Twenty years after the release of Anjanas, Pablo Bolivar returns to the album that marked the beginning of his distinctive and deeply emotional approach to electronic music.
Originally released in 2006, Anjanas became an important milestone in Pablo’s musical journey, introducing the atmospheric textures, hypnotic rhythms and subtle emotional depth that would shape his sound for years to come.
To celebrate its 20th anniversary, Pablo has revisited and remixed every track, bringing a fresh sonic perspective while preserving the essence and timeless character of the original album.
More than a look back, Anjanas 20th Anniversary is a dialogue between past and present — a personal reimagining of where it all began, seen through twenty years of experience, evolution and musical exploration.
It’s that time of year again! Are your copies of “Now! That’s What I Ca l Christmas” and “A Motown Christmas” finaly feeling worn out? Strut has the ideal antidote this year, as we dive into the world of festive records made by African artists spanning the late 1960s to the 1980s with our new Krismasi: Christmas Sounds From Africa compilation.
Taking in music from across the continent from Nigeria and Ghana to South Africa and Zimbabwe, Krismasi draws from a wide range of sounds from fun novelty records and spur-of-the-moment jams to spiritual and gospel favourites. Featured artists include Ghanian great Kwadwo Donkoh with a meditative highlife praise song from his much-loved Christmas Africana album. Elsewhere, pop star turned pastor, Jerry Boifraind, has some fun with a song celebrating seeing friends at Christmas and Nigerian pop favourite Martha Ulaeto features with the lilting lead track from her own Christmas Africana release. We pick out some choice Central and East African sounds with Kakai Kilonzo’s bri liant Kilimambogo Brothers Band and Congolese legend Baba Gaston’s Orchestra Baba National capturing the joy of the festive season. We stop off in Zim for a rare Dorothy Masuka acoustic piece and one of the country’s great musicians post-independence, Paul “Dr. Love” Matavire with ‘Christmas Yaswedera’ (‘Christmas Is Near’). Township jazz star Reggie Msomi appears with a joyous township instrumental and, fina ly, we couldn’t release a Christmas co lection without some carols. Here we include here a great version of ‘Mary’s Boy Child’ by UK-based Nigerian highlife musician Flash Dominci and a hi-octane funky medley of favourite festive hymns by Ghana’s Oscar Suley.
The compilation is the first in-depth co lection of rare African Christmas recordings, uncovering a rich and often overlooked chapter of the continent's musical history. Krismasi is available on Red & White Inkplosion Vinyl LP and CD. Vinyl restoration is by Colin Young at See Why Audio, mastering is by Frank Merritt at The Carvery, and the album features striking new artwork by Liam Large.
Ghanaian producer, songwriter, and cultural innovator Delasi has earned international recognition for his forward-thinking blend of traditional Ewe rhythms, soul, jazz, hip-hop, and electronic music, with recent releases on Gilles Peterson's Brownswood Recordings and support from outlets including Bandcamp Daily, CLASH, CRACK, COLORS, and BBC Radio 6 Music. His music has also appeared in the indie feature Dreams in Nightmares and the UK Premier League. Joining him are Tokyo's acclaimed experimental pop outfit TAMTAM, whose distinctive fusion of reggae, dub, jazz, soul, exotica, and electronic music has drawn praise from Gilles Peterson, Bandcamp, NTS, Mr. Bongo, and Rolling Stone Japan, alongside performances at Fuji Rock and international tours across Canada, Australia, and South Korea.
This limited 7" brings the two artists together across two richly textured collaborations. A-side "Guardian of The Green" blends alternative soul, downtempo electronica, trip-hop, and cinematic post-rock into a lush, organic soundscape where futuristic electronics meet live instrumentation. On the flip, "Celestial Bodies" explores dream pop, ambient electronica, and jazz-inflected soul, pairing hypnotic rhythms with shimmering synths, expressive guitars, and warm lo-fi grooves. Together, the release showcases a cinematic, globally minded approach to contemporary electronic music that will appeal to fans of Bonobo, Khruangbin, Little Dragon, and Cinematic Orchestra.
Larry Thompson and Rick Lenoir AKA LNR were early house pioneers who dropped seminal cuts from the late 80s onwards, but few had the impact of their debut, ‘Work It To The Bone’.
The darkly alluring anthem mixed tribal percussion with a minimal groove that went deep and soon became a dance floor classic, spawning a thousand copycats. It has remained an evergreen favourite across the years and now gets covered by New York’s long-time house heavyweight and Grammy-winning producer, remixer and Elements Of Life founder Louie Vega under his Funki Cadets alias. He hooks up with Chicago mainstay Mike Dunn and go-to contemporary house producer Wade Teo for a new version that beefs up the original for modern dance floors.
The opening Louie Vega Mix dials into the original’s tribal energy with a chunky, bouncing groove and hard-hitting percussion, then layers in more synths, effects, and drama to the full-fat sound. It’s a sweaty, steamy affair with a constant sense of momentum as the arrangement evolves, different hooks take the lead, and the pressure stays high. In addition to a DJ Tool Acapella and Louie Vega Beats mix, Wade Teo remixes the track with a deeper groove and dusty drums. It’s a more subtle, heads-down sound but packed with the same edge and rawness that made the original so standout.
Omar Neri aka Omar J Born & live in Arezzo, Dj Professionist from 1991, play and produced under name PRESSLABOYS with Luigi Gori since 2011. In1996 instead, while they were in his basement during a storm, the study got flooded and they looked like homeless people holding all them instruments. Here born Presslab Records & two Years later Presslaboys Team, after various names used before. Today, never forget but never look back, keep moving forward, it’s time to fly… my creature, Tapemann, who lives the eternal dilemma linked to his nature, of tapa, grappling with the future, progress and the loss of certain values that leave room for AI. So, let’s start this totally hybrid journeys, in sounds ranging from house to prog house contexts (sometimes Deep and Dub) but with a sound and structure that recalls minimal, in the choice of reverbs and lengths of the sounds... all immersed in a decidedly acidic context. A melting pot from an artist who has spanned three decades of music, we couldn't expect anything different.
X Clan emerged from Brooklyn, New York as one of the most distinctive and politically charged groups of the early 1990s. The original lineup, Anthony “Sugar Shaft” Hardin, Claude “Paradise” Gray, Jason “Brother J” Hunter, and Lumumba “Professor X” Carson, became the driving force behind the Blackwatch movement, a collective that also included artists such as Lin Que aka Isis and Queen Mother Rage.
Renowned for their Afrocentric vision, militant activism, and unmistakable sonic identity, X Clan quickly rose to prominence. Their 1990 debut album To The East, Blackwards sparked both acclaim and controversy, reaching No. 11 on Billboard’s Top R&B/Hip-Hop Albums and No. 97 on the Billboard 200. The record delivered several standout singles, including “Heed The Word Of The Brother” backed with “Raise The Flag”, “Funkin’ Lesson” backed with “Shaft’s Big Score”, “Grand Verbalizer, What Time Is It?”, and the funk-driven, sample-heavy track “Verbal Milk”.
The group’s original formation dissolved in 1995, and tragically, both Sugar Shaft and Professor X passed away later that year.
To The East, Blackwards is now reissued on vinyl for the first time since 1991, honouring one of hip‑hop’s most influential and culturally resonant albums.
A native of the island nation of Cape Verde, Cesaria Evora was known as the country's foremost practitioner of the morna, a combination of West African percussion with Portuguese fados, Brazilian modinhas, and British sea shanties. After a short singing career in the 1970’s, she returned in the late ‘80s with a string of critically acclaimed and increasingly popular albums.
Her 1999 album Café Atlantico (a reference to her home where she frequently entertained guests) is a much-acclaimed masterpiece, finding Evora venturing into more Latin American musical landscapes, as opposed to Portuguese, which dominated her previous albums. Evora draws from traditional Cuban and Brazilian music to mesmerizing effect. The music is heart-breaking and nostalgic, warm and tragic all at once.
Café Atlantico is available on black vinyl and includes an insert with lyrics.
Songs of Joy and Peace is a Christmas music album by cellist Yo-Yo Ma, originally released in 2008. The album features collaborations with many other artists, including vocalists Diana Krall & Alison Krauss, James Taylor, Dave Brubeck and Chris Botti.
This holiday disc doesn't exclusively stick to traditional Christmas songs, but covers a wide scope of material in a very ambitious manner. Ma opens with a lovely take of the traditional favorite “Dona Nobis Pacem (Give Us Peace)”, playing both the melody and counterpoint via overdubbing.
Jazz pianist/vocalist Diana Krall is superb in a swinging rendition of Jerome Kern's unjustly obscure "You Couldn't Be Cuter", adding bassist John Clayton. An arrangement of “Joy To The World” features pianist Dave Brubeck and cellist Matt Brubeck (his son). Chris Botti has never sounded better in the warm arrangement of “My Favorite Things”, playing both open and muted trumpet. James Taylor is featured on vocals on the Beatles cover “Here Comes The Sun”.
Celebrate the incredible music from the first half of the 70s with this brand-new 2LP collection packed with the era’s most iconic hits.
LP1 kicks off with Queen’s ‘Killer Queen’, followed by Elton John’s timeless ‘Goodbye Yellow Brick Road’ and Mott The Hoople’s anthemic ‘All The Young Dudes’. Glam-rock favourites from Sweet, Mud and Wizzard sit alongside Pilot’s feel-good ‘Magic’ and David Essex’s distinctive ‘Rock On’. Side Two turns up the guitars with Rod Stewart’s ‘You Wear It Well’, Free’s legendary ‘All Right Now’ and Bachman-Turner Overdrive’s ‘You Ain’t Seen Nothin’ Yet’. Alice Cooper’s rebellious ‘School’s Out’, Status Quo’s ‘Down Down’ and Thin Lizzy’s ‘Whisky In The Jar’ continue an incredible run of rock classics before Bob Dylan closes the LP with ‘Knockin’ On Heaven’s Door’.
