautifully odd voyage into the sonic unknown.

In the 90s, the band released two albums, including the classic Curse Of The Pheromones via Antilles New Directions (Island Records), then evolved into The Insects: film composers for BBC/National Geographic, Emmy winners, and key architects of the 90s Bristol orbit, working with Massive Attack, Goldfrapp, Tricky, and members of Portishead.

Four decades on, The Antenna Years still hits like a transmission from the future. Dive in with no fear.

Repress!

Legendary NYC house label Strictly Rhythm is celebrating a mammoth 3 decades of cutting edge, roof-raising house music. Truly a benchmark.

Originally founded in 1989 by the dynamic pairing of music industry man Mark Finkelstein and A&R expert Gladys Pizarro, Strictly tapped directly into the fertile New York underground and after hours club scene, helping to launch and bolster the recording careers of dance music luminaries like Armand Van Helden, Roger Sanchez, Ultra Nate, Todd Terry, Wamdue Project, DJ Sneak, Louie Vega and many more. Strictly Rhythm is easily one of the most recognisable and respected dance music powerhouses of all time.

Across 3 limited double vinyl offerings, the Strictly catalogue has been expertly picked over to present you with a snapshot of some of the most earth shattering house music to emanate from the streets of New York City. A who's who of producers and artists, all killer and no filler. End to end classics that help to tell the story of one of dance music's most well loved labels. Classic cuts and essentials from DJ Sneak, Wamdue Project, Louie Vega (Sole Fusion), Essence and more all feature on part 2 in their unedited, 12" mix glory.

Fully legit, remastered and selected with love courtesy of Strictly Rhythm and Above Board distribution for 2020. Happy birthday Strictly Rhythm!

Fresh for 2026, Something System Records returns with its second four-track EP, showcasing a carefully curated selection of forward-thinking underground sounds from across the DnB and jungle spectrum.

A1 – Creativity
Oxford-based producer SR makes his label debut with Creativity. Having already built a strong reputation through multiple vinyl releases and production collaborations with JEMONE on Metalheadz, SR delivers a powerful opener defined by tense atmospheres, razor-sharp drum programming, and weighty sub-bass. Designed to move both dancefloors and minds, this is a standout introduction.

A2 – 3 Times Around The Sun
Duburban & Peeb return to Something System Records for their second appearance following a prolific period of releases on some of the scene’s most respected labels. This track channels lush, uplifting pads reminiscent of the golden era of Good Looking Records, underpinned by warm sub frequencies and expertly edited drumfunk breaks that evolve beautifully throughout. A deeply musical and rewarding listen.

B1 – Fresh Outlook
Bristol-based producer Loma returns to the imprint with Fresh Outlook, a finely crafted 140 BPM jungle roller. Featuring intricately layered breaks, precisely placed subs, and an immersive atmospheric backdrop, the track takes the listener on a dynamic journey. With previous releases on John B’s BETA Recordings, Loma continues to demonstrate a bright and promising trajectory.

B2 – Tell Em Purdie
Closing the EP, Something System Records proudly welcomes Pixl to the label for the first time, collaborating alongside Duburban & Peeb. A seasoned producer with releases on numerous highly respected DnB labels and founder of Loop Progression Records, Pixl brings depth and experience to this jazz-infused finale. Smoky club atmospheres, textured breaks, deep subs, saxophone lines, and a spoken-word sample referencing a legendary drummer combine to deliver a rich, soulful conclusion to the EP.

Black Truffle is thrilled to announce Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith and Keith Rowe, Reichel’s rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release.

Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely centre of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. As Reichel says in the charming archival interview with Markus Müller included here, he was ‘always a cuckoo’s egg at FMP’, a label that began as an outlet for roaring European free jazz. What strikes the listener right from the opening selection on Dalbergia Retusa—‘Return of the Knödler show’, from 1987’s The Dawn of Dachsman—is the extraordinary beauty of Reichel’s music, at once alien in the shimmering sonorities and unconventional pitch relationships made possible by his invented instruments, and deeply lyrical, even romantic in its harmonic content. Growing up in West Germany in the 1960s, Reichel’s formative influences were mainly British and American rock bands, a background that shines through in many of the pieces included here: ‘An old friend passes by’ is haunted by the ghost of Hendrix’s rhythm guitar, and the wild closer ‘Heimkehr der Holzböcke’, taken from a rare 1975 7” and the only piece to use overdubbing, layers errant hammer-on and slide tones over a Canned Heat boogie chug.

Reichel was an important source for the development of Oren Ambarchi’s own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel’s work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. On a piece from his very first LP, played on an 11-string instrument (partly strung with piano strings and using a schnapps glass a slide), we hear his intensive exploration of fret-hammering to create zither-like, chiming tone, which Reichel would hone further in later years with a double fretboard guitar specifically designed to be hammered rather than fretted and picked. On a piece from 1979’s Death of the Rare Bird Ymir, Reichel uses two steel-string acoustic guitars at once, with beautiful results: ‘some even say too beautiful’, he jokes in the interview included here. Many of the pieces from the 1980s make use of varieties of the ‘pick behind the bridge guitar’, instruments of uncanny harmonic richness primarily designed to be played on the ‘wrong’ side of the bridge. At times the unexpected behaviour of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realised solely through Reichel’s unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel’s own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel. Rarely has music been at once so strange and so beautiful.

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.

Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.

“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.

Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.

Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.

Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.

Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.

With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Tracklist:

A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals

A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals

B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals

B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals

B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals

B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer

B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass

B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums

Credits:

Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle

Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)

Photography: Claudio Virgínio
Design: Minchai

Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany

“ It’s like a more psychedelic , organic KLF Chill Out with deep roots and cosmic overtones“ Richard Norris

“ A beautiful trip “ Jem Finer

D.E.N 01 LAND - Composer Danny Hammond
Land is the first in a series of earth inspired sonic journeys , part sound meditation , part immersive psychedelic nature trip. Incorporating field recordings , shack instruments and spoken words from cosmic adventurers .

