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It’s with great pride that we announce this amazing album on Optimo Music from Portland-based duo Natural Magic. It was the final vinyl release that Keith McIvor aka JD Twitch put into production before his untimely departure in late September this year.

Having been a long time lover of everything krautrock, space rock, experimental and psychedelic it seems more than fitting that he leaves us this LP as his parting gift; because this sublime album is all these things wrapped up into one and much more.

The album’s opening track “Galaxy Builder”, with its driving tempo, monolithic bass and screaming guitars might give the impression we’re about to hear a Neu for the 21st Century, but no, by the 2nd track we’re already on the first of several wild detours into uncharted territories: part shoe gaze, part ethereal, part psychedelia it’s a unique piece of beautiful euphoria from start to finish. By the time we reach the end of the A-side’s closing track “Distant Bells” the whole place is in tears after hearing possibly one of the most poignant pieces of electronic music of the entire year.

The B-side takes us even deeper into this trip through the duo’s homeland in the Pacific Northwest opening with “Skyward Eye”. If the Orb had ever teamed up with Slowdive and gotten Andrew Weatherall on production this could be it. “Get It Right” is a fuzz-filled epic with heavy dub leanings and meanings...it soars high up into the beyond and prepares us for “Ride”; an unashamed space voyage in the true sense…cosmic guitars, laden with FX; before returning gently down to the rolling green hills of Earth with the closing track “Chugsby’s Theme”. Whoever Chugsby is, his vibe is organic, deeply grounded and beautiful.

In the duo’s own words:

“Natural Magic II is a west coast road trip soundtrack for the fading summer. Taking inspiration from the majesty and myths of their home in the Pacific Northwest, the seven track album is culled from the late night, dimly lit, live sessions of Mike McKinnon on keys/drums and Matthew Quiet on bass. Overdubs of guitar, synths and percussion followed. All this from the same space they throw their legendary Limited Edition parties - all-night free experimentation celebrations in their own right. The album art work is handmade flower pigments, opium poppy pollen ink and wood-scrap charcoal by their friend and collaborator Pith Cocomici. Roll the widows down, tilt the seat back and turn it up. Gas, grass or black mass... there's magic in the hills.

“The music of Season 2 of SEVERANCE is true to what came before in Season 1, while also developing new themes, new sounds, and new variations,” says Shapiro. “The season's bold expansions into new storylines and new locations, along with the incredible filmmaking and performances, provided plenty of inspiration.” “We are beyond thrilled to head back to Lumon with our Season 2 vinyl package,” says Mutant Co-Founder Spencer Hickman. “Working alongside Ben Stiller and his team, Fifth Season, and Apple has been an absolute honour and a joy. Greg Ruth and I are obsessed with the show and the chance to play in this sandbox again. Creating original art alongside in-show ephemera is like receiving a gift. I couldn't be prouder of the package we have crafted for Season 2, blending the Innie and Outie worlds just as the season itself felt instinctual. I really hope fans feel we have done it justice. PRAISE KIER.” Single LP with obi strip and a 16-page booklet featuring portraits of the main cast.

What can be said about Joey Beltram’s ‘Energy Flash’ that hasn’t be said already! The track still gets rinsed, week in, week out, across radio stations, clubs and festivals, testimony to the sheer importance of this techno classic.

Released originally in 1990 on the R&S Records label, ‘Beltram Vol. 1’ included the aforementioned ‘Energy Flash’, alongside three equally ground-breaking dance tracks that possibly get overshadowed by the big lead track. But tracks like ‘Subsonic Bass’ broke the mould and went on to influence a raft of rave and drum ‘n’ bass tunes, thanks in part to its use of the now legendary ‘hoover’ bass sound. The sinister acid of ‘Jazz 3033’ still sounds as fresh today as it did 33 years ago, and the menacingly titled ‘Psycho Bass’ reveals the EP’s most passive moment, as its solid breakbeat cuts through ethereal tones and chugging synths.

‘Beltram Volume 1’ has been remastered by Beau Thomas at Ten Eight Seven Mastering, and the release comes in an updated sleeve, faithfully recreating the 1990 packaging.

‘Beltram Volume 1’ by Joey Beltram is available on R&S Records from 10th February 2023.

There are techno classics, and there are techno classics! It’s without doubt that Joey Beltram has played a pivotal role in the growth of the techno sound that gestated in Detroit and was lapped up in Europe during those early years. Beltram spearheaded a darker sound that became a staple in the UK and European rave scene in the early 90s, and a sound that continues to come back around for revival and a new twist on the genre from the producers and DJs of the day.

‘Beltram Volume 2’ was first released on R&S Records in 1991, and despite the huge success of the ‘Energy Flash’ single, released a year prior, ‘Volume 2’, some say, is ‘Beltram’s definitive release on R&S’. Deep, dark and deliciously hypnotic, all four cuts on this EP still sound as raw and devastating 30 years later. Big tunes at seminal clubs like Rage (Fabio & Grooverider) and the network of UK raves soundtracked by the likes of Carl Cox, Colin Faver, Eddie Richards et al, Beltram’s unique sound help spawn the bass heavy drum & bass genre that was also burgeoning at the time.

