Cerca:broke

LP w Silver foil print sleeve + Hype Sticker)

Revisiting the sound and spirit of Jazzy Sport, rooted in Japan and carried forward by a new generation. Compiled by Nina Yamada, featuring Cro-Magnon and Grooveman Spot, with remixes by DJ Mitsu the Beats and Idjut Boys.

Founded in 2002, Jazzy Sport emerged at a particularly fertile moment in Japanese music. Beginning as an independent label and record shop, with its first store in Morioka and Jazzy Sport Music Shop Tokyo opening in Shibuya the following year, it became a home for artists including GAGLE, DJ Mitsu the Beats, Cro-Magnon and Grooveman Spot. Its releases moved freely between hip-hop, house, jazz, broken beat and live musicianship, helping define a distinctly Japanese strain of open-minded club culture.

But the music was only the beginning. Jazzy Sport developed into a network of record shops across Japan, alongside its label and distribution work, apparel and design, dance studios, and a Morioka record shop joined to a bouldering gym. These were not unrelated side projects. They expressed the same founding idea: that music, sport and everyday life could come together to create community.

PAST FORWARD: SILVER marks the first release on the Jazzy Sport London label, distributed by Time Capsule. Established in 2022, the London project first took shape through parties, radio shows and community collaborations connecting Japan and the UK. This compilation carries the Jazzy Sport archive and its values forward through a new generation.

At the centre is Nina Yamada, the daughter of one of Jazzy Sport’s core members. She grew up within the community that shaped the collective, and her selection is not a conventional greatest-hits survey, but an inside view of the catalogue and an intergenerational handover made audible.

The music moves naturally between hip-hop and house, electronic production and live performance. That openness has always been central to Jazzy Sport, where club music, musicianship and community are part of the same conversation rather than separate scenes.

DJ Mitsu the Beats’ remix of Cro-Magnon’s “Eclipse” brings the refined, soulful depth that makes him such an important figure in Japanese beat music. Idjut Boys’ deep, dubwise Cro-Magnon rework reflects the long exchange between Japan and the UK, while Grooveman Spot’s “Do The Dance” finds a sweet spot between acid-tinged 808 groove and warm soulfulness.

Elsewhere, Nubian Lady’s “In☆Flu☆Enza” draws on Detroit techno and Chicago house but sharpens those influences into something lean and distinctive. Physical Sound Sport’s “Magical Kalimba” captures the communal energy and openness of a live session. Bottom Fly’s “Rhyme Or Reason,” rooted in Morioka, pairs rough-edged beats with mellow samples and a quiet sense of nostalgia.

What comes through is not only the strength of the individual tracks, but the sensibility that connects them. That keeps PAST FORWARD: SILVER from feeling like a nostalgic best-of. For longtime followers, it offers rediscovery; for new listeners, a way into the breadth of Jazzy Sport; and for DJs, a selection made for the record bag, not just the archive.

2026 repress: Flatlife Labelgroup presents this one-time repress on the sought-after SouthSide Records 003. We received massive support from artists like Perc for the "Psychedelic Drug" track from Acid Chiochi. The other 3 tracks are no less impressive with massive artists like D.A.V.E. The Drummer, Marcio M. & Tiago Santos. This one is for in the bag !

Longtime Do It Now favourites Club Squisito are back alongside vocalist Fre Monti for a warm, emotionally-charged deep house cut that will soon worm its way into your affections. The original is an unhurried blues ballad that builds into a thumping groove with Monti's haunting vocal work threading through with real feeling. Emiliano S. remixes it into something jazzier and hard-swinging, complete with a clever half-speed breakdown, while Nutty Nys opens the flip with a tasteful, vocal-led broken-piano hook. Pigsie closes things out with a four-on-the-floor banger that taps into early-2000s deep house energy.

A second collection of cuts from New York electronic music fusionists Aries Project, a collaboration between producers Collin Suttles and moe.BPM focused on fusing 21st century deep house grooves with elements inspired by hip-hop, jazz, funk and soul. Their trademark sound, as showcased across four guest and collaborator-heavy cuts, is certainly one that blurs boundaries. For proof, check opener 'Celebrate' (featuring Jermaine Holmes), a hybrid nu-disco-meets-synth-heavy house affair, and 'Nobody', a colourful, tactile and synth-heavy broken house number rich in vibrant riffs and sparkling electronics. Elsewhere, Stefan Ringer lends a hand on the smooth deep house/garage-house warmth of 'Down', while vocalist Larie E Edwards does a superb turn on the organic, sub-heavy and Rhodes-rich loveliness of 'Freedom'.