LP2 opens with Paul McCartney & Wings’ epic ‘Band On The Run’, before Simon & Garfunkel’s ‘Bridge Over Troubled Water’ and Billy Joel’s ‘Piano Man’ showcase some of the decade’s finest songwriting. Harry Nilsson’s unforgettable ‘Without You’ and Terry Jacks’ ‘Seasons In The Sun’ lead into soulful classics from Harold Melvin & The Blue Notes and The Stylistics. Side Two opens with Neil Diamond’s enduring ‘Sweet Caroline’ and Carly Simon’s ‘You’re So Vain’, before Diana Ross’ ‘Ain’t No Mountain High Enough’ and Stevie Wonder’s ‘Signed, Sealed, Delivered I’m Yours’ launch an irresistible run of soul and dancefloor favourites. Barry White’s ‘You’re The First, The Last, My Everything’, George McCrae’s ‘Rock Your Baby’ and The Three Degrees’ ‘When Will I See You Again?’ lead into Michael Jackson’s beautiful ‘Ben’, bringing this celebration of 1970–1974 to a memorable close.
Turn back the clock to an unforgettable era, with 32 huge hits from 1980–1984 brought together across 2LPs.
LP1 launches with Wham!’s feel-good ‘Wake Me Up Before You Go-Go’, before Duran Duran’s ‘Is There Something I Should Know?’ and Eurythmics’ ‘Sweet Dreams (Are Made of This)’ capture the contemporary sound of the new decade. The Human League’s ‘Don’t You Want Me’, Soft Cell’s ‘Tainted Love’ and Heaven 17’s ‘Temptation’ continue an outstanding run of synth-pop classics, with Blondie and Frankie Goes To Hollywood completing Side One. Culture Club open Side Two with ‘Do You Really Want To Hurt Me’, followed by colourful 80s favourites from Adam & The Ants, Altered Images and Kajagoogoo. Haircut 100’s ‘Love Plus One’ and ABC’s ‘The Look Of Love’ lead into Dollar and Bucks Fizz, rounding out a side packed with pure pop nostalgia.
LP2 starts in suitably anthemic style with Spandau Ballet’s ‘Gold’, alongside Elton John’s uplifting ‘I’m Still Standing’ and Billy Joel’s ‘It’s Still Rock and Roll to Me’. The Cars’ ‘Drive’ and Bonnie Tyler’s epic ‘Total Eclipse of the Heart’ bring some of the decade’s biggest power-pop moments, while Laura Branigan’s ‘Self Control’ and Matthew Wilder’s ‘Break My Stride’ pave the way for Dexys Midnight Runners’ ‘Come On Eileen’. Side Two brings another burst of ’80s energy with Ray Parker Jr.’s ‘Ghostbusters’, Chaka Khan’s ‘I Feel for You’ and Billy Ocean’s ‘Caribbean Queen’. Diana Ross’ ‘Upside Down’ is followed by favourites from The Police, Pretenders and The Jam, before Roxy Music’s ‘Jealous Guy’ provides an elegant finale to this celebration of 1980–1984.
Eine historische Begegnung zwischen zwei der größten und legendärsten Bands des ehemaligen Jugoslawiens: LAIBACH - international anerkannt für ihre kompromisslose Auseinandersetzung mit Ideologie, Ästhetik und Macht - präsentieren "Die Kanone". Dabei handelt es sich um eine Neuinterpretation von "Top", der ersten, 1974 veröffentlichten Single von BIJELO DUGME, den Pionieren der jugoslawischen Rockkultur, gegründet von Goran Bregovic. Gemeinsam verwandeln sie einen historischen Song in ein neues Statement über die Zyklen der Geschichte und die Mechanismen, die die Gegenwart prägen - ein Werk, das tief in der Kulturlandschaft des ehemaligen Jugoslawiens verwurzelt ist, aber ebenso deutlich darüber hinausweist. Die Version von Laibach, unter Mitwirkung von Bijelo Dugme und insbesondere Goran Bregovic an der Gitarre, erschien 2025 digital, sowohl in deutscher als auch in slowenischer Sprache. Nun zusätzlich von DIE KRUPPS, THE LINCOLNSHIRE POACHER, BLACK DOT und dem RTV Slovenia Symphony Orchestra neu gemischt und interpretiert, um die allererste physische Veröffentlichung auf 12"-Vinyl und CD zu vervollständigen. Mehr als fünfzig Jahre nachdem das Debüt von Bijelo Dugme ein neues Kapitel in der Geschichte des Balkan-Rock aufschlug, greifen Laibach dieses ikonische Material auf und interpretieren es in ihrer eigenen, monumentalen Klangsprache neu. Das Ergebnis ist ein Dialog zwischen zwei Epochen, zwei künstlerischen Visionen und zwei Herangehensweisen an die Symbole, durch die sich Gesellschaften selbst definieren. "Die Kanone" ist nicht bloß eine Neuinterpretation eines historischen Songs - es ist ein zeitgenössischer Kommentar zum sich wandelnden Verhältnis zwischen Industrie, Technologie und Militarisierung. Der Titel evoziert den Wandel der industriellen Produktion und die beunruhigende Neuausrichtung etablierter Fertigungstraditionen hin zur Herstellung von Waffen und Kriegssystemen. Durch das Aufeinandertreffen der ursprünglichen Rock-Mythologie von Bijelo Dugme und dem Industrial-Ritualismus von Laibach untersucht der Song, wie wirtschaftliche Macht, technologischer Fortschritt und militärische Ambitionen miteinander verflochten sind. Das Stück reflektiert eine Welt, in der die Sprache der Produktion zunehmend mit der Sprache des Konflikts verschmilzt. "Die Kanone" und die slowenische Version "S topom te bom ciljal moja mala" erscheinen erstmals physisch, mit Remixen der deutschen Industrial/EBM-Legenden DIE KRUPPS (die eine episch-wuchtige Version beisteuern, welche ein Hit in ganz eigener Sache ist), des britischen Produzenten The Lincolnshire Poacher sowie des slowenisch-kroatischen Elektronik-Duos Black Dot. Der sechste Titel der 12"-Vinylversion ist eine Live-Aufnahme aus der Oper von Ljubljana, eingespielt mit dem RTV Slovenia Symphony Orchestra. Erhältlich ist klassisch schwarzes oder limitiertes farbiges Vinyl sowie CD mit zwei Bonustracks (iTurks Symphonic Mix der slowenischen Version und eine Instrumental-/Karaoke-Version). Beide Formate mit Obi-Banderole.
What happens when bassweight electronic beats meet the abstract world of one of the most uncompromising MCs on this planet?
Get ready for a special listening experience as Abu Ama and Sensational take you deep into a world of heavy bass, fractured rhythms, strange frequencies and completely unpredictable flows.
Abu Ama is known for his unique production style, combining Dub, Ambient and Industrial soundscapes with Middle Eastern sound structures. His productions create vast, atmospheric spaces where bass pressure and subtle details constantly collide. Over the years, he has developed his signature sound through releases on forward-thinking labels such as Bokeh Versions and Accidental Meetings. With Ringing In Your Ear, Abu Ama presents some of his most adventurous and forward-thinking productions to date.
On the microphone, we are proud to present a true underground legend straight outta NYC: Sensational.
Born Colin Julius Bobb in Guyana and raised in Brooklyn, Sensational became one of the most distinctive and unpredictable voices to emerge from New York’s experimental hip-hop underground. Originally performing under the name Torture, he was already connected to the Jungle Brothers in the early 1990s before developing the completely unique style that would become synonymous with Sensational.
In 1997, he released his debut album Loaded With Power on the influential Word Sound label. Built from dusty beats, unusual samples and lo-fi textures, the record established Sensational as an artist who seemed to operate completely outside the established rules of Hip Hop.
Over the following decades, he continued to explore the space between underground rap, experimental electronics, noise and abstract music. His long list of collaborators included artists such as Spectre, Kouhei Matsunaga, Kid 606, Cardopusher, Handsome Boy Modeling School and many others. His work with Kouhei Matsunaga was even remixed by Autechre.
Sensational was never interested in fitting into a particular scene. His rhymes were surreal, his flows unpredictable and his approach completely his own. For more than three decades, he remained a true outsider — a cult figure whose music connected underground Hip Hop with some of the strangest and most adventurous corners of experimental music.
After Abu Ama and Sensational’s heavy 2023 single International Rokkaz left us wanting more, the two decided to take things much further. What started as a single collaboration evolved into a full length soundclash.
We were already incredibly hyped about this collaboration from the moment we heard it. But while we were preparing for the release of the single MOZZ, the terrible news reached us: Sensational had passed away.
The news hit hard. It is still difficult to believe that we will never hear a new Sensational verse again.
What makes Ringing In Your Ear even more special is that it captures Sensational doing what he did best — completely free, completely unpredictable and completely himself.
We dedicate this record to Colin Julius Bobb aka Sensational, in loving memory of an extraordinary artist, MC and true underground original.
Cruise Music really does what it says on the tin - serve up the sort of grooves that are easy to slip into a ride along with, especially when the sun is out and the mood gets a little more playful than usual. Their 16th edition of this long-running series is another super fly collection of effective groove and classic house attitude. Makito opens with the funky licks and disco colour of 'Jailhouse Funk' while Mark Funk, Danny Cruz pull back and allow plenty of sunshine and jazzy sax warmth into 'The Vibe.' On the flip, Bonetti gets remixed by Vertigini for some filter-driven and dusty house goodness and Raffaele Ciavolino & FederFunk bring a little Latin heat and percussive texture. Classy stuff.
"Temporary World" sees the return to Canopy of musical whizz kid Joi N'Juno, teaming up with the creative force of Kaleta, who has been a long-time collaborator of the label and long known for his work with Nigerian legends Fela Kuti & Sunny Ade.