It originated as an installation at the 14 Hour Technicolor Drone event in Sept 2025 whereby all listeners fell into a deep nature/dream slumber.
For fans of Pauline Olivieros ,Brian Eno , Terry Riley , Don Cherry , Barbara Hepworth , Alice Coltrane , John Betjemin and all other ambient adventurers.

D.E.N
Deep Earth Network is a long term sound project exploring deep-listening , drone and sonic adventure , all inspired by the earth in all its manifestations , land , water , space , consciousness. Initiated by Danny Hammond , D.E.N will present different sonic projects and collaborations from vinyl / audio releases to sonic installations with the aid of The Deep Earth Soundsystem and the Sonic Heads ( S.H ) a collection of sculpted head audio transmitters.

We proudly present Sidequests Trilogy, a special triple vinyl release from Session Victim that brings together the previously released Sidequests Chapters 1, 2 and 3 in one beautifully curated edition. It’s a journey through the duo’s deeper impulses and dancefloor instincts alike—rich, soulful, and unmistakably Session Victim. Sidequests Trilogy is available now on Delusions Of Grandeur as a limited triple vinyl LP on Olive Green Vinyl.

E23 Records second release is where electro has a love triangle with synthwave and Italo. Reality is the original Rorschach,

E23 founding member Mavanov worked diligently on delivering you eight varying tracks perfectly suited for working out on the dance floor and to find nuance and reflection at home or on the go. You will find hints of EBM and Detroit, with notes of cold wave and synthpop. A nostalgic journey into the future delivered on a beautifully crafted 12” limited to 200 copies.

JOCELYN VIRAPIN is one of the master of the Guadeloupean Gwoka percussion.
Born October 17th, 1957 in Basse-Terre, he’s an author, composer, producer and a vinyl digger.
His Gwoka is a pure tribute to the traditional combination of responsorial singing in Guadeloupean creole, rhythms played on the Ka drums and dancing.
He started to play in the 90’s with his band Gwaka. He opened and collaborated with prestigious band such as Kassav or Zouk Machine.
He has a massive discography as arranger and musician: he appears on more than 78 albums! The track "Pasyon" was originally released in 1994 on a rare vinyl , but with the artist we decided to do an edit, so we invited the super talented jazz player Florian Pellissier for a Rhodes improvisation on the original take.
The track "Respè Pou Fanm" was originally released with his band BELOKA in 2010 and was only pressed on a Cd format at a very limited quantity. This beautiful song is a blend of Ka, fantastic jazzy keys on Rhodes, hypnotic bass, sublime creole spiritual chants. With an incredibly joyous feel, the lyrics gave a timeless advice to men: Respect Women .
It definitely deserves a vinyl version for all the music lovers, Dj’s and diggers from all over the world !
Kenbé red pa moli !

For more than two decades, Eamon Harkin has helped shape New York’s communal pulse. As a founder of Mister Saturday Night, Mister Sunday, Planetarium, and Nowadays, he’s created and DJed in spaces where dance, listening, and connection blur into something deeper — places where people come together to make sense of the world through sound.

On his new album, The Place Where We Live, Harkin turns that lens inward. Drawing on 25 years as a DJ and curator, he moves between house, techno, and ambient currents with a sense of stillness and searching. The result is a record that feels both physical and introspective — the sound of the dance floor seen through memory.

The title comes from psychoanalyst D.W. Winnicott’s idea of “the place where we live,” the psychic space between the inner and outer world — where play, art, and culture help us build meaning. For Harkin, an Irish immigrant long settled in another land, that idea resonates both philosophically and personally. The Place Where We Live captures the tension and beauty of the pulse of the club and the quiet of reflection — an album about belonging, transition, and the quiet resonance of finding home somewhere in between.

2026 Repress
The ocean- the infinity, the beauty, the colour, the sound: a truly seductive place. With the sound of ocean waves Smallville's beloved artist Moomin invites us to enter his second full length album A Minor Thought". A selection of wonderful tracks initiate some exciting house music moments at our favorite clubs, improved at Panorama Bar, Robert Johnson and of course the Golden Pudel among many others.. Engaged with a fantastic collection of analogue synths and drum machines, Moomin is always on a hunt of the most delicate samples. After his big first album The Story About You' and a number of beautiful works on his own imprint Closer", he was already back on Smallville's new little baby Fuck Reality' to deliver a 12 for the 2015 summertime. Of course Moomin was also part of the Smallville 10 years Compilation Smallville Ways' and delivered again for Smallville 46. Now he appears with another string of beauty- A Minor Thought. There will be a lovely fullcover artwork package with printed Inlays for the vinyl version by Smallville's one and only Stefan Marx.

Picture disc, artwork by C. Bedford Black Screen Records and Kaizen Game Works have teamed up for two new vinyl editions of Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer. Topping's incredible soundtrack will be available on brand new picture discs as well as rosé & crystal clear with white marbled vinyl. The LPs are housed in a gatefold sleeve with beautiful 80s anime- & city pop-inspired artwork by Mizucat - additional art and layout by Kaizen Game Works, Barry Topping and Dane Baudoin. The picture disc artwork was crafted by C. Bedford as well as the one for the included folded A2 Crimson Acid poster. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.

2026 Repress

WRWTFWW Records is extremely excited to announce the first ever vinyl release for Pizza Hotline’s brilliant 2022 full-length Level Select, originally only released on cassette and digital. The liquid drum & bass meets Y2K era video gaming aesthetics monster is now available in a limited edition transparent vinyl double LP with a glorious 45rpm cut, packaged in a heavyweight 350gsm sleeve.