Cold, Bold & Together (CBT) CBT was founded in Bellingham, Washington in 1971 by percussionist Tony Gable and musicians Solomon Harris, Keith Hooks and twin brothers TC & Jamar Jenkins. It soon became evident that Bellingham was not a particularly welcoming environment for R&B music, so they moved to Seattle to try their luck and plumb the rich supply of venues, which they successfully did until disbanding in 1978. They spent their early Seattle years playing a combination of covers and originals in clubs, later becoming the "go to" opening act for various nationally known artists, such as Ohio Players, Kool and the Gang and Earth, Wind & Fire. While they were paying their club circuit and opening act dues, they squeezed in recording sessions whenever they could and released their own material, which was well-received and got strong regional airplay. However, because of the feudal nature of the music business at the time, they just couldn't break out, and like a lot of Northwest bands with great potential, they inevitably broke up and went their separate ways. Upon disbanding, they left behind a collection of original recordings at Seattle's legendary Kaye-Smith studios.

Unfortunately for CBT, the studio passed through several owners and at some unknown point in time, one of them did the unforgivable and destroyed the storied studio inventory of two-inch tapes and quarter-inch masters. Unknown to the band, a copy of their masters was smuggled out by their producer who added them to his legacy collection of cloned quarter-inch masters. After several years and many moves, he became concerned about the tendency for magnetic tape to deteriorate over time.

He sent the tapes to a Seattle lab to be restored and digitized, with the hope that perhaps, some day, they might be made available for the listening pleasure of R&B fans. The hoped-for day has finally arrived. Russell Paine and Super Disco Edits has pressed two of the Kaye-Smith CBT tracks: "Go For It", a jazz-influenced instrumental, featuring Kenny G, and "Unity", sung by the group en masse with Tony Gable singing lead. The musicians on these tracks are: Tony Gable, leader, vocals and percussion Harry Alexander, drums Kenny Gorelick (now world-renowned "Kenny G"), sax, flute and horn arrangements Chris Ishi, trumpet Michael Young, Trombone Jamar Jenkins guitar, vocals TC Jenkins bass, vocals 1 Philip Woo, keyboards Footnotes: CBT gave legendary saxophonist Kenny G his start in the music business. Kenny was still in high school when he was recruited to play sax and write horn arrangements. Kenny co-wrote, arranged and played sax and flute on the instrumental "Go For It." He rips a smoking tenor sax solo in the middle, which showcases his already masterful technique and solidifies his R&B bona fides. He went on to have a spectacular career recording for Clive Davis and Arista Records. Before his untimely passing in 2016, Tony Gable went on to found contemporary Jazz group, "Tony Gable and 206" (206 being Seattle's then only area code). With songwriting, performance and production help from Kenny G.

20/20 Vision continues to flourish even well into its third decade. For its next trick, the Leeds label welcomes back Brett Johnson, who was last here 20+ years ago. Releases on Classic Records, DJ Heather collaborations and Derrick Carter championing his work all make him a bona fide house hero and 'Broken Machine' confirms it. 'Unstuck' opens with a mutating disco bassline that refuses to settle, while 'Juiced' dives deep into his signature boompty swing with a drop designed for pure devastation. The title track is the centrepiece - a trippy trip that stretches time entirely before 'iRemember' closes with starry-eyed ambient pads laced above a deep, slow, gorgeous groove. Sophisticated, playful and musical as always.

Alveromancy is a method of divination performed by attending to and interpreting certain sounds, so that the loudness of sound is taken to indicate the severity of predicted event and from its proximity how soon the event will come to pass.
The label’s first divination session is made up of 4 selected cuts originally composed between 1994 and 1996 coming from Fred Exelby’s archives, bringing his All Broken solo project back to a renewed life more than 30 years after his last release.
Rooting its core into Canada’s 90s DIY electronic scene and drawing inspiration from themes such as anti-pop culture, shared knowledge, music programming and his formative frequentation of the seminal Rivoli in Toronto, this record might also be seen as a picture in time, a reflection of Fred’s world back then.

Since forming in 2020, Dinner Party has continued to erase the lines between jazz, soul, and hip-hop, building a discography celebrated for its warmth, musicianship, and effortless chemistry. Following their Grammy-nominated 2020 self-titled debut, the Dinner Party: Dessert reimagining, and 2023's Enigmatic Society, Whatchu Bringing? finds the group as locked-in as ever — trading the same easy, in-the-room feel that has made them one of the most beloved collectives in modern music.

Whatchu Bringing? arrives on the heels of a pair of 2026 Grammy nominations for Dinner Party co-founder Terrace Martin. Martin's collaborative album with Kenyon Dixon, Come As You Are, was nominated for Best Progressive R&B Album, while its single "WeMaj" (feat. Rapsody) earned a nod for Best Melodic Rap Performance at the 68th Annual Grammy Awards. The nominations arrived in the middle of an especially prolific run for Martin, who spent early 2026 rolling out his ambitious four-part album series — Passion, Peace, Purpose, and Perspective — building toward the full-length Love Is Louder Than Algorithms. Whatchu Bringing? marks his next chapter, bringing that same restless creative energy back to Dinner Party.

With Whatchu Bringing?, Dinner Party continues a run defined by joy, community, and genre-defying collaboration — an invitation, as always, to pull up a chair.