For this project, the inspiration came from vintage Nigerian funk & disco, channelled through modern production aesthetics, bridging the gap between past & present.
Joi N'Juno's bouncy disco beats and groovy basslines lay the foundation over which Kaleta's funky guitars and the horn section from London Afrobeat Collective pepper the details. Keys bubble and synths soar as Kaleta's vocals, sung in both English & Yoruba, bring his evocative soulfulness. The culmination is an authentic melting pot of both vintage influence and originality.
Joi N'Juno turns in two different mixes of each song, the first in a "live", sounding approach and a second Mmore "oomphy" mix with fat synth bass, suited to the late night dance floors
Stockholm house mainstays Ari Bald & CJ Scott return to Studio Barnhus with Colombiance, their fourth EP for the label and another generous serving of homegrown dance music from two of our most dependable suppliers.
“Trippin’ Totems” opens in suggestive, hypnotic mode, rolling forward on layers of percussion and a groove that seems to tighten the longer it runs. “Coral Capers” brings the piano to the party, bright and buoyant on the surface with just enough melancholia underneath to keep things interesting.
“Mole Patrol” picks up the pace considerably, a chugging and increasingly intense workout built for peak-time deployment, before “Baobab Bonanza” closes proceedings in more spacious fashion, with great waves of sound washing in and out over a floaty, rolling house groove.
Another intriguing chapter in an increasingly distinctive Stockholm house story, out October 30 on 12'' vinyl and digital platforms, with lovely artwork by Eliot Axelsson.
Sansibar returns to Sin Sistema with a two-track story of a murky and paranoid clandestineoperation, “Babylon Brotherhood”.The A-side, “Babylon Brotherhood (Rated X)”, is a tale of forbidden romance, drawing influencefrom the Westbrook Records classic “Ben Mays – Rated X”, with added vocals from EllenJärnefelt.Whilst the B-side, “Scotch Bonnet”, takes influence from mid-’90s rubbery Chicago jack à laDance Mania and Relief Records
Wewantsounds is delighted to reissue Brigitte Fontaine’s landmark 1970 Saravah album Comme à la Radio, recorded with Areski Belkacem (who sadly died last June), Wadada Leo Smith and the Art Ensemble of Chicago. This deluxe 2-LP edition pairs the original album with a second LP of rare bonus material. The release is accompanied by a lavish 24-page bilingual booklet featuring an introduction by journalist Andy Beta, essays by Wadada Leo Smith, Brigitte Fontaine biographer Benoît Mouchart and Benjamin Barouh, plus a recent interview with Brigitte Fontaine and the late Areski Belkacem. The booklet also includes complete lyrics and a selection of rare archival photographs by Jean-Pierre Leloir and Philippe Gras. The reissue is announced alongside its companion, the deluxe 2-LP set Comme à la Radio "On Air", featuring previously unreleased ORTF live recordings and additional studio rarities.
Wewantsounds pursues its Brigitte Fontaine reissue program with Comme à la Radio, originally released in 1970 on Pierre Barouh’s cult Saravah label, fusing Fontaine’s radical lyricism with Areski Belkacem’s minimalist compositions and the fearless improvisations of the Art Ensemble of Chicago + Wadada Leo Smith. Its title track has since become a cult classic in jazz and groove circles.
The album has been newly remastered from the original tapes and is reissued in a deluxe 2-LP edition featuring 11 bonus tracks. The first LP presents the original album in restored clarity, while the second gathers rare non-album singles, English-language takes, alternate versions and previously unreleased instrumental recordings showcasing the Art Ensemble's artistry, including the elusive English version of Comme à la Radio, and a striking early version of L’été L’été.
Also included is a 24-page bilingual booklet featuring rare archival photographs by cult photographers Jean-Pierre Leloir and Philippe Gras, complete lyrics, and contributions by Andy Beta, Wadada Leo Smith, Benoît Mouchart and Benjamin Barouh, plus a recent interview with Brigitte Fontaine and the late Areski Belkacem. The reissue is announced alongside its companion Comme à la Radio "On Air", a deluxe 2-LP set presenting previously unreleased ORTF live recordings and additional studio rarities.
Comme à la Radio stands as a visionary landmark of French music and a defining statement in Brigitte Fontaine’s career. This expanded edition confirms its enduring influence more than fifty years after its original release.
a A1. Comme À La Radio 8.03
b A2. Tanka II 2.04
c A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]
[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]
[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]
[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]
[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]
[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]
[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]
[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]
[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]
[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]
[a] A1. Comme À La Radio [8.03]
[b] A2. Tanka II [2.04]
[c] A3. Le Brouillard [3.24]
[d] A4. J'ai 26 Ans [3.04]
[e] B1. L'été L'été [3.56]
[f] B2. Encore [1.34]
[g] B3. Léo [3.50]
[h] B4. Les Petits Chevaux [0.43]
[i] B5. Tanka I [1.45]
[j] B6. Lettre À Monsieur Le Chef De Gare De La Tour De Carol [6.04]
[l] C1. Comme À La Radio – English Version [8.08]
[m] C2. J’ai 26 Ans – English Version [3.56]
[n] C3. Le Goudron – 7’’ Single [4.12]
[o] C4. Le Noir C'est Mieux Choisi – 7" Single [5.03]
[p] D1. Les Beaux Animaux – 7’’ Single [3.16]
[q] D2. L'été L'été – Early version [4.38]
[r] D3. L'été L'eté – Instrumental Version [4.23]
[s] D4. Tanka I – Instrumental Version [1.47]
[t] D5. Tanka II – Instrumental Version with Flute [1.40]
[u] D6. Le Brouillard – Instrumental Version [3.57]
[v] D7. Lettre À Monsieur Le Chef De Gare – A Cappella English Version [2.46]
Hailing from Mexico City, Dellarge delivers L.I.E.S. a double lp jam packed with New Beat industrialized electro-wave on "Futuro, Futuro". These tracks go back to the days of the Belgium classics crossing over to the coast of Valenica crashing head on with the funkiness of something similar to Delgado's Delkom project. Don't worry, there is no trance cheeze within, head right to Mambo Especial for some latin New Beat piano anthem driven dance floor chug. Estado Alterado jumps into the 727 funk with some 101 acid leads and sleaze vocals, again making for a perfect floor filler. The album opener "Alien Body Music" is just that; a complete vocoder driven, slow beat acidic club burner. Dellarge hits all the angles perfect over these 15 tracks. Do not miss!
Anna Almani might be your new favourite producer. IFYKYK.. If you don't, then let's get to know..
Anna Almani is a Berlin based “Drag-DJ & Fun-House-Queen”. She is “Big Sister” at ‘Love Letter’ an imprint “for flinta & queer sonic goodness” and she is the alter ego of deep house producer and Poker Flat & Watergate artist ‘Iorie’.
Anna says “This EP is part of my queer expression. It’s all about the attitude to resist, it’s about being yourself unapologetically. It’s a big hug to the queer community and a love letter to resistance on the dancefloor. Be radical, have an attitude and lose yourself.”
When we picked the tracks for this EP we were completely spoiled for choice. There’s so much personality in Anna’s music that every track list made sense. And that’s because there’s a common thread that runs through all of Anna’s music - Balance. Ying & Yang. Dark & Bright, Passive & Assertive, Masculine & Feminine, Fun & Depth all in kept in amazing dynamic balance.
This is Share Now & Save for Later… Gratification immediate and delayed. .. . four tracks to take you through from open to close. From Berlin to NYC and round again
‘See Me Walk’ is gonna be the track that grabs the attention and connects with dancers everywhere. Fast, fun and full of attitude it’s a 909 workout with the energy and syncopation of Ballroom Vogue aaaaand a fabulous diva vocal to match. ’Tender T’ counters the audaciousness with some tenderness. Energetic yet embracing, this introspective proggy, dubby afterhours roller is a proper trip! Full of colour but hazy af.
On the flip ‘Gimme Some’ ramps up the tempo. Fast, urgent and cyclic grooving techno - with a strut - that’s both dubbed out and in your face. ‘Anladın mı’ is a collaboration between Anna and German/Turkish producer Zettka. Low slung house that both jacks and grooves. Rolling basses balanced with playful chords. “Anladın mı” it translates as “Do you understand? or “Got it?”. By now I think we do understand.. That certain je ne sais quoi… Anna Almani has definitely got it.
Following her foundational role in the early years of The Fall, and then the searing post punk of The Blue Orchids, as well as several tours serving as a backing group for Velvet Underground chanteuse Nico, Una Baines found herself starting 1985 without a band. Drafting together members of the all-female Beyond The Glass, and compatriots associated with her past projects, she entered the studio with a clutch of songs and a willingness to experiment. Separating the sides into “waxing”, for the more traditional songs, and “waning”, where the structures become looser and varied, the resulting album was the sole release on her Taboo Records and seemed quickly lost to time, but feels shockingly current in both feminist content, and freak folk execution.
It is a collection of influences that would emerge decades later in the wyrd folk movement, and Furia is not out of place at an intersection of Devendra Banhart and Meg Baird, but there was absolutely nothing like it in 1986. Upon release, Mark E. Smith famously likened it to Third Ear Band, having to dip back to 1970 for a touchstone. Songs like “Bridget of Ireland” could be traditional ballads from decades past, while “No Romance” is a lo-fi new wave hit waiting to happen. “Sheila/Beats My Heart” fashions The Velvet Underground as a feminist protest band, and “Ritual” plays out like all of the Motown girl groups banding together to tell the world that they don’t need a boyfriend to solve all of their problems. It all draws on sources that are so familiar, yet turns them upside down in a celebratory fashion. Is it freak folk? Pagan punk? Pastoral drone? It is all of that and so much more. It is the sound of a woman, and an artist, truly finding her voice, and it is both magical and compelling.