Entirely written and composed by UK producer Pizza Hotline (apart from "GLACIER ZONE", a collaboration between Pizza Hotline and DJ Total 90), the stellar 8-song album was initially released as a limited cassette in January 2022 and quickly gained cult status - making a full-on vinyl release quite the necessity. It’s here now with the the previously unreleased track "POLYGON DREAMSCAPE" (which sounds as magical as its title) and 45rpm cut for louder, bigger, deeper bass rumbling.

Spellbinding, atmospheric, and beautifully melodic, Level Select is a large scope dreamy adventure of liquid DnB filled with ambient escapades, ethereal jungle, high vibe breaks, and a heavy loving dose of late 90s / early 2000s video game influences. Hypnotic late night hype and pensive chill moods mesh with ease in a cinematic soundscape that re-contextualizes and gives a new life to a beloved music genre - LTJ Bukem, Peshay, the Wipeout OST or Soichi Terada's Ape Escape come to mind, and sounds and soundtracks from the Sony Playstation, the Nintendo 64, and the Sega Saturn resonate from the speakers. It’s all fresh with a subtle nostalgia and so much heart. An instant classic.

Wah Wah 45s present a limited edition vinyl special from Afro-dub masters, Soothsayers. With a history that goes back three decades, having released two classic LPs (Tradition and We Are Many) and numerous EPs and remixes on the imprint, the band deliver two brand new and exclusive versions of one of the highlights of their new LP, entitled Fly Higher.

Love Will Find a Way features vocalists Maia Avery and Akin Soul, both former members of Youthsayers - a South London based music performance and education group, taught by Soothsayers band members. With new mixes by acclaimed Sao Paulo based producer Victor Rice, it's a stepping reggae vocal duo piece with a strong, universal message asserting that despite the current divisive political rhetoric and the championing of greed over human empathy by those in power, love will always be a more powerful force than hatred and division. Maia and Akin Soul's distinctive voices blend and weave beautifully over a hypnotic groove with a fresh and poignant emotional energy contributing to what should be a future steppers classic. These previously unreleased mixes are available in both vocal and dub versions on hand-stamped 7-inch vinyl and Bandcamp only. "We are so proud and happy to be able to feature Maia and Akin on this beautiful song. Both are former members of Youthsayers, the youth music education organisation set up by Soothsayers in 2016. Maia (from recent Wah Wah 45s signings Kotoa) and Akin are now great artists in their own right and it feels very satisfying to feature them on this new Soothsayers release." Robin Hopcraft (Soothsayers)

a A1: Love Will Find A Way (Light Still Shines Version) [feat. Maia Avery & Akin Soul]
[b] B1: Love Will Find A Way (Victor Rice Dub) [feat. Maia Avery & Akin Soul]

[a] A1 | Love Will Find A Way (Light Still Shines Version) [feat Maia Avery & Akin Soul]
[b] B1 | Love Will Find A Way (Victor Rice Dub) [feat Maia Avery & Akin Soul]

Limited run 10” vinyl, arrives in risograph printed cover, with additional insert.

Elijah Minnelli returns to Accidental Meetings, following stand out records for FatCat Records, ZamZam & his own BCC imprint, which have garnered support and AOTY charts from The Guardian, The Quietus and The Wire to mention a few.

Minnelli has a unique dub-wise take, fusing eastern & western folk influences with cumbia and earthy drones, cumulating in his own distinct sonic world and his ever evolving lore. Within Ball & Socket, Minnelli pushes his own vocals to the forefront for the first time, compared to the more accustomed background approach previously. The record also sees a collaboration with Osaka's Kiki Hitomi (Waqwaq Kingdom, ex King Midas Sound) on Unkind, the two intertwining throughout. Fans of the pairing will be happy when it gets a re-up halfway through on the Discomix.

Ball & Socket is a personal record on many a level for Minnelli, and the result ends up as one of his most beautiful body of works yet. It finds it's home on the Bristol imprint Accidental Meetings, four years after his first outing on the label.

Design by Oliver Kay, photography by Aleksandra Sandakow, printed & assembled by The Error Press.

Dennis Huddleston is 36, a prolific ambient producer who releases albums on a prolific basis but never lets the quality levels dip. He often roams around different labels and for this one lands on Pure Life with six more sublime and subversive sounds. 'Pre-Dream Condition' is a slow awakening that sharpens your senses then 'Manual Dream Transmission' continues the heavenly ascent with lush arps shimmering across an infinite horizon. 'A Bright & Tranquil Light' is soft focus and beautiful and 'Night Language' brings sharper melodic focus with 80s nostalgia ripping through the keys. Two more long-form and unhurried but dense ambient soundscapes close out a pure escape.

Der mehrfach preisgekrönte Londoner Jazz-Saxofonist startet mit seinerm neuen Soloalbum sein eigenes Label.

Multiinstrumentalist, Produzent und Künstler Shabaka (Hutchings) veröffentlicht mit "Of The Earth" sein drittes Soloalbum, das gleichzeitig das erste ist, das über sein eigenes Label Shabaka Records erscheint und komplett von ihm selbst geschrieben und produziert wurde. Auf "Of The Earth" kehrt Shabaka zu seinem charakteristischen Saxophonklang zurück, ergänzt durch ausgefeilte Elektronik und Produktion sowie traditionelle Holzblasinstrumente und Perkussion aus aller Welt. Diese Kombination unterstreicht sein vielseitiges Talent und prägt den Gesamtklang des Albums. Hutchings genießt hohes Ansehen für seine Arbeit mit The Comet Is Coming, Sons Of Kemet, Shabaka And The Ancestors sowie für die beiden jüngsten Soloprojekte "Perceive Its Beauty, Acknowledge Its Grace" (2024) und "Afrikan Culture" (2023). Als Musiker arbeitete er bereits mit einer Vielzahl namhafter Künstler zusammen, darunter Andre 3000, Floating Points, Mulatu Astatke, The Sun Ra Arkestra, Lianne La Havas, Saul Williams und viele mehr. "Of The Earth" erscheint als schwarze Vinyl-LP, als limitierte kornblumenblaue Vinyl-Edition und als CD. Beide Vinyl-Formate enthalten ein Booklet mit Hutchings' eigenem Artwork.

