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Melody As Truth and Future Days Radio present ‘At the Emerald Pool’, an album by Tomo Katsurada and Jonny Nash.

Netherlands-based artists Tomo Katsurada (Ex-Kikagaku Moyo / Future Days Radio) and Jonny Nash (Melody As Truth) combine forces for an exploration into the sonic potential of the guitar duo, rooted in their experiences performing together over the last 12 months.

Friends and admirers of each other’s work for a decade, their musical collaboration began in 2024 with Katsurada asking Nash to contribute guitar to his debut EP ‘Dream Of The Egg’. Sensing the need to explore this further, they spent the following year performing together in different configurations, with Nash joining Katsurada’s trio and Katsurada in turn playing with Nash as a duo, across a wide spectrum of spaces, from churches and temples to concert halls, theatres and outdoor festivals. With new ideas developing organically out of these performances, recording new material became the next logical step. A short period of three days was set aside with a clear goal: to capture the essence of their fluid, intertwining melodies and guitar playing in a way that felt as direct and unfiltered as possible. Working from a handful of pre-existing sketches, they left ample room for experimentation to unfold within the process.


The results are presented on ‘At The Emerald Pool’, a collection of ten pieces that offer the listener a full immersion into the pair’s sound. With guitar as the primary instrument for both artists, it is no surprise that the core of the album lies here, specifically in the fluid interplay between the two players. Layers of gentle, delay-soaked fingerpicking often make it almost impossible to distinguish where one player ends and the other begins. As soloists, both Katsurada and Nash have a gift for crafting melodic lines that feel open and ascending, expressive and hopeful without becoming saccharine. Longer, more abstract pieces are counterbalanced by a series of shorter songs, with five vocal tracks appearing across the album. The decision to share vocal duties lends the record a unique quality and a strong sense of variation, bringing a wide expressive range out of a deliberately focused musical framework.


‘At The Emerald Pool’ represents the first chapter in an ongoing musical dialogue, an attempt to capture a moment of connection, openness and discovery, laying the foundation for what continues to unfold.

Franky Rizardo delivers a straight-up dancefloor weapon with Shinjuku. Already taking over clubs and airwaves across the globe, Shinjuku is rapidly shaping up to be one of the defining records of the summer. The track built huge momentum before its official release, generating more than 71.1 million TikTok views through clips from Rizardo’s club and festival sets. Driven by a rolling groove, punchy low-end and a direct, high-impact arrangement, Shinjuku captures the infectious energy that has become synonymous with his sound. Road-tested around the world at venues and events including Space Miami, Reframe Los Angeles and his More To Life showcases at Ziggo Dome and Coachella, the track has become a standout moment in Rizardo’s recent sets and a crowd-favourite wherever it lands. Built for peak-time impact while maintaining Rizardo’s signature groove-led style, Shinjuku feels perfectly positioned to soundtrack summer dancefloors worldwide.

Much like the fusion resulting in the output of light and heat within a star, the last seven years for Dave Sumner, aka Function, have been defined by immense change and an outpouring of creative energy. What began in late 2016 as a period of burnout from a relentless touring life became a catalyst for the most prolific recording era of his career. At the time, the studio became the only viable escape, a space to transmute exhaustion into a gestalt work.
Aeternum (Existenz) serves as the missing element in this creative arc. It acts as the final chapter of a cycle, that began with the 2019 album Existenz and moved through Subject f (Transcendence), Awakening from the Illusory Self, and Green EP. Drawing inspiration from the seven stages of alchemy, this mini-album represents a cathartic process; a natural end point of a psychological cycle and the beginning of a new curve.
Across the six tracks on the mini-LP, recorded 2016-2019, Function builds a unique world, one which underlines his place as one of the luminaries of contemporary techno. Opening track, Ascent, traverses the space between ambient and techno; second track City Of Luz almost fades into itself across its twelve minutes before Transmutation brings around a reawakening with a beat that would not have sounded out of place on an early Rephlex or even a Sähko release. Final track on the 12”, Growth Cycle is fittingly a re-version/re-vision of a track on the Existenz LP; Robert Owens’ soulful vocal now Stefanie Parnow's floating Siren-like voice with music that feels reborn: fresh, strong and insistent. The digital pack contains two further tracks, the deep electro of November 29, as well as Rubedo, a spacial ambient track that feels like the final glowing red embers of a fire turning to ash as the sun rises to reveal a new, golden dawn.
Aeternum (Existenz) is the final chapter of the soundtrack to Function’s spiritual awakening, the closing of a door and the clearing of a path. It’s a sonic manifestation of the Magnum Opus completed, a moment of total integration, where the leaden weight of the journey is finally perfected into the incorruptible gold of the spirit.
It is dedicated to John Mendez, aka Silent Servant, Sumner’s dear friend and lifelong collaborator.

7 Inch Orange Dinked Vinyl in Label Branded Sleeve

Originally issued on Paul Winley Records in 1973, “Smokin' Cheeba-Cheeba”—with Ann Winley on vocals—became a cornerstone of the 1980s UK Rare Groove scene, earning cult-classic status among collectors and DJs alike. On the flip, “Dance Girl”—also released under the Rimshots name—serves up one of the era’s most revered up-tempo breaks. Its unmistakable groove has been sampled by The Roots, Large Professor, and many others, cementing its place in hip-hop production history. The creative nucleus behind both The Mighty Tom Cats and The Rimshots would later evolve into the legendary Fatback Band, adding another layer of pedigree to this essential pairing. With original copies fetching high prices on Discogs, this special-edition Orange vinyl Dinked 7-inch, housed in a branded Paul Winley Records sleeve for Record Store Day, offers a rare chance to own two deep-cut funk/soul essentials on one collectible release.

LP Gold Galaxy Vinyl in Picture Sleeve

A Balearic holy grail reborn — Miguel Tur’s Junto Al Mar captures Mediterranean sunshine through a lens of synth-pop, jazz, and gentle soul. Originally released in Venezuela in 1981, it’s become a favourite among collectors of breezy, coastal grooves but selling for over £150 for an original. For Record Store Day 2026, Deja Vu Kid presents a Deluxe Edition, Remastered with archival photos and liner notes from Micky Browne. Pure escapism and emotional warmth — the perfect soundtrack to RSD digging adventures. "Galaxy" Gold Vinyl, Remastered, Reimagined Sleeve.

LP in Picture Sleeve
Unearthed from the band’s own archive and signed from the band, these previously unreleased demo sessions capture The Cool-Notes at the height of their Brit-soul creativity in the early ‘80s. This RSD release remasters and reissues this once super-limited release which has been selling for £300. This is exactly the kind of find collectors dream about — unreleased UK soul gold. Remastered, 180g Heavyweight Vinyl, Reimagined Sleeve and Labels.

Funky Trip steps into the spotlight with the hypnotic “London fog EP”. Crafted for collectors and late-night selectors alike, this release unfolds a deep, immersive journey through hypnotic underground soundscapes. Built on emotion and intention, it captures the deeper essence of the club experience, where sound, space, and human connection become one.

Pressed on heavyweight 180 gram vinyl for enhanced audio fidelity and durability, every detail is preserved - from rolling low-end grooves to evolving atmospheric textures. The artwork mirrors the sonic identity: dark, minimal, and cinematic, evoking movement through space and time.

Based on Terry Pratchett and Neil Gaiman’s international best-selling novel, the first series of Good Omens was released in 2019 and became a worldwide hit.

Good Omens 2 explores storylines that go beyond the original source material to illuminate the ineffable friendship between Aziraphale (Michael Sheen),

a fussy angel and rare-book dealer, and the fast-living demon Crowley (David Tennant).



Multi-faceted composer David Arnold returns having received two Primetime Emmy nominations for the first series.

His many awards include a Grammy (Independence Day) and a Primetime Emmy (Sherlock). Taking over the mantle from

John Barry as the Bond composer he scored five in total ranging from Tomorrow Never Dies through to Quantum of Solace.

Other film successes include Stargate, 2 Fast 2 Furious, Hot Fuzz and Made in Dagenham. TV highlights include Little Britain, Sherlock and Dracula.

This debut vinyl edition is pressed on Pearl White and Transparent Green vinyl.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

Limited edition 10th anniversary 2LP Picture Disc!

When Dope Lemon – the moniker of acclaimed Australia artist Angus Stone – released Honey Bones in 2016, it didn’t arrive with the noise of a blockbuster debut - it drifted in effortlessly, all hazy grooves and sun-faded introspection, and in doing so laid the foundation for something far more enduring. Over the past decade, the album has grown into a cult touchstone, defining a signature sound that fans have come to associate with escapism, nostalgia, and emotional ease.

For listeners, Honey Bones has become more than a record, it’s a feeling they return to, a constant companion through road trips, long summers, and reflective moments. But just as importantly, it was the catalyst that transformed Dope Lemon from a side project into a fully realised creative force. The album established a distinct identity and unlocked a new global audience, driving consistent streaming growth, and creating the platform for sold-out tours and subsequent releases that could confidently build on its world. In essence, Honey Bones didn’t just resonate—it set the trajectory, turning Dope Lemon into a lasting brand with both cultural credibility and commercial momentum.

2026 Repress

Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK.

In 2023, Laurie shifted focus to work on her own creations, a process of making time - the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio and ML Buch, 'Après coup' finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of "other options".

"Being othered and tokenized as a woman who plays music, as well as a queer and black person, takes a toll, while also positively feeding a strong urge to push and be seen."

Centering around piano, drums and synthesizer with interweaving field recordings, 'Après coup' follows the precursor ep 'Correspondances' in the form of a sprawling 11-track album. Translating directly from French - afterwards, after the event - its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Zénon, Québec offered an unparalleled location and set up for her freeform creativity.

Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of "pop music" as she elaborates: "I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive"

The immediacy of Torres' recorded takes doubled with minimal overdubs create a fiercely direct, intimate and unpolished lo-fi beauty. 'Après coup' then is self-reflective, open and inclusive with Torres allowing herself to be fully seen. An album to be felt at close distance with unrivalled authenticity. This album stands as a testament to Laurie's artistic evolution and serves as a beacon, inspiring her to continue nurturing her own creative pursuits and finding exhilarating freedom.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

Protocolo SysEx aka Fabio Vinuesa lanza este EP en su sello con cuatro pelotazos originales y dos remixes de Boris Divider y Heinrich Mueller.

GEOMETRÍA VIRTUAL documents a scenario in which mechanisms of control cease to function as external layers and instead become the very foundation of the system. The album does not propose a future dystopia, but rather a reality in which decision-making is automated and artificial intelligence is established as a structure of social control.Protocolo SysEx, a project by Fabio Vinuesa, is conceived as a narrative and sonic framework from which to examine the political and philosophical implications of a world governed by artificial intelligence. The release includes reinterpretations by Boris Divider and Heinrich Mueller and constitutes the first chapter of a trilogy focused on the progressive normalization of algorithmic control.

Geometría Virtual EP – Distrito 91 15

a A1 - Geometría Virtual Part I
b A2 - Geometría Virtual Part II

Antuni (translated from Armenian as “homeless”), Margenrot’s third album, was created over five years. It is a personal statement about fragility, vulnerability, and the search for grounding in a world where conflict has become part of everyday life. Antuni is a genre of gusan song (gusans were Armenian folk singers and rhapsodes) – a story told by a homeless, eternal wanderer, exiled and deprived of homeland.

The album’s title also refers to the melancholic ballad Antuni (“The Song of the Wanderer”) by the Armenian composer, folklorist, and monk Komitas. This work was dedicated to the victims of the Armenian Genocide of 1915. Lusia’s new album is about national identity and inner wandering – between contempo- rary wars and deeply personal, existential experiences. She asks an urgent, personal question: “What is my home, and where is it?”

The album weaves together traditional Armenian chants and chorales with electronic music and field recordings. Breakbeat is layered with conversations between Lucy’s relatives about the fading village of Naokhrebi (an Armenian village in Georgia), while samples of Komitas’ liturgy, recorded in a Catholic church, contrast with fractured rhythms.

