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2026 Repress

* Solid production from the Riz crew aka Nick Manasseh and Gil Cang (Tuff Scout) featuring the legendary Willie ‘Armagideon Time’ Williams from 1995.
* UK roots reggae sounding crisp and sweet with a dub-wise excursion `Higher Than High’ on the B-side.
* First time on 45.

Alek Lee and vocalist Margeeah come together for a boutique 7″ pressing limited to 200 copies, featuring two tracks blending soul, reggae, disco and dub. Lee, whose catalogue includes releases on Antinote and Isle of Jura, brings his background in slower, dub oriented productions to a collaboration built around Margeeah’s vocals and live instrumentation. The sound sits somewhere between Massive Attack’s Blue Lines and Grace Jones.

Margeeah comes from the Israelite community, whose musical history includes The Soul Messengers. Her debut album, Looking for Love, was recorded in 1983 with Kingdom Sounds, originally issued as a private press LP and reissued by Frederiksberg Records in 2025. Its musicians included Abshalom Ben Shlomo, associated with Sun Ra. Her vocal style spans soul, jazz, funk and reggae, with reference points including Roberta Flack and Doug & Jean Carn.

For this release, Lee records his own live drums and percussion for the first time, alongside his signature smoky melodica lines. The production develops the reggae elements of Margeeah’s singing, combining bass driven arrangements with live rhythms, spacious guitar lines and dubby approach.

On the A side, “The Music Inside”, Margeeah effortlessly projects Lee’s lyrics about optimism and the desire for inner and outer freedom. Built around a recurring vocal refrain, the track places her voice over a rooted reggae arrangement.

The B side, “Can You Feel It?”, moves seductively towards a slower disc-dub sound. Bass and drums provide the foundation, with the percussion developing from a restrained groove into a fuller live kit arrangement. Melodica and guitar weave around Margeeah’s lead vocal and the hypnotizing title phrase.

Initially recorded in 1996 and officially released February 1997, 2nd Family's Killaz from the Blackside tape is one of the most distinctive examples of unpolished, stripped-back & paranoid mid-90s Memphis rap. Recorded by King JC together with 2nd Family MCs Pistol Grip & Killa Chrome in a home-studio set up at the group's base in Southern Hills Apartments in Whitehaven, South Memphis (known locally as Blackhaven or the Blackside, a short trip from Graceland) the sparse, brooding and somewhat introspective production sets the record apart from the more raucous, overdriven precedent of the period. Pressed on vinyl for the first time via Death Is Not The End in an edition of 300 copies.

When Swingrowers released their debut in Sept 2012, electro swing was a bubbling cultural zeitgeist. This Italian band were among the earliest pioneers who helped shape the sound of the vintage-influenced genre. Their debut 12 track collection paved the way for the brilliant albums that followed and indeed for the ongoing popularity of the genre. A little rougher around the edges but with all the early promise on show, this album completes a 4 piece set for fans and collectors.

Swingrowers went on to release a further 3 studio albums, toured internationally, playing major festivals includingMontreux Jazz Festival, Glastonbury, Boomtown and Tokyo’s Blue Note Festival. Their music has to date amassedmore than 100 million streams worldwide on Spotify alonewith videos clocking up many millions more.

Pronounceditself is a revelation. It stood the test of time as one of the earliest complete and fully-realised Electro Swing albums that seamlessly blend 20’s and 30’s influences - violin, gypsy jazz guitar, saxophones and swing music - with polished contemporary production. Here, superb musicianship meets great songwriting meets a unique modern sound from Swing Hop to Drum n Bass with jazz-inflected vocals in English and Italian.

As we approach the 15 year anniversary, Pronounced is being released on wax for the first time.

This releasecompletes Swingrowers’ entire album discography on vinyl, joining existing editions of Remote, Outsidein and Hybrid.