“Remarkably prescient and weirdly beautiful record. A creative, challenging and memorable companion, with a distinct voice and identity of its own: in turn playful, political and experimental. It's highly recommended.” – The Quietus
The Oak Ridge Boys are paying tribute to their favorite songs without losing sight of their gospel roots in a stunning and inspiring new album, Buried Treasures. Produced by Anderson East and executive produced by Dave Cobb, Buried Treasures gathers together classic songs made popular by seminal voices such as Louis Armstrong and Nat King Cole, as well as essential songs written by Billy Joe Shaver, Paul Simon, and Bill Withers. The vocal group’s spiritual side shines through on recordings of “Deep River,” “How Great Thou Art,” and “Softly and Tenderly,” yet there’s also a hint of romance in the enduring ballad, “You Are So Beautiful.” The album’s only new song, “Buried Treasure,” was written specifically for the project by GRAMMY Award-winning songwriter Aaron Raitiere. “Every song on the album is about something that’s dear to us,” Oaks member Duane Allen says.
Rewind to early 2000s London. A home studio, a collection of borrowed gear from car boot sales, and a mind full of futurism. That was the birth of these tracks.
Transparent Sound (Orson Bramley) is a true cult architect of the UK electro scene. Since 1992, he's been bridging the gap between Detroit techno, acid, and rave futurism. With a legacy spanning Tresor, Electrix, and Soma, he now lands on No Static Automatic for a very special release.
No Static Automatic presents The Lost Tapes — a new EP of lost recordings from the early 2000s London era. Dug out of DAT tapes and CDRs, recorded in Orson's home studio with borrowed and loaned gear and car boot sale finds. Raw, unpolished, and proper electro history. 3 tracks plus a remix of Ara-u.
Kalita presents the fourth and final instalment of their groundbreaking ‘Borga Revolution!’ series, uncovering another selection of essential recordings from the rich and far-reaching world of Ghanaian highlife. Spanning deep, hypnotic highlife through to the vibrant electronic productions of 1980s Burger Highlife, Volume 4 captures a period of extraordinary musical change, as Ghanaian artists absorbed influences from funk, disco, boogie, and new synthesizer technology. With previous volumes championed by tastemakers including Gilles Peterson, Antal, Tom Ravenscroft, and Hunee, this final chapter turns its attention once again to the music of the Ghanaian diaspora.
Volume 4 brings together rare recordings from artists such as Rex Omar, Nat Fredua, and CST Amankwah, alongside the elusive, deeply hypnotic and beautiful sounds of the Abibifo Dance Band of Ghana (led by the legendary bassist Ralph Karikari) and Baffour Kyei. Unearthing recordings that have languished in obscurity for over forty years, the compilation moves between deep highlife, rhythmic dancefloor cuts, and pioneering digital productions, revealing yet more musical ingenuity of Ghanaian artists both home and abroad. The final instalment in the ‘Borga Revolution!’ series, it offers another vital collection of forgotten favourites and hidden treasures for DJs, collectors, and anyone drawn to the endlessly inventive sounds of Ghanaian music.
The 1970s and 80s saw Ghanaian musicians begin to incorporate Western sounds like funk and disco into their music, reflecting the changing global musical landscape. However, the country's political instability and economic hardships, marked by military regimes and curfews, forced many artists to leave Ghana in search of better opportunities abroad. In Europe and the U.S., these musicians fused their traditional highlife roots with emerging digital sounds, using cutting-edge technology like the DX7 synthesizer and drum machines to create the genre now known as Burger Highlife.
With ‘Borga Revolution!’ Kalita offers a vivid exposition of this musical transformation, using rare interviews, archival photos, and detailed liner notes to bring to life the pioneering spirit of both well-known icons and unsung innovators of Ghanaian Highlife, one of West Africa’s most exciting musical movements.
· The final installment in Kalita's 'Borga Revolution!' series, examining the development of Ghanaian dance music in the 1970/80s, and focussing on the phenomenon of Burger highlife (a blend of Ghanaian highlife with disco, boogie and synths).
· 2xLP in gatefold sleeve, with printed inner sleeves examining the stories of the artists featured on the volume.
· Includes 10 highly sought-after and under-the-radar recordings, including those by the phenomenal Rex Omar, Nat Fredua, CST Amankwah, Baffour Kyei, Chief Kofi Sammy, and the Abibifo Dance Band of Ghana.
„The Who By Numbers“, das Anfang Oktober 1975 erschien, ist das siebte Studioalbum von The Who
und stellte einen Wendepunkt für die Band dar, da die Songs größtenteils introspektiver und persönlicher
waren als ihre bisherigen Veröffentlichungen. Das Album war ein kommerzieller Erfolg und erreichte Platz
8 der US-Billboard-Charts sowie Platz 7 in Großbritannien, was zum Teil auf den Erfolg eines der leichteren
Stücke des Albums zurückzuführen war: „Squeeze Box“ wurde zu einem internationalen Hit und schaffte
es in Großbritannien in die Top Ten, in den USA in die Top 20 und in Kanada auf Platz 1.
50 Jahre später wird „The Who By Numbers“ im Oktober dieses Jahres als Super-Deluxe-Edition-Box
mit 5 CDs und 1 Blu-ray neu aufgelegt. Diese enthält ein 100-seitiges Hardcover-Buch mit Fotos, Erinnerungsstücken und exklusiven Anmerkungen von Pete Townshend und dem Who-Experten Andy Neill, 92
unveröffentlichte Titel und Mixe, brandneue Atmos-, 5.1- und Stereo-Mixe von Pete Townshend, 11 von
Petes Original-Demos für das Album, Aufnahmesessions aus den Ramport- und Shepperton-Studios, frühe
Mixe, Guide-Vocals, die bislang umfassendste Version von „Live At Vetch Field, Swansea, Wales, 12. Juni
1976“ sowie auf der Blu-ray Audio- und Videomaterial von einem bisher unveröffentlichten Who-Konzert,
das auf 2-Zoll-Videoband im Metropolitan Stadium in Pontiac, Michigan, aufgenommen wurde.
Keni Burke's signature hit 'Risin' To The Top' gets an official remastered, reissue alongside the 12 inch mix of his '81 killer jam 'You're The Best'.
'Risin' To The Top' quickly became a clear favourite of the soul crowd back in the '80s, with Keni's sensuous vocals, a timeless bassline of epic proportions and those dreamy, sunshine chords proving a winning combination. Since then countless producers, from the likes of Doug E Fresh and Slum Village, to LL Cool J and Mary J Blige, have utilised 'Risin' To The Top' as a choice sample for their own productions. A quick glance at this seemingly endless list, just goes to show how much of an impact this record ended up having.
On the flip, 'You're The Best', takes a more boogie paved path, filled with an undeniably groove laden bass synth, cosmic keys and Keni's infectiously soulful vocals. It's early eighties synth boogie at it's best, placing the electronic elements at the forefront whilst holding onto that unquestionable funk at its core.
Two Keni Burke classics for soul heads, sample spotters and anyone with a keen ear for a gem.
For CT022, Cosmic Tribe presents the third edition of the Artist Series featuring C.C.O. (Contra Communem Opinionem), the project of Swiss artist Florian Büchel.
The original material selected here explores a more direct and linear side of his music, combining atmospheric structures, subtle acid elements and elegant melodic progression.
On Side B, both reinterpretations move the material toward more dancefloor-oriented territory. Raakel Bloody Raakel reshapes Gravitational Disturbance into a recognizable acid-electro interpretation with increased groove and syncopation, while Romphea takes Interstellar Matter into heavier and darker contemporary electro-breaks territory with increased low-end weight and a more direct club approach.
The result creates a clear contrast across both sides: progression and musical development on Side A, followed by two alternative perspectives built around movement and dancefloor energy.
The third chapter of l’oggetto’s DANCE trilogy continues the sought-after series of instrumental DJ tools. Four new tracks, conceived as techniques to reach ecstatic states on the dancefloor through different moods, tempos, and vibes.
“Vallee,” with its infectious 12-bit groove, opens the EP with a syncopated, never-ending jazz-infused vibraphone. “Bone” takes it from there, staying midtempo and percussive while pushing funky horns into trippy, repetitive territory.
Side B turns moodier, as expected. “2600’” unfolds through digital strings of life, enabling a sense of suspension, release, and transcendence. Lastly, “Ambientale” closes the record with the ethereal, wobbly analog warmth of a downtempo drift into dawn.
Following on from the highly anticipated Rebirth 20 anniversary project, Rebirth return with the first of two limited-edition bonus 12"s, digging deeper into the label’s catalogue with four killer remixes and previously overlooked gems.
Kicking things off with Leon Feat. Corrina Joseph – I Follow You (Darryl Baalki Remix), a soulful and deeply grooving house cut with Corrina Joseph’s beautiful vocals riding over a warm, hypnotic groove. Darryl Baalki adds his signature touch, making this one a serious late-night house weapon.
Next up is Gianluca Pegoiani Feat. Ann Saunderson – Numero 5 (Rough Ride) (Nick Holder Trackheadz Remix). Nick Holder’s Trackheadz take the original into deeper territory, delivering a classy, rolling slice of deep house with that unmistakable Detroit/Chicago-inspired feel.
On the flip we have Mata Jones & Mikey V – Funky (Elado Remix), bringing a more energetic and playful edge to proceedings with a seriously infectious groove, chunky drums and plenty of dancefloor funk.
Finishing off the EP is Psycho Radio Vs LC Anderson – Bad Reputation (Red Axes Remix). Red Axes work their magic on this one, twisting it into a dark, psychedelic indie-dance workout packed with attitude and hypnotic momentum.
Another essential selection from Rebirth as they continue celebrating 20 years of the label with some seriously choice cuts.
