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“Cue Blue”, the latest and fifth studio recording from Australian down under, gritty jazzfunk grooves ensemble Kerbside Collection sees a return to a more classic, stripped back, meat-and-potatoes, home-cooked, quartet formation sound of guitar, bass, drums and brass.


A sound formed on previous, recent recordings (incl. Golden Rules compilation tune “Fleet Streak” etc), seemingly harking back to the approach of the group’s first recordings (2013’s “Mind The Curb”, “Night in Tunisia” etc), whilst embodying inspirations from more ‘true school’, classic, bluesy New Orleans funk and soul groove flavours à la early Meters, Boogaloo Joe Jones, Melvin Sparks, Billy Butler etc. But it’s not all completely ‘retro’ and ‘looking back’, the album definitely taps into some of the current exponents and leaders of the contemporary deep funk sound – The Greyboy Allstars, Eddie Roberts, The New Mastersounds, The Mighty Mocambos, Breakestra and fellow Aussie funksters Cookin’ on 3 Burners, Lance Ferguson and The Bamboos etc.


The lead single and first tune “Shivers” gives us a clear, picture and definitive opening statement to the record with all the characteristics you’ve come to expect from the Kerbside gritty jazzfunk sound: silky guitar line phrasing, rubbery bass-lines, tight crusty drum breaks, and sweet brass arrangements. Then it’s straight into a frenetic, jangly, mod-funk workout complete with Northern Soul & Motown inflections in the surging B sections. “City Park Avenue” conjures up classic New Orleans funk flavours with its strutting brass, slinky guitar and swinging tambourine groove. There’s classic, b-boy funk territory covered in “Coffee Grinder” (a breakdance move) with its razor-sharp drum break groove and chunky riff complete with sizzling trombone solo. Before the pace of the record changes up with the finger-clicken’, hand-clappin’ boogaloo, reminiscent of early 60s Harlem x Puerto Rican Bronx sounds (à la Willie Bobo, Mongo Santamaria, Ray Barretto) loaded with a scintillating baritone sax solo from long standing part of the collection ‘Papa Joe’ Roberts.


“Sittin’ On The Porch” cools the temperature down even more, delving into slight Southern Louisiana Delta blues territory, while suggesting some of the hot and muggy atmosphere and imagery of their home town location in suburban Brisbane Australia, complete with kooky Casio percussion representing familiar yard sounds such as sprinklers (spinning lawn watering devices) and ‘mozzies’ (mosquitos), passing cars indicated by trombone, and guitarist TC Tyler, channelling some bluesy John Lee Hooker, R.L. Burnside guitar flavours - you can almost feel the humidity on your skin.


Then it’s time for a stroll down memory lane, with their version of a People Under The Stairs hip hop classic “San Francisco Knights”, bringing the tune full circle back into band mode, also with another tasty guitar solo. The album then enters its final stages with a mesmerising, soulful, jazz ballad “Shimmer”, complete with Elliott Parker’s sultry upright double bass, and trombone taking the melody for a gentle stroll down the street. The album finally closes and arrives at its title “Cue Blue”, a classic blue-eyed soul number (penned by bassist Parker), emitting the scent of true school, vintage R&B and soul (à la Donny Hathaway, Marvin Gaye).


An album of funky arrangements and refined compositions, mostly penned by recent new-ish member, guitarist Tyler (for fans of Tower of Power & John Scofield guitar playing) taking the ensemble through their paces with all the usual characteristics of the Kerbside sound, on top a groove that will take you round-the-block-and-back :P Gritty jazzfunk and rustic soul grooves with definite bluesy overtones, some classic 60s, 70s flourishes and down-home funk flavours.

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.

House music has truly gone worldwide and here at Local Talk Records we like to think that we're open-minded to all shades of our beloved 4/4 rhythms...

This time we've given North Africa an opportunity to showcase their take on electronic deep house...with soul of course.
Egyptian producer Adham Zahran has been on our radar for quite a while now.
With a blend of dark yet beautiful electronic themes we like to think that his sound lands somewhere between Ron Trent, Atjazz or the more electronic Glenn Underground tracks.
For his debut on Local Talk, Adham presents 'Stripped Years', a beautiful production that takes us down below with big strings, supa deep chords and a light yet bumpy 4/4 kick.
Not hard, not pumping, just sexy and deep.

In order to make the North African theme even stronger we asked Moroccan producer Cee ElAssaad to take 'Stripped Years' further beyond the limits of the original version. The result is quite Chicago-ish, slightly more soulful but still very electronic and thumping. Cee gives us two versions, the original remix but also a massive beatless version that works just as well without beats.

This is the sound of dream Texas, the cinematic Texas conjured in film and 20th century literary and art myth… big dark blueing horizons swallowing the infinite distance, a lonely poetry of sound, but also a stock taker of the iconoclastic, psychedelic, art rebel side of Texas… the cracked rock music side of Texas, the avant-garde in concrete cracks, the recklessly used, mind expanding drugs Texas, the dripping eastern swamps, the Houston house parties with the sounds of records blasting down the block and becoming musique concrète in the hot summer night.

Chrome Chasm’s debut album Interpreter is ambient, minimal in feel, maximal in texture, beautifully disorienting, vastly spacious— until it isn’t. It's a naturalistic shapeshifter, taking majestic form in the aforementioned elements and then dissolving back to raw genetic material to form anew. Spiritual jazz overtones, pedal steel moans and buzzing, noisy ambient visions are upended by grey-folded psychedelic unveilings. Interpreter’s three expansive tracks present a most detailed performance by its three deft musicians and the outcome often feels like a gorgeous collage in real-time.

Chrome Chasm was formed in 2024 by three of Houston’s brightest underground stars: Mlee Marie (Hearts Of Animals) on alto saxophone, flute and voice (whose long-form experimental sax performances helped inspire the formation of the band), Will Adams (Lower Dens/ Ka-Nives) on pedal steel, synth, percussion and voice, and Tom Carter on guitar. Carter has been casting a long shadow over Texas psychedelia and American underground music for over 3 decades, most notably with the Houston based Charalambides, a powerful creative force of the pre-new weird America era of experimental and avant psychedelic music, and most notably since with his solo guitar magnum opus Long Time Underground (which was deemed among the best experimental albums of 2015 by Pitchfork).