Tarkno, Remco Beekwilder and Jacobworld unite with the 'Triple Threat EP'. A Powerful expression of their shared love for old-school techno.

Since forming in 2020, Dinner Party has continued to erase the lines between jazz, soul, and hip-hop, building a discography celebrated for its warmth, musicianship, and effortless chemistry. Following their Grammy-nominated 2020 self-titled debut, the Dinner Party: Dessert reimagining, and 2023's Enigmatic Society, Whatchu Bringing? finds the group as locked-in as ever — trading the same easy, in-the-room feel that has made them one of the most beloved collectives in modern music.

Whatchu Bringing? arrives on the heels of a pair of 2026 Grammy nominations for Dinner Party co-founder Terrace Martin. Martin's collaborative album with Kenyon Dixon, Come As You Are, was nominated for Best Progressive R&B Album, while its single "WeMaj" (feat. Rapsody) earned a nod for Best Melodic Rap Performance at the 68th Annual Grammy Awards. The nominations arrived in the middle of an especially prolific run for Martin, who spent early 2026 rolling out his ambitious four-part album series — Passion, Peace, Purpose, and Perspective — building toward the full-length Love Is Louder Than Algorithms. Whatchu Bringing? marks his next chapter, bringing that same restless creative energy back to Dinner Party.

With Whatchu Bringing?, Dinner Party continues a run defined by joy, community, and genre-defying collaboration — an invitation, as always, to pull up a chair.

Floating dubby synths and layers of improvisational percussion collide in a freaky swirl on 'Magnolia'
Jazz-influenced chords and broken beat sensibilities quietly move the low-slung groove of 'Patchouli'.
On 'Vine', kecak-like rhythms intertwine with spacious synths, creating a cosmic jungle atmosphere through a leftfield dub house approach.
Steel pan echoes dissolve into space and slowly ascend throughout 'Hydrangea'.

A fusion of tropical Asian moods and the chaotic spirit of Western free jazz.

The third private session from RYOTA OPP.



High Praise indeed from Japanese legend Chida (see below)

"Four fresh, deep tribal tunes that transform the dancefloor into a misty forest. I love them all..." - CHIDA (Ene/Mascaras)

Finnish-American guitarist Raoul Björkenheim and Norwegian drummer Paal Nilssen-Love join forces on their new album PING, released by We Jazz Records on 30th October on LP, CD and digital formats. Recorded in Helsinki, the album finds the seasoned duo firing on all cylinders and delivering a remarkable set of contemporary free music.

PING brings together nine excursions beyond “guitar + drums” and way beyond “free jazz”. That being said, those are still good touching points for the music that is wild, imaginative, raw, yet also at times delicate and introspective. Friends and collaborators for decades in groups such as the lauded Scorch Trio, Raoul and Paal have the history and the trust to create memorable and original improvised music that stuns and moves the curious listener.

Raoul Björkenheim (b. 1956) is a Finnish-American guitarist and composer who has been creating original music for the past four decades living in New York City and Helsinki, where he is presently based. Describing his on-going work as investigative guitarism, he is best known for an expressionistic and lyrical guitar style. Björkenheim’s eclectic discography numbers 50+ albums, ranging from ambient soundscapes to visceral free jazz, from duo to big band. His large-scale works for symphony orchestra have yet to be recorded, and he has also composed scores for over ten films and dance productions. Björkenheim has collaborated musically with Bill Laswell, Toshinori Kondo, William Parker, Mats Gustafsson, Hamid Drake, Ingebrigt Håker Flaten, Gerald Cleaver, Henry Kaiser, Lukas Ligeti, Morgan Ågren, Paul Schütze, Edward Vesala and Juhani Aaltonen, for the labels ECM, Rune Grammofon, Cuneiform, Tum Records and Long Song records. Björkenheim has been awarded various prizes including the Emma prize for best jazz recording of the year, and been nominated three times for the Nordic Music Award.

Paal Nilssen-Love (b. 1974) is a Norwegian drummer, composer, bandleader, and producer known for his central role in Scandinavian free jazz and improvised music. Since the mid- 1990s, he has appeared on more than 280 albums, including 70 released through his label, PNL Records. He has performed with influential groups including Atomic, The Thing, Peter Brötzmann’s Chicago Tentet, Scorch Trio, and Frode Gjerstad Trio, and collaborates regularly with artists such as, Ken Vandermark, Akira Sakata, Otomo Yoshihide, David Murray, Arto Lindsay and more. Paal Nilssen-Love’s fascination with traditional and experimental music has taken him around the world. Since his first visit to Ethiopia in 2009, he has built strong connections with musicians and artists in Addis Ababa, leading to collaborations, performances, teaching, and artist exchanges with Norway. Since his first trip to Brazil in 2013, he has returned regularly, developing collaborations with artists and musicians across the country. His musical explorations have also brought him to Tsugaru and Aomori in northern Japan, where he has developed an interest in the region’s traditional music. Nilssen-Love is also an active organizer and educator. He started both Oslo’s all-Ears festival, the Blow Out festival and FRAM Kunstfest, and has led workshops internationally and in Norway.

