Search:bro

Hidden Spheres is a Rhythm Section mainstay for a reason: having released 3 EPs on the label, he has
developed his sound and fully emerged into a flow state. His residency at Public Records has enabled him to mould an EP perfect for any dancefloor, perfecting a Detroit indebted House style with influences from early Kerri Chandler and Ron Trent perfect for those heads down, hands-up moments.

Delivering 5 tracks that master dancefloor tension, it's difficult to pick a stand out. “Come On, Yeh” harks
back to the New Jersey House sound with dubby organ chord stabs and punchy 909 drums and a sublime bongo loop. “Don’t You Wanna” welcomes the house dancers, with a low-slung, heavily swung groove, resampled pads, and a deep spoken refrain that gives the track its title. Kicking off the B-side “Get Down” hits the subs, with unmistakably phat bass, moody strings and broad use of the iconic M1 organ bass patch “Organ2”. Followed by “I Feel Good” brings police sirens, 808s and swirling pads, to a glorious Deep House tune with a top chime motif that keeps the party moving. The final track of the B side, “You Don’t Know”, takes things down a notch, but maintaining the sublime tension with classic house piano chords and another wicked percussive loop.

Hidden Spheres has returned to his unadulterated House roots, with an EP that stays true to the classic sound. He has shaped an awesome body of work with character from deep spoken word samples, perfect use of dub sirens and grooves that can give any club a reason to invest in bigger

It started in a Brooklyn studio back in 2011. A raw demo, a shared vision, and a deep reverence for the echoes of Basic Channel and King Tubby. After years of meticulous overdubbing and sonic layering, Marter (Bass) & Yony (Drums) have finally completed their masterpiece. Originally licensed to Bill Laswell’s label for digital release, this warm, lo-fi journey is finally available in its truest form. Recorded on 4-track and 8-track tape before meeting ProTools, every frequency breathes with analog soul.

This album sold out immediately upon its initial release in 2018. Due to overwhelming demand, a highly limited number of copies have been repressed with sticker on black jacket.

2nd album is on the way!

Every night, he returned to the same corner. One side brought the fuel, the other side wants precision. Parano is pushing the imagination to a scream, without mercy and white knuckles. We stand in the silence between the tracks, sharing a single smile.

Elevation, released in 1974 on Impulse! Records, finds saxophonist Pharoah Sanders expanding his spiritual jazz vision on an album that balances ecstatic expression with focused ensemble interplay. Produced by Ed Michel and recorded in 1973 across two live performances and a studio session, Elevation features a dynamic ensemble including Joe Bonner on piano, Calvin Hill on bass, and Michael Carvin on drums.

The album’s open forms, modal grooves, and spiritual themes underscore Sanders’s ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. Elevation comes towards the end of Sanders’ tenure on Impulse!— a cohesive and spiritually resonant statement that bridges the raw fire of earlier albums with a deeper, more spacious sound.

The album’s open forms, modal grooves, and spiritual themes underscore Sanders’ ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. Elevation marks the culmination of his Impulse! discography — a cohesive and spiritually resonant final studio statement that bridges the raw fire of earlier albums with a deeper, more spacious sound.

The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

a A1. Elevation 18:26
b A2. Greeting To Saud (Brother McCoy Tyner) 4:15
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1 | Elevation [18 26]
[b] A2 | Greeting To Saud (Brother McCoy Tyner) [4 15]
[c] B1 | Ore-Se-Rere (Nigerian Juju HiLife) [6 20]
[d] B2 | The Gathering [14 09]
[e] B3 | Spiritual Blessing [6 20]

2026 Repress

Weiss has made a bit of a welcomed habit in recent years of dropping a Sun-drenched bomb on Toolroom around this time of year and following on from 'You're Sunshine' last year, 'Feel My Needs' is his submission for 2018!

Recent Weiss highlights have included him playing the main stage at Dirtybird's own Campout festival, regular dates at the world-renowned Fabric as well as a US tour and an album in the making.

In true Weiss style, this record will have the hairs on the back of your neck standing to attention in a matter of seconds. Lush, old skool piano riffs and sublime vocal licks, all laid over the top of a crisp and infectious house backing.

This is a sure-fire future anthem with two killer remixes to add to the vinyl from Purple Disco Machine and Gorgon City, both of which have been premiered on the mighty Radio 1 Dance shows.

DJ Support:

Pete Tong, Annie Mac, Danny Howard, MistaJam, Huxley, Gorgon City, Claptone, S-Man, Dario D'Attis, Robosonic, Dosem, Tube & Berger, Steve Lawler, Groove Armada, Sonny Fodera, Man Without A Clue, The Magician, Eli Brown, TCTS, Martin Ikin, Mat.Joe, Richy Ahmed, Low Steppa, Kry Wolf, Kraak & Smaak, The Golden Boy

For this edition, the label meets this duo of producers, that has been created by the musical synergy between Zonker and Daniel Gorziza, who go by the name – “SameSame”. This disc has been titled “Unconditional Society” and has been crafted with a mission to be brought to the worldwide dancefloors and to be foreseen by the adepts of the sound it conveys. The A side is opening with a deep trancey burner “Suspect Zero”, with time passing this side of the record is morphing into the prime-time speaker ripping sound of “Rip the Jacker. The B side will see more mellow feel to it and sometimes even could be said that the vibe turns relatively melancholic by the time the record reaches its natural conclusion. The words that have been shared do not translate the profoundness of the subject that the artists have carried through, but then again, sometimes them letters have to be present even if they are kept to the slightest. The frequencies communicate much superior to the words and by now you can stop reading this and immerse yourself into the sound.