‘Beltram Volume 2’ has been remastered by Beau Thomas at Ten Eight Seven Mastering, and the release comes in an updated sleeve, faithfully recreating the 1991 packaging featuring Christel Brodahl’s now legendary oil painting.

‘Beltram Volume 2’ by Joey Beltram is available on R&S Records from 9th December 2022.

Numero 6 returns with a brand-new EP landing on Planète 51

A project long awaited that’s been building momentum and curiosity for months. In this record you can expect some strong basslines, hypnotic grooves, and a pretty sick edit, ...

Hiver completes a trilogy of EPs on Gudu with ‘Blue Hell’, another transmission of space-age machine funk from a duo who are truly shaping their own soundworld.

If you’ve followed Hiver, you should know the deal by now: they’ve spent the last decade honing a sound that draws heavily from dance music history – namely the starry-eyed synthesizer funk of classic techno and electro – that drips in colour and emotion without ever feeling retrograde. ‘Blue Hell’ is their third EP for Gudu, and maybe their most accomplished yet.

In Hiver’s words, “this EP was shaped by a mix of late night club energy and the more introspective, melodic ideas we’ve been exploring in the past years. A big part of it also comes from the tension between how people connect today. This constant, hyper-connected flow of networks, media, and online exchanges and our own way of creating music, which is very physical and personal. We’re always bouncing ideas through messages and files, but the real magic still happens when we meet in the studio, face to face. That contrast between digital connection and human presence became a sort of hidden theme behind the EP.”

“With Blue Hell, our third chapter on Gudu, we wanted to capture a moment of clarity, something direct yet still drifting. In a way, this release completes the excursion we began with the first two records: three points that trace the contours of the sounds we’re drawn to. Each track feels like a fragment of that journey, grounded in rhythm but always leaning toward depth and escape.”

DGM & Panegyric proudly present…

One of the highlights of the King Crimson 50th anniversary CD/Blu-ray editions to date has been King Crimson producer David Singleton’s series of Elemental Mixes as he utilises the full spectrum of available studio sessions for each album to produce very different takes on the familiar songs and pieces.

This is especially true of Lizard where the ambition of the material, the much-expanded line-up of musicians - the background of many of them in the jazz rather than the rock world - and the number of takes recorded, resulted in a large amount of material to be considered for this album.

There was enough material for David to be able to mix and produce alternate takes for every piece from the original album.

As well as giving great insight into the recordings, the nature of Elemental Mixes allows for different takes from individual musicians to be included – sometimes alongside one another - in a way that would never be considered in the formulation of the original album.

David comments that “When I was working on the Elemental mixes, I jokingly described them as ‘Lizard for those who don’t like Lizard’. They were a complete revelation. Lizard is the one album which, in its initial incarnation, never quite convinced me. And yet these Elemental mixes, with their opportunity to look ‘under the hood’ of the album, revealed something fresh, wonderful and astonishing. So, if you are a King Crimson fan, who like me, has never quite taken Lizard to your heart, then these are essential listening. And hopefully equally fascinating to those who already love the album”.

Presented as a single 200gram LP and including the complete album in Elemental Mixes form, running in the same sequence as the original album, this release showcases Lizard in a very different manner to how it’s previously been heard.

Lizard’s reputation has grown, deservedly so, in recent years as old and new audiences alike rediscovered the album, initially when it was first remixed for new Stereo and 5.1 Surround Sound editions in 2009 by Steven Wilson and then as much of it was performed live for the first time in concerts by the most recent King Crimson line-up between 2016 and 2018.

Métron Records announces Mycorrhizal Music, the forthcoming album from composer and multi instrumentalist Ess Whiteley. Currently a PhD candidate in Composition at the University of California-San Diego, Whiteley’s practice spans recordings, installations, performances, and scores, a body of work as diverse as the fungal webs that inspire it.

Across seven tracks, Whiteley explores interconnected sound worlds shaped by mycelium networks, rhizomatic structures, and other unseen systems that sustain life. Rooted in experimental electronics, minimalism, ambient and IDM, the record imagines sound as ephemeral connective tissue capable of reshaping how a listener might experience time, memory, and futurity.

At the core of Whiteley’s work is an excavation of what lies beneath perception, the felt but unspoken currents of emotionality and subtle experiences that dwell in the unconscious.

Mycorrhizal Music channels these hidden threads into a speculative ecosystem of kinship and exchange, where joy, play, and spirituality interlace like branching hyphae beneath the soil. Mycorrhizal Music has been conceived as kinetic ambient music, designed to move with the listener while walking, riding trains, driving, cooking, where everyday rhythms align with shifting sonic textures, reminding them of hidden, interconnected, mycelial webs of spiritual vitality beneath the surfaces of daily activity.

Guided by a vision of speculative ecology and interspecies resonance, it thrives in contrasts: tracks like Rhizomatic Harpists and Whispered Messages in Tapestried Fields of Fluid Motion pulse with fluid momentum, while Kaleidoscopic Patterns of Emptiness Dancing drifts into fragile stillness.