Let's see now – you just love that hugely fertile foundation period of Jamaican pop music from the birth of ska, through the spectacularly brief two year heyday of rocksteady up to and including the arrival of the first incarnation of reggae a.k.a. early or 'boss' reggae. But you're also aware that the pioneers of these sounds (including The Pioneers!) won't be creating music in these styles or touring forever – so what do you do?

Well, if you're Neil Anderson, owner of Original Gravity Records, the creation bit isn't a problem. You put forth period-authentic style material from a 'roster' of acts – such as Junior Dell & The D-Lites - that in reality consist mostly of yourself (you are a multi-instrumentalist and lyricist after all!) and whichever extra musicians and session singer you rope in for a given track. In the case of Junior Dell & The D-Lites that singer was Adrian Dell – soon to be dubbed (no pun intended) 'Junior' - first appearing on 2021's uptempo ska tribute to Salvadoran retro-dancing internet sensation Aranivah, entitled Miss Aranivah. And you keep putting out stuff so profusely and effectively that there are clamours for you to tour 'the band' which - er - doesn't really exist. What a botheration! Still, maybe your session singer could become – well - a permanent singer? Maybe you can rustle up assorted bredren to become the rest of the band and...you know what? That might just work!

And so, in the blink of an eye, Junior Dell & The D-Lites becomes a bona fide actual live band fronted by a young Jamaican singer playing fresh 60s/70s-style Jamaican music with an energy last seen and heard in, well, the 1960s and 70s. And it tours so effectively that there are clamours for 'the band' – or more accurately, now – the band - to release an album. Wait...what now? And, by the way, you've got a European tour coming up in April wouldn't it be great if the album was ready to tour by then? Pressure drop? Pressure rise more like!

Then again, Junior Dell & The D-Lites have done so many sure-shot singles to date that assembling them along with a new cut, an extended version of one of the singles and re-recordings of two of the label's previous singles that were originally by 'label mates' The Regulators should be a cinch. So expect all the hits: bluebeat banger 20 Flight Ska, the euphoric ska bounce of the aforementioned Miss Aranivah and the title track, a de rigueur smattering of covers (opener Jump Around, midway markers Praise You and Just Can't Get Enough, and one of the re-recordings, closer Don't Look Back In Anger), early reggae groovers Cool Right Down, Last Night Reggay, Can't Stop The Reggae (in a new extended form) and crowd-pleasing new one Mi Try along with the other Junior Dell re-recording - the gorgeous Why Why Why which nods to the period of reggae between the sound of '69 and the arrival of roots.

Don't you brag and don't you boast but that's a Whole Lotta Skankin' going on! Do the ska, do the rocksteady, do the reggay, why– it's another scorcher!

AN INSTANT CLASSIC FROM ANORAX.

GARDEN OF EDEN becane an instant sensation via white label promotion copy plays,

It instantly picked up support from radio stations Mi-Soul (instant playlist), Panacea, Solar and Starpoint, became Terry Jones breakout record at the recent Southport Soul Weekender and had Modern Soul DJs begging for a copy,

A special reaction to a very special record. Produced by veteran House Heads Phil Hooton and Mark Gamble, the duo have created a monster track that straddles Soul, Jazz and House. Commentator Yogi Haughton highlighted the “ambiguous nature” of GARDEN OF EDEN as it merges Soul and Jazzy House.

The bedrock of the track is a newly recorded (with ace musos lured into the recording studio) version of Mezzoforte’s Iceland jazz-funk classic GARDEN PARTY.
Phil and Mark then composed a brand new composition to go over the top of the track,and to regally complete their new concoction got UK Soulful House royalty vocalist extraordinaire Pete Simpson to sing it. And what a performance Pete delivers!

There’s two equally beguiling mixes - on the a side the 4.37 Vocal Edit V.3 With Horns edit and flip it over for the 4.34 Vocal Trombone Mix - on this 7” single.

First press is 300 copies only.

Saithara were a leading traditional Lanna music group in the Chiang Mai area, led by Chansom Saithara who was named a National Artist in 1996.

Chansom's son, Thepthara Panyamana, fronted the related Saithara "Combo", who explored a range of international pop styles to craft their light-hearted parody tracks in the local "kam mueang" dialect. The lead single here, from 1985, makes use of a well-known German synth-pop song which had become a surprise smash a few years earlier, while the b-side snags a similarly notable power-pop tune from the USA.

Thepthara was also a songwriter and instructor for the child musical group Nok Lae, a Chiang Mai area youth band who became mainstream crossover stars nation-wide. Thepthara passed away in 2017, and Baa Records has teamed with his brother Komsan to license this re-issue in his memory.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

7 Inch Purple Vinyl in Picture Sleeve

‘Red Moon’ is Alannah’s second solo single and marks her first ever physical vinyl release. The song reflects on growth, misdirection and self-reconnection, told through a woman looking back at her younger self. Written on a quiet beach in the Algarve, under a striking red moon, the moment became the catalyst for the lyrics, carrying a deep, spiritual stillness into the music. Alannah is a 23-year-old singer-songwriter whose sound blends RnB, jazz and hip-hop with soulful, storytelling vocals. Influenced by artists such as Sarah Vaughan and Billie Holiday, she views songwriting as a form of emotional release and shared healing. With performances at iconic venues including Ronnie Scott’s and Pizza Express Jazz Club, her voice carries a timeless energy, full of heart, vulnerability, and quiet power. Stanley Hood’s remix reimagines ‘Red Moon’ into a moody Deep House cut. Alannah’s layered vocals float over warm keys, late-night percussion, and thick, club-ready production, shifting the emotional core towards the dancefloor while preserving the intimacy of the lyrics. Supported across specialist radio and tastemaker sets. Released as a Record Store Day exclusive on coloured 7" vinyl with full picture artwork. Strictly limited run. When it’s gone, it’s gone.

Xerrox Vol. 1 is the third studio album by German electronic artist Alva Noto. It was released in 2007 as part of the ongoing Xerrox pentalogy, based on the concept of digital replication of source material.

Using the process of copying as a basis, the Xerrox series deals with the manipulation of data through endless reproduction. Due to the inherent fallacy of making copies from other copies, everyday sounds become so altered that they are hardly associated with their source material. As a result, entirely new sounds are created: copies of originals become originals themselves.

Together with Christoph Brünggel, Nicolai designed a "sample transformer" that takes audio fragments and manipulates them beyond recognition. In this process of taking something familiar and defamiliarizing it, samples from obvious sources-advertising jingles, airport tones, telephone hold music, and film soundtracks-were used and altered, resulting in sounds totally unlike their original source. The result is a series of haunting, intricately realised pieces that recontextualise Nicolai's "glitches and bass" sound into extended, cinematic, organic, and almost orchestral works.

Xerrox Vol. 1 was followed by Xerrox Vol. 2 (2009), Xerrox Vol. 3 (2015), Xerrox Vol. 4 (2020), Xerrox Vol. 5 (2024). This remastered version will be reissued on NOTON in 2026

---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: 10-22-38 Astoria
Playtime: 00:00:19
Explicit Lyrics: No
ISRC: DE1N62500001
(P):
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2

Artist: Alva Noto
Title: Haloid Xerrox Copy 4
Playtime: 00:03:53
Explicit Lyrics: No
ISRC: DE1N62500002
(P):
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3

Artist: Alva Noto
Title: 03-10-06 Astoria
Playtime: 00:00:38
Explicit Lyrics: No
ISRC: DE1N62500003
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: A // Track: 4

Artist: Alva Noto
Title: Haloid Xerrox Copy 3 (Paris)
Playtime: 00:11:17
Explicit Lyrics: No
ISRC: DE1N62500004
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 5

Artist: Alva Noto
Title: 03-10-06 Astoria 2
Playtime: 00:00:36
Explicit Lyrics: No
ISRC: DE1N62500005
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 6

Artist: Alva Noto
Title: Haloid Xerrox Copy 2 (Airfrance)
Playtime: 00:05:07
Explicit Lyrics: No
ISRC: DE1N62500006
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 1 // Side: B // Track: 7

Artist: Alva Noto
Title: Haloid Xerrox Copy 6
Playtime: 00:06:40
Explicit Lyrics: No
ISRC: DE1N62500007
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 8

Artist: Alva Noto
Title: 05-10-06 Astoria
Playtime: 00:00:22
Explicit Lyrics: No
ISRC: DE1N62500008
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 9

Artist: Alva Noto
Title: Haloid Xerrox Copy 11
Playtime: 00:03:40
Explicit Lyrics: No
ISRC: DE1N62500009
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: C // Track: 10

Artist: Alva Noto
Title: Haloid Xerrox Copy 1
Playtime: 00:09:16
Explicit Lyrics: No
ISRC: DE1N62500010
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 11

Artist: Alva Noto
Title: 02-10-06 Astoria 1
Playtime: 00:00:51
Explicit Lyrics: No
ISRC: DE1N62500011
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 12

Artist: Alva Noto
Title: Haloid Xerrox Copy 111
Playtime: 00:07:56
Explicit Lyrics: No
ISRC: DE1N62500012
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 13

Artist: Alva Noto
Title: 09-10-19 Astoria
Playtime: 00:00:18
Explicit Lyrics: No
ISRC: DE1N62500013
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: D // Track: 14

Artist: Alva Noto
Title: Haloid Xerrox Copy 9
Playtime: 00:11:04
Explicit Lyrics: No
ISRC: DE1N62500014
(P): 2007 2007
Country: Germany

Composer: Carsten Nicolai

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

DeepLabs opens 2026 with an exciting new release, “Förvandling,” from Tarik Hensen—the collaborative project of two exceptional producers, Martinou & Ben Kaczor.
This release completes a full-circle journey: rooted in Detroit techno, traveling through Malmö, and landing in Basel, where these influences converge into a singular, immersive statement.
Longtime admirer of both artists’ solo works, Luke Hess joins the project with his own interpretation of Förvandling, bringing his distinct Detroit-informed perspective to the release.
Förvandling is the Swedish word for “transformation,” describing the metamorphosis of a caterpillar into a butterfly.
The title reflects the evolution of techno itself—how it shifts and reshapes across cities, communities, and eras while retaining its core spirit.
Varp refers to the vertical warp threads in woven fabric—essential structural lines that hold everything together.
The track mirrors this concept: hypnotic percussion and immersive ambience interlace with melodic tones, unified through Tarik’s live dub mixing approach, creating a rich, fluid tapestry of sound.
Malm translates to raw ore, the unrefined material that, when forged with alloys, becomes durable metal.
True to its name, the track channels a deep, raw warehouse energy—refined into a functional gem through harmonious stabs, textured layers, and driving momentum.
Closing the EP, Luke Hess’s remix of Förvandling draws from elements across the original works while incorporating new audio stems from the DeepLabs studio.
The result is a seamless transformation of Tarik Hensen’s aesthetic into Luke’s unmistakable Detroit sound—an adventurous, atmospheric journey crafted for extended DJ sets and immersive dancefloor moments.
Tarik Hensen and Luke Hess invite you to weave these tracks into your curated selections and allow them to transform the dancefloor in unexpected ways.

Originally released in 2003, With A Heartbeat brings together Pharoah Sanders, Bill Laswell and Graham Haynes in a collaboration that remains as elusive as it is forward-thinking. Now reissued by Glossy Mistakes, the album receives its first official vinyl edition, remastered and available both in standard black and a limited burgundy pressing.

At the core of the record lies an unusual but striking element: the steady pulse of a human heartbeat. Rather than a conceptual gesture, it becomes the foundation of the music itself-treated as a deep, bass-like rhythm that anchors the entire album. Around it, Laswell builds his unmistakable sonic world, drawing from dub techniques where basslines expand, dissolve, and re-emerge, and where space becomes as important as sound.
Across its extended compositions, the album unfolds slowly and deliberately. Layers of electric sitar, guitar, keyboards and subtle percussion drift in and out, creating a fluid, almost tidal movement. The heartbeat remains present throughout, grounding even the most abstract passages in something physical and immediate.