Rob Clouth returns to Mesh with Cicada, a follow-up to his EP earlier this year and a continuation of his ever-curious approach to the outer limits of electronic music.

An artist who has spent much of his career committed to a dialogue between scientific phenomena and music built for big soundsystems, Bichillo signalled a segue into a more free-running idea of creativity - one that didn’t pander to unrealistic expectations and, essentially, brought the fun back to Rob’s production process. A theme also explored in a link-up with long-time collaborator and label boss Max Cooper on their recent joint EP 8 Billion Realities, out now on Mesh.

Cicada, he continues to expand on this universe, prioritising experimentation over concept, and arriving at some of the funnest music he’s ever made.

Like a field of insects, ‘Cicada’ opens with cross-rhythmic layers of animated glitches, soon joined by huge bass swells that gradually build into a maximal tranced out build-up and a swarm of vocal chops. ‘Core’ builds a quietly dramatic symphony of machinist built sound - a soothing polyphony of computers singing. Leaning into an off-kilter 2-step, ‘Gummy Clusters’ swirls into a hazy blur of distorted voices and acoustic rhythms. Closing things off, ‘Grefuser’ puts pedal to the metal with a high BPM storm of pointillist drums and melancholic leads.

Cicada is music that twitches and mutates, but most importantly, breathes fun into the circuitry.

‘Cicada’ lands Friday 20th March via Mesh.

Black vinyl re-press of the initial sold out brown vinyl edition

Burial Mix numbers 6 to 12: classic after classic, like King In My Empire, Queen In My Empire, We Been Troddin’...

POD & Edward Richards return with their second release on Kinetic Vision, the ‘Polar Phase’ EP, following their much lauded ‘SQZR’ EP. A landmark release for the label, ‘Polar Phase’ marks the first of a series of records to come. Set at a tempo of 100 BPM, the duo mix minimalism, broken beats, world music percussion and psychedelic synths to weave a tapestry of darkness, albeit more zen than melancholy.

The opening track ‘Mind Machine’ is propelled by a broken beat and flurry of hard hitting snares. A swirl of synths abound while a tribal incantation is whispered in the dark. The title track ‘Polar Phase’ takes us on a pulsing journey of techno hypnotism, with icy synths threatening deep underwater immersion. The B side ‘Flux Growth’ elicits an obscure playfulness with its punctuated kick and slowly building chaos. Finally the Sub Basics remix of ‘ Polar Phase’ lifts the tempo and we find ourselves in a bliss of pure dancefloor hedonism.

POD & Edward Richards have crafted a rich textural sound with slow paced hypnotic grooves, creating deep absorption for both DJ and listener alike.

Mental and acid nice stuff... Definitely deep and digging... With some broken and some ambient. Acid Textures and mental beats !

Three years after the release of Volume 1, Innershades returns to home turf with a second entry in his Heritage series. The New Beat territory that its predecessor tackled serves as the starting point for the A-side of Volume 2 as well. The glistening arpeggios and choir patches on "Mind State", alongside the unyielding kicks, alarm-like synth lines and plodding tempo of "System Breakdown," reaffirm how the genre's hallmarks smoothly align with the artist's own inclinations. The B-side draws from the broad spectrum of styles that emerged a bit later, in the beginning of the nineties, when it seemed the dance floor would move unimpeded between and bridge genres, its boundaries often not as firmly established. "Fuse Memory" nudges the pace forward, driven by the 909 and a staple hypnotic lead. When the drums come to a halt, a 303 emerges to flesh out the break. "Rhythm Composer" continues in a similar early techno vein, but pulls the track into outer space via its formant-heavy leads and Detroit-tinged sci-fi sweeps. On ALT023 Innershades appears in fine fettle, providing another batch of up-front club tracks that approach history as motion rather than memory, translating the past into forward momentum.

Far Out Recordings proudly presents Ladeiras De Santa Teresa, the debut collaboration between Rio-jazz maverick Antonio Neves and carioca percussion master Thiaguinho Silva. In what could well be the first ever Brazilian jazz album centered around two drummers, Ladeiras De Santa Teresa is an uncompromisingly groove-rich recording, steeped in trad-samba roots and brass power.

Since his acclaimed 2021 album A Pegada Agora E Esssa Antonio Neves has remained a mainstay of the international facing Brazilian scene, performing both as a trombonist and drummer. His instrumental contributions to contemporary classics like Ana Frango Eletrico’s Little Electric Chicken Heart, Bruno Berle’s No Reino Dos Afetos 2, and Bala Desejo’s Sim Sim Sim will be marveled upon by future generations. His partner in crime Thiaguinho Silva happens to be the son of percussion icon Robertinho Silva, who has played on more or less every canonical Brazilian record, Arthur Verocai (1972), Clube Da Esquina (Milton Nascimento and Lo Borges, 1972), and India (Gal Costa, 1973) to name barely a few. Thiaguinho himself has worked with Marcelo D2, Gal Costa, Liniker and Alice Caymmi, and upon listening to Ladeiras De Santa Teresa, it’s clear that Thiaguinho is more than a worthy successor to carry the Silva family torch.