With artwork by Kenta Senekt and mastering by Brandon Hocura, Mycorrhizal Music extends Métron Records’ ethos of cultivating subtle, interconnected sound worlds.

It’s been over 20 years since Kenny Dixon Jr., better known as Moodymann, released Black Mahogani—an album rich in atmosphere and emotion, offering a quintessential journey through deep house, soul, and jazz. Timeless yet modern, it’s an immersive and emotionally resonant experience that reflects the singular character of Detroit’s deep musical heritage.

Originally released in 2004, Black Mahogani is arguably one of Moodymann’s most revered and sought-after works. It completes the puzzle laid out by his rare and elusive KDJ 12” releases from the mid to late '90s. With the help of Detroit legends like the late Amp Fiddler, Roberta Sweed, and Norma Jean Bell, Dixon infused his analog soundscapes and samples with a new organic warmth—expanding the deep house genre while simultaneously paying homage to 1970s soul and cinematic soundtracks.

Dixon’s masterful control of tension—knowing exactly when to hold back and when to let go—makes Black Mahogani an enduring masterpiece. It's not just a landmark in electronic music, but a definitive statement in 21st-century Black American music.

“The group has no niche, it doesn’t fit in anywhere,” explains Necessaries drummer Jesse Chamberlain in a 1980 Melody Maker interview. “We just state the facts about life in America, like The Clash did about England, but we’re not so heavy about it.” The Necessaries rose from the ashes of Harry Toledo & The Rockets, a little-known New York art-rock band playing gigs at Max’s Kansas City during glam’s metamorphosis into punk. —From the liner notes by Michael IQ Jones The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage To Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love Of Life Orchestra). First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them viable for commercial release, but due to tour commitments, the band had to put the sessions on hold to hit the road. While on tour, the band was shocked to discover that Sire had issued the unfinished tracks as their debut album Big Sky (issued in 1981). The band had Big Sky withdrawn and replaced with Event Horizon (issued in 1982) which included half the original tracks from Big Sky and continued to record throughout 1982 aiming for a follow-up. It was not to be and their final studio sessions remained unissued until now. Completely Necessary (Anthology 1978–1982) is the first authorized collection of recordings by The Necessaries and includes 37 tracks, 28 of which are previously unissued. Completely Necessary represents the most accurate musical history of the band laid out across three albums. Disc one is the band-approved first album Event Horizon, followed by Pilots Facing North, a disc collecting studio recordings spanning 1978–1981 and disc three finally sees the release of their final sessions, Songs From The Blue Colony. Album notes by Michael IQ Jones trace the history of the band for this compilation produced by The Necessaries’ Ed Tomney and Cheryl Pawelski (Omnivore Recordings). The audio has been restored and mastered by Michael Graves at Osiris Studio, and both the 3-LP and 2-CD sets feature previously unseen photos across the package. Finally, an essential missing piece of the late ’70s/early ’80s New York scene that was just slightly ahead of the college alt-rock soon to come, is finally available to rediscover—this time it’s authorized and absolutely necessary. BUY! HERE’S WHY! • The first authorized and comprehensive anthology by The Necessaries. • Mid-’70s/early ’80s New York rock/punk/art scene band included members: Ed Tomney, Ernier Brooks, Arthur Russell, Jesse Chamberlain, and Randy Gun. • 37 tracks, 28 previously unissued. • Liner notes by Michael IQ Jones, plus unseen photos.

American jazz keyboardist Hilton Felton, who also recorded a superb album as The Three of Us which is also being reissued right now, dropped his most classic full length A Man For All Reasons in 1980. It came on his own label and the reason it is so well thought of is that it has become a real staple of the rare groove scene thanks to how much of it get splayed by DJs and how many key collectors have it on their racks. This reissue, with an all new remastering, arrives via P-Vine with gems like the standout jazz funk gem 'Bee Bop Boogie' one of many of its tunes that are still rare groove classics.

The Doom label has been digging in the archives again to turn out some killer instrumental hip-hop beats on a land, limited 7". These are designed for maximum DJ deployment and will prove irresistible to dancers. First up is a classic blend of golden-era boom bap that's dusty and drenched in soul, with classic samples adding that hooky charm. On the flip is another one from some more icons of the game that is deeper, slower, more sensual and an evergreen party favourite with a sophisticated funk edge.

Back when the first white labels started floating through the hands of German, British, American and Canadian DJs in late ’84, nobody was ready for what was coming. The official drop hit in early ’85 and the scene was never the same again. This was the moment Mike Mareen broke through the static. Yeah, he’d been working with Chris Evans-Ironside since the ’70s but nothing hinted that together they’d channel something this futuristic. “Dancing In The Dark” sounded like it had slipped through a wormhole: melancholic, hypnotic vocals wrapped in vocoder haze, riding an arrangement so razor-sharp it made most releases of the era feel prehistoric. It didn’t need the pop charts… It owned the clubs. And the clubs listened.