Repetition stops being mechanical and starts to breathe. Beauty is taken apart piece by piece to get rebuild with irony as A Thousand Details' minimalism blinds the mind.

This is the main version of TAR-LP4, 2x12inch with a download code including 4 extra tracks.

Tony Bontana, the Birmingham rapper, producer and multi-instrumentalist, releases his 35th album My Name, which is also his first to receive a proper vinyl pressing. The album follows an impressive 2025 in which he performed with Nourished By Time, Mark William Lewis, YHWH Nailgun, TAGABOW and 454.

His earlier 2025 album The Beautiful Malaise made The Wire’s annual top 50, and he appeared as the sole feature on Nourished By Time’s album The Passionate Ones, where Marcus praised his “freewheeling spirit.”

Tony’s production work has appeared on records by Billy Woods, Cities Aviv and Novelist, with upcoming collaborations planned with Blackhaine and DJ Python. The single Battered Chips has received airplay from NTS, Esk on Rinse and Huw Stephens on 6 Music.

If anyone is counting this is the 35th album by Birmingham rapper, producer, multi-instrumentalist Tony Bontana. A pioneer of his own ‘Splayed’ style of production characterised by heavily manipulated samples, non-linear rhythms and introspective lyricism. My Name is a significant landmark for Tony being the first album to receive a proper vinyl pressing. It caps an impressive 2025 which has seen Tony play live with acts such as Nourished By Time, Mark William Lewis, YHWH Nailgun, TAGABOW and 454. His previous album “The Beautiful Malaise” (one of four he released in 2025) made The Wire’s annual top 50. He appeared as the sole feature on the acclaimed Nourished By Time album The Passionate Ones on the track Jojo with NBT’s Marcus praising the rapper as having the “freewheeling spirit of a street baller out on the playground” . His productions have already appeared on records by Billy Woods, Cities Aviv and Novelist with further collabs to come with the likes of Blackhaine and DJ Python. The standout single Battered Chips has received airplay from NTS, Esk on Rinse, New Music Fix and Huw Stephens on 6.

Rolando’s back in the game with Syncrophone Remixes Vol.2—flipping DJ Qu’s “Undescribed3,” Detect Audio’s “Synchronize,” and Anthony Shake Shakir’s “Arise.” Three exclusive remixes, pure underground techno for real heads. Detroit spirit, cop this 12” before it disappears!

DJ Feedbacks :


Honey Dijon : DJ Qu is the one for me. Will def support!
Raresh (ar:pi:ar) : super! thanks
Truncate : Thanks!
The Advent : Smooth bgrooves on here.. 3 - Anthony 'Shake' Shakir - Arise (Rolando Remix)
Anika Kunst (Symbolism / RSPX) : Cool release. Arise rmx is beautiful. Thanks!!
Harvey Sutherland (MCDE / PPU / Voltaire Records) : DJ Qu flip for me, thanks!
Scott Grooves : The Shake is the one
Satoshi Tomiie (Abstract Architecture) : Wooow hot hot hot
Roman Fluegel (Roman Fluegel, Dial, Cocoon, Playhouse, Robert Johnson) : The Remix for Shake is the one for me.
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Enrica Falqui (ERIS, Plexus 4) : I like it!
Daniel Avery (Phantasy / Fabric) : Awesome
Laurent Garnier : cool release
Elisa Bee : Only love for Rolando, thanks x
Slam (Soma) : Brilliant - thanx
San Proper (Perlon / Rush Hour / Proper's Cult) : Totally what i needed to hear, Rolando remixing Shake & Q, my heroes lined up. I will enjoy playing all 3 mixes. One Love.
Axel Boman (Studio Barnhus) : killer remixes!
Terry Farley : DJ Qu mix my fave - heads down LETS GURN
D'Julz (Bass Culture) : great work !
gilbr (Dj Gilb'R / Chateau Flight (Versatile)) : Like the Shakir remix thanks for sending
Ben Sims : Now downloading... will check asap!
Lea Lisa (Phonica Records / Folklor Club) : mental, really good one
Dj Deep (Deeply Rooted) : Super nice package! Dj Qu's Undescribed3 remix for me here! Thank you
Mike Shannon (Cynosure) : Rrrrreeeeemix!! Thx
Efdemin (Dial) : Wonderful remix package!
Inland (Inland) : Hellooo. These are great. Qu and Shake versions both killer! Thanks
Kai Alce (Real Soon) : DJ QU remix bangin
Uncertain (RSPX, WRKTRX, Suara) : remix 1 for me
Harri (Sub Club) : very nice all three will play and support
Blasha & Allatt (Meat Free) : Thank you!
Marcel Dettmann : thx
Richie Hawtin (M_Nus) : downloaded for r hawtin
Luke Solomon (Classic / Freaks / Music For Freaks) : all killer
Luke Slater : Thanks Ro!
Ame (Innervisions) : thanks
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : I like this
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Alienata (about blank) : Very nice remixes, all of them, thx!
Nat Wendell (Depth of My Soul, Courtesy of Balance, Love & Loops) : Dope remixes!
Dave Clarke (white noise radio) : Not my sound, but please keep them coming !