Some listeners may already be familiar with “Das Neves,” which appeared on Mr Bongo’s Rio De Janeiro-focused Hidden Waters compilation in 2023. The track showcases the profoundly skilled Neves brothers brass section (Antonio alongside brother Edu, who has performed with Hermeto Pascoal), the fiery elegance of pianist Luiz Otávio (Dora Morelenbaum), and Thiaguinho’s pulsating samba breaks. This synergised combo continues across the album, notably on “Fendas Vocais” with Neves doubling up on drums, exhibiting his inventive and fearless skill as an arranger. The album also features street-artist, musician and rapper Joca, adding vocalised dynamism and swagger to an otherwise entirely instrumental record on “Viagem de Trem”.

The album’s title Ladeiras De Santa Teresa (The hills of Santa Teresa) is named in tribute to Rio De Janeiro’s famed Santa Teresa neighborhood, a bohemian enclave with scenic views of the iconic cityscape. The spirit of Santa Teresa with its expansive city views and bustling energy is embodied in the album which encapsulates the jazz and samba histories felt within the neighborhood’s windy alleyways and cobbled streets.

Ladeiras De Santa Teresa by Neves E Silva is out on vinyl, CD and digital on Friday 20th March 2026.

If you enjoy this music, then it is for you.

Our modus operandi is to provide djs and listeners with only the finest dance music possible.

We focus on intrinsic groove for your dance floor and all our music is made with high quality ingredients. A respect for what has come before, with a mission to bring fresh sounds and sonic experiences.
Underground Music, Brooklyn, NY

Industrial Dark Hardcore, dirty bass kicks and broken typicall Deathchant break dancefloor tricks.

Autopsy tune is a cool Hip Hop Hardcore banger. Intergalaktic Purifier brings a rave Hardtek-core track. Tripped kicks off everybody with a solid Hardcore Frenchcore track... And Hektek does a Breakbeat Hip Hop warm hangar Hardcore broken track.

After a long hiatus broken by their inclusion in Om Unit's final epic Acid Dub Versions set, Alter Echo & E3 step out once more with the four-track “No Peace EP.”

With past releases on storied labels including ZamZam Sounds, Moonshine, Scrub A Dub, Lion Charge, LavaLava, and Khaliphonic, the duo opted to forego labels for this one, instead dropping the first release on their own AEE3 imprint.

The main mix of the title tune is a pounding dystopian slow-stepper collab with old friend & sparring partner Ishan Sound, dusted off and rebuilt after years on dubplate. Shot-through with stinging percussion, swirling with leaden atmospherics and dread truths, this one’s an absolutely uncompromising piece of supremely heavy steppers.

RSD’s remix opts for crystal clarity, extra layers of percussion, an emotional mid-range melody, and of course the huge bassweight Rob Smith is known & loved the world over for.

Om Unit’s “Kaliuyga Verse” recenters the tune on deeply spiritual indigenous wisdom spoken by Floyd “Red Crow” Westerman. This long-form rework fleshes out the instrumentation with classic UK dub percussion and FX, plus flute and much more, transmuting the original’s darkness into something magisterial and hopeful while maintaining absolute heaviness.

AEE3’s "Southeast Rock" closes the EP with a slower tempo meditation powered by a melodic bassline, chopped drums, dub tech stabs and righteous horns, an introspective ganja tune that will stay with you long after the runout groove.

Part 2 of our 1980 Taxi showcase, and it's heavier than the first. Here is one of Sly & Robbie's most loved productions, in its initial raw dubplate form. In August 1980, this raw cut of the haunting lovelorn classic first started to make its way out there on dubplate, in this spare, cavernous heavy mix without the synthesizer and syndrum sounds that would eventually adorn the final released mix. As tapes of these type of early mixes made for sound systems more often than not were not saved or archived, we're overjoyed to have located this one and brought it out. Like our previous Viceroys Taxi releases, this is some of the heaviest music of its day, in its pure initial form like you would have heard Shaka or other serious sounds playing thru the end of 1980.

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

This record contains six tracks by Freephilipp and Robin — two Bremen-based musicians who meet where the void of digital subculture and experimental electronic music opens up. Freephilipp contributes four glitch-driven pieces that move between IDM-tinged ambient, electro, atmospheric broken beats and junglish fragments. Random Chords Memory is one of the reasons this release needed to be carried out into the nexus: it stands on its own, just like the rest of the EP, yet it may be the signature track of Freephilipp’s nocturnal enthusiasm — mixing between night shifts and sharing production skills with the people around him. Robin (zckr rec / ph17) completes the EP on the flipside. Tau-37 and Omega5, named after two star systems, invite you onto a dub-soaked, drifting flight. The Basic Channel- esque impact of Tau-37 rounds out the journey in combination with Omega5, whose drone-laden soundscape slowly opens and dissolves. This music was never meant to be produced for an audience. It is a document of what it sounds like when you say goodbye to the outer world and begin building landscapes in another.

Transmitting from deep in the Finnish underground, Nazar sends out a signal of mysterious, synthetic auras and shadowy, skittering sequences. From smoky outsider techno to rainy-day electro abstraction, the label’s emphasis is on expression and intrigue as each release reaches across the energetic spectrum of moody machine music.

The first release on Nazar presents a cast of protagonists from the Helsinki scene who share precisely the kind of nocturnal tendencies the label is seeking out. Seasoned duo General Electrix open up the A side with ‘Redshifter’, a silken web of 606-powered electro and warmly haunted synth work that nods to the early years of Autechre. Making an early step out into the public domain, Asyx follows up swiftly with the exquisitely detailed machine funk of ‘kVelorum ‘, where a vivid tapestry of noise, squelch and bleep techno gets smartly woven between airy pad tones and a rock-solid rhythm section.