Inspired by the landscapes and cultural heritage of Munzur, Boran Ece returns with Moonzour, a deeply emotional and organic club record that blends melodic grooves with atmospheric textures. The release is complemented by two distinctive remixes from Hannes Bieger and Mickael Espinosa, each offering their own interpretation while preserving the emotional essence of the original. Released on Son d'Étroit as a limited 200-copy vinyl edition alongside the digital release, Moonzour marks another chapter in the label's journey, celebrating storytelling through electronic music.
"Surface Noise Isn’t A Crime" continues NOREPRESS’ exploration of texture, pressure, and imperfect sound as core elements of underground electronic music. Across four tracks, the release moves through Deep Tech House, Dub Techno, Electro, and Breakbeat without settling into fixed genre boundaries, balancing functionality with experimentation throughout.
A1. Tvardovsky feat. Andrey Zverev – Flute Meditation opens the record with a dense, slowly unfolding trip built on dub space, electro tension, and hypnotic Tech House movement. Organic flute phrases drift through layered percussion, evolving bass pressure, and spacious analog textures, creating a strange collision of futurism and nostalgia. The track resists obvious peak-time formulas, choosing gradual transformation over immediate impact and rewarding deeper immersion with every transition.
A2. Osman Öz – Regrets moves into softer territory without losing rhythmic weight. Warm breakbeat structures, airy melodic fragments, and fluid low-end movement give the track a calm but persistent momentum. Osman Öz keeps the arrangement restrained and precise, allowing groove and atmosphere to carry the emotional core of the composition naturally.
On the B-side, Kirill Matveev appears under his Natural Piece Of Aloe alias with two contrasting interpretations of the project’s dub-informed language.
B1. Salto Mortale is playful, unstable, and constantly mutating. Rhythms stretch and reorganize themselves around shifting tonal fragments, while the arrangement moves with the loose unpredictability of an improvisation session. Despite its complexity, the track never loses control, maintaining a strong forward pull through every unexpected turn.
Closing the record, B2. Columbo Beat, Kirill Matveev - Sundub pushes deeper into darker territory. Acid sequences slice through heavy dub atmospheres while rugged drums and saturated low-end pressure drive the track forward with raw physical energy. Distortion, space, and movement interact continuously, turning the track into a hypnotic late-night tool designed for more adventurous dancefloors.
"Surface Noise Isn’t A Crime" captures NOREPRESS at its most confident: raw textures, deep space, broken edges, and timeless club influences reconstructed into a modern dub-driven framework.
Satoshi Tomiie Unveils His Latest Ep, '12b Dub', Exclusively on Phonogramme Records Tokyo &Ndash; Renowned Dj and Producer Satoshi Tomiie Is Back With a Captivating New Ep, '12b Dub', Set to Make Waves in the Electronic Music Scene. This Four-Track Release Marks a Slight Shift Towards a More House-Oriented Sound, Showcasing Tomiie's Versatility and Innovative Approach to Music Production. Having Garnered Acclaim for His Previous Releases and Collaborations, Tomiie Continues to Push Boundaries With '12b-Dub', Solidifying His Reputation as a Trailblazer in the Electronic Music Industry. This Latest Offering on Phonogramme Records Is Sure to Be a Staple in Dj Sets and Playlists Worldwide....
Split#5 marks the fifth and final installment of the Split series on the Various Artists catalogue of Pi Electronics, pairing Spanish producer Hurtado and Greek producer Nikitas Grs. Despite their distinct approaches, Hurtado's industrial-leaning broken beat funk and Nikitas Grs' psychedelia-infused noise techno converge through a shared aesthetic of textured sound design, raw energy and dark atmospheres. On the A-side, Hurtado showcases his trademark production style through the driving cuts "Show of Force" and "Bad Company", while "The End", featuring vocals by Genevieve GV, reveals a more experimental side of his production. The B-side welcomes Nikitas Grs with two compositions that blur the boundaries between techno, trance and industrial music. The live version of "Susano" unfolds as a rolling, hypnotic dancefloor trip, while "Anoriotos" balances heavy rhythmic impact with an underlying sense of ambient nostalgia. The digital bonus track, "Pollinator 5000", reveals yet another facet of Nikitas Grs' sound palette: a relentless piece of noise-techno that rounds off the release with uncompromising intensity.
MASA 007 sees DJ Sodeyama at his most incisive and introspective, delivering three cuts of direct, mental techno, complemented by a powerful remix from Atomic moog. Across four tracks, the record flows with clarity and purpose, driven by sharply defined drums and acid-tinged textures, while layered with expansive ambient pads and evolving atmospheres, resulting in a sound that is both forceful and deeply immersive. Atomic moog’s reinterpretation, a signature of this modular wizard duo, built around earthy psychedelic pads, field recordings and organic synths, cements MASA 007 as a refined statement of modern techno’s cerebral intensity and emotional depth.
MRD's highly anticipated "August Memories" EP is OUT NOW — available in both vinyl and digital. The Norwegian producer further asserts his versatile and distinctive sonic identity. The result: 2 techno weapons and 2 peak-time anthems fusing trance, 80s guitar riffs, and shoegaze intensity. Expect pure euphoria on the dancefloor. Spotify, Apple, etc: bfan.link/august-memories-1 Mastering: Charles Accarisi Cover Picture: Hugo Wirth
Mutual Rytm's Versus sub-label returns with a dark, absorbing new EP from contemporary techno innovators Kameliia and BLANKA. Kameliia and BLANKA both previously appeared on Federation of Rytm IV and now step forward with their long-awaited debut EPs. It is another standout for Mutual Rytm's Versus series, which has already made an impact with two previous EPs from Regent and Chontane and Klint and Hemka. This third release subtly evolves the sound into more hypnotic and atmospheric worlds that bring fresh perspectives to the series. Bulgarian-born, Norway-based Kameliia’s music is rooted in cinematic, melancholic and hypnotic sounds. She translates deep emotions into immersive sonic landscapes inspired by nature, particularly the moon, the sky and their atmospheric qualities. Along with Berlin-based Spaniard BLANKA, she has released on labels such as SK_Eleven, while BLANKA also co-founded Room Trax and draws heavily on the human voice, which she considers one of the most personal and intimate instruments. She uses it to create an emotional, direct connection with the dance floor, with a clean, minimal, timeless style rich in emotion. Kameliia opens up with the weighty kicks and eerie atmospheres of 'Bird In A Cage' before 'Red Sky' layers taut kicks and icy synths into a hypnotic forward charge full of depth and darkness, then 'Lightness' has an unsettling and paranoid lead hanging in the air next to vocal fragments and haunting pads. BLANKA’s offering begins with tightly wound kicks and bass on the dubby 'Say It With Me'; 'Self Pleasure' is an immersive and rubbery rhythm with cosmic synth work, and 'Rabbit Habits' brings funky synth lines that radiate a sense of subtle light and hope amidst the darkness of the groove. Two digital bonus cuts from each artist follow: Kameliia's unsettling, dystopian soundscape 'No Longer A Desire' and the backlit suspense of 'Vivere', and BLANKA's gritty, loopy 'Dream VST' and the deep-space odyssey that is 'Gone For Good'.
Rebecca Delle Piane makes her return on EMERALD with six tracks covering' Titania EP'. Driven by a steely determination to push herself further through sonic exploration and new creative approaches, she unveils a new direction in sound. A direction that feels both harsh and precise, yet equally clear and refined.
Italian-Iranian DJ/producer Sciahri lays down a deeply hypnotic seven- track EP on return to Mutual Rytm. Heading up the agenda-setting Sublunar label, which is one of Mutual Rytm boss SHDW's personal favourites, Sciahri has been deep in the scene for more than a decade ever since he turned heads with a debut on Ilian Tape in 2014. Well respected for his carefully balanced love of the classic sound with new school influences, always delivering cuts with a refined and personal touch, highlighted and showcased via his widely-loved ‘Pareidolia’ release series. Returning on the label following his appearance on the ‘Federation of Rytm IV’ compilation, he lands with a freshly evolved EP that kicks off with the much hyped ID, ‘Moonwake’. That cut is built on robust, rumbling drums and layered up with flashy synths that bring stark futurism to the dance floor. ‘Liminal’ follows a similar linear path with musical drums and synths that twist and twitch, firing your synapses while your body is locked to the rhythm, before ‘Night Sentinel’ transports you to a more eerie world of anxiousness and tension - the synths are spooky, and the sonar pulses keep you on edge as immersive drums race nonstop. ‘Unmoved’ lands heavy, the bulky kick drums coming on like a storm with howling synth winds adding to the all-consuming atmosphere. ‘Too Much Time’ closes out with a wall-rattling groove and subtle synth motifs that creep in the shadows. As always with the label, digital cuts ‘Silent Frontier’ - which gets dancers on their toes with a backlit synth glow - and ‘Louisiana’ - which brings a more psychedelic energy and hard, hammering groove, rounding out a stylish, meticulously produced offering.
A much loved and missed record label headed up by Jacob Kelly (J.Cub) & Leena Sharma. A label that isn’t there to follow fashion, trends or be the next big thing, but a record label that is a platform to release music from Artists they love and support.There are no boundaries with the style of music they release, after all it is an Eclectic Avenue. WE ARE EAR!
Kicking things off on the A side is "Baby I’m 4 Real" is a summertime feel Deep House groove with a beautiful Soulful vocal running throughout.
On the flip is "That Storied Word" another Deep House groove with Steve Cobby playing a beautiful bassline that takes you throughout the whole track.
Rounding off the EP is "Juvenile Delinquent" which takes a step back in time with a break beat, heavy baseline and a familiar vocal sample, one for the “Heads”.