London. Berlin. Madrid. Rome. Paris. Lisbon. Amsterdam. Athens. Toronto. NYC. Tokyo. Mexico City.

One drop of that electro bassline and DJs were hooked. Crowds were hooked. The whole underground was hooked. Soon Europe’s radio charts caved under its pressure, and the track crossed borders on mixtapes, becoming a cult anthem behind the Iron Curtain. It was everywhere, even where it technically wasn’t allowed to be.

Fast-forward four decades and the spell hasn’t faded. “Dancing In The Dark” still shows up in indie dance, italo wave, house and deep house sets. Producers keep re-editing it like it’s sacred material. It’s one of those tracks that DJs treasure, a timeless weapon, one of the top three defining singles of Mareen’s entire career.

And now for the 40th anniversary of its official release, Vintage Pleasure Boutique and Night’n Day Records drop the vinyl every collector and selector has been waiting for: a special reissue loaded with four brand-new remixes spanning the full spectrum of today’s underground indie/disco/italo/house energy.

Tallac – the American Berlin dweller – dives deep into the hypnotic soul of the original, pulling out its buried deep-house DNA and carving out a spacious, emotional roller.

Luksek, Italian producer & DJ, goes raw and dirty: loop-driven, gritty, underground, hypnotic, the kind of edit that eats dancefloors alive.

Flemming Dalum, the Danish Italo grandmaster, finally gets to remix the track he’d always dreamed of touching and of course it’s pure Flemingish electro-italo magic.

And the Polish sparkle: A.P. Mono delivers a shimmering mix of italo disco, glitterbox groove, disco glamour and synthwave glow, all while keeping the spirit of Mareen’s original heartbeat intact.

The wax also features two historical heavy-hitters: the 1985 Jens Lissat’s team remix and Luis Rodriguez’s original arrangement, essential cuts in the Mareen universe.

This release isn’t nostalgia. It’s a resurrection. A celebration. A reminder. “Dancing In The Dark” didn’t survive 40 years by accident, it survived because it still moves bodies, breaks hearts and lights up floors in ways modern tracks can only wish for.

If you’re an indie, italo, wave, house or disco DJ… This record isn’t just worth owning… It’s mandatory.

The fourth chapter on Childhood intelligence alternate sub-division corporation “Sunrise Inc.”.

5 Neo-Braindance Artifacts have been discovered, written and produced by “Outer Order” of the Planetary Instinct Alliance. Mystic analogue rhythms and vintage sounds, a vortex of haunted synth landscapes & latin grooves, equipped with heavy SH101 low-end frequencies… intimately resonating with hypnotic melodies & voices. A homage to the past, a generational self-prophecy of a producer with music in their ancestry. Welcome to the sound of intelligence, which is another new sunrise, of a series of endeavors into a common future

6 song LP with 3 tracks in extended mixes w/ dub.

Long requested reissue of this 1981 Barrington album, featuring some tracks not available elsewhere, like "Full Understanding" as played by the great Jah Shaka. The whole LP is heavy stuff from the Radics + Scientist combination of the day, like all Barrington's classic early albums. This album has only been available very briefly a couple of times since its original release, and it's back here pressed from new stampers from the original mothers, which means you're getting a record identical to the original press. An essential album if you love the heavy sound of the early 80s.

Das Beste Aus Hagen Redux is an icy transmission from the early circuitry of European minimalism. A revives the pulse of proto-electro with surgical precision—pure voltage, no excess. Cold synth lines snake through monochrome rhythms, delivering drama without decadence. It’s music for neon-lit silence and synthetic nostalgia, built from tape hiss, static tension, and analog dreams. Minimal synth stripped to the bone—resistant, elegant, and eternal. Presented in ONE- OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

EdB keeps pushing deeper into sonic chaos with “La Anarquía Sónica” — a raw, proto, and visceral journey built on hand-crafted beats, deliciously unhinged basslines and immersive field recordings. Music for the restless. For those obsessed with sound. For anyone tired of hearing the same thing over and over again. Dystopian music for a universal shift. This time, EdB joins forces with Belgian synth guru Peter Bonne / Chayell Zenn (Linear Movement, Twilight Ritual) to rework “The Enochian Keepers of Time” — also included in its original version on the EP — into an emo- electro industrial aberration titled “Guardianes del Tiempo.” Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes printed innersleeve. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Rare as fish knees, roots gem!

“Me Look Like A Lion But Me Humble Like A Man”

Fredrick Dookie & Desmond Silpatt were cousins and close friends who though not prolific, created one stunning reggae tune which has been near impossible to find for over 40 years.
Like artists from Supercat to Sheila Rickards, Freddie & Dessie are of Indo-Jamaican descent. They gravitated to music from an early age.

Recorded at Aquarius and arranged by Wire Lindo, the track features back up vocals from a young Beres Hammond.

"I have loved this song for a very long time and this exclusive reissue has been in the works for several years since I tracked down one half of the duo Dessie aka Desmond Silpatt who is now based in Florida." says Chris from Shella Records.

Freddie who provides the song’s hypnotic vocal was a devout Rasta man who sadly passed away in 2019. He is survived by Dessie, a renaissance man, inventor and author who has penned thousands of songs in his time.