At the center stands Sanders' saxophone-searching, expansive, and deeply spiritual. His playing moves freely across the structures, at times echoing the lineage of John Coltrane, while also reaching beyond it. Alongside him, Haynes adds a complementary voice, weaving through the shifting textures.

The result is a work that resists easy definition: part spiritual jazz, part future-facing experiment, shaped by dub's sense of space and transformation. Meditative, immersive, and deeply rhythmic, With A Heartbeat unfolds like a living organism-guided not by fixed tempo, but by the pulse of life itself.
With this release, Glossy Mistakes continues its work of bringing essential and forward-thinking recordings into new formats, preserving their depth while opening them to new listeners.

Originally released in 2003, With A Heartbeat brings together Pharoah Sanders, Bill Laswell and Graham Haynes in a collaboration that remains as elusive as it is forward-thinking. Now reissued by Glossy Mistakes, the album receives its first official vinyl edition, remastered and available both in standard black and a limited burgundy pressing.

At the core of the record lies an unusual but striking element: the steady pulse of a human heartbeat. Rather than a conceptual gesture, it becomes the foundation of the music itself-treated as a deep, bass-like rhythm that anchors the entire album. Around it, Laswell builds his unmistakable sonic world, drawing from dub techniques where basslines expand, dissolve, and re-emerge, and where space becomes as important as sound.
Across its extended compositions, the album unfolds slowly and deliberately. Layers of electric sitar, guitar, keyboards and subtle percussion drift in and out, creating a fluid, almost tidal movement. The heartbeat remains present throughout, grounding even the most abstract passages in something physical and immediate.

At the center stands Sanders' saxophone-searching, expansive, and deeply spiritual. His playing moves freely across the structures, at times echoing the lineage of John Coltrane, while also reaching beyond it. Alongside him, Haynes adds a complementary voice, weaving through the shifting textures.

The result is a work that resists easy definition: part spiritual jazz, part future-facing experiment, shaped by dub's sense of space and transformation. Meditative, immersive, and deeply rhythmic, With A Heartbeat unfolds like a living organism-guided not by fixed tempo, but by the pulse of life itself.
With this release, Glossy Mistakes continues its work of bringing essential and forward-thinking recordings into new formats, preserving their depth while opening them to new listeners.

Die Adult-Punks von DEBT RAG beweisen einmal mehr das explosive Potenzial gemeinschaftlicher Zusammenarbeit. ,It Is Clear What's Going On" gewährt uns einen Einblick in ihr gemeinsames Gedankengut, das auf Band als ein pulsierendes, funkelndes Ganzes festgehalten ist. Diese Platte anzuhören ist, als würde man durch das Schlüsselloch in den Proberaum spähen und auf ein Feuerwerk aus Farben und Experimenten stoßen, gespickt mit schallendem Gelächter. DEBT RAG lachen - nein, nicht über dich, aber auch nicht mit dir. DEBT RAG kümmern sich nur um DEBT RAG und den freudigen Lärm, der entsteht, wenn man mit seinen kreativsten Mitstreitern Musik macht. Diese Songs bergen Möglichkeiten, und zwar nicht im Abstrakten. Was ist der Tonumfang eines einzelnen Beckens? Wie viele verschiedene Lautäußerungen können drei Menschen hervorbringen? Was ist das emotionale Potenzial einer Trompete? DEBT RAG stellt diese Fragen und gibt gleichzeitig die Antworten. Ihre Musik ist weitreichend, völlig frei, aber niemals selbstverliebt. Ob sie nun die langjährige Tradition des Trios mit Anti-Gesellschafts-Hymnen (,Gary's World", ,Syzygy") fortsetzen oder die Überreste einer Bandprobe collagieren (,Drumbo 2", ,Smartest Musicians") - es sind sorgfältige Kompositionen mit einer spannenden Logik, die sie selbst erfunden haben. Jeder Song ist eine kleine Welt, resonant, messerscharf, mit absoluter Klarheit der Vision. DEBT RAG ist, wie DEBT RAG eben ist. Wir könnten alle das eine oder andere davon lernen. - Grace Ambrose

Nu Groove spotlights the artists that made this cult NYC label a favourite of crate diggers then and now with this special vinyl release of their vital tracks revisited by leading selectors of today. The label, born in 1988 by Frank and Karen Mendez as an outlet for the experimental works of the Burrell Brothers, quickly became a home for up-and-coming genre pioneers. ‘Nu Groove Edits, Vol. 8’ opens with DJ Steaw’s Autumn Reshape of ‘Window Guards’, originally by N.Y. House’n Authority - a moniker of Rheji Burrell. Next up is Steve Mac’s remix of NYC favourites The Sound Vandals’ ‘Tonight’s The Night’, followed by another seminal N.Y. House’n Authority record, ‘APT. 3B’ remixed by Dazzle Drums. A third track from the mind Rheji Burrell closes out this vinyl collection of future record box staples, with Seamus Haji reworking The Utopia Project’s ‘File #1’.

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."

Loud Ambient 2 picks up directly from where Loud Ambient left off. After picking the drum machines back up, we returned to the colourfield ideas that shaped the first record. Rothko remained a key reference, along- side a strong recommendation to spend time with the work of Josef Albers. We did exactly that, and it paid off.

Alongside the music, we created 50 new pieces of artwork for Loud Ambient 2. These became tools rather than decorations. Working this way felt open and rewarding, and brought a real sense of play back into the process. We already understood what a Loud Ambient track could be, so slipping back into that headspace felt natural. The tracks came together quickly, full of energy, movement and that familiar noodle quality.

The creative side landed easily this time. There is some- thing about working with colourfields that frees you up and pushes you further into abstraction. It removes hesitation and keeps the focus on instinct and response.

With the drum machines and synths loaded, we kept our heads down and made the kind of music we want to hear on a dance floor. Loud Ambient 2 is the result.

The long-overdue revival of Bim Sherman’s catalog begins here. These essential recordings will become widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica’s most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series will not only preserve his legacy but will also offer listeners the chance to experience the depth and timeless resonance of Sherman’s work in its full glory.

Bim Sherman—born Jarret Lloyd Vincent, in Westmoreland, Jamaica—holds a unique place in reggae history. Emerging in the mid 70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations.

The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman’s artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman’s various tracks into spectral presences that drift in and out of the mix. The arrangement and production—minimal yet profoundly textured—captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae’s most otherworldly and visionary figures.

This first-time reissue of Quinteplus’ 1971 album revives a key moment in Argentine jazz, featuring crisp trumpet and tenor sax, electric piano-driven funk and modal grooves, and a tight, spacious rhythm section. It showcases prominent figures like Jorge Anders and “Pocho” Lapouble.

==================================

Quinteplus was born in Buenos Aires at the end of the 1960s, emerging directly from the ideas and experiments of the legendary Agrupación Nuevo Jazz. Founded in the early ’60s, this collective brought together some of the most forward thinking figures in Argentine jazz functioned as a creative lab where musicians questioned where jazz could go next. Among the key ideas discussed was the fusion of jazz with Argentine folk styles such as zamba, chacarera, malambo, cueca, and candombe, as well as a deeper look into African rhythms as a bridge between musical worlds.

Two members of that collective, keyboardist Santiago Giacobbe and bassist Jorge “Negro” González, carried those ideas forward when they formed Quinteplus in 1969. The group came together naturally: all the musicians already knew each other and had played in different projects around the Buenos Aires scene. They shared a strong admiration for Julian “Cannonball” Adderley’s quintet, along with a clear goal—to develop a modern jazz language grounded in local Argentine rhythms.

From the start, Quinteplus stood out for its openness and adventurous spirit. Rhythm was central, and so was experimentation. The band belonged to a generation of Argentine jazz musicians eager to explore electric instruments and new textures, anticipating what would soon be known as jazz-rock. This was happening in Buenos Aires at the very same time Miles Davis was opening new doors with “In a Silent Way” and “Bitches Brew”. Giacobbe introduced one of the first Fender electric pianos in Argentina, while González pioneered the amplification of the upright bass and even developed a hybrid electric, boxless version of the instrument. Trumpeter Gustavo Bergalli, meanwhile, maintained close ties with the emerging Argentine rock scene, collaborating with Luis Alberto Spinetta and appearing on Almendra’s first album.

In 1971, Quinteplus recorded its first and only studio album for EMI. The original lineup featured Jorge Anders on tenor saxophone, Bergalli on trumpet, Giacobbe on keyboards, González on upright and electric bass, and Norberto “Pocho” Lapouble on drums and percussion—who also illustrated the album’s iconic sleeve. The record is a refined showcase of the band’s musical vision: original compositions, fluent jazz language, folk-derived rhythms, funky electric textures, tight ensemble playing, and standout brass solos. Though critically praised, the album received little label support and sold modestly, eventually becoming a sought-after collector’s item.

Quinteplus disbanded in 1973, their music was perhaps too bold and unconventional for its time.

2025 Reissue.



Münchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.

The boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...

Then comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially "Vicious", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.

Then comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.

At F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.

Their “songs,” if you can call them that, followed suit. Take "Hungeriges Afrika", for instance—performed entirely with power drills and some drum feedback.

To make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.

He then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette "Stephan Eicher spielt Noise Boys" ("Stephan Eicher plays Noise Boys"). This gem features seven tracks, which are the ones reissued here.

Back in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.

Without much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks ("Hungeriges Afrika" and "One Second"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!

The 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.

Even this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.

Meanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.

Urs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).

For the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: "Raum" and "Eisbär". During "Eisbär", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.

The Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to "Eisbär", which eventually becomes a smash hit—selling over 600,000 singles.

Meanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of "Minijupe".

By early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.

By 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.

But that... is already another story.

Engaging artistically with the unique oeuvre of the Pet Shops Boys through the form of cover versions is both an appealing and risky endeavour. Hundreds of such adaptations already exist, and covering songs is a complex undertaking, one that Neil Tennant and Chris Lowe themselves have mastered to perfection.

Exciting cover versions involve a skillful game of allusions and references, quotations and are entangled with personal as well as borrowed memories. Cover versions are homage, appropriation and interpretation — in many ways like adding letters in a Scrabble game: a new word, a new meaning emerge. Or, in the best case, a new song.

With her first debut EP ’Heart’, due for release in April 2026, Cat Storm dives into this labyrinth. It includes beguiling and intimate versions of 'Heart', ‘The Way It Used To Be’, ‘A Man Could Get Arrested’ and ‘Home And Dry’. The artist behind Cat Storm is Carmen Strzelecki. Born in Lörrach, raised in Mannheim and relocating to Cologne in the 1990s, Carmen has become an integral part of the Cologne art and culture scene since founding her publishing house ‘StrzeleckiBooks’ in 2009.

She produced her EP herself in collaboration with some of the grand masters of the Rhineland indie and electro aristocracy. The remixes by Christian Skrzypek, oskø and Clima ensure that it is well-suited for clubs.

We are excited to continue our work with Art P / Art Programming by finally offering the first full-length work from this Bremen-based electronic group. Originally released only on cassette in 1983, the self-titled album has now been fully restored and remastered, complete with bonus tracks and unreleased mixes unearthed from a rare demo.

The LP opens with "Wesen vom anderen Stern" ("Beings from Another Planet"), a downtempo, 808-driven electro synth wave track with German lyrics telling a story of aliens capturing earth, becoming the new "Herren" (lords), while humans are reduced to mere "objects." Art Programming founding member Jens-Markus Wegener notes that this track has always been a favorite during live performances, and it's easy to imagine how the futuristic sounds would have blown people away at the time.

Next is the electro/proto-techno title track "Art Programming," which we previously issued on a limited 12" in its full-length form. With its straightforward Roland 808 rhythms, catchy synth lines, and vocoder vocals, it's a classic example of German electro, and one of the earliest proto-techno tracks - long before Cybotron claimed the techno mantle. Its extensive break and electronic twist make it an early precursor to the genre. Wegener recalls that this track was created exclusively by him and Grotelüschen, with Grotelüschen contributing most of the melodic elements, while Wegener focused on drum machine programming and vocoder vocals.

