Buscar:ca

Focus 21 is back with a second sizzling disco drop, this time in the form of 'Boogie Magic Vol 1', which has its feet firmly rooted in the 80s and the iconic machine sounds of that era. All four cuts are super tight and super funky from Gateway Jones, starting with 'Transmission', which is turbocharged with razzle-dazzle. 'Contact Zone' is slightly deeper and more sensuous with its playful synths and wriggling baseline. 'Non - Physical Boogie' is a taught stepper with loose claps and funky licks, then 'Midnight Call' closes with more of the same - feel good, uplifting but classy and sophisticated disco-boogie brilliance. A vital EP full of craft.

Loom has the privilege of releasing T-Flex ‘Reconstruct, Mutate’ – blending analogue warmth with digital clarity from the producer’s nomadic phase to deliver a widescreen yet club-ready arc of techno/electro for the connoisseur.
* Casimir: Lean, driving Detroit electro groove weighted by tight bass and percussive punch.

* Liminal: Spacey, immersive and precise modulation station.

* Mutate 2: Darker, textural, warping tension.

* Face The Infinite: Expansive synth territory – the cinematic, resonant finale.

The borderless, tropical band “of Tropique,” whose core sound blends funk and rock-infused exotica, releases a 12-track full-length album on vinyl LP!!
This work maximizes their core lineup as a guitar-less trio, featuring a diverse array of 14 guest musicians to construct a rich sonic landscape.
This landmark release in the history of domestic exotica and tropical music features Mutsumi Kobayashi of the Minyo Crusaders, Rockin' Enocky of Jackie
& The Cedrics, to global talents like Joshua Camp of CHICHA LIBRE and MIRAMAR, the standard-bearer of US new wave Latin bands, and more!
It's a masterpiece that delivers the full thrill, excitement, and pleasure of encountering unknown music.

Marvin Gaye always dreamed of being a smooth crooner, “sitting on a stool, possibly behind a piano,” delivering velvety songs like Nat King Cole. But Motown had other plans. Pushed between raw R&B and polished pop, Gaye fought to find his own voice, eventually rising to become one of the greatest soul singers in history.

Motown Records released the first Marvin Gaye record in 1961 "(I'm Afraid) The Masquerade Is Over", a single intended for (radio) promotion from the singer's debut album. This was followed up by the officially released "Let Your Conscience Be Your Guide" a week later. Gaye scored his first real hit with "Stubborn Kind of Fellow" in 1962, which he had co-written himself, joking about his alleged stubbornness. He found his own unique style with the single released at the end of the year: "Hitch Hike". The foundations were now laid for an enormous series of chart successes: "Pride And Joy", "Can I Get A Witness", "How Sweet It Is (To Be Loved By You)" and "Ain't That Peculiar" are all Motown classics from 1963-1965 which are still being regularly played today after all these years. The duets he recorded with Kim Weston ("It Takes Two"), especially Tammi Terrell and Diana Ross were certainly at least as good.

He scored his biggest ever hit with "I Heard It Through The Grapevine" in 1968. "What's Going On" from the same titled album became a number 1 hit in the USA. The album was received as a masterpiece and is regarded as one of the most important records in pop history. In 1973, the artistically and commercially very successful, "Let's Get It On" album was mainly a musical ode to Marvin's love for his new muse Janis Hunter. His journey continued after a turbulent relationship, addiction and a dramatic creative rebirth in Belgium, where he crafted the global hit “Sexual Healing in 1982.

Marvin Gaye left behind timeless hits, groundbreaking albums, and a legacy that shaped the sound of modern soul. His story, from ambition to artistry, from struggle to brilliance, remains as powerful as the music he created.

Music On Vinyl proudly presents a special coloured vinyl edition of the Marvin Gaye Collected album which is available as a limited edition of 10.000 individually numbered copies on white (LP1) and silver coloured vinyl (LP2) and includes a booklet with liner notes.