Joji returns with long-awaited 4th studio album ‘Piss In The Wind’ via Palace Creek. The new LP cements his place as one of the most distinctive and genre-defying artists of his generation, balancing haunting melodies with gritty yet atmospheric production. The album captures the quiet contradictions that always defined his music, wrestling inner turmoil into something strangely beautiful. Features “PIXELATED KISSES,” “Past Won’t Leave My Bed,” and more.


Joji kehrt mit seinem lang erwarteten vierten Studioalbum „Piss In The Wind“ zurück. Die neue LP festigt seinen Platz als einer der markantesten und genreübergreifendsten Künstler seiner Generation, der eindringliche Melodien mit einer rauen, aber atmosphärischen Produktion in Einklang bringt. Das Album fängt die stillen Widersprüche ein, die seine Musik seit jeher auszeichnen, und verwandelt innere Unruhe in etwas seltsam Schönes. Mit „PIXELATED KISSES”, „Past Won’t Leave My Bed” und weiteren Titeln.

Fifteen years after it first surfaced on the short-lived Lithuanian netlabel Dumblys, Sraunus – Out Of The City returns remastered, recontextualized, and ready for a new wave of deep listeners. What once felt like a hidden gem now reads as a quiet cornerstone, a record whose significance only grew clearer with time.
Behind Sraunus is Paulius Markutis, one of Lithuanias earliest deep-dub explorers. His moniker translates to “flowing” or “fluid,” and that spirit runs through the entire album: the music breathes, circulates, and drifts with calm inevitability, revealing fresh details on every pass. Rooted in the classic Berlin-born dub tradition yet unmistakably shaped by Markutis own sense of space, mood, and narrative, the result feels beautifully suspended in time, warm in its chords, patient in its arrangements, and guided by a subtle emotional current. This is dub techno at its most enduring: fluid, deep, and endlessly replayable.
The reissue, part of Greyscales Archive Series, arrives on superbly pressed double vinyl, with artwork chosen with intent: Marija Marcelionytė-Paliukės “High Tide and Low Tide,” an image of perpetual motion that perfectly mirrors the albums flowing spirit.

A great name. A great cover. And - of course - outstanding library music.

Soul City Orchestra's Meal Ticket houses titanic funk, mellow groove and symphonic disco-soul.

Released in 1977 on Rouge, a subsidiary of the prestigious and long-established British library label Music De Wolfe, Meal Ticket was crafted by the studio band Soul City Orchestra (a pseudonym for the De Wolfe in-house composers Chris Rae & Franck McDonald).

The driving instrumental funk-rock of the A Side is enhanced with strings and no little drama. However, it's undoubtedly the peerless flipside that makes this record an essential part of any collection.

Head straight to highlight "Chamber Maid"; insistent, conga-driven funky rock with lashings of string-heightened drama. It's sophisticated, classical and deeply classy.

The majestic, powerfully emotive "Sore Head" contains an excellent intro drum break and sultry slo-mo disco breaks throughout. It's low-key stunning. With a few melodic switch-ups, it's symphonic soul heaven and is comfortably the best and most beautifully crucial track on Side A.

The breezy, Philly soul-tinged "Short Change", its intense strings reminiscent of the Salsoul Orchestra and TSOP, presents an easy-glide funk that's just irresistible.

The funky, cool and slick AF "Wheeling And Dealing" is laconic flute and string-propelled sophisticated mid-tempo disco soul. It's worth the price of admission alone.

The breezy, mellowed out disco-funk workout "The Jam" is a deliciously slinky and sophisticated soul strut. Try not swaggering into the club with this in your head next time you venture into the murky world of "the night". Just ace.

The crowning glory is the sweeping, sublime symphonic disco breaks of horn-infused "Soul City Drive", an absolute monster of radiant heavy soul-funk à la Barry White with great string & brass arrangement.

Basically, this is essential for all groove-aficionados.

The audio for Meal Ticket has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. 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 Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). You likely already know all this. If you don't, get to know. One listen through and the £350 asking price for a VG copy starts to all make sense...

Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor) Confused? No matter. It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes.

It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend". Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and, also, it was used as the backing for Beyonce's ace "Woman Like Me".

Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. Again, ace beats and breaks abound. The expansive title track, "Great Day" is melodic and bold; a horn-fuelled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Killer!

Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora". The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. It's easy to see why. Swaggering and staggering.

The cop show funk of "Silver Thrust" is fast, purposeful and persistent. Is it a cover version of the godlike "Stepping Stones" from Johnny Harris's Movements album? Either way, with up-tempo drums, bongos and flute you're going to be thrusting all night. The dynamic "Convoy" is a brassy, organ-fuelled sports-soundtrack b-boy breaks monster. Super Bowl Soul! Essential. To close out this quite extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. It was sampled by LTJ Bukem for his classic "Sunrain" from 2000.

The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. 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 Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over. Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore. It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.

Recorded in 1981 for Sylvester Music Company, Bright And Shining is breezy, dreamy and funky in a perfectly smooth jazzy-soul-groove fashion, with Moore's patented celestial male-female vocal harmonies this time benefitting from the addition of Fender Rhodes and pumping bass lines.

As one particularly enthusiastic Discogs user put it: "If Eno is responsible for Music for Airports, Moore is responsible for Music for Holidays." Indeed, this is brilliantly unique, "maximum happiness music". If you miss the sun-dappled soft-psych soul of Koushik, the heavenly vocal arrangements of the great Library Music doyenne Barbara Moore - her depth, richness, sophistication and warmth - will see you just right.