On "That's Me," the album welcomes back singer Claudia Roebke. Although it's an electronic composition, Roebke adds a rock-infused, almost psychedelic vibe to the song. The lyrics, written by Wegener, depict a person obsessed with their appearance, using irony to critique societal beauty norms, questioning the obsession with perfection and attraction.

The album continues with a series of uptempo electro tracks: "Videoscreen," "La Gare," and "Genscher Pull 'N' Push." The first two feature slightly different mixes from an earlier demo that we personally prefered over the versions that were available on the final cassette release. "Videoscreen" expands on the theme of social isolation, with lyrics reflecting on a world obsessed with watching video all day - a topic that resonates strongly with today's culture of doom scrolling and social media addiction.

Next up, "Genscher Pull 'N' Push" is an incredible electro/wave/proto-techno track recorded in October 1982 with a political edge. Originally omitted from the album, it was only available on the demo cassette we mentioned earlier. The song takes aim at German politics, with lyrics that shout "bitte geh nach links / bitte geh nach rechts" ("please go to the left" and "please go to the right"), referencing the shifting political allegiances during the 1982 coalition change, when Genscher's party, the FDP, left the Helmut Schmidt cabinet to join the CDU/CSU opposition. The track was never released as the political topic had become outdated just a few months later.

The album closes with "Light and Fire," which originally served as the album's opening track. Its quirky, upbeat vibe now makes for a fitting outro.

The gear used on this album reads like a dream list for early 80s electronic music production: Roland Jupiter 4, TR 808, TB 303, System 100, SVC 350, Korg Mono/Poly, Moog Prodigy, FRICKE-Sequenzer, Roland CSQ-100 Sequenzer, Coron DS-8, MM 12/2, Sony TC 399, TEAC-244 Portastudio, Ibanez DM 1000, EH-Electric Mistress, EV-Micro. This unique lineup of equipment sets the album apart from NDW releases of the era, lending it a distinct sound with heavy proto-techno leanings and that straightforward electro vibe we all love.

The album is being released as a very limited edition of 300 copies on transparent red vinyl, complete with a full picture sleeve and lyrics inlay. This is yet another rediscovered and restored 80s gem on our label that you definitely don't want to miss!

BOX + 12” + 7” (shrink-wrapped)

12”s in the box:

"Cakiente" by Jay Santos — a massive top-3 summer hit from 2012 in Spain, France, Italy, the Benelux, etc.; never before released on 12” vinyl.
"Troubles In My Mind" by Antwerp-based DJ/producer Merdan Taplak — a European club hit from 2014, available for the first time on 12” vinyl.
Remady "No Superstar" — gold in France and Denmark, platinum in Switzerland, a club hit across Europe and number 2 in Ultratop Wallonia. First time on 12” vinyl.
DJ Antoine "This Time" — not DJ Antoine’s biggest commercial hit but a huge club hit across Europe with chart positions in Switzerland, Germany, Belgium, etc. First time on 12” vinyl.

The 7” in the box features four tracks close to the heart of La Musique Du Beau Monde founder Hansbert Vanhove:

DJ Peter Project’s “2 New York” was a track he A&R’d and promoted in the early days of his career as a junior A&R/label manager at BYTE Records.
Dirrrty Dirk – “Organ Seduction” was produced by Hansbert Vanhove and became his biggest solo record under the alias Dirrrty Dirk.
Out Of Grace’s “Anglia” was the first record he signed as A&R for the commercial imprints of Bonzai Records.
“Hey Hey Hey (Pop Another Bottle)” by Laurent Wery feat. Swift K.I.D. & Dev is the biggest hit in La Musique Du Beau Monde’s catalog, originating from Belgium. The track went five times platinum in Australia, gold in the Benelux, reached No. 1 in Poland and Spain, No. 11 in Germany, and hit the top 40 in a dozen countries

AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

This album brings together key tracks from Doug Carn recorded for Black Jazz Records in the 1970s.

Doug Carn is one of the most-important (and least-recognised) forces in the creation of the canon of 'deep and spiritual jazz music' - full of powerfully emotive intensity, consciously-uplifting lyricism and addictively beautiful melodies.

All of his LPs during this period have since achieved cult classic status including 'Infant Eyes', 'Adam's Apple', 'Spirit of the New Land' and 'Revelation'.

Aside from his songwriting and keyboard skills, many of the tracks here feature the stunning and powerful 5-octave range vocals of Jean Carn (later Carne), his wife at the time.

Musicians featured on this album include Alphonse Mouzon, Charles Tolliver, Henry Franklin, Michael Carvin, Walter Booker, Ronnie Laws and others. Aside from Carn’s compositions there are also striking interpretations of music by Lee Morgan, Miles Davis, John Coltrane, McCoy Tyner, Bobby Hutcherson and Wayne Shorter.

Black Jazz became one of the defining labels of independent and conscious jazz music in the 1970s alongside other important labels such as Strata-East and Tribe Records. As well as this Best of Doug Carn release, Soul Jazz Records are also releasing a Best of Black Jazz Records collection at the same time.

Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.

Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.

Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.

As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”

Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.

The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.

Geoglyph is the new duo project by Alohn and Khey Mysterio, a convergence of two deeply singular practices into a single subterranean signal. Their debut album arrives as the eighth reference on Organic Signs, not as a collection of tracks but as a carved artifact: six inscriptions pressed into vinyl, mapping a sonic territory where time, rhythm and texture are no longer linear, but layered like geological memory.

Through Geoglyph, Alohn and Khey Mysterio convey a message from below, or beyond. A pulse engraved from forgotten times in the basement of reality, reactivated by abyssal basses, vibrating layers and fractured textures. Exhumed from the subterranean strata where psychedelic dub, mineral techno and fractal dubstep fuse into raw energy, their music becomes a point of contact: every beat, every silence, every oscillation acting as a coordinate toward another perception. What unfolds is not simply sound design, but an invocation, rhythms as sigils, timbre as gnosis, signals that seem to arrive already charged with intention.

Across the album, Alohn’s guitar notes fall like cascades through the mix, dissolving at times into controlled feedback and crystallizing into melodic fragments that hover between tension and release. These organic gestures are interwoven with Khey Mysterio’s dense low-end architectures and rhythmic frameworks, creating a constantly shifting terrain: from weightless transmissions and ritualistic voices to moments of overwhelming propulsion where the music suddenly breaks open with tectonic force. The record moves fluidly between meditative suspension and explosive motion, never settling into a single state for long.

A strong undercurrent of what has come to be known as “druidstep” runs through the album, a term coined within the 95 Open Tabs universe to describe a form of dubstep untethered from genre convention, rooted instead in bass as ritual, in groove as invocation. Here it meets dub-techno pulse, psychedelic echoes and high-velocity 4×4 pressure, drawing subtle influence from underground bass cultures without ever becoming referential. The result is a body of work that feels both ancient and forward-leaning, cyclical rather than linear: a living geoglyph that reveals different meanings depending on how (and where) it is read.

As the final movement accelerates into its closing phase, the album releases its energy outward, with frequencies stretched toward their limits, leaving behind the trace of a completed ceremony. In this sense, Geoglyph’s debut stands as a defining moment within the Organic Signs continuum: a record that unfolds rather than explains, offering an experience to be entered, absorbed, and carried. With this release, the label continues to explore new sonic spaces, evolving and expanding while giving deeper meaning to its own essence. A message from beneath the surface, waiting for those willing to tune in.

Más de este género

Counting to forty two... I draw a breath from a single drifting oxygen molecule and swim my self into the eye of truth. Behind that eyelid floats a teardrop - falling - leaving behind a resonating noise that becomes an invisible language, echoing the questions of reality. Teardrops turns to rain, tinting existence and grounding gravity in my soil. While my footprint takes shape within a flourishing garden, I'm searching for a logical answer to the life that has never been but always existed. Through all, I remain my own nature. credits w/p: Joline Scheffler design: Janu Krohm mastering: Giuseppe Tillieci a.k.a. Neel @ Enisslab, Rome

As with the band’s 2023 release of the same name, Refreshing Part 2 is a decisive and fierce collection of percussive techno that nonetheless travels its path with a heightened level of funkiness.
The Italian duo describe the concept behind this collection as being “not about resetting, but about balancing. Refreshing means reconnecting with the present and with the future…focusing on one’s own way in order to prevent the flow from becoming automatic, uncontrolled, and
without orientation. It is more a direction than a path.”
The four tracks on the 12” are hypnotic dives into a full spectrum of club music: the rhythms and sound design guiding the subconscious into visions of past, present and future intermingled, a reminder that all moments co-exist simultaneously.
Side A passes from the stripped-down intensity of The Way through to Elisir (Elixir), which manages to pull off a trick of feeling light and floaty while maintaining the power of its predecessor. The flip side opens with the forceful drive of Activate before making way to the
percussive elasticity of Family Tree, a track which closes out the EP by recalling, in both name and sound, how that which came before deeply affects the now, though often in ways only subliminally perceived.
Digital-only track Fixed in Flux continues this concept, and the overall themes of Refreshing Part 2, with further evocations of intent and movement; remaining present in change, without resisting it, yet without dissolving into it.

pdqb is an entity without a fixed form, moving through multiple timelines at once, performing in all of them simultaneously.

Every tone on this record was sampled somewhere else: in collapsed futures, unfinished pasts, and inside stress loops that never resolved. The tracks are not composed - they are retrieved, stitched together from moments that already happened and moments that haven't happened yet.

The music is unstable, dependent on who listens, and in which dimension, the tracks re-arrange themselves, revealing different harmonics, different fears, different exits. No two listeners hear the same, even if they play it at the same time.

The überskilled Detroit remixers provide a solution for Earthbound listeners - those unable to time-travel or shapeshift: By filtering pdqb's multidimensional signal through machine discipline, they force a temporary alignment - a version of a track that sounds the same to most listeners. Only then does collective rhythm become possible, a shared timeline where bodies on a dancefloor move to the same future at once.

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Dr. Paul Dominic Quentin Bernard defines Future Traumatic Stress Disorder as a cognitive condition marked by a reversal of mnemonic orientation. Memory, in this model, no longer operates retrospectively but functions prospectively, encoding anticipated survival outcomes rather than past experience. Affected subjects do not recall what has been lived through; instead, they retain anticipatory memory structures of what will be survived. Bernard notes that this temporal inversion produces sustained psychological stress and warrants further empirical investigation.

Continuum - Vol. 16.219, Peer-Reviewed Scientific Journal

Within the Echosphere, every Signal is a call to be understood. Chasm divides who we were from who we have become, Trace lingers in every step, even when the path is lost and Reverie binds our dreams to reality. We are the echo of our own thoughts, reflected into infinity.

Incl. Remixes by Red Axes, Roman Flügel & Abe Duque

What does it mean to exist in sound?

It does not begin with a beat, but with a choice. With the moment when someone decides not merely to inhabit the space, but to shape it – and in doing so, makes themselves visible.

Roman Flügel stands as a constant in the background. Not as an authority, but as a collective consciousness. Since the 1990s, he has moved through club music like a seeker, never content with the first answer. House, techno, experimentation – these are not genres, but states of being. His remix thinks, hesitates, opens, strikes like a surging acid wave, warping reality and demanding true presence.

New York taught him that club music is never neutral. It is body, friction, attitude. Abe Duque’s remix carries a strangely enchanting relentlessness, a resistance to smoothness – as if the dancefloor were a place where freedom is not claimed, but fought for.

Red Axes do not enter this space; they conjure it. Their sound is raw, repetitive, circular, as if deliberately refusing linearity. House, dub, and acid elements become material for a movement that is more trance than structure. Their remix does not ask where it is going; it asks why one should ever stand still.

And then there is Tim Paris. Not at the center, but as a narrator. As someone who knows that the voice is an attitude. “That Boy” is not a pose, but a mirror, ironic, direct, vulnerable. Paris moves between new wave house and club, always aware that identity is never fixed, but formed in the moment.

This remix record is not a gathering of names. It is a situation, four perspectives on the same question:

What does it mean to exist in sound?