Interpreter’s opening track “The Star,” recorded almost completely live in one room and one take, is a 16-minute manifesto on ‘Dream Noir.’ An astute scholar of cross-genre connectivity and the through-lines of kosmische and spiritual-leaning sonic realms can hear echoes of Cluster, the skronk and beauty of Rahsaan Roland Kirk, and the architectural ambient flow of Harold Budd and Philip Glass in the tidal lapping of distorted guitar, mantra-like saxophone and pedal steel flow. From its deconstructed, pastoral opening moments to its proto-electronic center that crests into a bombastic polytonal climax, Chrome Chasm never neglect narrative arc for experimentation and avant technique. In fact, as a group, they effortlessly control, open, fill and contract space in abeyance to emotional vibration. “The Star,” and indeed the album as a whole, feels more like a communion or extended poem, in direct communication with the listener, than it does a ‘captured experience.’

Across the three longform tracks of Interpreter, Chrome Chasm conducts a masterclass in fusing real time performance energy with an abstract, cut-up master’s reimagining of the literal. They demand the listener meet their music with dream logic and then, like the best dream peddlers, they present a labyrinth to fall into and experience, a place where explanation and conclusion become obsolete, and engagement and immersion become sublime.

The Five Green Moons present Moon 3. The third sphere to find its way into orbit. On its surface the evolution of a many faceted creature has taken place. Now with long, long tentacles and a million mouths the creature dances and sings. Its voice is the sound of the ghost dub ritual. The echo of spirits passing through the translucent veil. The chants of souls lost in the vampire woods. The clap, clap of its limbs colliding is the sound of frequencies being bent into fascinating new shapes by machine/ human hybrids. Post punk dubwise angular electro folk, Pastoral dub, whatever name you give to this music is of no consequence. It is alive and spinning in orbit.

The third Five Green Moons album sees Justin Robertson's sonic pallet blossoming into new exciting shapes. These 11 tracks offer a wide vista of across the frequencies including a truly remarkable and uncanny tale from celebrated author David Keenan on ' To Haunt of the Dark Earth A Spot' that brings to mind a vision of M.R. James merging with African Headcharge. Another refreshing collaboration can be found on 'Message from the Tone Generator' where underground electronic producer Nickelle adds her magical poetry to the psychedelic swirl. This is a bold and magical offering in a time of pastiche where new shapes are drawn from the sketches of the past.

If you need a sonic shorthand imagine Public Image Limited meeting the haunting chants of a new age Incredible String Band. The spiritual tones of late 70's Don Cherry. The whispering psych swooshes from Planet Gong and most importantly a solid bass foundation straight out of King Tubby's studio.

The collective mind of SIKU spawns its eighth incarnation.

New York-based Japanese jazz and electronic music polymath Takuya Nakamura presents his debut album Shape The Future - almost 35 years into his storied musical journey.

An expansive double album, the album’s first LP documents a spellbinding live performance by Nakamura recorded at fabric. A hybrid set combining DJing, live electronics, vocals, and trumpet, the set also features studio versions of special collaborations with Shigeto, Currency Audio and Tim Reaper. The second LP complements the first by assembling studio recordings of select album tracks. Altogether the two volumes make for a definitive display of Nakamura’s exceptional musicianship across jazz, DnB, jungle, broken beat, deep techno and more.

Across his career, Nakamura has played Brazilian music, merengue, salsa and straight-ahead jazz. He’s opened for Sun Ra Arkestra, performed with David Byrne, Laurie Anderson, Lee “Scratch” Perry, Wu-Tang Clan, and Arto Lindsay, appeared on sessions with Terry Riley, ASAP Rocky, Goldie, and TV On The Radio, and remixed the likes of Quincy Jones, Sun Ra, Billie Holiday, and The Streets. He’s also played under director and playwright Robert Wilson.

Although the musical past and present of the Tokyo-born, New York-based DJ and trumpet player is undoubtedly eclectic, Nakamura is abidingly steeped in the sounds of jazz and jungle. This’ll be obvious to casual observers who may have seen any viral videos of him. But there’s more to this. The depth of Nakamura’s engagement with these kinds of music, the way they’ve made him into the person he is, the decades-long path they’ve taken him on; to now arrive at the summit of a solo album is all truly remarkable. Shape The Future resonates with every chapter in this story.

In high school, Nakamura’s friends started listening to jazz and jazz fusion, which piqued his interest, especially when they started going to clubs to see it live, where they managed to see US legends like Sonny Rollins play. Eventually he began to play jazz every day and his musical skill emerged early. He soon became obsessed with getting closer to the source of this music, which led to his studies at the New England Conservatory of Music in Boston with George Russell, an influential figure who had taught Miles Davis and John Coltrane. Nakamura drank it in: not only the technical aspects but the sense of a direct connection to “a music culture where Russell and his friends changed harmony forever. I wanted to know how that was possible!”.

This was a radical experience in itself, but then another revolution happened for Nakamura. He was playing in a venue called The Western Front, near Boston and discovered that the elderly owner had his own soundsystem and was playing what was then - in 1992 - only just becoming known as jungle. This was as freeing a musical revelation as his proximity to the giants of jazz was, and in that instant the two things fused. He understood that using technology to fill a dancehall with sound and a jazz musician’s reflexes are all working to the same ends: “You’re always making decisions,” he says, “but it doesn’t have to be really difficult. It’s the truth of the frequencies, and how they’re affecting people’s minds.”

From that moment on, his life path was set. Moving to New York City, he sought out jungle and its offshoot sounds wherever he could find them, gigging and collaborating relentlessly, and gradually developing his own live and hybrid live/DJ shows. Through regular appearances at New York fixtures Zebulon and CBGBs, and continual shows elsewhere in the city, Nakamura developed his live performance and DJing and it was in these environments that he gradually weaved together his twin loves without compromising either, building an international reputation in the process.