The gigantic title track, "Bright And Shining", gallops out the gate, all sophisticated, jazzy leisure-soul with sax and guitars backing Moore's effortless vocal swag in this relaxed, mid-tempo head-nod strut. Worth the price of admission alone. Up next, the sunny, vibey "Fly Me High" features strolling, "unworded" vocals (aside from the refrain of the title) alongside breezy alto sax and electric guitar. Pastoral and perfect. The slow'n'sultry "Affluence" presents a moody elegance, a classical "downlifting" gem. Another crucial highlight is the breezy "Going On Holiday". It's happy. It's sunny. It's lively. It's cool and happy. Did we say happy? A mid-tempo, romantic sax workout, "Alto Sex"presents smooth jazzy funk before the first side closes out with the soaring, jazzy "Stay With Me". Seriously uplifting.

Side B opens with "Feel Fine", an excellent uptempo and bright jazz groove. Up next, "Canon" is wracked with refinement, a peaceful, smooth vocal harmony over repeating bass making for an elegant, late-night classic. It's followed by the laconic "Smooth And Soft", a laidback, casual sophisticated soul and easy-feeling jazz gem. The jazzy "Real Thing" is another exercise in strolling sophistication, complete with wordless vocal harmonies. The fairly self-explanatory "Voice Over Sax" sounds precisely how you would expect; a relaxed sax number with heavenly vocal support! To close, the carefree "Feeling Free" is a pleasant, light and breezy mid-tempo groove.

The audio for Bright And Shining has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. 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 Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. We'll grant the final word to MillionDollars. on discogs from about 10 years ago: "If you listen to the record on a sunny day you feel like going out surfing in a white linen suit with a blunt on your lips, catching a cool breeze."

Promising/Youngster returns to Analogical Force with Navaras EP, a four-track release showcasing the Spanish artist's refined approach to emotive, club-focused electronica. Drawing from idm, electro, braindance and distorted sound design, the EP balances depth and intensity with sonic precision, blurring the lines between styles in a way that has become a defining trait of his sound. Crunchy basslines, weighty low-end and dreamy pads intertwine with analog and digital textures, resulting in a set of timeless tracks full of power and subtle beauty. Navaras EP feels equally at home on late-night systems and in focused listening settings. The promise has matured into presence.

“We know what jazz is when we hear standards or music that is close to the same source, to a recognized pattern. But what is jazz? Here, a starting point. "Blow" showcases an accumulated CITIZEN:KANE techno vocabulary but it quickly tones down the sensation by introducing frequent breaks in the rhythm, as in "Peiote". But even there we are able to "feel" techno by recalling Wolfgang Voigt's M:I:5 and its parallel yet contrasting rhythmic grids. Elsewhere, manifestations of opposite forces: the beat keeps a body firm on the floor, eminently physical but not commanding; and melodies, cosmic threads, suggest ascension as well as a drive towards the within, creating space for feelings and/or rationalization. "The Fence" or "Montreal" stand as good examples. One less evident aspect of beauty in this record is the apparent coldness of the music, almost rigid and devoid of passion, and thus we declare it more true. As the mind performs a synthesis of what was learned after a class, last track "Family" (expressively) gathers impressions of what went before, adding poetry to the moment. "Blow" may be a reference to the most familiar instruments used in jazz but it can also figuratively mean an explosion, an aesthetic liberation, even with (our) knowledge that for now, and theoretically, the artist chose to concentrate on this thing called jazz.”

Incl. Pryda, Dexter Connection, Superfunk feat. Ron Carroll, Dave Swayze, Chris Bangs feat. Rita Campbell, Hyper Pearl, Daniel Bovie & Roy Rox, The Disco Freaks, The Mackenzie feat. Jessy



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 9 & 10, 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 9

A1) Pryda - Allein (Original Release 2012)

Pryda, the legendary alter ego of Eric Prydz, has earned iconic status in the electronic music scene with his refined productions and epic tracks. Under this name, he has released several hits that have stood the test of time, including Allein. This track is a progressive house masterpiece built around a sample from Polarkreis 18's Allein Allein and is infused with the characteristic Pryda sound: grand, hypnotic, and emotionally powerful.

With its timeless and universal appeal, Pryda - Allein has captivated fans worldwide. The track is an absolute floor-filler that forms a highlight in any DJ set. Notably, this iconic track has never had a vinyl release, making this edition extra special for both collectors and lovers of true electronic music history.

A2) Dexter Connection - Baby Be Mine (Original Release 2003)

Released in 2003, this delightful groover samples Michael Jackson's Baby Be Mine and Brothers Johnson's Stomp. The track combines funky basslines with a tight, rhythmic groove that immediately invites dancing. The nostalgic vibes from the classic samples provide a familiar sound, while the modern production gives it a fresh, contemporary twist. Ideal for DJ sets where you want to get the crowd in the right mood.

A3) Superfunk feat. Ron Carroll - Lucky Star (Original Release 2000)

This track needs little introduction. Released in 2000, with soulful vocals from Ron Carroll, it quickly became an iconic hit within the house scene. Lucky Star was the breakthrough single of Superfunk, a French house group,and sold over 500,000 copies worldwide. The track reached number 42 on the UK Singles Chart and has since become a staple in house and dance sets.

With its funky basslines, catchy melody, and infectious groove, it's a perfect mix of disco, house, and soul. The track includes a sample from Chris Rea's Josephine, adding to the recognizable and nostalgic vibe. Lucky Star became not only a floor-filler but also an anthem of the French house movement, alongside acts like Daft Punk and Cassius who dominated the world in the same period.

B1) Dave Swayze - Goldwave (24K) (Original Release 1996)

This 1996 trance classic needs little introduction. Goldwave is a timeless track that continues to resonate with trance lovers, thanks to the unique combination of dreamy synths, hypnotic rhythms, and epic build-up. The track is a true ear-candy and touches anyone who hears it. Originally released in 1996 on Belgium's DiKi Records, it quickly became a classic in clubs like La Bush, Illusion, La Rocca, and many more.