Yet sound alone does not tell the full story: like music, the visual is a space to be shaped, felt, and deciphered. The cover of Tim Paris feat. Foremost Poets – That Boy, created by Konstantin Fürchtegott Kipfmüller, a visual artist at the Hochschule für Gestaltung in Offenbach under Heiner Blum, embodies this principle. Drawing inspiration from the urban environment, Kipfmüller transforms traces of decay, weather, and time into abstract narratives that, like the music of Tim Paris, Roman Flügel, Abe Duque and Red Axes, unfold meaning layer by layer. The result is no mere adornment, but a mirror of the sonic landscape: every line, every surface an echo of the question of what it means to exist – fully, in the moment, in sound.

The latest in Field Records' run of essential vinyl pressings revisits Stephen Hitchell's 2009 masterpiece under his Variant alias, The Setting Sun. As part of Echospace and also celebrated for his productions as Intrusion and Soultek, Hitchell is considered a leading light in dub techno, with the versatility in his sound to range from rhythmic, physical pulses to purely tonal, abyssal drone. His work as Variant, which debuted with The Setting Sun, capitalises on this scope to deliver a compelling ambient-with-teeth set richly deserving of a proper vinyl pressing.

The Setting Sun first emerged on Echospace as a download-only release. Hitchell was at pains to map out the tools that went into the sound on the album — field recordings of storms in Berlin, Germany and train rides in Narita, Japan, outboard synths and samplers. Crucially, he declared no computers were used, and it shows. When The Setting Sun was recorded, in-the-box production was largely dominating electronic music and the technology had yet to replicate the warmth and character of analogue equipment. Hitchell's looming chords come baked with harmonic overtones, surface noise becomes another essential layer and fragments of distortion add to the narrative of these glacial, monumental pieces.

Hitchell threads his dub techno tendencies in subtle ways, from the kick pattering underneath 'As Time Stood Still' to the quintessential metallic delay ripples that define 'A Silent Storm'. 'Someplace Else' has a defined, albeit delicate, rhythm section guiding its lighter shades of pads and chords. However, drums are never a dominant aspect of the music, simply another layer in an intentionally coagulated whole. At times, flickering tones hint at space where percussion once stood, since muted to leave the wet signal setting a new course for the sound, somewhere far beyond drum duties. The hushed ceremony of tracks like 'Adrift' are the perfect scenario in which to absorb these microfibres of detail, where the genius of Hitchell can truly be savoured.

In line with the limitations of record pressing and Hitchell's proclivity for long-form tracks, 'The Setting Sun' is reserved for the digital edition of this reissue. It's a logical move, as the sound palette widens to encompass tangible, organic instrumentation evolving over the best part of half an hour. The presence of piano keys feels stark in the Variant sound world, but Hitchell ably folds these coded elements into his process bathed in the same curious luminosity that lingers around all his work. Evolving at a painstaking pace, the plaintive humanity in the cascading keys and plucked guitar strings renders one of the most personal expressions in Hitchell's considerable canon — a unique piece that holds its own space comfortably, while also adding to the overall weight of The Setting Sun as a profound benchmark in a stellar discography.

2026 Repress

Chlar delivers his debut record for SHDW & Obscure Shapes' Mutual Rytm imprint.

Emerging as artist of note for both now and the future, Chlar continues to craft and shape his sound as he curates his own high-octane approach to techno. Combining dynamic performances taking in three and four deck mixes with his own up front productions and his talents as a former mastering engineer, the Swiss talent has become a respected name amongst his peers. After releases on Lobster Theremin and his own Bipolar Disorder imprint, the Berlin-based DJ, producer and label boss heads to SHDW & Obscure Shape's blooming label Mutual Rytm to deliver six precise and powerful cuts across his 'Optimized Groove' EP.

"As the names states, 'Optimized grooves' is a collection of tracks designed to match specific parts of the event/night. From 'Night Genesis' at the origin of the night through to tracks like 'Maximum Performance', a peak time bomb, and 'Spirit Enhancer' - an uplifting and warm production elevating individuals to higher labels after hours of spiritual connection'" - Chlar

Opener 'Early Morning Acceleration' sets the tone early and dives into a looping ride through slinking hats and bustling arrangements - combining classic influences with forward thinking touches to reveal a dynamic slice of techno. Next, 'Maximum Performance' fuses swelling low-ends, sharp percussion and vibrant leads, while 'Love Blaster' delivers an all out fiesta armed with rolling drums, sharp whistles and rich chords. On the flip, B1 'Night Genesis' sees hypnotic loopy vocals balanced by tough kicks and luminous synths, before 'Spirit Enhancer' showcases a soulful trip as resonant electronics work around the track's tunnelling groove. The digital EP comes with a bonus exclusive production in 'Synaptic Discussion', a euphoric and impactful closer which brings things to a close firmly in the peak time hours.

Chlar 'Optimized Grooves' drops via Mutual Rytm on 9th September 2022.

Cruise Music continues to serve up irresistible nuggets with its Vinyl Jams series, now reaching volume 15. Once again, it is a various artists affair that blends high production value with the right amount of emotional depth and dance floor kicks, this time looking at the warmer side of house. Keller's 'Stressed Out' is clean vocal house with a catchy wiggle and soulful bass roll, Mirko & Meex that layer a soaring diva vocal into 'There's A Light' that could well become an instant classic. Pianos rule on Oliver Knight & Angelala's 'Your Sunshine,' which is a perfect outdoor cruiser for the hotter days and Dino DZ closes down with the well-sampled 'I Like It.' These are refined, accessible summer house sounds but done with a touch of class.

The Shroud's appearance on Droogs is a masterclass in the fundamentals with four tracks that wear their influences proudly without ever becoming slavish to what has come before. Opener 'Cross' dives deep and rarely surfaces, rewiring classic shapes in murky bass underworlds. The title track is a rhythm slasher with steely-plated drums and growing low end menace, then 'Ouroboros' cranks the pressure to new levels without ever veering too far from meticulously programmed breaks. It has a schizophrenic panic to it in the scratchy textures and vocals that bleed in and out, then 'Restless Minds' closes things out with the sort of rhythm that gets you dropping your shoulder and fully locked in to each and every bump.

A true disco anthem collides with French electronic elegance as Bon Entendeur reimagine the iconic Boys Town Gang classic Can’t Take My Eyes Off You for a new generation.

Originally released in 1981/82, Boys Town Gang’s explosive hi-NRG reinterpretation of the 1967 Frankie Valli original became one of the defining dance records of the era. The track stormed to No.4 in the UK Singles Chart while dominating dancefloors across Europe and beyond, hitting the top of the charts in countries including France, the Netherlands, Belgium, Spain and Japan.

Decades later, its euphoric energy still feels timeless. Now, Parisian duo Bon Entendeur inject the record with a fresh wave of sophisticated French touch cool. Renowned for their seamless fusion of nu-disco, house, funk and nostalgic pop culture references, the duo have become one of France’s most distinctive electronic exports. Bon Entendeur have built an international following, mastering the art of blending retro emotion with modern electronic production.

Their connection to iconic French musical heritage has become a signature. Following the success of their celebrated collaboration with Jeanne Mas on Toute Première Fois, Bon Entendeur now turn their attention to another record deeply woven into France’s club culture DNA. And it makes perfect sense. Bon Entendeur tap directly into that shared musical memory, delivering a remix that feels both nostalgic and effortlessly contemporary.

The result is a dazzling crossover of generations and styles: disco emotion, uplifting grooves and sleek French electronic sophistication wrapped around one of the most instantly recognisable hooks ever recorded.

French touch meets disco immortality. Et voilà.

a A1 Bon Entendeur Remix Ben Liebrand 12" Edit

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!

Reissue of a lost hit by the British composer Kevan Frost, now championed and given a brand-new Dub Mix by Mark Grusane. Up for pre-order now and due late-March on our RSS series!

Kevan Frost grew up in Jos, Nigeria where he became a self-taught musician and developed a deep understanding of rhythm and melody. In the 90's, Frost was a session musician for many studios in London, one of these was unable to pay him so they gave him a few free days in the studio and the result was "Give It Up" as he explains:

"I went in and recorded all the music in a day, and the vocals and mix on day two. This was the days of only having 24 tracks available on tape so I programmed the drums, bass and keyboard parts on C-Lab which was only available on the Atari computer and the samples I made on my Akai S-1000 sampler. Full of floppy disks I went in early on day one and printed all of this on tape. I then recorded the guitar parts. Day two was me layering the lead vocals and Backing vocal parts as quick as I could before starting to mix."

However, the track fell into obscurity with no major label backing or marketing budget. A friend of Mark Grusane’s came across it in Brooklyn at the African Record Centre and it eventually ended up in Mark's hands and from there he edited the original track to a more stripped-back dub mix and began playing it out to great effect on dancefloors.

After a bit of digging, we tracked down Kevan and a fully licensed reissue is due on Rush Hour in late March 2026, including a brand new ‘Dub Mix’ from Mark Grusane.

Gold Vinyl Represss

*A MODERN JAZZ REINTERPRETATION OF THE MUSIC FROM THE LEGEND OF ZELDA*

WRWTFWW Records is happy to announce the release of Casimir Liberski ReTRio's The Z Suites, a full-length jazz album reinterpreting the music from iconic Nintendo video game series The Legend of Zelda. The epic Z-Jazz journey is available in the following formats: limited edition 180g half speed mastered vinyl double LP housed in a heavyweight sleeve with obi, digipack CD with cavalier, and digital.

Casimir Liberski reimagines the golden era of video game soundtracks with jazz versions of Zelda favorites The Legend of Zelda (1986), A Link to the Past (1991), Link's Awakening (1993), and Oscarina of Time (1998) - plus a few Easter eggs! Dancing between nostalgia and avant-garde, the Brussels-born pianist and composer crafts a sonic world of pixelated folklore where melody and improvisation coexist in harmony.

Music critic Arthur Meurant perfectly explains:

For many video games are a journey of the mind. Since its inception - dating back to the early seventies - this avant-garde artistic medium has nourished the imaginations of a digital age. Casimir, like many others, has been fed a steady diet of pixels from an early age. From simple squares to cultural cornerstones they have become the trail on which playful travelers of the mind retrace the steppes of history. A shared universe, familiar yet endless, of pocket-sized mythology. Its name? Hyrule. Its goal? To amaze. In these few tracks - selected with care - the Casimir Liberski ReTRio invites you, finally, to visit a space which does not exist yet holds us all. A land where all feel welcome. Where all are happy. But also... to rediscover under another timbre the classical compositions of Master Composer K?ji Kond?. A man who, unbeknownst to him, composed our dreams as well as music. That single noble pursuit, where an artist gives soul without losing his own, is yet again a statement of humanity in its purest of forms: art as that which brings us together and makes us whole in a world eroded by modernity. Pick up your key. Gather your maps. Open the door. Adventure calls.

Long live Hyrule jazz!

FLO are leading the modern revival of the British girl group — and doing so at a scale not seen in over two decades. With over half a billion global streams, the trio have delivered the highest-selling tour by a British girl group in more than 20 years, becoming the first since the Spice Girls to reach that milestone. They are also the first British girl group to receive a Grammy nomination in two decades, alongside three MOBO nominations in 2026, cementing their status as both a commercial and cultural force. Rather than simply revisiting the past, FLO are reshaping the possibilities for what a contemporary girl group can be.

Comprised of Renée Downer, Stella Quaresma and Jorja Douglas, FLO’s story is one of intention, craft and deep-rooted connection. The trio had long been aware of one another through theatre school circles, social media and shared creative worlds before coming together as a group in 2019. That early familiarity quickly grew into a sisterhood, shaped behind the scenes through years of studio work, vocal development and trust. Raised by strong single mothers and immersed in performance from a young age, each member brings resilience, emotional intelligence and discipline into the group — qualities that underpin both their sound and their dynamic.

Individually, FLO’s balance comes from contrast. Renée is the group’s compass: composed, business-minded and creatively precise, grounding the trio with clarity and vision. Stella is the spark and the glue — sociable, emotionally intuitive and collaborative — shaped by a childhood between England and Mozambique where music was communal, expressive and felt. Jorja is the fire: outspoken, instinctive and vocally commanding, with a natural ear for harmony and arrangement. Their roles shift and evolve, but together they form a unit built on mutual respect, honesty and shared authorship.