We are heartbroken to announce this very special release — a tribute to the genius of Keith McIvor aka JD Twitch (Optimo), who sadly left us on September 19, 2025. Over 20 years ago, when Skylax had no money and was just starting out, Keith was among the very first to believe in us. He delivered four unforgettable remixes of Denise Motto – I M N X T C, sharp, uncompromising cuts that defined the true spirit of underground dance music. At the time, due to limited means, only one made it to vinyl. Now, for the first time, we are proud to present the complete set: four remixes — the unreleased acid mix, blackrabbit whorehouse mix, industrial mix, and alternative mix , all cut loud and mastered with love. This release is more than a record; it is a homage to Twitch, a true pioneer and tastemaker, our generation’s John Peel. His art of digging, his fearless intelligence in music choices, his no-compromise vision — all of it stands in stark contrast to the disposable culture of today’s Instagram DJs. What we celebrate here is the real thing: edgy, sharp, timeless. A piece of history, pressed in vinyl forever. Featuring a stunning artwork by H5 (Daft Punk, Air, Logorama), specially designed to pay homage to the legend. Ultra-limited, no repress.
“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.
The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.
An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.
Cosmic Voodoo is an immersive musical experience that combines the best of cosmic disco with the pulsating energy of contemporary electronica. Through alternating synthesizers and acoustic instruments, this project presents an irresistible arsenal of sounds.
This is the third volume of four that will create a unique graphic work created by the famous Aldo Drudi.
Written and produced by Daniele Baldelli, undisputed master of cosmic-disco, and Mattia “Matta” Dallara, sound explorer and producer of Cosmic Temple, this EP is a journey that evokes dreamy and nostalgic atmospheres, perfectly in line with disco roots.
The tracks unfold between enveloping grooves, spacey synthesizers and rhythms that pay homage to the 1980s, generating a sound that is both classic and innovative. An electronic tribal ritual, a dancing spell that can transport the listener to a parallel universe full of psychedelic sounds and magnetic beats.
Ideal for those who like to lose themselves in the depths of sound and be guided by vibrations that oscillate between past and future.
Rapidly gaining momentum, Drumcode’s new DC4 series returns to serve up a collaborative feast for its fourth edition.
Since debuting in summer 2025, DC4 has done exactly what it says on the tin: serving up four elite tracks that deserve the spot to shine.
You know you’re going to get A+ quality when you cue up a Victor Ruiz & Alex Stein collaboration. The Brazilians have a long history of studio jaunts and they deliver the goods via ‘Core’, a brilliant brain-scrambling outing with a strong dramatic arc.
Charles D & Weska follow up last year’s ‘The Answer’ on 1001 Recordings with ‘Can’t Get Enough’ feat. Bexxie. With a foot in prog and techno alike, this is driven by low-slung grooves and Bexxie’s sexy vox, packing an exhilarating energy throughout.
Enter two Drumcode debutants – SCRIPT & OKAYVAL. The former is a fast-rising American artist who is coming off collaborating with Brazilian superstar ALOK, while the latter is a Colombian born, US-based artist whose earned gigs at EDC Vegas and Tomorrowland this year. ‘LIKE THAT’ is a high-energy jam marked by tight rolling percussion and a sharp vocal loop designed for peak-time impact.
Another pair of fresh faces land on the comp as Martin Costas & Gabriel Gil drop ‘It’s All Around’. Lock in for a pulsating slice of prog driven by hypnotic rhythms and lush melodic textures. A versatile cut fit for a variety of party situations.
Pablo Sánchez´s new solo album “Archipiélago” is out now. The new long player, a follow-up to his “Nocturnal” album as Basic Need will be released on Sisternoise Records and is a 42 minute voyage sailing through uncharted waters.
Every archipelago is a constellation of islands, distinct yet bound by invisible tides. Archipiélago, the latest work from Pablo Sánchez, follows this same geography of sound and memory. Its islands are not of sand and rock, but of places which inspired the artist throughout his life; Buenos Aires, Caracas, Puerto Rico, New York, Madrid, Berlin, and Barcelona. Each city has left a trace, a shoreline carved into Sánchez’s musical journey and left a distinctive musical mark.
The ten songs gathered here are like sovereign entities, each with its own character, its own rhythm, its own language. Together they form a single territory, a map drawn by musical experience, longing, and imagination. They are ports of call, but also fragments of a larger voyage, where tradition and experimentation, nostalgia and discovery, coexist to create a common territory. Along the way guest magicians Animal Feelings and Salomeya add their vocal sparks to the voyage.
Archipiélago is not a destination but a map of crossings, a territory of sound where the journey itself becomes home.
6 Track E.P. from Sarasota features 2 piano house tracks from 1997 enhanced for 2026 "Come One Now" & "Pleasure", a new remix of the 1996 track "We're Gettin' Hot" by Kenny Hayes and 3 new tracks. The Paradox (I Got A Feeling, Yeah) is a pumping house track that features a well known replayed melody and catchy vocal. The Paradox is the instrumental version. "Requiem For D.W." is a pumping trance monster with atmospheric piano and pads and a banging synth riff.
In Permanent Vacation 20th anniversary year, Joe Goddard returns to the label with You — a fivetrack EP that feels both timeless and deeply connected to the label's musical DNA. Blending disco, house, electronica and subtle folk influences, the release captures the optimistic spirit of the early 2000s while sounding effortlessly contemporary.
Across five beautifully crafted tracks, Goddard balances warm melodies, organic textures and dancefloor elegance with his unmistakable songwriting touch. The EP features three standout collaborations: Glynn joins on the uplifting "Cutting You Loose", fellow Hot Chip member Alexis Taylor lends his unmistakable voice to "Hide & Seek", while Absolute appears on the intimate closer "Gentle Man".
You is a fitting addition to the Permanent Vacation catalogue—music that looks back without nostalgia, embraces the present, and reminds us why timeless records never go out of style.
Yore Records proudly welcomes back DJ Alone Again from NYC for a second journey into timeless House aesthetics.
Across four cuts, DJ Alone Again moves effortlessly between raw, uplifting New York energy and deeper late-night moods. From classic swinging drums, dusty stabs and peak-time pressure to warm chords and smoother hypnotic grooves, this EP captures different shades of the unmistakable 90s house spirit.
Stripped-back, soulful and driven by pure dancefloor functionality, these tracks feel both familiar and refreshingly honest — a tribute to the golden era without sounding trapped in the past. A sincere nod to classic underground House Music and another statement by yours truly YORE RECORDS.
Bruce Ivery returns to Stilove4music, and we couldn't be happier to welcome him back. A true master of his craft, Bruce has delivered some of the label's most celebrated releases, each one leaving a lasting mark on dancefloors around the world.
Born and raised in Chicago and a key member of the legendary Chuck Brothers collective. Bruce's reputation as both a producer and editor speaks for itself. His latest work, a release on Ryan Elliott's Faith Beat, is further proof of his talent. This new drop is no exception—it will have you questioning your own sanity.
It's disco time once again, and it's Bruce Ivery time on Stilove4music. We're beyond excited to share these tracks, designed to create mayhem on discerning dancefloors.
"The bad news is you're falling; the good news is there's no ground."
The second album from Glasgow's Effective Dreaming (Iain P. Ross), on Texas label Aural Canyon. Six long-form pieces that build slowly, looping and folding in on themselves: glistening synthesiser leads over shifting analogue drones, field recordings surfacing at moments, and fingerpicked acoustic guitar on the opening "Physis". Listening feels like being suspended in a current, gently buffeted, as edges and definitions blur. The follow-up to Dream Catalogue Vol. 1 (Fluere Tapes, 2025). Cassette, edition of 50.
Building on the promise of nearly 10 years testing limits within club music, Batu presents his debut album Opal. Experimentation is a well-established facet of Omar McCutcheon's identity within the leftfield techno zeitgeist, but more than ever on Opal he seizes the opportunity to incorporate ideas beyond dancefloor impetus into his animated, forward-leaning sound.
Through the course of 11 tracks, rhythmic forms are mutated and manipulated, sonic matter bends across the frequency range and narrative structures coalesce and dissolve according to Batu's own internal logic. Unpredictability lies at the heart of all this music, bound together by a consistent modernist glint. It's a sound intrinsically connected to the superlative string of club 12"s, EPs and collaborations Batu has spun behind him thus far, even as it moves into unfamiliar terrain, guided by abstract inspiration from coastal landscapes and the mineral matter all life on Earth is built on.
Debut album from Batu on his own Timedance imprint following releases for Livity Sound, Hessle Audio or XL Recordings.
UK & Worldwide press campaign led by Dawn Creative. International press cover TBA and strong media (RA, Mixmag, DJ Mag, XLR8R) and radio coverage around the release (Jamz Supernova, KEXP, Dublab, Rinse France)
Extensive touring schedule for 2022 includes US, Mexico, UK, Europe, and features headline slots in multiple high profile festivals (Sonar, Dekmantel, Outlook, Dimensions, Waterworks and more)
Y-3, the pioneering sports-fashion collaboration between adidas and Yohji Yamamoto, has for three decades dwelled calmly within the ''tensions of existence''. In conceiving the brand's long-awaited return to runway format at Paris Fashion Week, these codes laid the groundwork leading up to the Spring/Summer 2025 season. Whilst the focus for runway is traditionally placed on garments, models, styling, environment, and the pageantry in between, it was crucial that music play an integral role in the conversation. Three seasons later, sound has informed creative direction from the very earliest phases of ideation. Commissioning all-original compositions has become a natural part of this ideology. The return to runway has invited the opportunity to define a new sonic palette for the brand, and beyond that, to usher in a new era of sound for Y-3 that echoes across music & culture. Following this ethos, and with a mandate to support obscure talent, Montreal duo Solitary Dancer have emerged as the first collaborators in shaping the intimate brand architecture of noise & feeling. With a body of work now spanning over a trilogy of seasons, the genre-defying Y-3000 imprint provides an outlet to disseminate & recontexualize the original compositions beyond the traditional runway. The label embodies Y-3's enduring commitment to explore innovation within opposing cultural forces. The works, originally released on Y-3000 as a series of white labels, are now being featured as a 6x 12'' vinyl compilation. Designed by Trevor Jackson and limited to just 99 examples, the recordings will also be made available both digitally and on streaming services for the very first time.