It’s only fitting then that his first album, almost 35 years after he first found his musical direction, should be a live one: a window into this never-ending process. Even here, he had to be persuaded that he should make a record. A member of the fabric team got turned on to his music after their daughter saw him play. Of course, as a jungle lover, Nakamura knew fabric – which has a special place in the history of jungle and drum’n’bass – and “had wanted to play there since I was very young.” You can hear the club in the record: this isn’t just a live show, in keeping with his jungle roots, it’s Nakamura duetting with the soundsystem, and you can feel how the emotions in the room would have ebbed and flowed.

This dynamic translates to a transfixing record. Setting the tone with lushly textured ambient and reverberant jazz, Nakamura segues into cinematic breakbeat and stellar fusion, infusing it all with intoxicating low end and hypnotic rhythms. The LP’s midway point locks into mesmeric percussion heightened by resonant echoes of piano and trumpet. There’s an endless pull to this music. Nakamura adjusts the levels for maximum impact throughout, and the overall effect begins to evoke some harmonious hybrid between a jazz ensemble, a classic Metalheadz 12” and a Theo Parrish DJ set. His electric form continues through surreal jazz, intricate electronics and rolling sub-bass velocity, right up to the subtly devastating final cover of Peter Gabriel and Kate Bush’s ‘Don’t Give Up’, with Nakamura’s fragile vocal sitting in the heart of a huge sound.

From Tokyo jazz nights to formative studies and encounters in Boston to his artistic development in New York, Nakamura reaches another milestone with his monumental debut album. It’s a release that happened just the way a Takuya Nakamura record should. In the same way his instincts led him to musical revelations, taking his own sweet time has led him to make one of the most extraordinary debut albums imaginable, all executed in his own singular style. In Nakamura’s world, the universe finds a way.

Second volume from the Mem Pamal Anthology project.

Mem Pamal used to play a very Electro Tribe, melting influences from Tribe-tekno, Drum & Bass, Bassline Tekno... A very open minded range of music influences always carrying his unique style.

Dancefloor and soulfull !

Unrealesed tunes and some repress tunes (Fantomatik 01, 02, 03 ,04, 05, HS01...)

Triple LP triple-fold sleeve.
Mastered by Stefan ZMK with Love !

Farid Boudinar alias F.E.X. is back. He drops four mindblowing tracks, stylish, house Uk, deeptech, special 90's vibes.

Already played and supported by Raresh, Traumer, Enzo Siragusa, Reflex Blue, Olivier Romero...

Originally released in 2000 on Smalltown Supersound, Kim Hiorthøy’s first record Hei captures an artist who had made very little music before – yet it seemingly was the starting point of a musical career that would stay away from easy categorisation. Now, Hei (2026 Remaster) returns on blickwinkel, released digitally and on vinyl on 30 October 2026, as part of an ongoing series revisiting and reissuing Hiorthøy’s work.

Made in Copenhagen with little equipment — an Akai MPC2000, a stereo microphone and a DAT machine — Hei was assembled from samples, sequences and rhythms, with no outboard mixing or processing. Without really knowing what he was doing, the music was created intuitively while drawing inspiration from instrumental hip-hop he was listening to, the techno and drum & bass he admired but did not yet know how to make, and a broader fascination with music that felt personal, homemade and slightly uncertain of its own identity. Hei sits somewhere between those impulses. It is beat-driven without belonging entirely to beat music, experimental without announcing itself as such, but unmistakably coming from a playful series of events and decisions.

In that regard, the title of the closing track might be a fitting description of the album itself and, in hindsight, also of how we can look at Hiorthøy’s subsequent work. Taken from a story by Tove Jansson, the title evokes a state of openness and curiosity, a state where thoughts and impressions are simply given the space to unfold:

“He didn't care to get up, all day he let new images and ideas come and go as they pleased, now and then slept a little and woke up again and had no idea who he was. It was a peaceful and very exciting day.”

There is something of Hei in that state of mind: a willingness to follow an idea without knowing exactly where it might lead, a willingness to follow guts and the heart rather than ratio. Perhaps that is also what makes Hei still feel relevant today. As Hiorthøy puts it when reflecting on the music he made then and the music he makes now: “If I compare the music on Hei to music I’m making now, the general sentiment or smell or air or tree or pull of what I’m looking for and listening after when I work is, I think, for better or worse, more or less the same.”

All music by Kim Hiortøy
Mastered by Stephan Mathieu
Portraits by Kim Hiorthøy
Design by Jelle Martens

Rewind to early 2000s London. A home studio, a collection of borrowed gear from car boot sales, and a mind full of futurism. That was the birth of these tracks.

Transparent Sound (Orson Bramley) is a true cult architect of the UK electro scene. Since 1992, he's been bridging the gap between Detroit techno, acid, and rave futurism. With a legacy spanning Tresor, Electrix, and Soma, he now lands on No Static Automatic for a very special release.

No Static Automatic presents The Lost Tapes — a new EP of lost recordings from the early 2000s London era. Dug out of DAT tapes and CDRs, recorded in Orson's home studio with borrowed and loaned gear and car boot sale finds. Raw, unpolished, and proper electro history. 3 tracks plus a remix of Ara-u.

NON-RETURNABLE

Scream and Soulside first played together at the Cubby Bear in Chicago in July 1988. After a few more shows together that year, they didn’t share a stage again until July 2022, at the Inne Brzmienia festival in Lublin, Poland. There in Poland the two bands met minds, and a match was struck. Soulside and Scream soon released new albums on Dischord Records, then toured together in the US and Europe in 2023 and 2024.

This 7" is a gathering of forces and musical admiration to spread a message of love and a lifelong commitment to the struggle for true American justice. “Laissez-Faire” was written by Scream and first appeared on Still Screaming (Dischord, 1983). This version is performed by Soulside and was recorded and mixed in June 2025. “Reconstruction” was written by Soulside and first appeared on A Brief Moment in the Sun (Dischord, 2022). This version is performed by Scream and was recorded in September 2024.

The mind behind Floorspeed Records, JR2k returns to the label with Think Fast: 4 ripping hot analog tribal techno bombs, recorded live by hand, pressed to wax and shipped direct from the corrupt shadow of The Capitol.