That chemistry is central to FLO’s music. Drawing from classic R&B and soul while pushing it forward through modern production, their sound centres vocal harmony, emotional nuance and storytelling that reflects the realities of young womanhood. FLO reject the idea that strength requires emotional distance; instead, they explore power through vulnerability, confidence and control. From independence and self-worth to intimacy and desire, their writing is direct and unapologetically theirs. As Jorja puts it, FLO are “the brains, the heart and the soul” behind everything they do.

The success of their debut album marked a defining moment — not only for FLO, but for British pop more broadly. It confirmed the appetite for harmony-led, female-fronted groups operating with creative agency, and propelled FLO onto global stages, from sold-out headline tours to major festivals and international television. Along the way they have earned respect from R&B legends and peers alike, performing during Grammy Week for icons including Mariah Carey, Brandy and Chaka Khan, and showcasing their vocal chemistry on NPR’s Tiny Desk — a moment that further underlined the trio’s technical precision and emotional depth.

With their next chapter, Therapy At The Club, FLO expand this emotional honesty into a fully realised creative universe. The concept reimagines the club not just as a place of nightlife, but as a site of release, confession and self-possession — encompassing the moments before, during and after the night out. From mirror affirmations and pre-game chaos, to late-night Uber conversations, dance-floor catharsis and the clarity of the morning after, Therapy At The Club captures how women process desire, heartbreak, confidence and healing in real time, together. It is both fantasy and reality: cinematic, fashion-led and emotionally raw, grounded in sisterhood as a form of survival.

Sonically, the new music leans into dark, euphoric R&B and pop with sharper edges, built on vocal mastery and diaristic storytelling. Lead single “Leak It” sets the tone for the era — playful, charged and unapologetically self-aware — exploring what happens when desire spills over, secrets surface and control is reclaimed. Across the new songs, FLO move fluidly between intimacy and euphoria, turning the club into a space where vulnerability is power and feeling everything is the point.

As a trio built on discipline, joy and deep creative trust, FLO represent a new model for the British girl group: one rooted in authorship, harmony and cultural impact. Balancing softness with strength and ambition with authenticity, they are shaping the future of R&B and pop on their own terms. FLO are not looking backwards — they are setting the standard for what comes next.

A Sudden Burst of Noise is a study in equivalence between rotational frequency, material structure and sonic form. The album is based on sonified pulsar data and field recordings captured at a concrete radiotelescope located in the Eifel region of West Germany.

Following the core concept of BRUTALISM, architecture and infrastructure are not treated as backdrop but as structural agents. The radiotelescope – its reinforced concrete body, rotational mechanics and scientific function – serves as compositional framework. Rotational movement becomes rhythm. Structural tension becomes texture.
Measured cosmic data becomes sound.

The source material consists of astronomical measurement data translated into sound, combined with field recordings from the site itself: interacting with exposed concrete, mechanical resonance and electromagnetic presence. Dornen and Lomi process these elements into compositions that oscillate between abstraction and physical density.

The result is not a documentary representation of the site but a sonic architecture derived from it. Each track reflects a structural component: axis, mirror, descent, radiation. The record unfolds as a sequence of material states – from reduction and
erosion to rotation and amplification.

With A Sudden Burst of Noise, BRUTALISM continues its transformation of material, texture and structure into sonic forms. The vinyl format captures our site-specific research process as a physical object.

WARNING: THIS IS FLATCORE AND HAS TO BE PLAYED LOUD !

Let's start by explaining what "FLATCORE" is; which is represented on this 3rd vinyl from this special serie on Flatlife Records: Flatcore is a cross between Hardcore, Progressive Trance, ACID and Hard Trance with a wink to the '90s. A concept from the mind of Jack Wax, who himself is incredibly fascinated and passionate about the more progressive hard trance movements of the '90s.

First track from Jack: "What The World Is Becoming To" is a serious question. AI, robots that do everything for you, wars, the internet; so much that has happening in the past 50 years, and where is it all becoming to?
Jack is supported on this release by "Dysistor"; this artist has also released music as DJ Hidden and Scorch and is also one half of "The Outside Agency." Then there's fresh talent on the B-side: TRIPHAZ from France. A fantastic, dark flatcore banger; he sent it as a demo, and Jack immediately jumped up and started screaming that he wanted it for this project.

So in total; a fantastic flatcore release, limited to 200 copies pressed on white vinyl. If you
like the harder stuff... check this one out.

Italian jazz trio Collettivo Immaginario announces the release of their second full-length album, 'Oltreoceano'.
Known for their slick sound and energetic live performances, their style is firmly rooted in the jazz tradition of collective improvisation, through which they have developed an agile, kaleidoscopic sound. The trio’s unique fusion of funk, jazz, and 70's electronica continues in the trio’s latest release, forging connections across oceans through the universal language of music.

Consisting of founder Tommaso Cappellato on drums and percussion, Nicolò Masetto on electric bass, and Alberto Lincetto on rhodes, piano, and synths, Collettivo Immaginario have become rising stars in the Italian festival scene, from the streets of their hometown in Italy to the diverse audiences in Los Angeles, London and Milan.
Subtly paying homage to genre-bending giants like Azymuth, Lonnie Liston Smith, Herbie Hancock, and Hermeto Pascoal—alongside Italian film music legends Piero Piccioni and Piero Umiliani—their sound moves effortlessly between the heat of the club and the cinematic allure of evocative film scores, infused with touches of spiritual jazz.

Through his tracks, Jumo explores nostalgia and memory, from phili to memory, blending memories of youth and fleeting sensations. Tgthr encourages living the moment, while lula unfolds like a raw, cinematic road movie. The synthetic voices of sirens create a hypnotic theme, reflecting free souls suspended between a desire to escape and the fear of falling back. Euphoria tackles the madness of man's race to innovate and his indifference to the world, mixing mechanical urgency and emerging awareness. Each track plays with contrasts; melancholy and euphoria, darkness and light; combining synthesizers, persistent bass, and saturated textures. Together, they form a sonic journey where dancing becomes an act of memory and emotional survival.

Blue Hour distills over a decade of artistry into his debut album Selva, unearthing eight tracks inspired by ancient wisdom and forgotten worlds.
Blue Hour is the moniker of Luke Standing, a multifaceted artist, producer, and label owner navigating between past and present electronic dance music. Over more than a decade, Standing has built a career balancing transformative craft with a sharp curatorial approach, earning him respect across the global scene. After years of sonic experimentation, he now releases his debut LP Selva. “I never set out to make an LP – it just wrote itself,” he says. “I followed my intuition, and the music found its own path.”
Born and raised in the UK, Standing grew up in parallel with club culture, moving between Brighton, Bristol and Berlin while running club nights and establishing himself under former aliases Furesshu and Esoteric.
He launched his Blue Hour project in late 2013, shortly after relocating to Berlin. Initially a platform for his own music, Blue Hour quickly became a collaborative hub, blurring the lines between personal output and curation. Over time, Standing has cultivated an international ecosystem of like-minded artists while continuously expanding his own sonic horizons.
Selva marks his first full-length studio album, weaving a lifetime of influences into a cohesive narrative inspired by ancient wisdom and forgotten worlds. The eight-track double LP transforms his inner dialogue into a subconscious story pulling inspiration from a labyrinthine network of influence and experience. “I followed the music obsessively, reflecting and refining until the story revealed itself,” Standing explains.
“To me, the LP evokes Amazonian or Mayan jungles, themes of exploration, the mysteries of the natural world, wisdom passed down through generations. I didn't set out to write about these things consciously,
they just emerged on their own.” he adds.The album was shaped through intensive work in his studio and periods spent in subtropical locations.
Listening closely, Selva unfolds like a modern ceremony: the opening tracks channel his early UK dance influences, shifting into blends of traditional and contemporary techno, then expanding into melodic soundscapes before concluding with transcendental textures and atmospheres. The result is an introspective journey where functionality and emotive storytelling coexist, revealing a depth in Blue Hour we haven’t heard before.
Whether performing, curating, or producing, Standing operates with a deep commitment to sound, culture, and collaboration. More than an artist, he is an architectural thinker of what electronic music could become. “Every release is my own metamorphosis,” he says. “This LP reflects my current form, and I’m curious to see what the next chapter brings.” Few artists can unify a lifetime of genre-spanning influences into a sound as sharp and focused. On Selva, Blue Hour does exactly that, opening a new era of deeper
immersion from his Berlin-based label.

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.

2026 Repress

Glaskin is the alias of two brothers, Jonathan and Ferdinand, based in Munich. The pair have emerged as key figures in the citys electronic music scene as longtime residents of the renowned Blitz Club, standing out a homegrown talents amongst its vibrant electronic landscape. Bringing a unique, forward-thinking techno style, as evidenced by their contributions to Mutual Rytms Federation Of Rytm II and III compilations in previous years, they now mark a new chapter and open 2025 in style with their debut 12 on the label, Inertia Of Motion. Each cut on the EP has been handcrafted with analogue gear, reflecting their distinctive artistic and sonic vision. The release is a direct outcome of the creative process behind their live set, which has become an integral part of the duos identity and shows a natural evolution of their singular sound.

Hush Up kicks things off with deep, rubbery and rolling techno rhythms. The drums are stripped back and laced with pulsing synth patterns and spoken word snippets that add a freaky edge. Double Tap ups the anti with classic, pumping deep techno with smart filters adding movement to the track as urgent leads hurry onwards. Inertia bring a more anxious atmosphere with tightly coiled drums and perc and eerie bell sounds ring out over the fat, twisted bassline. The brilliant Tank brings mind-melting loopy techno with dubby chords and textured leads warming their way between the beats to great effect, while Motion is suspenseful techno that locks you into a high speed groove peppered with thumping hits and kicks. Last of all, digital bonus Blushed Blue explores a moody, minimal, late night techno sound that is warm, stylish and hypnotic to close the show

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

New series for Jodey Kendrick with volume 1, pure 90s Acid sprinkled with funky rhythms like FSOL, Humanoid and 808 State. Exploring an escalation of breaks that are as sexy as they are captivating and progressive already open that this series will become a classic. Just quality music!

Launched in 2000, Post Office quickly became a landmark compilation series, featuring artists such as Ricardo Villalobos, Daniel Bell, Robert Hood, Dimbiman, Matthew Dear, Seth Troxler, Craig Richards, Losoul, Ark, Mr Oizo and many more. Each new edition stands as both a milestone in Logistic Records’ story and a forward-looking vision of the global electronic scene.

Kenshi Yonezu’s cinematic new chapter comes to life on vinyl.

This special single features Kenshi Yonezu’s latest hit IRIS OUT, the evocative theme from CHAINSAW MAN – THE MOVIE: REZE ARC, Top 5 of the Billboard Global 200 charted song,

becoming the highest-ever charting position for a Japanese language song, alongside JANE DOE, a powerful collaboration with J-pop icon Hikaru Utada. Blending Yonezu’s inventive

production with Utada’s signature vocals, the track marks a landmark meeting of two of Japan’s most visionary artists.

The release also includes Yonezu’s global platinum hit KICK BACK, together with fresh remixes by Frost Children and 2 more, each reimagining the song through a distinctive creative lens.

Pressed on single black 45 RPM vinyl, IRIS OUT/JANE DOE is housed in a sleek single-pocket jacket with a fold-out 12”x24” insert including an Illustration by Kenshi Yonezu, making it a

must-have for collectors and fans of Kenshi Yonezu’s bold, genre-defying sound.

What began as a pandemic-era radio show on Openlab FM and Ralph Lawson's sonic escape hatch into distant electro worlds has since become a consistent home for the genre. Exit Planet Earth returns from hiatus with a new chapter, and Manchester's Jonny Strinati, aka Kalcagni, is the ideal artist to reopen the transmission. Already well-versed in the EPE universe through the radio show and releases on Cosmoba and Distrito 91, Strinati drops relentless machine beats, intricate synth programming that references all forms of electro from Kraftwerk to Drexciya, with dynamic bass and cinematic designs. It's an intergalactic mind trip as much as a dance floor workout and the production is next level. Welcome back!