To this day, Goldwave is still played in the sets of many DJs, and remains a favorite at retro trance events. The track has stood the test of time and remains a key track for fans of old-school trance. It's a piece of electronic music history that makes people dream on the dancefloor with its dreamy Goldwave.

B2) Chris Bangs feat. Rita Campbell - Warm Weather (Ibiza BeachBall Vocal Mix) (Original Release 2000)

Warm Weather by Chris Bangs feat. Rita Campbell is a summery, uplifting track that perfectly evokes the atmosphere of Ibiza. The song blends house and trance with the infectious vocals of Rita Campbell, creating a warm, relaxed vibe. The Ibiza BeachBall Vocal Mix adds a touch of Balearic energy, with a calm rhythm and melodies that immediately remind you of sunny beaches and carefree days. Originally released in 2000 on the UK label INCredible, it remains a hidden gem for many trance lovers.

C1) Hyper Pearl - Can You Feel The Pain (Up & Vox Version) (Original Release 1995)

This 1995 trance classic made a lot of noise in clubs like Illusion, La Bush, Lagoa, and At the Villa. Pure old-school trance with emotion and drive like only that era could produce. A fantastic track, produced by Carl Drake, Matt Spinner, and Zzino, originally released on Belgium's Aquatic label.

C2) Daniel Bovie & Roy Rox - Stop Playing With My Mind (Dub) (Original Release 2008)

Daniel Bovie (aka Danny Van Wouwe) is a versatile producer with dozens of tracks to his name, many of which are considered classics. This track is no exception. Originally released on the legendary Strictly Rhythm label, co-produced with Dutch producer Roy "Van Luffelen" Rox, this track quickly became a floor-filler and charted in Belgium and the Netherlands. The vocals wereprovided by the talented Nelson.

D1) The Disco Freaks - Make My Dreams Reality (Chord Memory Mix) (Original Release 1997)

Originally released on an EP by The Disco Freaks, the alter ego of producers Bart Grinaert and Lajos Meszaros. This mix, which is much stronger than the original, quickly became a club classic and was played extensively in clubs like Illusion, Carat, and Extreme. A delightful, groovy, and uplifting track that combines disco elements with house. The Chord Memory Mix adds a nostalgic touch by using warm chords, funky basslines, and uplifting percussion.

D2) The Mackenzie feat. Jessy - I Am Free (Marino Stephano Club Mix) (Original Release 1997)

I Am Free by The Mackenzie needs little introduction and is a must in every DJ and vinyl lover's collection. This mix, often played at our parties, is something special. The man behind many legendary trance classics, Marino Stephano (RIP), hasreworked this version in his unmistakable way. The remix has an energetic and captivating vibe, with deep, hypnotic beats and floating synths. A beautiful track in its original version, it continues to fascinate.

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.

Born Bad Records knew exactly what it was doing when it signed this Nantes-based trio, whose sharply defined sound and raw authenticity stand out. With Rage Blossom, Île de Garde unveils an EP charged with palpable tension, somewhere between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like backdrop where Sylvia Plath’s poetry might cross paths with the controlled excesses of Fever Ray.



The EP opens with “Fear The Sun,” its Mike Oldfield-esque soundscapes plunging us into an apocalyptic and unsettling world. “Homicide Volontaire” follows with meticulous narration, a technical exercise evoking the anger and defiant lucidity of a Virginie Despentes. The hallucinatory hit “To Death” snaps like an anthem to collective dancing in the face of the inevitable. Since we’re going to die, let’s dance! On the B-side, “Ageless Woman” weaves together a half-mythological, half-mysterious text, carried by haunting backing vocals. “Birthday Girl,” featuring Kuntessa, radiates an ironic and joyful riot-grrrl energy, an uninhibited celebration of women’s liberation. Finally, “Boy,” a small post-punk jewel, closes the EP with an ending as surprising as it is delicate.

The group’s genius also lies in the complementarity of its musicians. Morgane Poulain anchors the drums with a dynamic that is both subtle and narrative, airy yet jagged. Cécile Aurégan, the architect behind a multitude of synths, builds powerful sonic landscapes, layer upon layer. Klara Coudrais, the band’s poetic figurehead, elevates her texts with a rich and plural vocal palette, giving life to several characters who vibrate with intensity. The band’s writing, hovering between darkness and light, echoes a kind of visceral poetry, exploring the seasons of the soul with authenticity and force.



With this EP, Île de Garde establishes itself as a band to watch closely, capable of translating on stage both the raw energy and the fine craftsmanship that define their music. An immersive journey, full of tension, urgency, beauty, and electric flashes.



Île de Garde, a Nantes-based trio with sharply drawn sonic contours and raw authenticity, unleashes its full arsenal on Rage Blossom, an EP radiating palpable tension between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like setting where Sylvia Plath’s poetry would meet the controlled excesses of Fever Ray. An immersive journey of tension, urgency, beauty, and electric sparks.

Opening track “Fear The Sun” plunges us into an apocalyptic and unsettling landscape. “Homicide Volontaire” continues with meticulous storytelling, a crime vignette evoking anger and the fierce lucidity summoned by a situation with no way out. The hallucinatory trance of “To Death” snaps like an anthem to collective dance in the face of the inevitable. Since we are going to die, let’s dance! “Ageless Woman” blends a half-mythological, half-mysterious text, carried by hypnotic backing vocals. “Birthday Girl,” featuring Kuntessa, releases an ironic and joyful riot-grrrl spirit, an uninhibited celebration of feminine liberation. Finally, “Boy,” a small post-punk case study, closes the EP with a simple, sensitive truth.