Memoria returns with MEM064, welcoming Brizman to the label for a four-track journey through stripped-back grooves, deep atmospheres and dub-infused minimalism. The A-side sees Brizman on solo duty with Detroit Awareness and That Chord, two subtle but effective club tracks where rolling rhythms, warm chords and hypnotic details do the work. On the flip, Brizman joins forces with Szafran (Oskar Szafraniec) for Reworking The Dub. Spacious, bass-heavy and deeply hypnotic, the track takes the record into distinctly dubby territory. Cirkel Square closes the EP with his remix of Reworking The Dub, reshaping the original into his own tightly-wound interpretation while retaining its deep, soundsystem-minded character. Four cuts covering the space between minimal house, dub and late-night electronics, understated, functional and made for the floor.

What began as a pandemic-era radio show on Openlab FM and Ralph Lawson's sonic escape hatch into distant electro worlds has since become a consistent home for the genre. Exit Planet Earth returns from hiatus with a new chapter, and Manchester's Jonny Strinati, aka Kalcagni, is the ideal artist to reopen the transmission. Already well-versed in the EPE universe through the radio show and releases on Cosmoba and Distrito 91, Strinati drops relentless machine beats, intricate synth programming that references all forms of electro from Kraftwerk to Drexciya, with dynamic bass and cinematic designs. It's an intergalactic mind trip as much as a dance floor workout and the production is next level. Welcome back!

Moving things a bit deeper AoW welcome Black Eyes for their fourth vinyl release. Alongside his own Lost Control 2097 label, Black Eyes has released records on esteemed labels such as Upstairs Asylum and Housewax contributing significantly to the underground house music scene in Berlin.
Mystic Aquazone EP features subtle smoky house grooves spread across 3 original tracks. Nico Lahs crafts a forward thinking remix to send things into the next dimension. Deeply authentic tunes for the dance floor and for the mind.

Mukatsuku's endless thirst for archival gold and knack for killer reissues burns strong with this latest third in the series hand-numbered 12" , which digs deep into classic ambient techno from Japan. The man behind the music is Virgo, a solo project by Yasutaka Sato that was active from 1996 to 2004 and then reappeared in 2024. This EP revisit some of his best moments from more than two decades ago, starting with the soothing, pulse-slowing beauty of 'Mellow In My Mind' before cosmic charm defines 'Genetic Force' and 'Ruined Tower' has a more melancholic, sombre feel. 'Cloud Sea' lifts the mood with a gently hopeful closer with soft new age chords and oh-so gentle rhythms that break like waves on a distant island paradise.

Based between Brussels and Berlin, Golden Hours is comprised of past and present members of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and The Third Sound, to name just a few. A band with mileage and stories, they trade in rock’n’roll missives that are at times dark, tense and hypnotic, at others sweaty, relentless and danceable. Made up of Hákon Adalsteinsson (Guitar/Vocals), Rodrigo Fuentealba Palavacino (Guitar), Tobias Humble (Drums/Vocals) and Wim Janssens (Bass/Keys/Vocals), Golden Hours’ self-titled debut album is due for release March 31st 2023 on Fuzz Club Records. Wim says of the project and its incoming debut: “The musical backgrounds of each member are pretty broad but somehow when we come together there’s a pretty clear definition of what our music should sound like. There’s a beautiful friction between the noise we produce and the love for melody that seems to overtake at just the right moment. There never seems to be a lack of ideas when we come together. In silent agreement, every idea gets tried and will be further developed into a song or skipped in a heartbeat. No time is wasted. It all happens pretty automatically

Music from Tokyo / New York serves as the 2024 sequel to his previous release, Music for Joshua Tree. This conceptual album is divided into Side A (Tokyo) and Side B (New York), utilizing field recordings captured in each location. The ceramic images featured on LP jacket is the work of Namiko Ishikawa (NamipotNYC).

On this record, he incorporates Ambient, Downtempo, Trip-hop, and Dub—bringing to life the specific sounds currently resonating in his mind and his original roots.

Since the pandemic, he has been traveling and capturing "environmental sounds" through field recordings, which served as the primary inspiration for this record. Side A features tracks inspired by the atmosphere of Tokyo, including recordings from streets, parks near his home in Japan. Side B explores New York, incorporating the sounds of Brooklyn and Manhattan, as well as the chirping of insects recorded in the New York mountains.

While the album remains centered on analog synthesizers and vinyl samples, he has introduced analog drum machines and glitch noise to craft the groove. Unlike his previous work, this release brings prominent bass lines and added more Dub elements to the forefront. His primary focus for this project was expressing a sense of "space" and "air" through the meticulous use of reverb and delay.

Throughout the album, he invites the listener to imagine the unique "local atmosphere" he experienced during his travels.

2027 marks two decades since musician and producer Paul ‘Mudd’ Murphy struck out on his own and launched Claremont 56, a label initially dedicated to “music by Mudd and friends” and named after the house he grew up in. To celebrate its 20th anniversary, Murphy has assembled the label’s first ever decades-spanning vinyl retrospective: a six-LP re-mastered collection bringing together key cuts, cult classics, personal favourites, hard-to-find gems and inspired remixes from across the catalogue.

Unlike the label’s previous 10th anniversary box set, which focused on unreleased material and never-before-heard remixes, 20 Years of Claremont 56 traces the musical story of the imprint to date. Across six records, it showcases the distinctive Claremont 56 sound in all its many forms: acoustic, electric and electronic instrumentation, Balearic sunshine, krautrock grooves, folk-inflected psychedelia, slow-burning chuggers and deeply considered dancefloor music.
The set comes housed in a custom box featuring cover art by long-term label illustrator Mark Warrington. Inside are six slabs of vinyl across three gatefold sleeves, accompanied by liner notes from music journalist and author Matt Anniss, Murphy himself, and many of the artists whose music features in the collection.