A label long synonymous with raw, off-centre electronics and uncompromising club tools, Bjarki’s bbbbbb recors welcomes a producer whose approach feels cut from the same cloth, London’s Henry Greenleaf. In an era where functionality often outweighs feeling, ‘Brawn’ is a record that doesn’t court approval; it insists on impact. Built for high-pressure systems and low ceilings, it channels force not as spectacle, but as design.

Greenleaf’s catalogue to date, spanning labels such as Par Avion, YUKU, and ARTS, sketches a restless trajectory between precision and collapse. His productions operate where rhythm becomes architecture: kicks land like poured concrete, subs buckle and flex beneath shifting percussive grids, and textures are stretched until they fray at the edges. Sound is treated as a physical material, layered and stress-tested, reshaped until the familiar mutates into something tactile and strange.

Across the EP, that philosophy takes full form. A1 ‘Brawn’ sets the tone with dense, piston-like drums and tightly coiled low-end pressure, balancing brute force with meticulous spatial control. ‘Jump Up To Be’ follows with a more fractured swing, percussive shards ricocheting across a framework that feels perpetually on the verge of rupture. On the flip, ‘Gawk’ strips things back to skeletal components, carving negative space between distorted pulses and menacing, warped rhythmic figures, before ‘UNTUNTUNT’ closes the record in driving fashion, delivering a raw, functional workout that reduces the groove to its bluntest, most hypnotic form.

True to the label’s ethos, ‘Brawn’ doesn’t chase trends or smooth its edges. It folds air and pressure into motion, pares club music down to its working parts, and leaves room for spontaneous chaos to erupt within the grid; moments where structure splinters, energy misbehaves, and control gives way just enough to keep things volatile. Engineered yet unpredictable, utilitarian yet unruly, the EP embodies the tension, unpredictability, and uniqueness that have long defined bbbbbb recors.

A Profound Non-Event, the debut album by Sydney-based three piece Daily Toll, comprises 11 songs traversing three years of forged friendships, collaborative experimentation and a shared love of growing through words and song.

Those attuned to the ever-vibrant Australian underground may already be well familiar with Daily Toll, their consistent live presence since their inception in 2021 embroidered by a handful of (mostly) home-recorded, (mostly) digital self-releases that have steadily accumulated an appreciative following. Initially the project of self taught musician, poet & artist Kata Szász-Komlós(they/them) and Jasper Craig-Adams(he/him), and expended to a three piece with the more recent addition of friend Tom Stephens(he/him), Daily Toll represents the union of three unique creative dispositions, of relationships blooming through the push and pull of creative practice. Mapping the band’s existence through their recorded output is to bear witness to the flux of three people learning to respond to one another and gently ossify into a collective vision that at once calls to mind folk song intimacy, post-punk dynamics and the artful poeticism of an adjacent Flying Nun legacy.

If those earlier recordings reflect a band imagining themselves into being in real time, A Profound Non-Event observes a clear shift in both conviction and approach. Recorded in just three days with Alex Bennett at the purely analogue Sound Recordings studio in Castlemaine and holing up at night in the century old cottage situated beside the studio, sheltering from the late-June wind and rain within walls littered with instruments and microphones, lighting fires to stay warm. Kata describes the experience as defined by “candle light and creative camaraderie”, an idyllic account of a collection of songs that glide with an undeniably warm, easy charm, evidenced in particular in the record’s second half as the tone turns increasingly introspective, the very sound of a cold evening’s drift into night. When contrasted with the moody swirl and sing-song bounce of the opening trio of tracks, there’s clear evidence of a band not simply in the process of becoming, but committed to finding their truth in that process.
Still, if Daily Toll display a reluctance to be wholly defined, then album centerpiece ‘Killincs‘ (positioned in the middle for a reason) might just be their Rosetta Stone. A verbose rumination on unsettled feelings of isolation and longing, exploring the challenges in making peace with one's decisions amidst the uncertainty of an often harsh world and the realisation that some things remain best unresolved - “I have the keys still, but I’ve buried the path”.

Artist, painter, curator Leo Vincent, is fired up off the back of supporting Soulwax, on their recent Paris and Netherlands shows. Proudly presenting two debut songs “Hello it’s me again” and “Loving isn’t easy”, co-produced with the brothers, David & Stephen Dewaele, of Soulwax/2manydjs.

Seven years ago, Leo Vincent bluffed his way into a video editing job at DEEWEE. Despite being told to not touch or ruin their gear, he later resurfaced with demos that sounded like he had anyway.

"Don’t know much about history”
"Don’t know much about biographies"

But we do know that by the time Leo Vincent arrives in your town, he will probably have destroyed two more Tascam 8-tracks.

Brussels-based, failed goalkeeper-turned-painter-turned-cameraman-turned-musician Leo, doesn’t seem to be afraid to leave his faders in the red zone for an unorthodox period of time while repairing the pitch knob. Some say it’s disco for night janitors. Some say it’s glam-rock for ravers. Others haven’t found the time to listen yet because they have real jobs.

But to fully grasp Leo Vincent's essence, imagine yourself sitting in the home cinema of the late Marc Bolan while watching a documentary on Scatman John, directed by Jacques Tati and scored by Ween, using only the instruments of Cabaret Voltaire.

INDUSTRIAS MEKANIKAS is back with the third instalment of the ANTIKHRIST VISIONS saga. This release is particularly symbolic: it’s the ninth in the catalogue, marked by the infernal numerology that runs right through the whole series. It’s a descent into a sonic underworld, where noise becomes ritual and pleasure is just pure agony.

The artist tasked with opening this new chapter of the saga is the mighty Óscar Mulero, an essential figure on the national electronic scene and one of our biggest international ambassadors, whose career has left a deep mark on contemporary music. Here, with Faceless, he delves into dark, precise, and devastating electro territory; a spiritual machine that dictates the pulse of chaos.

Next up, we’ve got Pressurized Modulator with Reddrum: hard, crunchy, industrial electro, absolutely buzzing with electrical tension and twisted sonic matter.
Closing out the A-side is Jacko Volvone (aka Hoax Believers) with Quieren Cerrar Las Fábricas: a track that expertly blends electro, techno, and post-punk echoes, resulting in a tense, distorted, and combative sound, like a working-class echo shouting from the abyss.

Flipping over, the B-side opens with Hanging Nuts (made up of Waje Martín, Fake Robotik, and Ruben Montesco). They unleash a murky descent of filthy, distorted, primal electro, slashed through with guitars and raw, guttural vocals: a genuine chant from beyond the grave. The second cut marks the debut of Techselektah & Phil Fork with Champagne No Potable: a raging street anthem packed with fury, energy, and social criticism, where Spanish vocals emerge amidst EBM structures that have that ‘80s spirit, reinterpreted with today’s raw edge. And the big finish is down to HBK1 alongside Rigor Mortis, with Instinto Caníbal: a full-on explosion of electro-industrial and EBM that awakens the body’s most primitive urges.

Antikhrist Visions Vol. III is a sonic summoning from the lands of Hades: ritualistic matter, organic sound, and primal force. A testament to pleasure and torment—Tormento do Gostar—etched into the vinyl as if it were molten iron.

Memento Mori.

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 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 10

A1) GusGus - Crossfade (Maceo Plex Remix) (Original Release 2014)

Released in 2014 on the German label KOMPAKT, this remix by Maceo Plex features Ten Walls-like horns, vocals, and pumping drums, making it a true Ibiza floorkiller. The vocals are by Konstantin Sibold. This remix was only released as a white label (Kompakt Exclusive) and has yet to have an official vinyl release. Despite this, it remains a favorite among DJs and clubbers worldwide, regularly played at festivals and clubs.

A2) Plaything - Into Space (Original Release 2001)

This groovy track, released in 2001, contains a sample from Sheila & B. Devotion's Spacer, with Nile Rodgers as one of the producers. The original trackSpacer is an iconic disco hit from the 1970s, and Plaything put a contemporary spin on this classic. The track was a hit in Belgian clubs in the early 2000s, often played by prominent DJs. It has since been released on various labels and remains a timeless favorite in the electronic music scene.

B1) Ion - W.B. (Original Release 2002)

This trance classic by DJ Ion was first released in 2002 on the Belgian label B². The track quickly became a beloved classic within the trance community. Danny Casseau, the producer behind this track, is also known for other legendary works, including the trance classic Ion 98 - Tructure, which had a significant impact on the trance scene. W.B. is a pure, old-school trance track, crafted in the way only tracks from that era were!

This vinyl is extremely rare and hard to find, making it a sought-after item for collectors and trance lovers. It is still played in the sets of DJs who cherish the older trance sound, and it fits perfectly in contemporary sets as well!

B2) Subaltern - Forever (Ledge Forever Remix) (Original Release 2007)

This club banger was released in 2007 on the French label Voices Records and was a popular track in well-known Belgian clubs like Illusion and La Rocca. The Ledge Remix added an energetic, infectious vibe that made it a true hit on the dancefloor. It received an official vinyl release in 2007, but it is now difficult to obtain. Subaltern's Forever remains an unforgettable club classic still appreciated by electronic music lovers.

C1) Lykke Li - No Rest For The Wicked (Joris Voorn Remix) (Original Release 2014)

Swedish singer-songwriter Lykke Li scored a worldwide hit with I Follow Rivers, but also had great success with the powerful track No Rest For The Wicked. The Dutch producer Joris Voorn gave his own tech-house spin to the track in his known style!

Voorn's remix keeps the atmospheric mood of the original but adds a new, dancefloor-friendly dynamic that makes it suitable for the electronic music world.

This is the first time this remix is being released on vinyl since the original release in 2014, making it a rare and desirable item for both collectors and DJs. Thanks to the powerful mix of melody and rhythm, this remix of No Rest For The Wicked remains a timeless favorite that has found its place both in clubs and in vinyl collections of music enthusiasts and DJs.

C2) The Roc Project feat. Tina Arena - Never (Filterheadz Luv Tina Remix) (Original Release 2002)

This Spanish dance track hit Europe in 2003, thanks in part to the legendary remix by the Belgian techno duo Filterheadz. Brothers Bert and Maarten Wilmaers, known for their distinctive techno sound, gave the track their own twist with strong beats and an uplifting bassline, creating a timeless club hit that was heard everywhere in the early 2000s.

The vocals by Tina Arena add an emotional layer, while the Filterheadz Luv Tina Remix has stood the test of time and still gets everyone moving. At 12 Inch Lovers parties, this track never goes unnoticed and often brings the night to a high point. This track is a must-have for both collectors and DJs who love a mix of emotion, energy, and a solid techno sound.

D1) Soul Syndicate - Inside Of Me (Steel Union Remix) (Original Release 1995)

Speaking of a trance classic, this one is a true gem! Inside Of Me was released in 1995 during the golden years of Belgian trance music on the legendary Belgian label Aquatic Records. The Steel Union Remix by Zzino is an absolute favorite among trance lovers.

With its iconic sound and unmatched energy, this track is a true ode to the Belgian trance scene. It remains an unadulterated classic that still makes an irresistible impact, not only at retro trance events but also in the sets of contemporary DJs. Since its release, this remix has been hard to find, making it an even rarer piece of trance history. A track that has stood the test of time and is a must-have for collectors and fans of old-school trance.

D2) Ken Laszlo vs. Disco Dice - Hey Hey Guy (House Dub) (Original Release 2003)

Ken Laszlo, the Italian singer who became globally famous in the 1980s with the iconic Italo-disco hit Hey Hey Guy, received a re-release in 2003 on the house label Dubmental. This version was reimagined by Disco Dice, who gave the track a fresh house vibe with a more modern sound. Belgian DJ Jean, known for his influence on the Belgian nightlife scene, introduced this track into the clubs and transformed it into a club classic.