»locket« ist das mit Spannung erwartete vierte Studioalbum der zweifach GRAMMY®- nominierten und mehrfach mit Platin ausgezeichneten Künstlerin Madison Beer. Mit dem mitreißenden Dance-Track »yes baby« und der empowernden Trennungshymne »bittersweet« erzählt das neue Album eine nachvollziehbare Geschichte: sich zu verlieben, zu erkennen, dass die Beziehung ungesund ist, sie zu beenden, sich selbst wiederzufinden und letztlich zu sich selbst zurückzukehren. Als wahre kreative Kraft singt, schreibt, produziert, inszeniert und gestaltet Madison mit kompromissloser Authentizität. »locket« festigt ihren Status als eine der einflussreichsten Stimmen ihrer Generation.

Following on from the first KMS Sampler, PDD in conjunction with Armada Music & BEAT Music Fund return for Volume 2 in the series. Once again mining the delights in the expansive catalogue, Volume 2 showcases four more essential cuts. Up first is the classic MK Mix of R-Tyme’s – Use Me. Next up on the A side we have the legendary pairing of Chez Damier and Ron Trent with their remix of Inner City – Share My Life. On the flip, the D’Pac Dub of Dionne opens the B side and then rounding off the EP is the second Inner City track, this time remixed by another Detroit hero, Carl Craig.

Just like Volume 1, the audio has been lovingly remastered by AIR Studios and their team of celebrated engineers, fully utilising their mastering knowledge. Another brilliant volume from KMS!

Marking 50 years of David Bowie’s groundbreaking tenth studio album, the limited-edition picture disc LP is pressed from the same master and includes an exact reproduction of the original promotional poster used at release.

For this anniversary edition, the Half Speed Master album has been recut on a customised late-model Neumann VMS80 lathe with fully recapped electronics, sourced from 192kHz restored masters of the original Record Plant master tapes. No additional processing was applied, delivering the closest possible representation of the album’s original sound.

Happy to present what is sure to be one of this summer's standout soundtracks. Nic Jalusi, an up-and-coming DJ and producer based in Munich, has been making waves for some time now with his refined house style rooted in the '90s. One of the creative minds behind the fantastic label Super Sound Global, he now lands on MM Discos with Eternal Sunset.
Eternal Sunset brings together all the influences and styles that have shaped Nic Jalusi's sound over the years. From the Italian-rooted dream house of "Sunset 92" and "La Noche," to the Kwaito, Dub, and African-Synth flavors of "Mystic Rythm" and "Gamballa Acid," all the way to the late-night breaks of "Eternal Dance" and "X-break."
A perfect summer cocktail to beat the heat - whether you're in your living room or on the dance floor.

Beautiful soulful album by George Smallwood - including original material from home sessions prior to George's 1980 self- released LP. The rest, a sampling from the Smallwood mind's library of classic song writers. Huge tip!
"Recorded Live in Hyattsville, MD 1975-2015. George really had no interest in releasing this record. 'Seeing Is believing, they don't need records, trust me I did that, today they getting it live.' So this record is that, live tapes from the house, recorded on a government issued cassette recorder from National Library Service for the Blind. George calls these his practice tapes for songwriting, and performance warm-up, and never beyond his ears were they intended to travel. 'You just got to see me live if you want to really see me.. so when we get there just plug me in, and point me at that crowd' Last time I saw George they had him wired to the club system. He unplugs his Yamaha keyboard, licks the tip of the power cord and taps a beat on it, finally plugging in, synth lights up, tones all at zero, beats at zero. Then he builds from there, counting blind through a preset one hunderd factory tones and rhythm patterns. 'I gotta start off at zero, and go from there.' After the Marshmellow Band disperesed, he got this Yamaha keyboard, same one he's been playing since 1990, endless scrolling over the same presets, trying to make them fit, tempo down, tapping while telling the story and asking if that feels right to you. 'This always gonna be different live.'
Andrew Morgan (Peoples Potential Unlimited)

Unitology is here fresh off the stove. The story has been told by Bogota based artist Felipe Buraye who has been releasing steadily on the best international labels for you to check out, while also co-curating his own label called “From the Void Above”. Releasing under Buraye as well as his alter egos “The Voltaic Continuum” and “Dream Architect” allows you to see that there has been an immersive amount of work put in from this artist, therefore there is tons of music available whenever it’s on digital or vinyl format. It can safely be said that Buraye has got your audio needs covered. From A1-B2 the essence of the artist can be felt within his personal style that brings the Unitology to life. The artist has been a close friend of the label for a while so it is an utmost honour to finally have him on board with his signature flavour of music flawlessly executed.

Rising multi-media artist Shaboozey intends to build his own world.

Determined to carve his own lane in the Alt-Country / Hip-Hop space; he crafts a sound that pays homage to a cast of traditional Western influences, such as Bob Dylan, Lead Belly, Johnny Cash, and Leonard Cohen, while looking into the future of what the two genres have yet to introduce.