Hell is empty and the salsa is all there is.

Chúpame el Dedo are BACK! After years of terrorizing the avant-tropical underground with their manic, mock-satanic metal-cumbia madness, the legendary Bogotano duo of Eblis Álvarez and Pedro Ojeda have officially scrubbed the pentagrams off the drum kit. They aren’t worshipping the dark lord anymore; they’ ve found a much more chaotic deity. Please lower your expectations and raise your instruments: Chúpame el Dedo are now officially Geobah Witnesses.

Forget everything you thought you knew. This new record is a high-octane salsa-altín exorcism. It’s not your abuela’s dance music; it’s a fever dream—like Waka Waka played at double speed through a frying mixing desk that’s caught fire mid-verse.

The Chúpame delirium remains terminal. We’re talking classic, hard-swinging Caribbean breaks that trip over jagged psych-synth riffs, all tied to those signature “broken” vocals—jumping from gutter-low growls to manic, helium-choked chirps. It’s twitchy, heavy, and lyrically, the most blasphemous shit they’ve ever committed to tape. It’s a holy, nonsensical collision that’ll leave you wondering if you’ve been saved or just brainwashed.

Put down the pitchforks, pick up a maraca, and surrender to the frequency. Geobah is watching.

U-BEND follow up the “sound of the summer” Macareno with a double headed return to their balearic roots on BENDERS 007, which sees the brothers bend once again firmly putting the Torvill in Dean. Bent Rod cruises in at the benders’ characteristically lazy tempo, combining their usual last-track-of-the-night, first-track-of-the-morning confusion with the welcome tones of a familiar husky voice. Broken Britain strips it back to a dusty roller, uniting dancefloors and kitchens alike with a simple but pertinent question ‘what are you fighting for?’. What else to say about the benders’ seventh label release, other than shut up and dance?

Modeight returns with four new cuts from label head Silat Beksi, moving across broken grooves, stripped minimal house and hazy after-hours moods. A1 "Belpaese 3000" opens on a loose summer feel, built around off-centre drums, elastic funk phrasing and a surreal vocal line that feels half-sung, half-invented. Sampled folk details and a crunchy acid twist in the breakdown give the track its own oddball tension. A2 "Alpha Style" keeps things tighter and more direct, locking into a pumping minimal house flow with clipped modular stabs, warm female vocal phrases and light atmospheric drift. It is playful, controlled and built with the floor in mind. On the flip, "For The Heads" goes deeper into late-night territory - reduced, driving and sharply focused, with a rolling pulse and enough pressure to carry a room without overstatement. "Soft Collapse" closes the record on a softer axis, layering blurred vocal tones, textured percussion and a gentle after-hours motion that stretches naturally from the first warm-up hours into the early morning.

Hell Yeah welcomes back Tonarunur for an EP of future-facing Balearica straight out of his native Iceland. Someone Else EP is drawn from vast production archives and reveals two distinct sides to his sound, with artwork from Planet Luke.

Tonarunur last appeared on the label with a track for the Buena Onda compilation in 2021, and has also released his unique blend of electronic boogie and space disco on Citizen of Vice, Eskimo Recordings and Whiskey Disco. Whether laying down horizontal Sunday sounds or soundtracking the dance floor, he always brings a strong sense of personality.

Both A-side cuts feature Norway's bass player Arctander, starting with opener 'Someone Else' is a lithe mid-tempo groove with a playful, wriggling groove and sun-dappled 80s keys. The blissful 'Dawn' unfolds slowly through liquid rhythms, gently broken beats and cosmic melodies awash with good vibrations. On the flip, 'Lundur 1' drifts into the stars on shimmering pads and floating grooves and is romantic yet melancholic, before 'Lundur 2' closes with a more grounded rhythm and wispy melodies tracing patterns across a starry night sky.

Equal parts sunset escapism and after-hours introspection, Someone Else EP drifts effortlessly between the club and the cosmos.

2026 Repress

Portuguese techno force Lewis Fautzi debuts under his own name on Mutual Rytm with ‘Beneath The Surface’. Hailing from Barcelos, Portuguese maestro Lewis Fautzi has carved out a formidable reputation through a run of uncompromising releases and a sound rooted in tension, precision and raw power - exemplified by his recent outing on the agenda-setting Hayes Collective. He has previously established his fierce, potent sound on Soma, PoleGroup, Mord, and a number of other influential labels, while also heading up Faut Section. Having previously appeared on Mutual Rytm’s Federation Of Rytm III compilation under his Non Cyclic alias, he now steps out on SHDW’s label with a six-tracker busting full of impactful techno cuts. The heavily-requested ‘Beneath The Surface’ opens the EP with menacing low-end and tightly coiled pressure that's released through simmering valves and hissing synths. ‘The Hollow Cycle’ brings a loopy, tunnelling groove with a snaking lead and snaking metallic percussion, while ‘Inner Mechanism’ keeps things dark, deep and driving with a backlit glow that pulls you in. ‘Nonlinear Form’ is streamlined deep techno that fizzes with texture, spraying chords and a rumbling sub-bass, while closer ‘Anamorph’ rides meticulously designed broken beats with an ever-present sense of bass-driven foreboding. For digital purchasers, sparse and eerie bonus ‘Surface’ slams down with industrial weight and real warehouse grit, shaping up another weighty offering for the label.