Second Storey launches new record label High Canopy - with Ladakh EP, 20 years since the artist's first vinyl release. Storey's working template has always been to take on the observations of his inner and outer world experiences, folding them into his expertise as a highly skilled drummer, knack for dream-scape sound design and love of rave and soundsystem culture. High Canopy promises to be an environment that platforms full artistic freedom and homes the mechanised, cerebral dancefloor workouts of Second Storey's studio life alongside his deeper, more experimental terrain. The EP's first stop is 'Blue Eye' named after the spring source of the Bistrice river in Albania. Crystal-clear sound design that echoes the flow of this natural water and sits alongside softly distorted low end. Contrasting 'Urban Hermit' was written in Berlin, during a bout of cabin fever and is a heavy case of gnarled up, spat out, paranoid machine funk. 'Post Columbia' - recorded after an eye opening trip to Bogota- then shifts the tone for the B side into more heady melodic territory with luminous, floating synths evolving throughout the track. ' ABC Conjecture' builds an intense atmosphere as it crawls and morphs across growling, distorted bass with a creeping shuffle of layered elements building overhead. Title track 'Ladakh' completes the EP, inspired by the remote town in the Indian Himalayas on the border of Tibet, AKA snow leopard country. It takes on a special and expansive ambient quality of this deeply precious and spiritual mountain land.
Bill Beau was born in Toronto, Ontario, Canada, but was raised in the western provinces, finishing high school in Edmonton, Alberta. It was while in high school that the "righteous rays" via radio struck Beau in the form of Meade Lux Lewis, Pete Johnson and Albert Ammons at the height of the Boogie Woogie rage. It was while in high school that Bill got his first gig. He played piano and worked with Wilf Harper, a guitarist of local renown. Beau played on weekends and during the week worked as a clothing salesman, stock clerk, refinery worker, service station attendant and freight checker. He travelled all across Canada, and finally landed in Los Angeles, California.
In 1958 his love of music compelled him to direct all of his energy toward the perfection of his musical talent, so he decided to settle permanently in Los Angeles. Beau first worked there as a vibraphonist, gigging with such stars as Ben Webster, Rex Stewart, Pete Fountain, and Stuff Smith. Once, when his regular organist failed to show up for a date, Beau ended up on the Hammond. Beau then formed his own group, and the trio got a standing date at the Blue Port Lounge. The other two members of the trio are Jo Stafford on guitar, Lorenzo Green on drums, plus the pretty and petite vocalist with the group, Chi Chi.
"Live at the Blueport Lounge" by the Bill Beau Trio is mod-soul-jazz at its very best! A stunning treasure rarely to be found - unless it's on Mo-Jazz!
Houston’s premier street griot is stepping into his most profound chapter yet with his highly anticipated upcoming album, O.Y.N. Throughout a decorated career that spans over 1.2 billion global streams and a fiercely loyal fanbase, Maxo Kream—born Emekwane Ogugua Biosah, Jr.—has established himself as one of rap’s most authentic, uncompromising storytellers. From the raw trenches of Alief to the critically acclaimed triumphs of Punken, Brandon Banks, Weight of the World, and his triumphant 2024 independent pivot Personification, Maxo has long been celebrated by Pitchfork, NPR, and Complex for his cinematic, hyper-detailed world-building. Now, O.Y.N. finds the Houston icon turning his gaze inward, pairing his signature Texas grit with an expansive, global perspective that redefines his artistic boundaries.
If his previous work was about Maxo taking full creative control as an independent force, O.Y.N. is about him uncovering who he is at his core. Following the passing of his father, Maxo found himself searching deeper for his family origins, leading to a pivotal moment of artistic and personal rebirth. For the first time in his life, Maxo traveled to Lagos, Nigeria, anchoring his new music in a profound celebration of his Nigerian heritage. The emotional centerpiece of this journey is the JPEGMAFIA-produced single “Time Out,” an introspective track that moves away from the frantic energy of his past releases to offer a stripped-back look at love, loss, and legacy. Featuring a heavy, resonant drum presence on the outro, the song’s accompanying music video was filmed on location in Lagos, capturing Maxo navigating his ancestral roots in real-time.
While O.Y.N. reaches new emotional depths, it doesn't sacrifice the hard-hitting, volatile street persona that made Maxo a star. The album expertly balances soul-baring vulnerability with cutting-edge hip-hop experimentation, showcasing elite chemistry with some of the genre's most forward-thinking visionaries. Look no further than “Fake Jeezy,” a collaborative explosion featuring Denzel Curry and masterminded by JPEGMAFIA. The track is a masterclass in industrial chaos, combining sharp lyricism and early-2000s trap imagery with cold, surreal visual aesthetics. This duality highlights Maxo's unique positioning in the culture as a trusted street general who can effortlessly trade bars with rap's avant-garde elite.
From his early days flipping Kendrick Lamar's “Rigamortis” to sharing marquee tracks with the likes of A$AP Rocky, Travis Scott, and Tyler, The Creator on hits like “Big Persona,” “Cracc Era,” and “Cracc At 15,” Maxo Kream has always been a rapper's rapper. O.Y.N. represents the ultimate synthesis of this incredible journey. It is an album born from the soil of Alief but elevated by the spirit of Lagos—a raw, beautiful, and heavy-hitting testament to an artist who has survived his past, honored his losses, and fully embraced his destiny.
„No Tourists“ wurde von Liam Howlett in seinem Studio in London-Kings Cross geschrieben, produziert
und abgemischt – auch wenn es sich, wie Liam betont, „durch und durch um ein Band-Album“ handelt.
Maxim und Keef Flint sind voll und ganz mit von der Partie und steuern ihre legendären Vocals zu diesem
siebten Studioalbum der Formation aus Essex bei. Zwar gibt es vereinzelt Gastbeiträge, doch im Kern
ist dies der Sound des Prodigy-Kerntrios, das sein explosives Klanggewand sowohl altem als auch neuem
Publikum präsentiert – fast drei Jahrzehnte, nachdem die Band mit dem epochalen Album „The Fat Of
The Land“ das Gesicht und den Sound der elektronischen Musik nachhaltig verändert hat.
Label Bocas delivers a personal approach on traditional and modern electronic dance music. Gentes and visual artist Ed Lafuente team up on this space designed to explore the unpredictable roots of the solid underground sound.
‘Tourist Ep ‘ meets the natural tribalism of timeless raw techno and the gritty side of percussive upbeat house music. On this first edition, Gentes Debut Ep makes for a fresh start on the label.
'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
It is in a live setting where Joe Bonamassa the performer really thrives and in May
2009, he played the historic Royal Albert Hall in London. It was an incredible
memory for everyone present and one of his greatest live performances has been
remastered on high- quality 180g heavyweight triple vinyl for the first time. The
majestic evening saw him glide through his back catalogue of original hits as well
as inspired covers and featured guest performances from Eric Clapton and Paul
Jones – truly a special night to savour.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.
There are few electronic musicians as accomplished as A Guy Called Gerald From writing genre-expanding records as a member of 808 State and as a solo artist, to crafting what journalists call the greatest jungle album ever made under the moniker Black Secret Technology, AGCG has spent four decades redefining what electronic music can be. With collaborations, remixes, and tracks for the biggest names in house, techno, drum & bass, and jazz, one thread remains constant: in any decade or any genre, AGCG's music continues to be celebrated as genre-pushing excellence.
Juice Box is AGCG's label, named after his Manchester-based soundsystem. Originally established in 1992, the label went on an unofficial hiatus before the decade's end as AGCG's output demanded wider release. pairing two essential cuts from Gerald's vault that have long deserved proper vinyl treatment. On the A-side, the absolute classic "Voodoo Ray" finally returns to wax. On the flip, 1990's "I Won't Give In" resurfaces from the archive, a reminder that even Gerald's deep cuts carry the weight of lost classics. Juice Box is back, and the catalog has plenty of treasures to unearth, along with new material from one of the all-time greats.
“When the flesh gets cut off the soul, it’s not the end.”
More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”
This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.
Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.
Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.
Prince Jeepni delivers two cuts of pure heat on this limited 7" from Funk Freaks Records. Side A, "All I Need Is Your Love," is a smooth reggae rework of a boogie classic, featuring Prince Jeepni's effortless vocals over a rolling groove produced by Diamond Ortiz. Flip it over for the dub version of "Psycho For Your Love," a deep, hypnotic ride co-produced by King Hippo and Prince Jeepni himself. Part of the Spliff Funk series — reggae covers of boogie classics — this black vinyl 7" comes in a picture sleeve and marks the first time Funk Freaks Records is available through distribution. Don't sleep.
After fifteen years of shaping dancefloors around the world, Mele is set to release his long-awaited debut album Alive On Arrival via Defected Records Far from an introduction, the album marks the arrival of an artist operating with complete creative clarity, bringing together the sounds, collaborators and influences that have defined his journey into one cohesive body of work.
"Alive On Arrival draws inspiration from what feels like my entire life as a producer, a DJ and a music fan, bringing together everything I love about house, hip- hop, UK music, soulful R&B and wider global sounds. The name comes from Wu-Tang Clan's C.R.E.A.M., which felt fitting to where I'm at in my musical journey. It's been 15 years as Mele, but I'm still alive and feel like I've got so much more to give. I've finally arrived at this point with my debut album. The album was made in, and heavily influenced by, London, Miami and Liverpool - three places that are close to my heart. Sonically, it's inspired by some of the best: Jungle, The Neptunes, Gorillaz and Masters At Work." - Mele aka Krissy Peers Set for release on 25 September, Alive On Arrival is Mele's most expansive project to date. Across fourteen tracks, he draws together house, hip-hop, soul and R&B into a record that reflects a lifetime spent moving between genres rather than being limited by them. Created between London, Miami and his hometown of Liverpool, the album captures the energy and musical history of three cities that have shaped both his sound and perspective. At the heart of Alive On Arrival is collaboration. Rather than simply assembling a list of featured artists, Mele has curated a cast of voices whose individual perspectives deepen the emotional and cultural narrative of the album. Long-time collaborators sit alongside new creative partnerships, each contributing to a record built on shared musical language and mutual respect.