The journey begins with a selection of formative late-noughties releases, including Mudd & Pollard’s chugging, picturesque ‘Villa Stavros’, the folksy beauty of Smith & Mudd’s ‘Shulme’ and Murphy’s exotic reworking of Ahmed Fakroun’s ‘Drago’. From there, the collection moves freely through deep cuts, overlooked gems, album highlights and some of the most inspired remixes in the label’s catalogue.

Among those remixes is Murphy’s own über-Balearic rework of Zee Erf’s cover of ‘Southern Freeez’, a mix dedicated to his partner Emma; an extraordinary 22-minute, Manuel Göttsching-meets-ambient-dub revision of Smith & Mudd’s ‘Vegetable Square’ by friends-of-the-family Idjut Boys; Larry Heard’s typically deep and immersive house treatment of Jack Cutter’s ‘Serpent Strut’; and Quiet Village’s ambient-house ‘deep space dub’ of Mudd’s ‘Spielplatz’. Also included are lesser-celebrated but no less rewarding reworks by Recloose, Jex Opolis, Felix Dickinson and Deep88.

The collection represents every corner of Claremont 56’s self-contained musical universe, from the Murphy-assembled in-house collectives Hillside, Paqua and Bison - whose members famously included the late Holger Czukay and his life partner Ursula, to long-serving label artists such as Almunia and Hear & Now, as well as later additions and artists who took some of their first steps on the label through its much-loved Claremont Editions compilations.
That means the deeply cosmic krautrock of Bambi Davidson, the folk-meets-Americana of Torn Sail and the samba-electrofunk of Jpye sit alongside baggy Balearic sing-alongs such as Bel’s ‘Ready To Die’ and Sillyboy’s Ghost Relatives’ ‘In a Small Place’, recent high-profile guest releases such as Chaz Jankel’s ‘Rhumba Jam’, and string-laden ambient pieces such as Four Hands’ wonderful ‘Hizou’.

Packed with classic cuts, formative gems and overlooked treats, 20 Years of Claremont 56 is not only a fabulous label retrospective, but also an essential collection of timeless music from a label whose output has remained distinctive and unique for two decades.

The annual Bonkers Music compilation is back with another dose of high-energy bangers. For its seventh anniversary, the series takes a fresh step forward, exploring a slightly evolved musical direction while keeping the distinctive sound that defines it. “Year VII” lands on 12” vinyl.

A1 David Meyer & Ludviq – Mandanga 2.0 (Feat Nick Hanzo)

The collaboration between Ludviq and David Meyer strikes a compelling balance between tension and movement. Drawing from underground electronic influences, Mandanga 2.0 evolves through hypnotic layers, acid-driven momentum, and a powerful groove, resulting in a distinctive cut that feels both immersive and uncompromising. Mandanga 2.0 is a dark, hypnotic electronic track built around squelching acid sequences, deep rolling grooves, and haunting vocal elements from Nick Hanzo. Atmospheric textures and a relentless rhythmic drive create a tense, immersive journey through shadowy soundscapes, blending raw energy with a refined sense of space.

A2 Neskeh – Liquid Sky

A raw trip built entirely around samples from Liquid Sky, Neskeh’s one of all-time favorite films. Crunchy saturated highs, basement-shaking low end, heroin-soaked wonky vocals, and freaky alien leads drifting through the mix. A warped tribute to an iconic soundtrack. Welcome to the space trippy club

A3 Your Reference – Afterparty

Julia Konor aka “Your Reference” one of the hidden gems of Barcelona’s underground scene, lands for the first time on the label with “Afterparty”
”Afterparty” draws inspiration from abandoned industrial spaces, empty warehouses, and nights where the only thing that mattered was the music. No rules, no expectations. Just raw energy, dusty air, concrete, and people completely immersed in the moment. The track is a personal postcard from that world.

B1 Lebollet & Mar Bravo – Aleta

“Aleta” is one of those Colombian words that somehow made its way into our shared language. We use it for raw, intense, dark tracks. Hard to translate. Makes sense when you feel it.

B2 Funboys – Skin In The Game

“Against the persistent ebb and flow of a breaking heart’s pulse, echoes of half-faded memories tease your attention… On the edge of forgetting, you can almost remember. And then it hits you – the coalescence of feeling into colour and form, warm in its familiarity, powerful in its simplicity. Uncanny, because it was right there all along. Don’t hold your breath… Listen!”

B3 Milla Campollo – Brote Psicodélico

“Brote Psicodélico” emerges from a hypnotic intersection of acid rhythms, psychedelic textures and raw downtempo energy. The track slowly unfolds through repetition and movement, creating a constantly evolving state between tension and release. Dark, trippy and physical, it is built around a groove that pulls you deeper with every layer. Distorted elements and acidic patterns weave in and out of the rhythm, giving the track an organic yet alien character. A journey designed for listening, less about following a linear narrative and more about entering a state of mind, where the boundaries between rhythm, body and psychedelia begin to blur.

On Finding Home he's joined by three musicians with a similarly eclectically unfettered approach to music making, that embraces high-level complexity while maintaining a direct connection to the listener. Kaidi Akinnibi on tenor sax brings his distinctive, light-as-air tone and compatible range of experience across musical genres, while the rhythm team of Joe McLaren on bass and drummer Blake Cascoe provide a revelation in shifting texture and intensity, always driving the music to greater heights. Trumpeter Christos Stylianides brings his uniquely individual voice as a guest to enrich the ensemble. Finding Home is a powerfully characterful statement from a standout artist who's crafted his own voice, surrounded by a like-minded family of players. Each of the eight tunes has its own distinct personality, yet they all hang together as a continuous piece, establishing their own musical identity through Finn's tumbling, lyrical piano, Kaidi's nimble, breathy saxophone, and the endlessly flexible interactive grooves from bass and drums.

Intervals of waiting, in the in-between mind, strumming a keyboard as if for the first time. From sample to simple, child to child, womblike cocoon when awake, the world crumbling at night. They "dream the dream forward", these lullabies.

Wisconsin house music legends Solid Gold Playaz return with Minds Beneath Atlantis EP, a timeless deep house gem first released in 2003 on Silver Network before receiving a sought-after reissue from Still Music in 2017. Long out of print and highly coveted by collectors, copies have regularly fetched upwards of £50 on the second-hand market. Thankfully, Still Music have answered the call with a welcome repress, making this essential release available once again for DJs, collectors, and deep house enthusiasts who missed out the first time around.