Sometimes things go quickly. After meeting Canadian artist Pascale Project early this year (twice in one month) on the same dancefloor of a crusty underground club in Neukolln, we sent this Berlin-based DJ and producer a short appreciation email to show curiosity and interest in her unreleased music. Our hope was to listen to it and maybe just maybe start a record-release project. Pascale sent back quickly, and she shared some fantastic club music with us. We had separate listens to the full playlist, and, funnily/coincidentally, we chose the same 4 tracks as highlights from the big playlist. One week later, Pascale emailed us back, mentioning the tracks she would feel/see/love to be released on the label, and they were the exact same ones we had naturally and unanimously chosen. Stars aligned for sure. Having long been active in the Montreal music scene, Pascale absorbed the essence of all her different experiences and years of training and creating, and then let it all start Sparkling into the 22nd Basic Moves release entitled "Watch EP". The record is based on the concept of losing and breaking things up, and eventually finding it all back. Reflecting hope in between the fog of life. It is clever modern underground club music rooted in the textures and energies of the golden days of progressive house, breakbeats and (real!) tech-house. These 4 tracks reflect an artist who expresses herself honestly, fully understands how to creatively arrange and produce club music, and never loses sight of the dancefloor, as she is often found on that dancefloor herself. Dive in and let us know what you think of it. We are stoked to play out and vibe on these tunes for real!

A collection by Peruvian visual artist Jonathan Castro between 2024-26 at home studios while living in Amsterdam, then Rotterdam, NL. The compositions were made using various synthesizers, samplers, electronic percussion, congas, and an array of effects pedals. Knackered out salsas, looped up and chucked down into a custom dub chamber.

*Originally pressed in 2021 - this is a brand new master and cut.**

In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.

Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:

"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."

Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:

"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."

An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.

On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.

'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

These sounds were not made for comfort. They were carved from late-night static, broken machines, and restless hearts.

This record marks the beginning of a catalogue for those who seek meaning in the shadows.

For those who understand that music is not just heard, it is endured, inhabited, and shared.

Use this work to channel the anger and dissonance born from today’s chaotic world, with responsibility, awareness, and resilience.

A defining vocal trance classic of the late '90s, Lost Witness' "Happiness Happening" broke into the UK Top 20 and became a staple of the era's euphoric sound. This timeless favourite returns to vinyl, ready to light up the dancefloor once again.

DJ Support: Louie Vega, Terry Hunter, Kenny Dope, Jazzy Jeff, Natasha Diggs, Wayne Williams & More

Broken at the Chosen Few Picnic in Chicago by Terry Hunter, where 40,000 people were singing along to it, after which the label received dozens of requests from a who’s who of DJ’s asking for a copy.

It’s since become one of the biggest tracks around played from Chicago to Ibiza.

Grab your copy now, Limited Pressing act fast!

Released in 2018 this extremely limited four track 7" EP is the only physical release by the Indonesian producer and local harsh experimental music pioneer Tembok Kamar Dinding Sekolah who unfortunately passed away only a few weeks prior to his actual vinyl debut on the underground imprint that is Flop Beat Disk.

Therefore this posthumous and highly limited to 120 copies pressing remains the only glimpse into his sonic world, seemingly formed and developed in a place rather isolated from the rest of the electronic music scene, a four track release spanning an arc from haunted Unformatted Techno to Rhythm Industrial x TechnoJazz amalgamations as well as bass heavy Broken Techno fusion and ethereal, hyperdecaying IDM x Glitch realms. This is for the most adventurous and headstrong amongst the DJs only.


Never officially distributed before this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.

Limited pressing of 120 copies.

after gaining worldwide recognition for his jazz trio, Moses Yoofee returns on casa voyager with a sophisticated broken beat EP drawing influence from jazz, soul and r&b.

2026 Repress

Next year the iconic anthem Cafe Del Mar will celebrate its 30th anniversary, a landmark that will be celebrated with a series of brand new remixes alongside the finest existing remixes in specially remastered versions.
Launching the series of vinyl releases in September is a remastered vinyl-only release of the original mix, as well as the best-known version of this classic track, the iconic Three ‘N One Remix.
Nearly 30 years ago, Paul M aka DJ Kid Paul recording as Energy 52 unleashed a record onto an unsuspecting public that would go on to define club culture for an entire generation of dance music enthusiasts. Named as an homage to the legendary Ibiza sunset spot, Café Del Mar broke down boundaries between the underground and
the mainstream, charting in the UK singles charts on three separate occasions and named as the “best tune ever” by Mixmag at the start of the new millennium. In terms of cultural and emotional impact in dance music, it’s hard to find a record that comes close.
Café Del Mar has come to represent the most euphoric and hedonistic pleasures of dancefloors - in Ibiza and all around the world - and has been remixed by some of the biggest names in the industry. Now, 30 years after its original release, Superstition Records will be putting out a new series of releases, with brand new remixes as well as remastered versions of some of the many remixes from across the last three decades. The vinyl-only remastered version of the original and Three ‘N One mixes will launch the series, with further details about the rest of the series announced in the coming weeks.