On the B side, Helsinki mainstay Kaiunta brings a dramatic flourish to mid tempo creeper ‘Phantasm’, matching a densely packed rumble of live drums with sweeps of nervy atmospherics and a murky inversion of the classic gated trance lead. 53X rounds out the Nazar mission towards broad BPMs and fresh ideas with a crunchy swerve towards sample-heavy downtempo laced with a generous dose of psychedelics and angular noise.

NAZAR001 is the kind of record that yields surprises and slots into unexpected moments depending on when and where the needle drops, providing versatile moments for adventurous selectors and continuing the fine tradition of outsider electro and techno from Finland.

The Brooklyn Players’ track “Hypnotized” was originally recorded in 2003 by a group of session musicians for a UK newspaper’s CD series free giveaway, featuring classic disco and funk. Despite efforts to identify the band members, their identities remain unknown.
A sublime boogie track with wonderful vocals, “Hypnotized” will be loved by the dancers!!
The track is now available for the first time on a limited edition 7-inch vinyl (400 copies), released by Home of The Good Groove Records (Catalog No: GG004) on March 6, 2026.
The B side “Hypnotized (Timberman Bass Groove),” includes a fantastic underlying bass line groove laid down by one of East London’s finest bass players, Timberman, enhancing the original synthesizer-bass sound.
Enjoy!!

Dark Entries does as they often do once more here and revives a cult gem with Sucre De Pasteque, a 1986 standout from legendary French industrial outsiders Vox Populi! Formed in Paris in 1981, the group fused musique concrete, early industrial grit and Persian instrumentation into a sound that felt improvised yet eerily deliberate. This reissue captures the band at their most curious and unbound: psychedelic dirges, cosmic drones, hypnotic chants and broken machine-funk all dissolve into one disorienting, deeply fried trip. Bleak but never heavy-handed, the album embodies the anarchic imagination of the 80s DIY cassette underground. Archival photos and notes from the band add extra context.

We present an EP from two house masters Artem Stan & Matpri on Analog Concept records.

This record was born like in the classic 90s from jam sessions in the studio, when musicians caught the groove and connected their deep universes, showing true love for house music. Everything is combined here - the sound of drum machines 909 and not only, atmospheric acid impulses of 303, classic pads that paint these paintings bright and filled with deep meaning, as well as much more. Amazing two sides and four compositions, each with its own story.

The Midnight Seduction track opens the telling of these stories on side A. From the first seconds, immersing in the atmosphere of synthesizer temptation, the analog bass line combined with the default drum section and elements of bright metal claps quickly gain the necessary energy and immerse in the images of a closed nightclub with long corridors and hidden dance floors. The light plume of the classic M1 organ and the accentuating Acid lead maintain balance. Secret nocturnal seduction, light ecstasy and an atmosphere of love.

French Kiss - everything is great here, as soon as you listen to the harmony of accordion-like synthesizers and deeply addictive pads, you are instantly transported to the image of Parisian streets. Elements of bells, a rhythm section filled with unpredictable percussion, acid inclusions and an unexpected immersion into a broken beat in the middle of the composition, a real deep French kiss.

Matpri is known for its sophisticated approach to music and is rightfully the guru of micro and minimal house. Having created the maximum sound quality of the rhythm section and the deep bass that was addictive from the first seconds, mixing old-school vibe, while not losing touch with his minimalistic sound image, he filled the House Template track with the smallest details and percussion, which is confidently based on the B-side.

Four certainly high-quality compositions were created in the studio of Artem Stan in the mountains of Krasnaya Polyana and one of the tracks on the B-side - "Nasha Polyana" - is dedicated to this location, it conveys a certain playful atmosphere of a mountain village with a vibe of complete freedom and daily carefree. A complete release with decent house music.

After the well-received Kreme de la Kreme EP, D3 Classic Edition returns with another essential vinyl release. This time, they present four rare and highly sought-after tracks from the talented Toyin Agbetu—all newly re-mastered from the original DAT tapes. Showcasing some of his finest work as The Dark Knights, this collection is a treasure trove for fans of deep, soulful grooves and classic, old-school rhythms. Featured are four must-have tracks: I Do Believe, Party Time, Piece of Time, and U Gotta Slow Down—the latter released under Agbetu’s other alias, Nemesis, and making its debut on vinyl.

But there’s more: the release also includes a brilliant reinterpretation of Piece of Mind by London producer K15, who adds his signature spacious, broken-beat style to the original, breathing new life into a classic track. For vinyl collectors and true aficionados, this is an absolute must- own.

Our next 7” release welcomes young and talented key player Stefano Nardon from Vicenza, Italy.
The record features two jazz-infused broken beat compositions, performed and recorded live, capturing an intimate and organic session feel.
On the A side, “Mangrovia” unfolds as a warm, floating piece built around Fender Rhodes textures, subtle harmonies and a slow-burning groove. A deep and immersive cut, balancing between jazz lounge aesthetics and cinematic mood.
The B side, “Underwater”, was created in collaboration with drummer Stefano Cosi (Padova). His live drum contribution adds movement and depth, giving the track a more dynamic pulse while maintaining the introspective character of the release.