For long-time fans, collectors and anyone who discovered electro swing through artists such as Caravan Palace and Parov Stelar, Pronounced is a chance to finally own the sound of a young band (and indeed an up-start young genre) at the very start of their career.

alex wilcox releases his second solo ep on трип: ‘rumpelstiltskin’ alex wilcox possesses a rare quality of transforming simplicity of a known form into something that sounds as fresh and modern as contemporary music should in 2026. his glassy, chiptune heavy, razor sharp production combined with quite some synth warmth, sounds like classic IDM created in detroit in 2050. if that wasn't enough, add a bit romanticism, a fairy tale like atmosphere and wonder "who is rumpelstiltskin?" spin to win.

DJ HS presents "Booty Shake EP" on Ghoststyle

A legendary figure of the Belgian electronic scene and one of the iconic DJs of the famous Lagoa, DJ HS returns to Ghoststyle with Booty Shake EP, a four-track release showcasing the sound that has made him a favourite among clubbers for decades.

Featuring Booty Shake, Spectrum, Shut Up and Acid Twist, the EP delivers four driving cuts packed with infectious grooves, pounding rhythms and unmistakable acid flavours. Staying true to DJ HS's signature style, each track is built for maximum dancefloor impact while preserving the raw spirit of authentic underground electronic music.

Whether you're looking for energetic peak-time weapons or timeless club grooves, Booty Shake EP is a solid addition to any DJ bag and vinyl collection.

Français

DJ HS présente "Booty Shake EP" sur Ghoststyle

Figure emblématique de la scène électronique belge et DJ incontournable du mythique Lagoa, DJ HS signe son retour sur Ghoststyle avec Booty Shake EP, un EP de quatre titres qui reflète parfaitement le son qui fait vibrer les clubs depuis des décennies.

Composé de Booty Shake, Spectrum, Shut Up et Acid Twist, cet EP rassemble quatre productions percutantes mêlant grooves entraînants, rythmiques puissantes et touches acid irrésistibles. Fidèle à l'univers musical de DJ HS, chaque morceau est pensé pour offrir un impact maximal sur le dancefloor tout en conservant l'esprit brut de la musique électronique underground.

Que ce soit pour les DJs à la recherche d'armes redoutables pour le peak time ou les amateurs de vinyles électroniques authentiques, Booty Shake EP trouvera naturellement sa place dans toute collection.

Rubbermaidxxx is a recent music performance project by the Irish artist Anna McCarthy, rather than simply the title of one autonomous artwork. Rubbermaidxxx is a character or unstable identity, an emancipatory underdog with a heart for daredevilry. The project sits naturally within McCarthy’s larger practice, which moves between drawing, assemblage, happenings and collective actions.

Clad in a black balaclava and fetish climbing wear, she abseils from buildings before entering the stage. For the first performance in New York City, she was invited by Kyp Malone of TV on the Radio to perform at his club Francis Kite Club in Alphabet City, NYC and since has continued to make a name for herself hanging off façades, singing, dancing and mopping the floor together with her performance collaborators Miss Philip a.k.a. Philip Errico and Michael Tapper at Pianos NYC, Kottbusser Tor and Genezarethkirche Berlin or the Villa Stuck Museum in Munich.

The album was produced in Munich and New York in 2025 in collaboration with her brother Nick McCarthy (Franz Ferdinand) and Anton Kaun (Rumpeln). What started as a quick improv turned into a high-energy 4-hour session of the siblings playing manic ball with beats, bass, guitars and vocals resulting in what laid the basis to this album. In the weeks following, Anna McCarthy, who is known for her cut-up production style, reminiscent of albums such as White Noise or Flying Lotus, continued to develop the vocals, performance and music by mixing in an amalgam of field recordings with her narrative spoken word, including sounds of protests, dollar stores or ice-cream trucks, as well as collaborating with the noise artist Rumpeln for the last two tracks of the album.

McCarthy is also known as the lyricist and singer of What Are People For? (debut 2022 on Alien Transistor) with its dystopic dance music candy-cane shows and equally humorously critical tongue-in-cheek bangers such as Bring back the Dirt, Drones or Partytime. Anna McCarthy's spoken word, social urgency and enthusiasm to experiment across mediums is comparable to other contemporaries such as Moor Mother, Miho Hatori, Gonjasufi, Tricky, or Cibo Matto.