Peach Discs continues into 2026 with a deeply jacking record from the king of the live house jam Demuja. If you've seen him on the 'gram you'll know just how incredibly prolific he is – the tracks that make up this EP were whittled down, tweaked and finessed from close to 100 demos, and we're thrilled with what we've put together, together. In his own words, the EP is "a little love letter to the dancefloor that lives within the idea of a long, sweaty night out. All the tracks were made at very different stages – some produced a while ago, others more recently – and I hope that’s part of what makes the EP interesting as well."

The "title.txt" EP embodies a pure distillation of Demuja's sound– rooted in classic house techniques with a dubbed-out sensibility and, the record's five tracks all stem from live-jams bashed out with focused intention in his Austrian studio on a plethora of drum machines, synths and effects units.

Things kick off with probably the wiggliest of the lot, as "Stop Asking Me" worms a long-range bassline around snappy, stripped-back drums before leaning towards techno (can you hear a snare on the 2 and the 4 cos i can't) on "Oldhead," as its dusty samples drag it back towards house, with a sprinkling of dubstep flavour tucked away in the breakdown. The A-side wraps up in a dubbed-out mode with "Say No More's" deep, modulating textures wrapping themselves around skippy, insistent percussion.

Those dub sounds carry over onto the B-side's "Tool 6," as classically filtered chords peek through the mix (though that bassline is definitely talking tech-house), and Pulse brings it home with strutting drums, disembodied vox and arcing synthlines.

We've also thrown in two bonus tracks you won't find on the 12" but will be available to those that pick up a copy of the record through the Peach Discs Bandcamp. Tasked with picking one fave each, Gramrcy went for "Almost Cherry," a barreling ride across an insistent Reese bassline reminiscent of Samuel L Sessions' best bombs, while Shanti chose the wiggling, diva-wailing "Art of Failing."

You blink; eyes crusty. Last night went a little too late again, and as you stumble towards the kitchen you stare at the record player like it’s a cup of coffee. The rest of your life can wait. You stare at the record again and hit the lever and the needle falls.

First up: Gastón Cabrera’s Inhumano, a little relentless and unforgiving, like being thrown in the back of an Aston Martin and driven away. The groove builds to a haunting peak, and you want more. Then the record blurs into Alfalfa’s La Fiebre, which tickles your ears with eerie bells, and builds from bass fundamentals into something more driving. It’s hopeful, but makes you work for it – wading through acid; climbing the hill.

Everything stops. Fuck it. You flip the record, and Marcos Coya’s The Underdog starts off easy, but slips you down a dark path to a pool of churning, hypnotic synths. There’s a strange moment of quiet before the final track. vault. and Isaac Elejalde close with authority on Just Melt: a raw and writhing finale spiked with voices and sirens that will leave you out of breath, somewhere else.

Introducing The Goods. Four tracks; one abduction. Limited to 300 copies – vinyl exclusive, forever.

Captain Asshole, ein Name, der leicht im Gedächtnis bleibt. Aber zum Glück sind die Songs besser als der Bandname der Münchener vermuten lässt. Punkrock mit melodischen Gitarren und vielen Mitsing-Momenten, deutlich inspiriert von Bands wie The Copyrights, Dear Landlord und Latterman.

This collaboration between DJ MOPPY & vocalist LAILAH REICH, originally a 2022 cassette only release, sees it's first vinyl release in 2024. 4 tracks, featuring remixes from ANTHONY NICHOLSON and DEZ ANDRES.

Strange Cargo kicks off its inaugural release with label founders Guy Contact and Solar Suite uniting under their new moniker, Headhunters. Fusing expansive, dub-soaked synth work with pumping house grooves reminiscent of the turn of the century, the duo carve out a sound that bridges early-millennium inspiration and a modern dancefloor sensibility with a considered and tactful approach. The Mojo Rhythm EP presents four tracks, shaped during their recent live sets and reworked for wax, setting the tone for what’s to come. Distributed by Inch by Inch Artwork by Liam Richards Photography by Christopher Hendriks Mastering by Corey Kikos Pressings R.A.N.D.