Transient Response is a storytelling of moods in motion, from city to city, situation to situation from China-born, London-based artist Guohan. Side A opens with ‘Don’t Forget Your Hiss’, a funky dusty groove built around the repeated phrase ‘带走我的’ gradually unfolding into ‘带走我和你的故事’ meaning ‘bring along the stories of yours and mine’. ‘First Light’ follows as a percussive MPC-driven slow burner, capturing a swirling summer day in the studio.
Side B starts with ‘Seeds of Tomorrow’, a mellow drive through thoughts with a broken groove constructed with drum machine, djembe and shaker. Growing synths and bassline from the analogue devices keep your head nodding and feet moving. Backed with a remix from Xiamen-based artist Knopha.

Gatefold Sleeve

M’Bamina – African Roll (1975)
The story of an album born between Africa, Italy, and the nightclub culture of the 1970s
In the heart of 1970s Italy — a country undergoing profound social change and a music scene just beginning to open itself to distant sounds and cultures — an extraordinary, almost improbable story took shape. It is the story of a group of young African musicians who found their way to Europe, of a Turin nightclub that became a crossroads for communities and experimenters, and of an album which, released in small numbers and largely unnoticed at the time, is now considered a rare jewel of Afro-fusion.
The band called themselves M’Bamina — an ensemble of musicians from Congo, Cameroon, and Benin, who arrived in Italy in the early Seventies. Settling between northern Italy and the Pavia area, they began performing in small clubs and community events, bringing with them a vibrant rhythmic heritage: African polyrhythms, call-and-response vocals, funk-infused bass lines, and Caribbean or Afro-Latin colours absorbed along their musical journeys. Their raw, contagious energy on stage quickly drew attention.
Meanwhile, in Turin, another story was unfolding. There was a venue becoming almost legendary: Voom Voom, one of the city’s liveliest nightclubs, run by Ivo Lunardi. The club attracted an eclectic crowd — students, artists, foreigners, night owls — and Lunardi quickly understood that the dancefloor wasn’t just a place for music, but a melting pot for a new kind of cultural energy. Out of this vibrant atmosphere came his idea: to turn the club’s name into a small independent record label, Voom Voom Music, capable of capturing the spirit of those years and giving voice to unconventional projects.

When Lunardi heard M’Bamina, he immediately sensed that this was the sound he had been searching for: fresh, different from anything circulating in Italy at the time, and capable of blending African tradition with funk and European sensibility. He brought them into the studio.
Production was handled by Lunardi along with Christian Carbaza Michel, while the engineering was entrusted to Danilo Pennone, a young sound technician with a sharp, intuitive ear.
The recording sessions — held in Turin in 1975 — produced a remarkably warm and direct sound. The music feels almost live: grooves rooted in African tradition, but open to funk-rock structures and modern arrangements. It is a natural fusion, never forced. Tracks move between tribal rhythms, funk basslines, light electric guitars, congas and Afro-Latin percussion, with call-and-response vocals and melodies that echo both Congolese tradition and the lineage of Latin jazz. Not by chance, one of the album’s most striking tracks, Watchiwara, reinterprets a Latin standard through M’Bamina’s own rhythmic language.

The album was titled African Roll — a name that was already a statement of intention. It is African music that “rolls,” that moves, adapts, transforms within a new geographic and cultural setting. It is not strictly Afrobeat, nor Congolese rumba, nor Western funk: it is a spontaneous, hybrid blend, shaped more by lived experience than by any calculated aesthetic program.
When African Roll was released, the world around it barely noticed. Distribution was limited, and 1970s Italy had yet to develop a cultural framework for receiving such music. The national music press rarely paid attention to African or “world” productions. The album slipped into silence — though the band’s own story did not.

M’Bamina continued performing across Europe and Africa, even sharing a stage in Cameroon with none other than Manu Dibango. By the late Seventies, they moved to Paris, signed with Fiesta/Decca, and recorded a second LP, Experimental (1978). Meanwhile, the peculiar record they had made in Turin began to resurface quietly among vinyl collectors, Afro-funk enthusiasts, and DJs hunting for forgotten grooves.
That is when the album’s fate began to shift.

Over the decades, African Roll emerged as an almost unique document: a snapshot of an intercultural Italy before the word “intercultural” even existed, a fragment of migrant history, a spontaneous experiment in musical fusion born far from major industry circuits but rich in authenticity. Original copies began commanding high prices on the collector’s market, and the album became recognized as one of the hidden classics of European Afro-fusion from the 1970s.
Today, more than fifty years later, this reissue finally restores visibility and dignity to a project that deserves to be heard, studied, and celebrated. It is not simply an album: it is the testimony of a rare cultural encounter, born in an Italy unaware of how fertile such exchanges would one day become.

It is the story of a visionary producer, an extraordinary band, and a fleeting moment in which music, migration, and nightlife came together to create something genuinely new.
African Roll is — now more than ever — the sound of a bridge: between continents, between eras, between cultures. A record that, after rolling far and wide, has finally come home.

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

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

More classic 90s hip hop from the 5 Boroughs, with the original sample source used on the B-side. First time on 45 for both tunes!

MIXED SUGAR - GANGSTER GIRL b/w IT’S A BAD FEELING / I’M SAD WE’VE BROKE UP.

MIXED SUGAR were a 70s soul group from Flint, Michigan led by Regional Garland - The main man toiled in obscurity for years writing, singing and producing a series of revered 70s & 80s soul songs, as in The Perfections, 21st Generations, Vann & Reggie and Brilliance.