In 2021 Paul Van Dyk’s Café Del Mar remixes launched a series of vinyl and digital re-issues on the Superstition Records imprint after an almost 20 years hiatus. From 1993 until 2003 Superstition Records was a groundbreaking Techno, Tech-House and Trance Label and released some of the biggest and most revered records of the early German electronic scene.

Sumptuous sunset moods stretch into late-night movement on Razzle Dazzle, a jazz-leaning return from a loosely aligned global cast of serious deep house players. The sequencing feels deliberate, easing in with 'Connection' before letting grooves deepen and loosen across the set. London legend Giles Smith brings gentle swing on 'Love Pain', while the ever inventive DJ Boring nudges things toward the floor with 'Gimmie V Alwin'. Further highlights arrive in the warmth of Chicago's Alton Miller and the hypnotic pull of KZR aka the one and only Kai Alce. Musicality meets seductive groove here in what is undeniably a high class collection.

This November, Brownswood Recordings will release Mek Do & Mend, the debut album from self-taught producer, multi-instrumentalist, composer and artist Wonky Logic. Although his name may not yet be familiar to everyone, Wonky Logic (AKA Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK's most respected musical collaborators. His career has moved comfortably between London's jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. Alongside his work as a producer and composer, he's been musical director for projects with Eddie Chacon, John Carroll Kirby and I.G Culture's LCSM, scored the feature documentary Zandra With A Zed, contributed music to A24's The Smashing Machine, and continues to lead music workshops with young people, refugees and people experiencing incarceration.

Far more than a collection of compositions, Mek Do & Mend is a deeply personal reflection on the people, places and experiences that have shaped Kilvington throughout his life. It's the story of growing up on a Leeds council estate, where music became both a creative outlet and a way of understanding the world. Making music often meant working with whatever was available: a second-hand keyboard, a makeshift studio desk or ageing equipment that simply had to last a little longer. The title itself came from a conversation with his mother, capturing the resourcefulness that defined his upbringing and continued into the making of the album itself, which was written and produced to a tight deadline around touring, family life and Kilvington's work as a musician and educator.

Built from material spanning more than fifteen years, Mek Do & Mend brings together some of Wonky Logic's earliest compositions alongside brand new pieces written during the making of the record itself. Childhood ideas sit alongside music conceived only months before recording, creating an album that draws together a lifetime of writing rather than documenting a single moment. Running throughout are voice notes from family members, teachers, friends, mentors and collaborators—not simply as interludes, but as a reminder that no creative life is ever self-made. Rather than telling his own story outright, Kilvington invites listeners to discover him through the people who've shaped him: an aunt remembering him playing in church as a child, lifelong friends recalling early experiments making beats together, fellow musicians from different stages of his career and his mother describing him in her own words. Together they reveal the invisible network of relationships, philosophies, communities and experiences behind the music. "The album exists somewhere between being a biography and an autobiography," says Dwayne. "The biography is in the voice notes and how other people see me. The autobiography is in the music."

That same philosophy extends to the musicians who appear on the record. Every contributor has played a meaningful role in Wonky Logic's life beyond the studio. Long-time collaborator Luke Wynter, Steam Down drummer Benji Appiah, partner Vanessa Rani, Jonathan Enser, Joe Bristow, Brother Portrait and Nubiya Imani all feature not simply because of their musicianship, but because they form part of the album's story.

Across its fourteen tracks, Mek Do & Mend moves effortlessly between dynamic jazz arrangements, pulsating broken rhythms, delicate, twinkling piano passages, interstellar synth textures and elegant brass lines. Album opener and first single 'Strange Attractor' begins with a shimmering introduction before unfolding into an exhilarating surge of rhythm and momentum. Named after the mathematical concept of the same name, it serves as the conceptual point of origin for the album. Written when Kilvington was just seventeen, the composition reflects the idea that even the most unpredictable lives are guided by hidden patterns that often only become visible with time. Second single 'A Thousand Hands' features the unmistakable vocal tones of Brother Portrait, whose cerebral lyricism drifts over a low-slung, constantly shifting groove as woozy synth lines ebb and flow overhead. At its heart, the track celebrates the family, friends, mentors and collaborators whose often unseen influence shapes who we become, echoing the album's belief that every achievement is, in some way, a collective one. LP focus track 'BAME (Beyond All Marginalised Expectations)' is a lush, spiralling composition, brimming with both emotion and resolve. Reclaiming an acronym long imposed on racialised communities in the UK, the piece transforms it into a statement of possibility rather than limitation: a defiant rejection of stereotypes and a refusal to let identity be defined by other people's expectations.