A warm Mediterranean summer night. The day’s heat lingers on the walls as the sea breeze carries fragments of conversation into the dark. Time slows, hearts open, and a melody drifts by familiar, yet impossible to place. Minutes later, you’re humming it. This is Tonight In Tunisia... If you know, you know..
With these remixes for Re:Imagine, the now well-established pairing of Chez Damier and Ben Vedren continues to blur the lines between deep house tradition and contemporary expression.
Built around warm rhythms, sun-drenched melodies, and irresistible vocal hooks, Tonight In Tunisia balances sophistication with immediacy. Rooted in jazzy sensibilities, it offers a version for every mood: open-air dancefloors, late-night terraces, and those summer moments that seem to linger long after the music stops.
Effortlessly uplifting and deceptively simple, it’s the kind of record that slips into your mind on first listen and refuses to leave.

Impossibly rare slab: a capital-C-cult bit of millennial business from perhaps the most enigmatic member of the Gush Collective crew, who in the early 00s not so much redefined, but refined UKG… and then some. Alongside folks like Herb-LF and Lorenzo, Yoshino was a stalwart: releasing and remixing on the legendary but somewhat overlooked German labels Draft Recordings and Gush. It was here these cats smoothed out the UKG sound with a spliffed out vibe that fucked with the raw warm herby sounds of Tyree Cooper and QX-1; Yoshino, more than most though, flirted with sounds you wouldn’t expect to find in the UKG realm: think ethereally stuff man, I’m talking Placid Angels with the pseudo Japanese pop sensibilities of Faye Wong - but when when the cards fall down, his productions equally bang. So: splice in a bit of Serious Danger and Makesome Breaksome, light a phat one or zwei… & welcome to the wheelhouse.

‘Back to Basics' is a celebration of Yoshino as an artist: featuring a repress from our favourite Gush Collective stash (which is now so dear it makes me wish I’d better taken care of my records at after parties); three first time cuts of his on wax that we’ve curated from over the years that feature appearances from Peaky Beats and Miss Angel - and of course, there’s a killer remix from deep digging DJ and producer, Enchanted Rhythms (whose Youtube archive is packed to the veritable rafters with the most overlooked gems and updated with such frequency that it is hard to keep up). Apart from being a head’s head, Rich is also part of the Pace familia, so we're happy to welcome him to the catalogon a terrain he has endlessly kept fresh since day dot - he knows his shit here, and of course, he taps into that Yoshino flava big time.

We are finally ready to unveil one of the most exciting projects we have worked on in our label's history: a new release by legendary disco project Hudson People, best remembered for their essential classic "Trip to Your Mind" - which just received its anniversary issue on our label!

Now it's time for "Hold On" - a brand-new single featuring several mixes based on an original recording from the late 1980s, with the completely unheard yet incredibly soulful voice of singer Rickey Owens, whom composer and producer Reginald Hudson worked with at the time.

When we first got in touch with Reg Hudson several years ago, we were originally interested in releasing his "Shake It - Make It Loose" album, which he recorded with John Davis (later known as one of the real voices behind Milli Vanilli). While talking about John Davis (RIP) and other great GI singers such as Karl Keaton, Reginald Hudson immediately mentioned Rickey Owens as one of the best singers he had ever worked with.

Of course, we had never heard of him, as none of his music had ever been released. But when Hudson showed us some old demos and sent us the original DAT recordings, we were immediately hooked.

"Hold On" was recorded in or around 1988 with a simple drum machine and keyboard accompaniment - essentially a demo intended to be recorded properly in a better studio. But the vocal performance was simply stunning, complete with beautifully recorded ad-libs. Owens had a truly remarkable, clear voice with an incredible amount of soul. Luckily, Hudson had his old DAT tapes digitized several years ago, so the acapella recordings survived in excellent shape.
We immediately reached out to several producers to create reworks of the track. The 12" EP compiles some of the most club-friendly of these new mixes - but there is more to come…

First up is Thomas Redfern, a senior producer, professional studio musician and keyboardist from London, UK. His version is a catchy, funky yet deep House track that could easily become a favourite on dancefloors around the globe. Redfern also blessed us with a dub mix that takes things even deeper.
But it gets even catchier on side B of the vinyl. Tom Quick sped up the tempo, added filters and delivered a rework that could make fans of Chromeo, Daft Punk, Stardust and any late-'90s French House afficionado go completely nuts. Yes, we mean it! With a fresh twist on the original, the track has a massive club appeal that we hope both DJs and dancers will dig.

The vinyl single is completed by a mix from German legend DJ Friction, whose version is based on synth layers from the Tom Quick mix. Friction added new drums and bass, giving the track the distinctive modern electro boogie funk vibe he is known for. His mix brings to mind classics such as Shannon's "Let the Music Play" and works of Freestyle's Tony Butler.

The vinyl 12" with 4 mixes is released on The Outer Edge's brand-new sublabel, 1st Floor Records, which focuses on more dancefloor-oriented material. More mixes are available digitally and should not be missed.