All three tracks on this 7” appeared on the 2012 compilation, ‘Regional Garland - Mixed Sugar The Complete Works,1970 - 1987’ from reissue imprint masters, Now Again Records.

Two of the tracks were previously unreleased until this wonderful collection unearthed them. The raw, funky and soulful ‘It’s A Bad Feeling’ came out on F.G.S. Records in 1974 and commands a £500 price tag.

We are highlighting ‘Gangster Girl’, a song with a great storyline and now taken to a new level with an extended edit - wah wah effects, swirling strings and there’s a killer instrumental break!

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

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

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

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

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

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

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

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

Detroit powerhouse vocal trio Dames Brown make their long-awaited debut with ‘Take Me As I Am’, a bold, soulful celebration of the Motor City’s sound and a heartfelt tribute to their late mentor, Amp Fiddler.

Crafted at Amp’s legendary home studio, the album captures the essence of Detroit through rich instrumentation, gospel-infused harmonies, and unfiltered soul. Blending house, funk, techno, and 70s groove, Take Me As I Am embodies the city’s spirit; timeless, raw, and full of life.

Featuring collaborations with Detroit icons Andrés, Eddie Fowlkes, and Waajeed, standout tracks like ‘You’re The One For Me’, ‘Glory’, and ‘What Would You Do’ showcase the trio’s unmatched energy and vocal chemistry.

Across fourteen tracks, Athena Johnson, Teresa Marbury, and LaRae Starr channel the soul of Motown, the groove of Parliament Funkadelic, and the power of Aretha Franklin, uniting their influences into one authentic, uplifting sound.

With nearly a decade of releases on Defected and its sub-labels, including collaborations with Sophie Lloyd, The Vision, Floorplan, and Horse Meat Disco, Dames Brown continue to shine as one of Detroit’s most dynamic vocal collectives.

‘Take Me As I Am’ is more than an album… it’s a declaration of love, legacy, and Detroit soul.

Fresh on the Discos Panorama series, we head back to Colombia with the undisputed king Fruko y Sus Tesos, pairing him with another all-time classic on the flip from The Latin Brothers. Two heavyweight dancefloor cuts, one essential 7inch.

On the A-side, Fruko does what he does best — driving, percussive salsa built for movement, locked-in rhythm section, sharp horns, and that unmistakable swing that’s kept his records in DJ bags for decades. On the flip, “Buscándote” from The Latin Brothers brings a slower, more melodic touch without losing any punch — real music.

Both sides feature the presence of the legendary Piper Pimienta Díaz on vocals. His voice is raw, expressive, and instantly recognisable. A true legend of the game.

Part of PANORAMA’s Discos Panorama series, this release continues the label’s focus on Colombian salsa at its most vital and dancefloor-ready. Carefully selected, respectfully remastered, and pressed for DJs and collectors alike — music that’s been doing the work for years, now brought back where it belongs.

Irgendwann im Jahr 2020 hörte ich zum ersten Mal ,Canto Ostinato" und war sofort fasziniert von diesem Werk. Ich war fasziniert von seiner besonderen Mischung aus Harmonie, Wiederholung und Tempo. Im Frühjahr 2023 hatte ich meine eigene Solointerpretation komponiert und veröffentlicht, und ich ging davon aus, dass meine Arbeit mit der Komposition damit abgeschlossen sei. Allerdings unterschätzte ich ihre Anziehungskraft. Im folgenden Jahr war ich erneut davon eingenommen, nachdem ich von Andrew Cyr vom Metropolis Ensemble eingeladen worden war, auf der Grundlage meiner Arbeit mit dem Stück weiterzuentwickeln. Bald darauf war ich in Brooklyn, in einem neu gegründeten Team von sechs Personen, das von Cyr geleitet wurde. Im folgenden Jahr war ich erneut in seinen Bann gezogen worden, nachdem ich von Andrew Cyr vom Metropolis Ensemble eingeladen worden war, auf der Grundlage, die ich mit dem Stück geschaffen hatte, weiterzuarbeiten. Bald darauf befand ich mich in Brooklyn, in einem neu gegründeten sechsköpfigen Team mit Cyr und den Mitgliedern von Sandbox Percussion, und war begeistert, an der Gestaltung eines brandneuen Arrangements von Canto Ostinato für ein großes Ensemble für eine Sommer-Sonnenwende-Aufführung im Brooklyn Botanic Garden mitzuwirken. Wir taten dies, und unsere Gruppe wuchs um die Studenten des Sandbox Percussion Summer Seminar der New School sowie die Komponisten David Leon, Ben Wallace und Ledah Finck und das Bergamot Quartet. Das Ergebnis war ein beeindruckendes, mitreißendes und sehr bewegendes Erlebnis, das ich nie vergessen werde. Ich bin sehr dankbar für diese Erfahrung und die Möglichkeit, die Musik von John Cage zu interpretieren und zu spielen. Wir taten dies, und unsere Gruppe wuchs um die Teilnehmer des Sandbox Percussion Summer Seminar der New School sowie um die Komponisten David Leon, Ben Wallace und Ledah Finck und das Bergamot Quartet. Es war ein Tag, an den wir uns alle erinnern werden - mitreißend, traumhaft und wie eine perfekte Krönung. Aber selbst dann ... zog das Stück weiterhin seine Fäden, und es wurde unumgänglich klar, dass diese neue Orchestrierung die Produktion eines Studioalbums erforderte - eine bleibende Dokumentation unserer nun gemeinsamen Leidenschaft. Über ein Jahr lang wurde das Stück verfeinert, und es wurde immer deutlicher, dass die neue Orchestrierung die Produktion eines Studioalbums erforderte - eine bleibende Dokumentation unserer nun gemeinsamen Leidenschaft. Doch selbst dann noch übte das Stück eine große Anziehungskraft aus, und es wurde unumgänglich klar, dass diese neue Orchestrierung die Veröffentlichung eines Studioalbums erforderte - eine bleibende Dokumentation unserer nun gemeinsamen Begeisterung. Diese Darbietung, die über ein Jahr lang verfeinert und 2025 in New York aufgenommen wurde, interpretiert das Stück neu in einem imposanten Rahmen aus Mallet-Percussion, Holzbläsern, Streichern und Klavier. Es ist unser aufrichtiger Versuch, die Schönheit und Größe von Canto in seiner ganzen kaleidoskopischen Harmonie, Dynamik, Spannung und Entspannung zu vermitteln. Ich bin erneut voller Ehrfurcht vor Simeon ten Holts monumentaler Schöpfung. Es ist unser aufrichtigster Versuch, die Schönheit und Größe von Canto in all seiner kaleidoskopischen Harmonie, Dynamik, Spannung und Entspannung zu vermitteln. Ich bin erneut beeindruckt von Simeon ten Holts monumentaler Schöpfung, und ein Teil dieses besonderen Klanggefüges zu sein, ist eine der größten Freuden meines musikalischen Lebens. Ich gehe nicht davon aus, dass wir noch einmal so viel Glück haben werden ... aber wer weiß ... - ERIK HALL