Remaining true to his Virginia roots, Shaboozey hopes to continue the region’s long-standing tradition of producing some of the most prolific creatives of the new millennium. This time through elevating the scope of contemporary hip-hop and introducing a modern Americana culture to a global audience.

Fresh off of his inclusion in the groundbreaking Beyonce album, Cowboy Carter, of which he was the only featured artist to appear twice, Shaboozey is set to release his own album, Where I've Been, isn't Where I'm Going. An album that has been years in the making, it includes standout singles “Let It Burn,” “Vegas,” “Anabelle,” & the infectiously fun singalong anthem “A Bar Song (Tipsy).” Millions of streams later, and appearances on esteemed programs such as COLORS and The Late Show with Stephen Colbert, Shaboozey is set to become the new face of modern American country music.

Overlooked 2018 cali funk which has been steady creepin over here for awhile now. Lyrics by Mic (Microphone) and Ricky (Moses Constable). Previously released as a digi demo only... but PPU got you with this single sided 7".. thanks to manny from pushers avenue

As promised, Playfool was always meant to be about inviting other artists to join the fun.

For this first collaboration, Occibel teams up with Light Blue File, a friend he met recently in Paris.

After sharing some beers, ideas started flowing and the vibe instantly clicked — no choice but to turn it into something real for you guys.

These tracks mark the beginning of a new series of collabs under Playfool Records, where creativity meets spontaneity under the summer sun.

Enjoy and play it loud!

Another DINTE tape curated by cult WFMU show and blogger Bodega Pop; Gary Sullivan's long-running project rooted in a passion for digging for music in bodegas and cell-phone stores across NYC's boroughs. This edition focuses in on late 1990s and early 00s hip-hop & rnb from across Southeastern Asia.

"While on a work trip to Chicago in the mid-2000s, I was craving a bowl of pho. A bit of sleuthing led me to hop on the red line "L" up to Argyle Street, ground zero of Chicago's Little Saigon. In the 1960s, Chicago restaurateur Jimmy Wong invested in property on Argyle Street with a vision to build the city's new Chinatown, a kind of mall with pagodas, trees, and reflecting pools. In 1971, the Hip Sing Association, a labor/criminal organization, established itself in the area, and along with Wong, they bought up 80% of the buildings on a three-block stretch of the street. Wong reportedly broke both hips in an accident, leaving his dream to wither; in 1979, Charlie Soo of the Asian American Small Business Association brought it back to life.

Soo expanded the area into a vibrant mix of Chinese, Vietnamese, and other Southeast Asian businesses, pushing for renovations, including an Argyle station facelift and the Taste of Argyle festival. At the time I exited the station and crossed the street to get a better look at a shop with a poster for A Vertical Ray of the Sun in the window, the area was home to some 37,000 Vietnamese residents.

Opening the door, I was gobsmacked by a cavernous Southeast Asian media store, bigger than any I'd been to in Dallas, Montreal, New York, or Seattle. I spent some time at the bins, pulling out collections by some of my then-favorite singers — Giao Linh, Khánh Ly, Phương Dung — before approaching the register to ask the young woman behind the counter if the they carried any Vietnamese rap. It was a longshot, I knew, but if such a thing existed on physical media and anyone carried it, it would be this place.

'Have you heard Vietnamese rap?' she replied, her tone of voice and facial expression betraying a comically exaggerated level of distaste. I admitted my ignorance but assured her that I had long cultivated a high threshold for cheesy pop music of all kinds and genuinely tended to like hip hop from around the world.

She rolled her eyes and pointed to an area I had missed. I walked toward a far corner of the store and knelt over a small box on the floor sparsely populated with CDs, VCDs, and cassettes. I pulled out half a dozen Vietnamese hip hop compilations and a strange-looking CD with a cavalcade of odd typefaces in a queasy multitude of colors: THAILAND RAP HIT, it boasted, with 泰國 "燒香" 勁歌金曲 below it. The information on the back provided an address in Kuala Lumpur and the titles in Thai and English translation. The first track included three simplified Chinese characters after the English-language version of the title, "The Chinese Association": 自己人.

WTF was going on here? Walking back to the register, I waved the CD, asking "What's up with this one?" She gave me a look. I placed it on the counter so she could bask in the cover's full glory. She shrugged. "I'm guessing it's Thai rap?" She looked disappointed in me when I said I'd take it.

It turned out to be a Malaysian pressing of half-Chinese Thai hip hop artist Joey Boy's third album, Fun Fun Fun from 1996, and it completely changed my sense what the genre could sound like. The rapper's self-assured, effortless, silly-but-cool rapid-fire delivery weaved in and out of the most bizarre, antic beats I'd ever heard. The six Vietnamese hip hop CDs were a mixed bag, mostly "serious" sounding mimicry of US rapping over predictable production, but the highs were very high. When I got home and listened to it all, I made a point to find as much hip hop from this part of the world as I could.