This release, although released in 2003, is now very rare and hard to find on vinyl. It's a hidden gem that continues to withstand the test of time, making it a valuable collector's item for lovers of both Italo-disco and house.

D3) Icehouse - Hey Little Girl (Infusion Remix) (Original Release 2002)

The Australian band Icehouse released the iconic track Hey Little Girl in 1982 on the British label Chrysalis. This synth-pop track was a big hit and still remains one of the classics from the 1980s. The original track was later included in the remix album Meltdown in 2003, where the Australian duo Infusion created a contemporary electronic remix that gave the track a new dimension.

The Infusion Remix adds a modern, danceable twist to the original synth-pop sound. This version surprised both fans of the original hit and lovers of electronic music, remaining a sought-after track in DJ sets.

This track has been unavailable on vinyl since its original release in 2003, making it a rare collector's item.

Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.

"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”

Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.

Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.

“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.

“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.

The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”

It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."

Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”

Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.

The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’

After the acclaimed Bar Mediterraneo, Massimo Di Lena and Lucio Aquilina return with a new album that broadens the scope of their sound even further, sailing beyond the Pillars of Hercules into a constellation of gravity-defying creative freedom.

People Of The Moon is not an imagined cosmic species, but a dimension within us all. Deeply personal yet universally shared. An alternative way of thinking that lays dormant until we find the courage to untether it, helping us experience life more fully. It is that precious sphere of the soul that slips away from everyday life. A form of self-expression free from the social pressures that weigh on each, at every latitude on the planet.

Under the moonlight, these songs trace anxieties and aspirations, guided by the international language of groove and rhythmic motion, articulated in Neapolitan, Arabic, English, Spanish, and Portuguese. It speaks with equal clarity through the Afro-Cuban influences of Celavì (“That’s Life”), with its circular rhythmic energy, and through the Anatolian zurna of Ma Tu Che Bbuò (“What Do You Want?” in Neapolitan), moving from highlife guitars to the mandolins that have become a Nu Genea signature. New idioms and rhythms, filtered through an Italian perspective.

The first single Sciallà (“Go Away” in Neapolitan), released in the summer of 2025, already hinted at what was taking shape in the Nu Genea workshop - a radiant guide to embracing difficulty and finding relief in dance. Not so much an escape, but a form of catharsis. Looking up at the giant mirror ball orbiting above us, we catch a glimpse of our best selves reflected back, and appreciate that the People Of The Moon invoked in the title track are more familiar than we first realised.

There’s a kind of resilience in these voices that isn’t loud or triumphant, but persistent and rooted in the simple act of continuing. The imagery of high-speed motion is central to Onenon (“On and On”), where British singer and multi-instrumentalist Tom Misch helps conjure a Mediterranean brit-funk reminiscent of Pino D’Angiò’s basslines.

The voice in Acelera (“Speed Up” in Spanish) summons the strength to chase the moon as if it were an unattainable ideal, in this Andalusian-tinged track featuring María José Llergo, who also lends her voice to Celavì. Both tracks are among the more languorous arrangements, with flamenco palmas introducing an original fusion into the Nu Genea groove.
With its driving momentum, Puleza (“Clean Up” in Neapolitan) recalls the spirit of Nuova Napoli, albeit with vintage synth textures and wild, unrestrained delays. The track’s protagonist, performed by Fabiana Martone, is another of our lunar dwellers.

Yet even when it leans into forward motion, People Of The Moon doesn’t pulse at a frantic pace, moving instead through shifting states of speed, orbit, and suspension. In fact, the Levantine bossa nova Shway Shway (“Slowly, Slowly” in Arabic), sung by Celinatique, captures the orbital motion of the entire record. Not exactly slow, but measured. Rich in color, and marked by a rhythmic complexity that was also heard on the duo’s rare access to foundational afrobeat on The Tony Allen Experiments.
All the while, the album remains deeply attuned to melody - a Nu Genea hallmark - as heard in the effervescent hook of Carè (“Falling” in Neapolitan). In the lunar microgravity of these ten tracks, falling and flying become interchangeable with dancing as ways of following the beat, suspended yet compelled to move. That compulsion is also invoked by Brazilian percussionist Gabriel Prado, making his vocal debut on Ondas Do Mar (“Waves Of The Sea” in Portuguese). The pull of the waves, a constant interplay of motion and return, steady as a lunar phase, is impossible to resist. One might as well lean into the blue, not to dissolve but to rebuild. “Você vai ver que dentro de nós / vai rolar”: you’ll see that something will happen within us.

Das akustische Instrumental-Album "Daniel" erweitert die Welt jenseits der Betonschluchten und Überführungen von LA hin zum pulsierenden, brodelnden Meer des Lebens, das Mexiko-Stadt ist, bis hin zur kargen, hügeligen Landschaft von Red Cloud, Nebraska. An jedem dieser Orte war der ständige Begleiter eine Nylonsaiten-Akustikgitarre - mit einer eigenen, weitgereisten Geschichte. "Es war die Gitarre meines Vaters", erinnert sich Danny Garcia, der Mann hinter dem Reverend. "Vor ein paar Jahren habe ich herausgefunden, dass sie auch meinem Großvater gehörte." Seit seiner Kindheit allgegenwärtig, hat die mexikanische Akustikgitarre für Garcia mit jedem Jahr an Bedeutung gewonnen. Stunden um Stunden des Spielens, Reisens und des Einhauchens von Leben in ihr Griffbrett haben sie sowohl zu einem Werkzeug als auch zu einem Talisman gemacht. "Da ist diese offensichtliche Abstammungslinie, die Familie und die Verbindung_ diese Verbindung durch die Geschichte", vertraut Garcia an. "Es ist sozusagen das einzige Familienerbstück, das ich habe." In der letzten Zeit hat all dieses Spielen (oder Herumklimpern, wie Danny es nennt) Reverend Baron dazu gebracht, einem Klang nachzujagen - einem, der die Ursprünge der Gitarre Lügen straft. Es ist ein Klang, den er von Zeit zu Zeit hörte, und als es darum ging, "Daniel" aufzunehmen, war dieser Klang sein wahrer magnetischer Nordpol (oder Südpol, sozusagen). Wenn du dich durch "Daniel" hörst, wirst du Anklänge an die Gitarrentöne von Antonio Bribiesca und Luiz Bonfa hören. Wenn du tiefer gräbst, wirst du auch die Grundzüge der Gitarrentexturen von Townes Van Zandt und Nick Drake erkennen. Ohne deren Virtuosität in seinem Spiel für sich zu beanspruchen, ergänzen die Seele und die Verletzlichkeit, die zu Markenzeichen der ersten beiden Reverend-Baron-Alben geworden sind, diese Einflüsse. Es liegt eine Wärme in "Daniel", die in diesen akustischen Meditationen im Mittelpunkt steht. Von kurzen, fließenden Momenten wie "El Monte" und "How Glad" bis hin zum hoch-einsamen "Muchacho" schweben die Songs wie Cumuluswolken über einem tiefblauen Himmel.

• STRICTLY LIMITED, HAND-NUMBERED COLLECTOR’S BOX — ONLY 350 COPIES
• EXCLUSIVE COLORED BOX WITH REFINED SPOT LACQUER FINISH
• 180G VINYL – EACH RECORD IN AN INDIVIDUAL PRINTED SLEEVE
• INCLUDES OFFICIAL BM BAG, POSTER, AND STICKER — EXCLUSIVE TO THE 20 YEARS BM EDITION
• CELEBRATING 20 YEARS OF BM — 20 SELECTED TRACKS
• AVAILABLE EXCLUSIVELY ON VINYL

20 Years of BM — Anniversary Vinyl Box Set
For two decades, Bondage-Music has stood for timeless underground house music, consistently shaping its own path through deep grooves, warm textures, and uncompromising dancefloor aesthetics. Founded with a clear artistic vision and an enduring passion for vinyl culture, the label has grown into an internationally respected platform for forward-thinking electronic music while always staying true to its roots.
To celebrate its 20-year anniversary, Bondage-Music proudly presents a strictly limited collector’s edition that captures the spirit, sound, and evolution of the label across two remarkable decades.
20 Years of BM brings together 20 exclusive tracks by artists who have played an essential role in the label’s journey, alongside close friends and longtime companions of the BM universe. Carefully curated across five heavyweight vinyl records, the compilation reflects the musical identity that has defined Bondage-Music since day one: deep, soulful, dub-infused, and emotionally driven house music designed for both intimate listening and late-night dancefloors.
The anniversary box features exclusive contributions from artists such as Roger Gerressen, Sascha Dive, Mihai Popoviciu, Steve Bug, NTFO, Markus Homm, Tuccillo, Politics Of Dancing, Rhadow, Andre Kronert, and many more — representing different generations and shades of the Bondage-Music sound.
Pressed on heavyweight 180g vinyl, each record is housed in an individual printed sleeve and presented inside a specially designed colored collector’s box with refined spot lacquer finish. The visual identity of the anniversary edition was created by Pete Bombart — BM’s longtime Head of Artwork, close friend, and an integral part of the label since its early days. His unmistakable artistic language has become deeply connected to the Bondage-Music universe over the years, building a loyal following that extends far beyond the music itself.
Strictly limited to only 350 hand-numbered copies worldwide, the release also includes an exclusive BM bag, poster, and sticker set created specifically for this anniversary edition. More than a compilation, 20 Years of BM is a reflection of the label’s history, community, and enduring dedication to underground electronic music culture. 20 tracks for 20 years — available exclusively on vinyl.
Twenty years later, the journey continues — driven by passion, friendship, and a shared love for timeless electronic music.

Tracklist

VINYL 1 (URSUS)
A1 - ROGER GERRESSEN - PATTERNED SHARDS
A2 - SASCHA DIVE - DUB CHRONICLES #10
B1 - RHADOW – RIPPLES
B2 - LOLA PALMER - SLOW DOWN
VINYL 2 (ARIES)
A1 - ALEXANDER MATCHAK – JOURNEY
A2 - ANDRE KRONERT - BLUE DRIFT
B1 - MIHAI POPOVICIU - TIME GOES BY
B2 - PORNBUGS & FRINK - SAVE OUR SOULS
VINYL 3 (MURIS)
A1 - MARKUS HOMM - MISSING PIECES
A2 - DILBY & PORNBUGS – DECADES
B1 - LOLU MENAYED – FLUX
B2 - CRISTINA LAZIC FEAT. LIKA - WORLDS UNKNOWN
VINYL 4 (LEO)
A1 - STEVE KELLEY & PORNBUGS - CANNING TOWN
A2 - DUST YARD – SHADOWS
B1 - POLITICS OF DANCING – PARTY
B2 - NTFO – BORUGA
VINYL 5 (AQUILAE)
A1 - STEVE BUG & PORNBUGS – SHARED ORBIT
A2 - TUCCILLO – FANTASIA
B1 - STEFAN BRAATZ FEAT. VALENCE – MEMORIES
B2 - EL MUNDO & TAL GROENMAN - MORNING LIGHT

Following the massive, multi-platinum success of the global hit "A Bar Song (Tipsy)" and his breakout contributions to Beyoncé’s COWBOY CARTER, Shaboozey returns with his most ambitious work to date: the new concept album, The Outlaw Cherie Lee & Other Western Tales. Building on the genre-bending foundation of Where I've Been, Isn't Where I'm Going, this project cements Shaboozey’s status as a pioneer of New Americana through a cinematic outlaw revenge story with a tragic love at its center.

The narrative follows Cherie Lee, who, after witnessing her sheriff father’s murder by the Bootcut Boys, abandons the badge to hunt the gang down one by one. In the heat of her vengeance, she falls for an outlaw—not the killer, but a man guilty by association. While he seeks redemption through her love and she seeks a cure for her darkness, both find that violence is not so easily escaped. When her lover kills the real murderer in her name, he proves that bloodlust doesn’t end; it only evolves. In a devastating final act, Cherie chooses her vendetta over her heart, killing the man who loves her most and fully becoming the very monster she set out to destroy. Gritty, soulful, and narratively daring, The Outlaw Cherie Lee is a bold evolution from one of music's most dominant current forces.