Twice Grammy-nominated, Mercury Prize and BRIT Award-winning artist Arlo Parks announces her new album, Ambiguous Desire, due April 3rd via Transgressive Records.



Ambiguous Desire is Parks at her most confident and experimental, supplanting live band sessions for modular synths, ableton plugins and samplers that channel the frenetic, vibrant spaces she was immersed in, all while spotlighting the acclaimed poetry and lyricism she’s beloved for.



Reflecting on the making of the record, Parks shares, "I danced more than ever as I made this record, I made more friends than ever too, found myself in the weird underbelly of New York juke nights, unleashed, laughed and laughed and laughed. This record has desire at its centre. Desire is a life force, it’s a wanting, a yearning, a momentum - we are all alive because there is something or someone we want - desire is an engine. But it is also mysterious, tangled, random, enlightening and HUMAN."



Parks crafted the album with producer Baird (Brockhampton, Kevin Abstract). Their process unfolded between NYC’s vibrant, community-rooted nightlife and long, introspective days spent in Baird’s downtown loft. The result is Parks’ most vulnerable, self-affirming, and euphoric work to date.

Die zweifach Grammy-nominierte, mit dem Mercury Prize und BRIT Award ausgezeichnete Künstlerin Arlo Parks kündigt ihr neues Album „Ambiguous Desire“ an, das am 3. April über Transgressive Records erscheinen wird.



„Ambiguous Desire“ zeigt Parks von ihrer selbstbewusstesten und experimentellsten Seite. Live-Band-Sessions wurden durch modulare Synthesizer, Ableton-Plugins und Sampler ersetzt, die die frenetischen, pulsierenden Räume widerspiegeln, in denen sie sich bewegte, während gleichzeitig ihre gefeierte Poesie und Lyrik, für die sie so geliebt wird, im Vordergrund stehen.



Über die Entstehung des Albums sagt Parks: „Ich habe während der Arbeit an diesem Album mehr getanzt als je zuvor, ich habe mehr Freunde gefunden als je zuvor, ich habe mich in den seltsamen Untergrund der New Yorker Juke-Nächte begeben, mich gehen lassen, gelacht und gelacht und gelacht. Dieses Album dreht sich um das Thema Begehren. Sehnsucht ist eine Lebenskraft, sie ist ein Verlangen, eine Dynamik – wir alle leben, weil es etwas oder jemanden gibt, den wir wollen – Sehnsucht ist ein Motor. Aber sie ist auch geheimnisvoll, verworren, zufällig, erleuchtend und MENSCHLICH.“



Parks hat das Album zusammen mit dem Produzenten Baird (Brockhampton, Kevin Abstract) produziert. Der Entstehungsprozess fand zwischen dem pulsierenden, gemeinschaftsorientierten Nachtleben von NYC und langen, introspektiven Tagen in Bairds Loft in der Innenstadt statt. Das Ergebnis ist Parks' bisher verletzlichstes, selbstbewusstestes und euphorischstes Werk.

Twice Grammy-nominated, Mercury Prize and BRIT Award-winning artist Arlo Parks announces her new album, Ambiguous Desire, due April 3rd via Transgressive Records.



Ambiguous Desire is Parks at her most confident and experimental, supplanting live band sessions for modular synths, ableton plugins and samplers that channel the frenetic, vibrant spaces she was immersed in, all while spotlighting the acclaimed poetry and lyricism she’s beloved for.



Reflecting on the making of the record, Parks shares, "I danced more than ever as I made this record, I made more friends than ever too, found myself in the weird underbelly of New York juke nights, unleashed, laughed and laughed and laughed. This record has desire at its centre. Desire is a life force, it’s a wanting, a yearning, a momentum - we are all alive because there is something or someone we want - desire is an engine. But it is also mysterious, tangled, random, enlightening and HUMAN."