Hot on the heels of their new UK street soul-inspired LP ‘Feel In Motion’, Leeds three-piece Galaxians enlist Steven Julien (Apron Records), Boys Shorts (Phantasy Sound), Cervo (Banana Hill) and Vanity Project (Claptrap Records) for remixes of the album's singles.
Adopting his 808 PRINCE moniker, the London DJ, producer & Apron Records label boss Steven Julien beefs up World Apart with his unique live 808 programming, imbuing it with an urgent machinefunk groove in keeping with his consistently electrifying live performances & DJ sets.
Coming straight from the release of their ambitious debut album ‘What Does It Take To Make These Men Happy?’, Greek duo Boys’ Shorts create a heady club moment with their take on Lose My Head, cutting up Sinead Campbell’s vocal while zeroing in on the original’s undeniable bassline & piano melody.
Best known for his Banana Hill label & Manchester club night, Stockport’s Cervo brings the global rhythms and balearic wistfulness of his previous output to bear on his evolution of Fantasy, while Claptrap Records boss Matt Bruce AKA Vanity Project reimagines the track as a cosmic house chugger that further highlights the exceptional vocal performance Beccy Young recalling Madonna at her most iconic.
The package is completed with Gramrcy & John Loveless’s 12” Mixes of Worlds Apart and Fantasy, expanding and reshaping the album originals into pure dancefloor bliss.
Uyama Hiroto, one of the most important artists behind Nujabes works, released his debut album 'a son of the sun' on 2LP after 12 years.
Uyama Hiroto provided "Letter From Yokosuka" for Nujabes "metaphorical music" released in 2003 and was featured on the title track of "modal soul" released in 2005.
A son of the sun" was released in 2008 and continues to fascinate many listeners to this day.
Deluxe LP features 140g virgin vinyl; heavy-duty board jacket, artwork by Art Rosenbaum + DL. RIYL: Bob Dylan, John Prine, Townes Van Zandt, Ry Cooder, Michael Chapman, Michael Hurley, The Youngbloods & Bonnie “Prince” Billy. Jake Xerxes Fussell’s 4th album finds the acclaimed folksong interpreter, guitarist, and singer navigating fresh sonic and compositional landscapes on the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. Produced by James Elkington and featuring formidable players both familiar (Casey Toll, Libby Rodenbough) and new (Joe Westerlund, Bonnie “Prince” Billy), it includes Jake’s first original compositions; atmospheric arrangements with pedal steel, horns, and strings. One of the most striking and strangely moving moments on Jake Xerxes Fussell’s gorgeous Good and Green Again an album, his fourth and most recent, replete with such dazzling moments arrives at its very end, with the brief words to the final song “Washington.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded. In all his work Jake humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-playing here he plays more acoustic than ever before pull new valences of meaning from ostensibly antique songs and subjects. On Good and Green Again, Jake not only ventures beyond his established mastery of songcatching and songmaking into songwriting, but likewise navigates fresh sonic and compositional landscapes, going green with lusher, more atmospheric and ambitious arrangements. The result is the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. It’s also his most deliberately premeditated album, representing his fruitful return to a producer partnership after two self-produced projects, What in the Natural World (2017) and Out of Sight (2019) (William Tyler produced his friend’s self-titled 2015 debut.) This time James Elkington produced and played a panoply of instruments, bringing to Jake’s arcane song choices his own peerless sense of harmony and orchestration, balance and dramatic tension. The pair enlisted a group of formidable players including regular bandmembers Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun, Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and veteran collaborator and avowed Fussell fan Bonnie “Prince” Billy, who contributes additional vocals. Album opener “Love Farewell” (featuring some beautiful singing by Bonnie “Prince” Billy), an elliptical tale of the folly of war, set to the world’s most heartbreaking goodbye march for a lover left behind. “Carriebelle” and “Breast of Glass” each similarly concerns, in its own way, romantic love and leavings. All three songs highlight Jacobson’s diaphanous, understated brass parts, tying them together in a true lover’s knot. “Rolling Mills Are Burning Down,” with its distant keening strings and capacious sense of space, observes and mourns the loss of work and community in the wake of elemental disaster. Nine-minute tour de force “The Golden Willow Tree,” the sole explicitly narrative song herein, is a hypnotic, minimalist rendering of a tragic maritime ballad about scuttling an enemy ship in exchange for wealth and glory and a captain’s inevitable betrayal. “Fussell is creating his own legacy within the long lineage of traditional folk musicians and storytellers that have come before him.” The New York Times // “So elegant … It’s relaxing in the way that pondering a Zen koan is relaxing, and sweet in the way that the wounded, honey-voiced blues of Mississippi John Hurt are sweet.” Pitchfork // “Music that resides at the seams of Appalachia and the cosmos.”
The third single off her seminal 1989 debut album, "Ladies' First" remains one of Queen Latifah's signature songs Featuring Monie Love, "Ladies' First" became an anthem of women's empowerment. This 7" also includes a B-side of "Come Into My House," originally released in 1990 as the fourth single.
Formed in Montreal, eight-piece funk band Cane and Abel melded Caribbean elements with soul, blues and psych, frontman Frenchie Thompson holding plenty of bite and the full horn section including former Dragonaires trumpeter Norris Ridguard. After early singles on GRT, the group signed to Epic and relocated to the US but made their biggest splash in France, where they cut two LPs in 1972; this self-titled rarity has Thompson’s ‘Girl You Move Me,’ percussionist Blinky Bostic’s ‘Who’s Gonna Take The Weight,’ and likeable takes of Wilson Picket’s ‘Don’t Knock My Love,’ ‘Green Grass’ and ‘Toe Hold.’ A lost funk classic!
In celebration of the 40th anniversary of Talk Talk's iconic "It's My Life" album, it has been cut at Half-Speed by Matt Colton at Metropolis Studios, overseen by Talk Talk drummer Lee Harris and Charlie Hollis, son of Mark Hollis, giving the album a greater depth. Originally released in February 1984, "It's My Life" is the band' second album and followed the 1982 release of their debut "The Party's Over" which initially received moderate success in the UK reaching number 21 in the UK chart and finding some global success.
By the time they came to writin and recording "It's My Life" the band had gone from the four piece to a three with Simon Brenner leaving the band. The album initally found considerable international success. "Such A Shame", the album's first single was a top 10 hit across Europe and the album's title track entered global Top 40's including in the US.
Gilles Peterson: "Fascinating… love this. Thoroughly recommended"
The Observer: "The focus is on great grooves and fine playing. A band to seek out."
The Guardian: "Delightfully quirky album of folk songs reimagined from Afrobeat to reggae"
The Times: "Minyo Crusaders sound like nothing else lurking on your Spotify playlist"
(PRESS FOR PREVIOUS ALBUM)
Minyo Crusaders return with theiir highly anticipated sophomore album TOUR OF JAPAN following on from their debut that has sold 4k on vinyl since release and their runaway single smash 'Cumbia Del Monte Fuji' that has almost hit 5million streams on Spotify.
Since the release of their debut in 2019 the band have toured Europe four times playing major European festivals such as Roskilde, Best Kept Secret, Green Man Festival, WOMAD, Fusion, Les Escales, Lowlands and many, many more, succesfully road-testing the songs from this album.
On this new album which has been mixed by Mario from Frente Cumbiero, Minyo have finessed their winning formula of adapting ancient Japanese folk somgs to global rhythms with influences this time from Ethiopia, boogaloo, salsa, West Africa and jazz. Says band-leader Katsumi: "The concept of this album is the sea with various expressions".
* Dazed and Amazed Duo Color Vinyl * Fully printed inner sleeves * Liner notes by Larry Mizell Jr. // The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael "Butterfly" Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style," he has said. Like with 1993's debut _Reachin' (A New Refutation of Time and Space)_, 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics - and its original inner sleeve was modeled on the newspaper of the Black Panther movement.
Or Kantor returns with his sophomore album Snake Island, a vivid and cinematic journey through imagined landscapes and lost love, for fans of Eden Ahbez and other seekers of sound and spirit.
Following the critical success of his 2024 debut Sarda Sarda, praised by BBC Radio 6 Music, FIP Radio, RRR Australia, WYEP, KCRW, and Songlines Magazine, Kantor continues to refine his distinctive sonic identity, grounded in instrumental storytelling.
With Snake Island, Kantor ventures deeper into what he calls Subterranean Music, an atmospheric fusion of Mediterranean ballads, desert blues, spiritual jazz, and psychedelic textures. Drawing inspiration from artists such as Gábor Szabó, Omar Khorshid, The Budos Band, Dorothy Ashby, and Tommy Guerrero, he crafts instrumentals that feel both timeless and cinematic.
"Snake Island was written as a soundtrack to a fictional film that disappeared from the world, one that most likely no one has ever seen," says Kantor. "It began as a tragic love story, imagined during my time on a remote island in the Cyclades. Every landscape felt like a scene waiting for music. Eventually, the story gave way to sound."
A respected tattoo artist and founder of the Love Light Studio, Kantor's musical path began after a chance encounter with Johnny Sharoni (Garden City Movement, A&R at Anova Records). During a tattoo session, Sharoni heard Kantor's demos and was immediately struck by their raw beauty.
Kantor now steps confidently into the next chapter of his creative journey. Snake Island is more than an album. It is a mythic, imagined soundtrack to a film that only exists in memory, rendered in tones that shimmer like heat on stone.
![Denise Motto - I M N X T C (Jack Your Body To The Beat) [JD Twitch Remixes]](https://www.deejay.de/images/l/4/8/1232548.jpg)