The tracks collected here provide a limited but potent reflection of the two-decade ascendency
and ultimate world-takeover of hip hop, as it displaced rock and its endless variants for millions of listeners. This not a fair and balanced overview of regional production: I've only included tracks from Cambodia, Indonesia, Myanmar, Philippines, Thailand, and Vietnam. Nor is this a biggest or most important artists collection; instead, I've tried to recapture the pure visceral thrill of that first time I heard Joey Boy, choosing bangers that sound like nothing else, from nowhere else."

—Gary Sullivan

Carolina funk obscurity alert! "Migraine" by North Carolinian musician Dennis Garner, together with Dennis O., is a deep, rare slice of local funk magic. This 45 has always been a bit of a frustration—the cutting engineer accidentally left the lathe test tone running for a few seconds.mid-track, which made it tough to play out. We've finally fixed that issue, and now this killer cut is ready for some proper funtime.

I first found out about Dope On Plastic from a remix they had done of a track by Ontology (who has released previously on this label) & then later found out more about them when they had been sending tunes to Pete Dev/Null, which I would hear him playing on our radio show on Jungletrain.

Soon after that, whilst touring North America, I'd meet Dope On Plastic in person whilst I was in New York, get to hang out with them and visit their home studio. They showed me a tune at the time they were working on (which ended up being Odyssey) and it sounded sick, like something that I would definitely release on Future Retro London.

When they finished it and sent it over to me, along with some other music they had made around that time, there was more than enough to work with for a full EP & Life Energy is a collection of my favourite tracks of theirs of what they had sent me. Big up to Luca (Dope On Plastic) for their work on this EP, keep an eye out for more music from them in the future!

For years & years & years, I have been trying to get some solo music from Champa B on Future Retro London! This release has gone through so many different forms & iterations to try and accommodate getting him onto a release in some form & it's now finally here as a collaborative release with me.

I'm a huge huge fan of Champa B's tunes, especially his 93 darkside hardcore style that he previously done on releases for Modified Magic, Parallax Recordings & Green Bay Wax. I wanted so desperately to have him do some more music in that vein, but he was busy making other styles of music under his Grief alias as well as being busy with his day job to not really have the time for it.

But eventually, he was able to make some time for getting back into this style & we were able to do 2 collaborations and a solo tune each to get this done. Big thanks to him for his involvement in this release, hopefully not the last you'll see of his darker side!

Megadeth have announced their final, self titled album, for release in 2026, via Dave Mustaine’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label. The campaign is anchored by the first single “Tipping Point”, multiple variants and exclusives and and a farewell tour has been hinted for 2026 “There's so many musicians that have come to the end of their career, whether accidental or intentional,” DAVE MUSTAINE says. “Most of them don't get to go out on their own terms on top, and that's where I'm at in my life right now. I have traveled the world and have made millions upon millions of fans and the hardest part of all of this is saying goodbye to them. We can't wait for you to hear this album and see us on tour. If there was ever a perfect time for us to put out a new album, it's now."

PROMISE is the latest album from Brooklyn-based producer Ibe Soliman, aka Bad Colours. Known for his blend of house, proto-techno, rap, and soul, Bad Colours delivers a dynamic, emotionally resonant record. Driven by hypnotic rhythms and personal storytelling, PROMISE explores themes of vulnerability, desire, and transformation. It's a versatile album designed for both dancefloors and introspective listening.

PROMISE is the fourth LP from Bad Colours on Bastard Jazz, following 2024's collaborative album with Cor.ece, Been Here Before. Soliman's career spans over a decade—DJing alongside artists like James Murphy, Mark Ronson, and Q-Tip, and producing for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross. His work has received support from KCRW, KEXP (including multiple Midnight in a Perfect World mixes), and CBC Radio 3, and has charted on both the NACC Top Electronic and Top 200 charts. Bad Colours has been featured in press outlets like NYLON, Nonderland, Resident Advisor, Electronic Groove, and Fusicology. His music has appeared in Netflix's Escape from Spiderhead, Hulu's Woke, Disney's Chang Can Dunk, Showtime's American Gigolo, Valorant's Rising Stars, and more.

For the first time on Little Beat More, Sweden’s Cumbiasound deliver a vibrant 7” that expands their ever-evolving exploration of tropical soundscapes. Led by Daniel Fridell, the band has long been pushing the boundaries of cumbia while keeping its analogue heart beating strong, blending classic Colombian and Peruvian sounds with Afrobeat, reggae, jazz, funk, and beyond.

The A-side Mas Paz (Rework) breathes new life into one of Cumbiasound’s most beloved tracks, originally featured on their album Cosas del Universo. Vocalist Lis Flores Varela brings her unmistakable smoothness, while Chilean rapper Boogie Castillo lays down thoughtful verses with his signature flow in a track that captures the essence of the band: rooted, soulful, and globally connected. And to top it off, this new version has a fresh new vocal feature by Congolese singer José Pereelanga.

On the flip side, Jinsei, is a collaboration with Japanese cumbia band Mumbia y Sus Candelosos, led by composer and percussionist Mutsumi Kobayashi. With its breezy guitars, soft tropical groove, and the warm vocals of José Pereelanga, the track drifts like a slow river, effortlessly bridging continents and traditions.