Parks crafted the album with producer Baird (Brockhampton, Kevin Abstract). Their process unfolded between NYC’s vibrant, community-rooted nightlife and long, introspective days spent in Baird’s downtown loft. The result is Parks’ most vulnerable, self-affirming, and euphoric work to date.

Die zweifach Grammy-nominierte, mit dem Mercury Prize und BRIT Award ausgezeichnete Künstlerin Arlo Parks kündigt ihr neues Album „Ambiguous Desire“ an, das am 3. April über Transgressive Records erscheinen wird.



„Ambiguous Desire“ zeigt Parks von ihrer selbstbewusstesten und experimentellsten Seite. Live-Band-Sessions wurden durch modulare Synthesizer, Ableton-Plugins und Sampler ersetzt, die die frenetischen, pulsierenden Räume widerspiegeln, in denen sie sich bewegte, während gleichzeitig ihre gefeierte Poesie und Lyrik, für die sie so geliebt wird, im Vordergrund stehen.



Über die Entstehung des Albums sagt Parks: „Ich habe während der Arbeit an diesem Album mehr getanzt als je zuvor, ich habe mehr Freunde gefunden als je zuvor, ich habe mich in den seltsamen Untergrund der New Yorker Juke-Nächte begeben, mich gehen lassen, gelacht und gelacht und gelacht. Dieses Album dreht sich um das Thema Begehren. Sehnsucht ist eine Lebenskraft, sie ist ein Verlangen, eine Dynamik – wir alle leben, weil es etwas oder jemanden gibt, den wir wollen – Sehnsucht ist ein Motor. Aber sie ist auch geheimnisvoll, verworren, zufällig, erleuchtend und MENSCHLICH.“



Parks hat das Album zusammen mit dem Produzenten Baird (Brockhampton, Kevin Abstract) produziert. Der Entstehungsprozess fand zwischen dem pulsierenden, gemeinschaftsorientierten Nachtleben von NYC und langen, introspektiven Tagen in Bairds Loft in der Innenstadt statt. Das Ergebnis ist Parks' bisher verletzlichstes, selbstbewusstestes und euphorischstes Werk.

Salix is a bold new departure for modular synthesist Loula Yorke, seen here using an antique reed organ to explore the ancient roots of willow trees in magic, myth and medicine, as well as inviting another musician into her recording studio for the first time, clarinettist Charlotte Jolly.

The EP forms a sonic archive of a singular instrument: an antique free reed organ left behind by a previous encumbent of Asylum Studios, (the artists' co-operative in Suffolk where Yorke's Truxalis labelmate and life collaborator, Seiche, has a studio space). The organ is in poor condition and fascinatingly, painfully detuned. Yorke's recordings bring out its host of unusual quirks exacerbated by age and neglect: the powerful rhythmic creaking of the wooden treadles; the bone-shaking resonance emanating from its body at specific pitches; unexpected exclamations of harmonic collision from within the carcass redolent of a human voice; the piercing, shrieking whistles of broken reeds, and the powerful timbres unlocked via Yorke's experiments with various combinations of stops.

The three tracks that form Salix are inspired by a local weeping willow tree, a constant companion photographed over the course of a year. Boughs caught in a gyre. A maiden in mourning. Branches that gesture in the wrong direction. A tree turned upside down. A hand-woven willow basket, an old technology to gather and store. The journey of a lovelorn bard through the underworld, a bundle of willow under one arm for protection.

For the opening track, The Carrier Bag Theory of Fiction, Yorke recorded herself playing a simple unaccompanied improvisation on the organ, the only ornamentation being the processed sounds of the keys being struck and returning to their positions.

For Bundle of Styx, a spell of protection is cast and then broken. Yorke invited virtuoso clarinettist Charlotte Jolly into the studio to test combining the breathy textures of both brass and natural reeds, the instruments uniting and obsuring each other in turn during this one-take improvisation. The organ's unpredictable sharpened tunings take centre stage here, with Jolly using them as a point of departure to conjure a set of peerless harmonic improvisations live in the moment. Throughout the improvisation, Yorke, a self-taught musician, unpracticed on the organ, supports and challenges, freely admitting that she's not always sure what effect her decisions to move up and down the keyboard or pull out certain stops will have. Jolly's genius lies in her ability to meet and build on every uncertain pitch thrown her way, saying of the experience, "I love that Loula isn't classically trained, I can't predict at all what she's about to do."

For the final track, With the Red Dawn, Yorke has come up with another unique combination of textures, this time bringing her own specialism in modular synthesis to the fore. A ten-minute reed organ drone characterised with ever-shifting bass swells and overtones is layered with tuned sines, often shudderingly wave-folded, that ebb and flow both in intensity and harmonic colour according to the duty cycles of eight interrelated LFOs. These recordings are collaged with Yorke's singing voice and a langorous, ascending sequence across two octaves on Jolly's clarinet, all arranged to form a cohesive whole far greater than the sum of its parts. Smatterings of untuned percussion and a fragment of a conversation between the duo left in the final mix cements Yorke's unprecious DIY aesthetic into the release.

At its heart, Salix is like watching the wind in the willows; hundreds of thousands of identical tiny leaves moving in confluence on its branches; at once one thing and many things; moment-to-moment our perception makes out different individuals parts within this expanse of texture, before sinking back into the whole.