The album itself only exists because other people believed in it. Isabel Gracefield made the RAK sessions possible, Rick David brought the record together with his characteristically thoughtful mix, and Gilles Peterson committed to releasing it on Brownswood before hearing any of the music. Away from the stage, Kilvington works with the charity Finding Rhythms, writing and producing original records with people experiencing incarceration, while also leading workshops with Arts Train and Dovetail Orchestra.

Recorded live in a single day in Studio One at RAK, Mek Do & Mend was mixed by Rick David through an analogue Cadac console before being mastered by Stuart Hawkes at Metropolis. The aim wasn't nostalgia or audiophile perfection, but to create a record people could return to throughout their lives, discovering something new with each listen.

As Dwayne puts it: "I don't want this body of work to be reduced to a jazz record. It's more like a novel about life told through music."

Mohammad Syfkhan is back with his second album for Nyahh Records. This collection of new recordings marks a hug milestone in Mohammad’s career as it’s the first album that features all original compositions. And with a full band! We had the great help of Syrian Cellist and composer Naseem Alatrash to help with the string arrangements. The resulting record is a beautiful journey into a timeless Middle Eastern and North African sound akin to the likes of Fairuz or Umm Kulthum with a fast Kurdish Dabke tempo.


I Love You Ireland is an incredibly personal album for Mohammad. The title alone, much like his debut ‘I Am Kurdish’ is as personal as it it’s political. To express such love for a place in music is saying, thank you for making me and family feel safe. Thank you for taking us in. A stand out track titled ‘Ah Yu Donia’ is Mohammad’s first real public moment of grieving for the loss of his son at the murderous hands of Isis. In this song he asks God why he was taken. Trying to figure the sense in the actions of fundamentalists. The strings sections are sad, but not morbid. Acting like a release or companion to the horrific reality of losing a child.


‘Al Huriya’ is Mohammad’s first attempt at using an Irish rhythm known as a Reel, as appose to his usual Middle Eastern rhythms. Again, this is a beautiful way for Mohammad to give thanks to all the musicians and supportive people his has met in Ireland since 2011.


WHO IS MOHAMMAD SYFKHAN


Mohammad Syfkhan is a Kurdish/Syrian Singer and Bouzouki player. He began
playing music in 1980 while he was in college studying nursing. When he got
his degree in 1983, Mohammad moved to the city of Raqqa, Syria where he
began working as a professional singer and started his own band, The Al-Rabie
Band which played concerts, parties, weddings and festivals all over Syria. The
Al-Rabie Band were a much sought-after group. Their live sets included Kurdish, Arabic, Turkish and some Western songs as well as Mohammad’s own original material.


Mohammad continued to play with his band while also working as a surgical
nurse until the war broke out in 2011. This unfortunately brought tragedy to
Mohammad’s family when one of his sons was killed by Isis thus threatening
the lives of the rest of his family. His family had no choice but to leave their
home and seek safety in Europe. Three of Mohammad’s sons were resettled in
Germany while Mohammad, his young daughter and wife were taken in by
Ireland. Mohammad has spoken at length of his confusion and despair with
fundamentalists and how their message is a far cry from the teachings of love
and understanding that he considers the true message of Islam.

‘veneration for the sacred action’ is the first compilation release by london-based independent record label ‘lifeis beautiful records’ released in celebration of the three-year anniversary of the label (& the gesamtkunstwerk that it exists within), the compilation brings together members of the life is beautiful septet collective, as well as various collaborators and special guests from previous life is beautiful events of the past three years. it highlights a range of the various solo, group projects, and alias’ of the septet, as well as various artists from the wider orbit of the life is beautiful constellations. the project was executively produced and curated as an album by label founder aloisius, as a selected works of the life is beautiful constellations. it stands as a comprehensive yet intentionally incomplete representation of the past three years of life is beautiful

Impressive Collective, BBE Music and Mark de Clive-Lowe present: Remixes & Reimaginations World-renowned for decades, Mark de Clive-Lowe is a New Zealand-born, Tokyo-based pianist, composer and producer, widely recognised as a pioneer in nu-jazz, broken beat and electronic music. In contrast to his previous release on Impressive Collective, the contemplative solo project 'past present (tone poems across time)', this collection brings together MdCL’s extraordinary reinterpretations of other artists’ work. As he explains: “Remixing has always meant more to me than just rearranging stems - it’s about uncovering a new reality inside the music.” From the uplifting gospel-house of Close Counters’ 'I’ll Be There For You', recontextualised for the broken beat dancefloor, to the timelessly angelic tones of We Are KING’s ‘Supernatural'; from Omar’s 'This Is Not A Love Song' reimagined almost 30 years later, to the politically charged intensity of Anthony Joseph’s 'Maka Dimweh' - every remix has been crafted with the progressive dancefloor in mind, while still resonating for the deep listener and always in service to the original artist’s essence. “I’m grateful to every artist who’s invited me to dive into their work - to deconstruct it and reimagine it with love, curiosity and respect. This compilation isn’t just a retrospective, it’s a celebration of the remix as an art form.”