With this 7”, Cumbiasound once again affirms its place among the most interesting projects in today’s nu-cumbia landscape with a vision that crosses borders with ease.

Made with Love by Little Beat More 2025 “We Dance We Think”

Emerging during the early stages of the recording industry in Japan, the ryūkōka style adopted western classical, blues & jazz elements into traditional and classical Japanese music.

This collection of 1920s & 30s ryūkōka recordings follows on from the Kouta Katsutaro tape we put out a couple of years back, and further captures the hauntingly unique sound of a cultural merging that was starting to reflect itself via popular song, ahead of the widespread influence of western pop music during post-war US occupation.

"Death Is Not The End are on a mission to expand the musical archive, with compilations of everything from Jamaican doo wop to pirate radio idents and adverts weaving new threads into the history of music. Longing For The Shadow: Ryūkōka Recordings, 1921-1939 goes back to the beginnings of the recording industry in Japan, and a style merging traditional Japanese forms with western pop and classical. Swooning orchestrations and prominent vocals capture some of the melodrama and bombast found in US and European music of the time, but beds of plucked and strummed instruments give an ordered elegance, tying it firmly to Hogaku tradition. Not much has been written about Ryūkōka, and a 2017 book by Hiromu Nagahara gives some clue as to why, arguing that although popular with the public, it was dismissed by critics both for its adoption of western sounds and its dwelling on Japanese traditional styles. Close to a century later, those are some of the qualities that make this compilation so fascinating." - The Quietus

Jalapeno Records are celebrating their 25th anniversary in the business. The label are marking the occasion with the release of a 3LP compilation featuring some of label boss Trevor Mac's favourite dancefloor gems from across the years. From a humble start in a basement recording studio on Holloway Road to a quarter century anniversary celebrated from their Brighton offices – Jalapeno Records has been an indie label with a mission - to bring the funk to the masses. Along the way that has taken in so many genres from chill to house, gospel to soul, breaks to drum & bass but it has all had a common thread running through it - the funk. "Twenty Five years means there are too many artists to list and this album is not supposed to be a Greatest Hits. We did that on the 20th anniversary. The album is dedicated to all of the artists that trusted us with their music and all the people who supported us along the way" says Trevor











k 11. Back Again (Hot Toddy Remix) feat. John Turrell — Kraak & Smaak


n 14. Alone with You (Purple Disco Machine Remix) feat. Cleopold — Kraak & Smaak











[k] 11. Back Again (Hot Toddy Remix) [feat. John Turrell] — Kraak & Smaak


[n] 14. Alone with You (Purple Disco Machine Remix) [feat. Cleopold] — Kraak & Smaak











[k] 11. Back Again (Hot Toddy Remix) [feat. John Turrell] — Kraak & Smaak


[n] 14. Alone with You (Purple Disco Machine Remix) [feat. Cleopold] — Kraak & Smaak

2026 Repress

Slam rework Nitzer Ebb, Silent Breed, DK8, Terrence Fixmer and more for the final installment of their Archive Edit series.

Soma label heads Slam curate a specially designed package of tracks to finalize their Archive Edit project that sees them delve deep into Techno's past to bring some of the genre's best tracks into the modern age. The Archive Edit project started as a way for Slam to showcase and share the many different edits that had made their way into their DJ sets over the last few years.

The pairing of Stuart McMillan & Orde Meikle have both raided their extensive collections, picking out tracks that have defined countless sets over their career. Tracks from luminaries such as Nitzer Ebb, Thomas P Heckmann (as Silent Breed), Damon Wild & Terrence Fixmer have been re-edited alongside some of Slam's own unreleased material, showcasing the duo's current sound; one that naturally evolves, matures and demonstrates why the duo have been at the forefront of the global scene since its inception.

Limited Edition Transparent Black Vinyl Version - 500 Units Only

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s The House Music Anthem (Move Your Body) featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

2026 Repress

The ever enigmatic Deepchord makes a most welcome return to Soma with this, the first single to be taken from this latest full length, Ultraviolet Music. Three beautiful slices have been cut from the album to form this truly outstanding single and shows Deepchord return to a straight up mix of heady, cerebral dub techno infused with more solid rhythms.

2026 Repress

Belgian based Phara makes a huge debut on Soma with The Great Attractor EP. With his fast, raw and energetic sound, Phara's ascent has been quick off the mark and this latest release has the young producer stretch himself farther with cleverly produced and exciting tracks. UK Techno don, Setaoc Mass backs up this already masterful EP, lending his own prowess to the title track.

Great Attractor leans on 90s, spaced out techno vibes as fast paced 909s fire against the backdrop of rapid, modulating synths. Setaoc Mass' remix comes up next, offering a deeper more restrained affair. However, as usual, the adept nature of his productions deal out devastating effect. On the flip, Mission 3,2,1 delves into dubbed out synth work whilst retaining drive and groove. Further dub explorations are found on closing track The Andromeda Manoeuvre. Spacial synth work and atmospherics ebb and flow as Phara's hard hitting and relentless percussive work deals the final blow.