PR Feedback:

„Killer“ – Gilles Peterson
„Disco, deep house and boogie all in there! Superb!“ – Groove City Radio
„Dope!!“ – DJ Craze
„The boogie mixes are so good!“ – Selvagem
„Awesome and Huge Package“ - Leon El Ray
„Wow, Trip to Your Mind is so good and this is a real grower“ - Ibiza Sonica
„Really liking the Balearic & Redfern Mix, thanks!“ – Mystic Bill
„Both Thomas Redfern mixes are ace!“ – Deeper Shades of House

- 2026 Edition, gepresst auf apricotfarbenem Vinyl - Erweitertes Gatefold-Cover - Enthält ein 20-seitiges Booklet mit seltenen Fotos und Liner Notes von Lenny Kaye sowie Beiträgen von Nick Cave und Devendra Banhart. Karen Daltons Album ,In My Own Time" aus dem Jahr 1971 gilt als wahres Meisterwerk einer der geheimnisvollsten, rätselhaftesten und nachhaltig einflussreichsten Künstlerinnen der Musikgeschichte. Das neu erweiterte, 20-seitige LP-Booklet mit selten gezeigten Fotos, Liner Notes des Musikers und Autors Lenny Kaye sowie Beiträgen von Nick Cave und Devendra Banhart rundet das Paket ab. Die in Oklahoma aufgewachsene Karen Dalton (1937-1993) brachte eine Vielzahl von Einflüssen in ihr Werk ein. Wie Lenny Kaye in den Liner Notes schreibt, hört man den Jazz von Ella Fitzgerald und Billie Holiday, die Intensität von Nina Simone, den Appalachen-Gesang von Jean Ritchie sowie den R&B und Country, die auf ihrem Weg nach New York unweigerlich in ihre Musik einflossen. Ausgestattet mit einem Langhalsbanjo und einer 12-saitigen Gitarre hob sich Dalton durch ihren unverwechselbaren, lebensmüden Gesang von ihren Kollegen ab. In den frühen 60er Jahren wurde sie zu einer festen Größe in der Folk-Szene von Greenwich Village, wo sie traditionelles Material, Blues-Standards und die Songs ihrer Zeitgenossen interpretierte, darunter Tim Hardin, Fred Neil und Richard Tucker, den sie später heiratete. Bob Dylan war unterdessen sofort von ihrer Kunst begeistert. ,Meine Lieblingssängerin dort war Karen Dalton", erinnerte er sich in *Chronicles: Volume One* (Simon & Schuster, 2004). ,Karen hatte eine Stimme wie Billie Holiday und spielte Gitarre wie Jimmy Reed." Wer Dalton kannte, wusste, dass sie kein Interesse daran hatte, sich den Launen der Plattenindustrie zu beugen. Auf der Bühne interagierte sie kaum mit dem Publikum. Im Studio fühlte sie sich beim Aufnahmeprozess ebenso unwohl. Ihr Debütalbum von 1969, *It's So Hard to Tell Who's Going To Love You The Best*, das 2009 von Light in the Attic neu aufgelegt wurde, entstand heimlich, als Dalton dachte, sie würde nur Songs proben. Als Michael Lang, Mitveranstalter von Woodstock, Dalton ansprach, ob sie ein Folgealbum für sein neues Label ,Just Sunshine" aufnehmen wolle, war sie, gelinde gesagt, skeptisch. Das Album musste nach ihren eigenen Bedingungen und in ihrem eigenen Tempo entstehen. Daraus wurde ein sechsmonatiger Aufenthalt in den Bearsville Studios in Woodstock, New York. Produziert wurde das Album von dem Bassisten Harvey Brooks, der bereits auf ,It's So Hard to Tell Who's Going To Love You The Best" an Daltons Seite gespielt hatte. Brooks, der stolz darauf war, unkompliziert, zuverlässig und unterstützend zu sein, verstand Daltons Arbeitsweise, war aber auch bereit, sie sanft zu ermutigen und die Künstlerin dazu herauszufordern, ihre kreativen Grenzen zu erweitern. ,Ich habe versucht, ihr einen flexiblen Rahmen zu bieten", erzählte er Kaye. ,Ich habe die Entscheidungen ihr überlassen - das Tempo, das Feeling festzulegen." Sie war sehr zurückhaltend, und ich habe ihr alles vorgelegt; wenn sie mehr brauchte, habe ich ihr Optionen angeboten. Alle gingen einfühlsam auf sie ein. Sie war die Anführerin. Dalton, die selten ihre eigenen Kompositionen aufführte, wählte eine Reihe von Stücken zur Interpretation aus - von traditionellen Liedern wie ,Katie Cruel" und ,Same Old Man" bis hin zu Paul Butterfields ,In My Own Dream" und Richard Tuckers ,Are You Leaving For The Country". Außerdem erweiterte sie ihr übliches Repertoire und fügte R&B-Hits wie ,When a Man Loves a Woman" und ,How Sweet It Is" hinzu. Im Gegensatz zu ihrer vorherigen LP bot Daltons neue Aufnahme vollere, poporientiertere Arrangements, an denen eine ganze Reihe talentierter Studiomusiker mitwirkte. Auch wenn das Publikum der 70er Jahre vielleicht noch nicht bereit für Daltons Musik war, stand eine neue Generation kurz davor, ihr Werk zu entdecken. In den Jahrzehnten nach ihrem Tod nannten viele Künstler Karen Dalton als Einfluss, darunter Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett und Adele. In dem kürzlich gefeierten Dokumentarfilm ,Karen Dalton: In My Own Time" sinniert Cave über Daltons einzigartige Anziehungskraft: ,Es wird eine Art Anspruch an den Zuhörer gestellt", erklärt er. Ob man es mag oder nicht, man muss in ihre Welt eintauchen. Und es ist eine Welt voller Verzweiflung. Peter Walker, der ebenfalls im Film zu sehen ist, führt diesen Gedanken weiter aus: ,Wenn sie in ihrer Musik ein bestimmtes Gefühl empfinden und es so rüberbringen kann, dass man dieses Gefühl auch spürt, dann ist das wirklich das Magischste, was man tun kann." Er fügt hinzu: ,Sie hatte eine tiefe, tiefgründige und liebevolle Seele - das hört man in ihrer Musik."

The music on ‘Remanens’ is the result of a commission by Art Cinema OFF off and B.A.A.D.M to score the short silent film ‘Positano’ made by french actor and filmmaker Pierre Clémenti in 1969. The film itself is an ever-shifting series of glimpses, without much context, of a family vacation to the island Positano. The short cuts are similar to a dream or obscured, residual memories where chronology has fallen apart.

The score was reworked into album format on ‘Remanens’, the title being the Swedish word for remanence. The word has several meanings, most commonly residual magnetism left behind in a material. It is consequently used when referring to residue on magnetic tape, as well as data remanence, which is the residual digital data that remains even after attempts have been made to erase a hard drive. The music was reworked with remnant traces of memory in mind, of the film, but also of how glimpses of memories from another life, when the future was undecided, can make a person feel – and how it can unveil one’s own traces of what the future felt like.