2026 Repress
***
nothing changed
it was locked in place.
something flashed, something broke,
something remained.
I walked down the stairway
and into it.
***

There is a strong sense of place running through 'North West Tonight', as God Colony aka Crack Copies label heads and Liverpool-raised duo James Rand and Thomas Gorton sketch out a hazy, after-hours portrait of their hometown. Drawing on 80s new wave melodies and rough-edged club rhythms, the EP balances sounds of yore with present-day energy. There is crunchy, disrupted bass on 'The Column', backlit broken beat on 'Middle Eye' and more sun-kissed depths on 'Rhyll Sun Centre'. 'The Paradox' stands out as a darker, more edgy and club-ready sound while the rework by Sasha stretches the track into something built for wide-eyed dancefloors.

London based Reposition Records return with ‘Electric Dream Romance’ - celebrating a brand new beautiful piece of braindancing house music from trailblazer Kim Cosmik. DMX Krew, dBridge, El Prevost and Kim herself all provide 4 distinct remixes.

With deep roots in UK soundsystem free party culture as a member of the legendary Spiral Tribe, Kim remains a fixture in the underground regularly DJing in spaces from London's FOLD to The Advent's Technoclub. Past releases across 20/20 Vision and her own label Cybersoul have explored the harder, industrial edge of techno. Electric Dream Romance turns toward the more heartfelt side of her production, finding a feel for classic dancefloor house, tantalising vocals and seductive chords wrapped around playful acid lines and Kerrier District-esque synth work.

The unique remixes then glide from DMX Krew's patient electro workout through to an off-kilter shuffling dnb remix from Exit Records boss Dbridge, an emblematically stripped back workout from Reposition co-founder El Prevost, and finally a broken techno interpretation from the EDR innovator herself, Kim Cosmik.

The return of Jonne Lydén aka 53X is an exhilarating welcome for Emotional Especial with 4 more seismic analogue psychedelic jams that are becoming recognisably a unique and hypnotic statement.

Lydén’s studio time is distillation for personal contemplation and perfection just 3 releases in 5 years that are worth the wait. The heady demand for his debut ‘Synapse’ and the following ‘Zen ‘23’ on Especial (limited repress incoming!) show constant development a sound of widescreen technoscope where dub beats trance pyrotechnics and 303 mind-melt swirling in a cosmic matter.

His return takes this further his music heritage in Finland’s hardcore punk scene to finding the techno of Detroit and Berlin before submerging in synths and drum programming jamming recording and mixing these trip-out electronic journeys live.

This heavy 4/4 jack is apparent on opening Sanctuary. Like his recent outings ‘Radar’ found on the Especial 50th “sampler” release ‘Gracias Especial’ (EES050) and also ‘Simulaato’ hidden away on blink and you miss it cult label Avidya (AVI003) this is a pure undiluted bang. Straight forward heavy bass kicking charged with acid 303 and monotonic vocal insights the track is a flourishing temple a call of embrace.

The eponymous Cyan Haze showcases 53X’s cinematic finest panoramic audio and sound design creating expansive phonics. BPMs drop samples flourish around break drops and rolling bass – breathing looping shouting lifting.

Owls enlightens. Hardware rumbles cerebral a temporal universe awakening. The collage of found sound successive sequential all encased by hypnotic broken chords rolling bass and melancholic piano refrain. Meta worming braindance ecstatic tribal industrial gliding by Shiva into the night.

Dust closes apt its basement collage pounds Lydén to techno genesis. Proto-zeitgeist steppa dark room incantation pulling and expanding the fantasy to strange dreamscapes. Reincarnation and hope in 2026.

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

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

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

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

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

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

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

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

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

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

Zed Bias (aka Maddslinky) is a pioneering producer and DJ whose influence has helped shape UK Garage, 2-Step, Broken Beat and UK Funky.

This release marks the first in a new archival series, opening the Biasonic vaults to showcase rare and essential recordings spanning multiple genres and decades of groundbreaking music.

With a strictly limited pressing, this is a must-have for collectors and fans alike, best to secure your copy fast!

The gold standard edit masters at Scruniversal have decided to refocus somewhere away from their usual Brazilian sound for this latest 7". It finds the crew heading to Africa and digging deep for new grooves, with Tony Lavrutz, Scruscru & Dwaal coming correct. 'Afrika Bambaataa' kicks the record off with a laid back Afro-tinged broken beats with a sunny disposition and plenty of bright melodies that wouldn't sound out of place in a Nightmares on Wax set. On the flip side joint, 'Zulu Jam" the drums cut more deep with organic percussion scattered up top next to expressive flutes. Perfect summer vibes.