Schwarzes Vinyl. Das 2004 erschienene MM..FOOD von MF DOOM wird inzwischen als Hip-Hop Klassiker-Album voller einfallsreicher Produktion, brillanter Wortspiele und einzigartiger Themen gewürdigt. Gefeiert für seine nahtlose Mischung aus Humor, Witz und sozialem Kommentar, entführt das Album den Hörer in eine bizarre Welt voller Lebensmittel-Metaphern und zeichnet ein bitter-komödiantisches Porträt eines Lebens, das von Laster, Gewalt und Eifersucht verdorben ist. Ein brillantes und damals neuartiges Konzept, das DOOM viel Raum zur Erkundung der Themen des Albums gab. Im Verlauf von MM..FOOD bettet DOOM komplexe Ideen in scheinbar einfache Erzählungen ein. Der Album-Opener "Beef Rapp" ist eine vielschichtige Metapher, die den Hörer an die Gefahren erinnert, die mit der Verherrlichung von Konflikten verbunden sind, insbesondere im Rap. "Hoe Cakes" leiht sich seinen Namen von den süßen, mit heißem Wasser gefüllten Maismehlfladen, die er als Symbol benutzt, um über Genuss und Exzess zu reimen. Mit dem von Madlib produzierten "One Beer" setzt DOOM das Motiv fort, um Schichten von Tiefe über Eskapismus und Ego zu falten, während das populäre "Rapp Snitch Knishes" die Verkaufsdiskriminierung und widersprüchlichen Verhaltensweisen einiger Rapper kritisiert. Insgesamt ist MM..FOOD sowohl ein sozialer Kommentar als auch ein Stück Gesellschaftssatire, das MF DOOMs Fähigkeit unter Beweis stellt, ernste Themen mit seinem einzigartigen, verspielten lyrischen Stil zu verbinden. Zur Feier des 20-jährigen Jubiläums des Albums wurde MM..FOOD 2024 mit einem komplett neuen Artwork von Sam Rodriguez neu verpackt!

Music: Calibre / Mastered: Keith Tenniswood / Sleeve Drawing: Craig Richards / Vinyl: 180 Gram

Radhika Meera Dade: “Ever since I entered this realm, music has surrounded me in every way possible. The sounds of magic have been nourishing my soul since birth, the first memories I have as a young child are listening to my dad’s eclectic vinyl collection. I feel so lucky to have been exposed to such a range of music at a really young age: artists from Alice Coltrane to The Go-Betweens, all of these musicians have subconsciously and consciously inspired me musically in many different ways”.

Glass Modern is very proud to present the debut album by Radhika Meera Dade. Cine-Pop is a collection of songs that flow gently and easily in and out of each other - a suite, a short film, everything an album should be. Coming in at 33.3 minutes, it’s the perfect length for an album, it doesn’t short change you, it doesn’t stay too long - it’s designed to be played in one sitting. It’s like being in a friend’s house and noticing the things that are most important in their life - objects, family portraits, records, musical equipment, their curated accumulation. It reflects so many things - culture, community, fandom and the incredible bond between Radhika and her father, Sushil, the Future Pilot AKA. The record spans generations and continents but its home is always Radhika and the family jams she made with Sushil in various garages, bedrooms and garden dens - her soaring voice and love of all kinds of music from Bollywood to Goth Pop to The Glasgow School. The songs are collected from memory and the immediacy of time - one goes all the way back to her 10 year old self penning Future Me, an eco anthem. In different moments other musicians appear - most notably key collaborator, Eric MacDonald, on hazy synth and keys, and Radhika’s mother Vinita, who has a gorgeous voice too. The Glasgow School is very present - Mitch Mitchell (The Pastels) , Gerard Love (Lightships/ ex-Teenage Fanclub) and Tracyanne Campbell (Camera Obscura) all bring their casual magic to the table. Cine-Pop, mostly made in Glasgow at La Chunky Studio with the excellent Colin McGeogh (who also contributes flute, keys and electronics) is a one-off. It’s unrepeatable - there, gone. It’s the world through the eyes of a dazzling young Indo-Scottish woman. Everything she is has gone into it, is part of it and is there for a reason. Following on from the first single, Starry Eyes, which was played multiple times on BBC 6Music and other stations, other singles to be released from the album include Feline Bandits plus a version of the Strawberry Switchblade classic Since Yesterday. Radhika will also be collaborating with Glasgow-based film maker, Laura Meek, on promos and the plan is to play live throughout the year.