Linus Hillborg (b. 1989) is a Swedish composer, musician and multidisciplinary artist based in Stockholm. His diverse creative practice spans experimental music across both electronic and acoustic realms, as well as compositions for film, theatre, and interactive installations. In 2021 he released his acclaimed solo-debut 'Magelungsverket' through Moloton, derived from the installation 'Orphan Works' which he built with an obsolete computer game engine. In 2023 he released 'Four Works' through Kali Malone and Maria W Horn’s label XKatedral, which featured a series of instrumental works by himself and Theodor Kentros.

In a cultural landscape trending toward mindless diversion, Your Old Droog has defied the odds, building a thriving career through musical depth and captivating songwriting. In pursuit of hip-hop immortality, the Brooklyn artist engages listeners with inventive metaphors, genuine reflections, and sophisticated rhyme architecture. Now, Your Old Droog is back with his tenth full length album, Bread & Butter. Recalling his humble immigrant family stretching caviar across slices of bread shortly after arriving from Ukraine, YOD has crafted a testament to making the best of any situation. This philosophy runs throughout Bread & Butter, as Droog chronicles the turbulence of rap success, ruminates on youthful memories, and dismisses unworthy challengers with clever precision. The project’s rich sonic texture is shaped by beats from Flying Lotus, Conductor Williams, Ohbliv, and more, while hip-hop luminaries Evidence, Oddisee, and Masta Ace make memorable appearances, along with South African star A-Reece and acclaimed singer Georgia Anne Muldrow. Grounded in resilience, perspective, and self-determination, Bread & Butter is an inspired statement from a truly distinct talent. Transforming personal history into universal truth, the album reaffirms Your Old Droog's place among the most thoughtful and compelling voices in modern hip hop.

Polygonia and Simon Popp present ‚Apiformes‘, the second collaborative release from the two Munich-based artists.
As with 2023‘s ‘Candid’, ‘Apiformes’ was born from pure improvisation. Originating from the stems of four concerts, additional elements were built on from a foundation of live recordings — an intuitive endeavor by the musicians with such integrated effects to give one the impression of a sole sonic organism, and mystifying which sound is coming from which performer. Rapid creative decisions create an intriguing sense of aliveness, producing a uniquely vibrant buzz of jazz and electronic influences.

The duo set an otherworldly tone in their latest release, with leanings towards acoustic and percussion-heavy instrumentation, combined with playful synthetic musings which create a sense of opening up: an intriguing and earnest exploration of the ethereal, and what is available in nature as a window to the divine. Named for the scientific name for bees, the project’s mix of warm, dynamic improvisation and sequenced synth instrumentalisation mimic the similarly complex mathematical structures of a bee colony: a visual and sonic world made up of geometric shapes, mating dances and navigation patterns, sensations perhaps most energetically available through a sense of wonder rather than logical extrication.

Originally released in 2009, this massively in-demand record has been changing hands for anywhere between £50 and over £100 now finally available once again. You only need to check the width and depth of the DJ support tells you all you need to know.

DJ Support: A-Trak, Andy & Jaymo, Annie Mac, Brodinski, Cagedbaby, Damon Martin, DJ Mehdi, Erol Alkan, Filthy Dukes, Groove Armada, Hell, Jesse Rose, Joe Ransom, Kissy Sellout, Kris Menace, Pedro Winter, Riton, Rory Phillips, Seth Troxler, Severino, Shit Robot, Simian Mobile Disco, Thomas Schumacher, Trevor Jackson and The Whip

Retro Grade, (Serge Santiago and Tom Neville) an exciting act on the electronic music scene, revolutionising the world of Italo House with their release titled "Moda." This captivating track, infused with nostalgic vibes and infectious grooves, promises to transport listeners back to the heyday of '90s dance music while maintaining a fresh and contemporary sound.

"Moda" showcases Retro Grade's ability to seamlessly blend classic Italo House elements with modern production techniques. The track features pulsating bass lines, and euphoric synth melodies all meticulously crafted to create an irresistible sonic experience. From start to finish, "Moda" exudes an infectious energy that gets floors moving.

Not content with delivering a stellar original track, Retro Grade enlisted the talents of acclaimed artist Sound Klash to provide a mind-blowing Remix of "Moda." Sound Klash, known for this boundary-pushing approach to music production, puts his unique spin on the track, infusing it with his signature dubbed-out house sound. The result is an extraordinary reimagining that takes "Moda" to different heights, showcasing Sound Klash's unparalleled ability to reinvent and elevate electronic music.

"Moda" and its captivating Sound Klash Remix are set to make waves across the scene.

2026 Repress
Rights: World excluding FR & UK

Packaging: 2 x Gold-On-Clear Splatter Vinyl, 5mm spine sleeve, 2 x printer inner sleeve, marketing sticker

SHORT BIOG & KEY POINTS
" Goldie's 1995 debut Timeless is often described as one of the greatest dance music albums of all time. As one of the founders of Metalheadz, one of the most influential drum and bass labels, Goldie helped shape the sound of a generation, and a genre that has spanned over 3 decades.
" "Listening to Timeless is like taking an adventure. If the limits of music are the limits of society, then Timeless is going to create new worlds. It's a record that travels from darkness to light across electronic oceans, across streetsoul, ambience and jazz."

" London Records celebrate 30 years of Timeless with limited edition vinyl formats, re-imagining the original white sleeve and putting the album on double vinyl for the first time since '96, with new liner notes from Tim Carr. Remastered audio.

2026 Repress

Joe Davies back on Smallville, providing his skills to double the magic on the fly!

Soundscapes that will tickle your sweetspots. straight-but-quirky, far-out but still to the point – Joe is a master of his craft. His highly-acclaimed 2023 longplayer „Shields In Full Sunlight“ is still on the plates of oh-so-many heads out there, same for us. We are truly happy to present his latest vision of a cloudy night- all with Wonderful Tempo.

Comes with a stunning full cover artwork from Stefan Marx.