The three musicians propel and relay one another in this breathless race. Morgane Poulain drives the drums with a dynamic that is both subtle and narrative, airy yet staccato. Cécile Aurégan, architect of multiple synths, builds powerful sonic landscapes, layer after layer. Klara Coudrais, the storyteller, elevates her texts with a rich and multifaceted vocal palette, giving life to all their characters, both mythical and ordinary. The band’s writing, between darkness and light, proclaims a visceral poetry, exploring the seasons of the soul with authenticity and strength.

Yeong Die would typically be described as DJ, musician, or “experimental” composer, but in reality she is a sculptor. Between the rapidly disintegrating boundaries of composition and sound design, her work employs a hunting and gathering of intangible material—bursts of memory, fragments of liminal space, interstitial banalities—materializing as boundless expressions that evade genre constructs. As an integral presence among Seoul’s most forward thinking sound artists, Yeong is in a constant uphill battle rejecting the reverence that so quickly creeps in and infects contemporary craft, that relegates even the most audacious attempts of her peers to pigeon-hole pastiche. Given this style-agnostic starting line, her ESP Institute debut 'Uncapturable' exudes non-urgency, an unfettered pace that allows breathing room, affording the listener freedom to mentally isolate and explore elements without fear of missing a “bigger picture.” There is a warm and welcoming feeling that invites repetitive, even studied listening. While half the work is somewhat singular in presentation—'1km', 'Like Your Flaw', or 'Burnt'—there are moments of meticulous complexity—'Morning Rum Punch' (featuring vocals by Cifika) and 'Did' (featuring a smattering of spoken words by icecream drum), both underground Korean peer artists. These moments feel more of like an acute focus on execution that compliments the overall shape of the album, rather than a dynamic contrast. Cifika’s vocals, in particular, command the listener’s periphery in a playful and refreshing way, exaggerating negative space and in-between moments that not only the paint an arresting stereo field but a remarkable sense of depth, not easily achieved without production sorcery. It is, without a doubt, these beautiful fleeting moments that we describe as 'Uncapturable'.

Accepting the darkness can be a liberating experience. Realising, and struggling with just who we are and what world we live in requires it. By further complicating the fractured sense of beauty found on his droning 2022 release, ‘I dreamt we found a way’, Bristol-based composer, Rob Winstone creates a language that encapsulates the lifelong reach for our own personal heavens, along with the darkness and fear on which those foundations are built.

Winstone’s instrumental palette continues to reach out far from behind his keyboards, however the sound of ‘sifting through heaven’ is stripped back and pared down, putting melody front and centre. 'postcards and loose tea', a love song written for Winstone’s partner during a period coming to terms with health difficulties had previously self-released with heavy spectral and granular manipulation from the artist. Here Winstone re-presents the original: “the stripped back recording I made in my old damp and cold studio that was in a building that has since been demolished”. It reflects the composer’s own journey, doing away with veils and histrionics, and embracing emotional bliss wherever it can be found, warts and all. Even the rumbling dark ambience of ’hospital corridor’ - where distant chimings, groans, and droplets synthesized from field recordings made nervously in a hospital waiting for test results coalesce - harbours a sacred-seeming beauty and aseptic warmth within its very bleak sense of dread.

There’s no better way to describe Winstone’s method than ‘sifting through heaven’. The hymnal organ chords, sketched out acoustic guitar phrases, scattering drum thuds, and meditative field recordings may flit between tenebrous to incandescent, but his focus is always on the embrace of love; “a view of life that embraces positive growth, yet doesn't deny immense suffering,” as he puts it. The album is bookended by two of Winstone’s most outright peaceful moments, summarising his core message: 'in spite of it all...' '...love finds a way'.

repressed !

Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.

Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.

EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.

This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!

The union of Antwerp synthesist David Edren and Tokyo minimalist Hiroki Takahashi is a fit so natural as to feel preordained. Both traffic in subtle shades of contemplative electronics, marked by patience, space, and poetic restraint. And both have rich histories of curation and collaboration – Edren in the duo Spirit & Form alongside Bent Von Bent, and Takahashi as proprietor of the Kankyō record shop, as well as one fourth of cosmic ambient quartet UNKNOWN ME. Mutual fans of one another’s work, they began sharing stems in the latter half of 2020, which slowly blossomed into a collection of multi-hued compositions inspired by notions of connectivity and impermanence, translated for east and west: Flow | 流れ.

Opener “Dusk Decorum | 黄昏 礼節” maps the mood of what’s to come, elegantly pirouetting and percolating through an expanding vista of looming stars and half-light horizons. Takahashi describes Edren’s arrangements as evoking “a strange feel, something we haven't heard much of before.” The sensation is one of “in-betweenness,” a restless current whispering beneath the beauty, like seasons seen in time-lapse footage: flickering but infinite, transience turned permanent. Takahashi’s signature sculpture garden tones plot spiral patterns over which Edren cascades dazzling pointillist synthesizer coloration. The pieces veer between delicate and dilated, micro and macro, their aperture forever softly in flux.

From the oscillating orchestral lullaby of “Stalactime | 鍾乳石時計” to the sweeping, sparkling dream sequence closer, “Shift Register | シフトレジスタ,” the album achieves the elusive goal of being more than the sum of its parts. This is music of rare air, elevated and amorphous, shimmering just out of reach. Though Edren and Takahashi have yet to cohabitate the same room in person (a fact that should be rectified soon by an astute festival booker), their palettes and poise are perfectly paired, twin fragilities woven into seven radiant and regenerative vibrational states. The cover design of a beatific, beaded leaf rippling on the surface of a hidden pond aptly captures the record’s muted majesty. Takahashi’s quiet pride is justified: “We are very happy with this time-consuming and carefully crafted work.”

Incl. Andrade Remix