On the new concept album Honest Work, ten songs tell stories from the adult lives of working people in the middle and lower classes. They work night shifts in hospitals, pump breast milk in storage rooms, wonder whether they should get a prescription for Ritalin, are summoned to the boss’s office for wearing the wrong clothes, or take a day off just to walk barefoot by a lake. Lyrically, Honest Work can best be described as “petty-bourgeois surrealism.” It’s an album about people trying – and often failing – to navigate systems that reduce them to anonymous data points, employees, and consumers. The album is full of desperate prayers: “Doctor, I think that I’ve got a disease” (Focus Disease), “Taking a day off… don’t even remember my own name” (Remind Me), “I serenade on company time” (Lean Dreams). In these lines, you can feel the dull ache of a generation whose emotional lives are filtered through corporate HR language and online shopping carts.

Review: It's Rough Trade's 50th birthday, and in honour of themselves, the renowned indie-stitution reaches for Cabaret Voltaire with a fresh triple LP variation on their final release on the label, 2x45 (1982) - here reimagined as 3x45, of course, to make room for the newly released extras. Then at a fork in the road, Chris Watson was still present for the first session, but gone by the second; and with two different drummers, the record's still a coherent one, as it moves perceptibly from the angular tape-and-noise experiments of their earlier discography toward a more motorik pulse. The third disc adds 'Seconds Too Late' and 'Control Addict', plus the John Robie remix of 'Yashar' (originally a Factory 12"), which hears said pulse become post-disco heartbeat. Collectors may be in for the chance of a valuable misrprint - first edition liner notes contained an erroneous discussion of The Clash's debut album, rather than anything related to the Cabs - though a revised run may have already corrected the issue by the time you cop it.

Despite building their careers out of strikingly different musical places, both dBridge and Radioactive Man have taken influence from the field in which each other operate. dBridge (Darren White) was part of the iconic drum & bass outfit Bad Company and he helms one of the scene's most solid and quality imprints in Exit Records and Radioactive Man (Keith Tenniswood) was born from the acid house scene and the off kilter electronics of his Two Lone Swordsman projects (alongside Andrew Weatherall) which led him to create his decidedly UK take on Drexciyan electro. It's by no means a stretch to learn that both producers have crates that contain their favourites from each genre but they've also found a mutual respect and connection in the studio over the last few years, leading to the dBRm moniker for Craig Richards' The Nothing Special label.

The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop’s smoothest figures.

2 x LP Vinyl in Gatefold Sleeve with Insert

Compiled by Rainer Trüby & Miche, this collection dives deep into the soulful, spiritual, and jazz sound of LA’s Catalyst Records. A PANORAMA special for RSD 2026, The Catalyst Files celebrates the label’s rich history and deep catalog that has been championed by so many DJs including Gilles Peterson and Patrick Forge over the years. Packaged as a 2xLP with gatefold in homage to the original Catalyst releases, liner notes from Andrew Jervis, an insert and an OBI strip. This is an essential for RSD 2026. 2xLP 180g Heavyweight Vinyl, Gatefold Sleeve, Insert, Liner notes from Andrew Jervis.

Vita Noctis is a curious Belgian formation that, in a more experimental vein, recorded two cassette tapes featuring a dark and distorted sound blending industrial with minimal, darkwave, and synthpop. Active during the 1980s, they remained inactive for many years until Dark Entries Records revived their work in 2011, releasing recordings created between 1984 and 1986. This encouraged Kris and Martine, the current members of the band, to continue the legacy of Vita Noctis by creating new music.

This EP is a selection of tracks created by Vita Noctis from the 2000s onwards. It includes songs that have never been released before, such as “Betrail,” an extended version of the song “Engaged,” along with other tracks that will appear on vinyl for the first time, marking the first release of Casual Strippers Rubicon Records. Also the EP comes with an insert featuring an image of Vita Noctis printed on yellow paper.

Hope you enjoy!