The name itself is telling. Rubbermaidxxx evokes elasticity, artificiality, domestic labour and the commercial world of cleaning and garbage. It suggests a body capable of stretching, absorbing filth and cleaning up after society – only to revolt against the role it has been assigned.

Rubbermaidxxx is a master of deception, juggling fact and fiction as a reflection of our times – a diamond thief, a protester, or even responsible for the Louvre heist? This album invites the listener and viewer in, playfully dismantling hierarchies and power structures as she goes through a hopeful amalgam of dance, protest & love songs.

With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.

It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.

Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.

Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.

Machetes & Micheladas pairs Coyote’s sharp, street-rooted lyricism with Statik Selektah’s signature boom-bap polish, delivering a cohesive West Coast–meets–East Coast statement packed with heavyweight features. The album moves effortlessly between gritty anthems like “Can I Get A Hell Yeah” with Conway The Machine and the raw energy of “Fuck Everybody” with Daylyt, while keeping a strong Cali identity on cuts like “Cali Dreaming.”

Standout collaborations include Xzibit on the explosive intro, B-Real & Sick Jacken on the smoky “Whippin’ Cream,” and Curren$y on the reflective “Nothing Changes If Nothing Changes.” Tracks like “Letter To My Son” and “Whats Peace” add depth and introspection, balancing the harder-edged moments with personal storytelling.

With tight sequencing, cinematic interludes, and Statik’s soulful, hard-hitting production throughout, Machetes & Micheladas is a modern hip-hop record that bridges coasts, generations, and styles without losing its edge.

built on the stripped-down, sinister production and uncompromising lyricism that have become signatures of both artists.

A longtime collaborator within the Real Bad Man universe, Mooch previously appeared alongside Rigz on Real Bad Boldy and the On High Alert series, steadily establishing himself as one of the sharpest voices to emerge from Rochester’s underground scene. Across Terminator Shit, Real Bad Man provides a dark, cinematic backdrop for Mooch’s precise, hard-edged writing, with “Mercy” setting the tone for the project’s grim and focused sound.

The album features guest appearances from Boldy James, Your Old Droog, Estee Nack and Deener, bringing together a tightly curated cast of some of contemporary underground hip-hop’s most distinctive voices.

The comic book-inspired artwork was created by underground comics legend Lawrence “Rawdog” Hubbard of REAL DEAL COMIX, extending the album’s dystopian aesthetic beyond the music itself.

Terminator Shit will make its debut on vinyl:

Talking with the Taxman About Poetry is the third album by Billy Bragg, originally released in September 1986.

This long overdue vinyl reissue comes in a gatefold sleeve and was remastered by John Webber at Air Studios using high-resolution transfers made from master tapes in Billy's archives. There will also be a limited edition run of coloured vinyl albums.

For Talking with the Taxman About Poetry, Bragg embraced a more fully realised band sound with the help of special guests Kirsty MacColl and Johnny Marr and production courtesy of John Porter (Roxy Music, The Smiths) and Kenny Jones. ‘Taxman…’ was his first top ten album and gave the world some of his most enduring songs in ‘Greetings To The New Brunette’ (his first top 40 hit), live favourite “Levi Stubbs’ Tears” about a victim of domestic abuse taking comfort in the music of the Four Tops, and classic workers’ anthem “There Is Power in a Union”.

Australian psychedelic rock band Druid Fluids return with Pareidolia, an ambitious second album exploring perception, superstition and the human instinct to find meaning in patterns, whether real or imagined.

Written and recorded in Adelaide at songwriter and producer Jamie Andrew’s home studio, Pareidolia unfolds across ten expansive and immersive tracks that push the possibilities of psychedelic music. Released by Australia's Third Eye Stimuli Records, the album arrives as a 2LP vinyl exclusive that includes a D-Side with bonus tracks taken from the recording sessions.

Psych-rock and melodic pop collide with krautrock rhythms, cinematic dreamscapes, classically inspired arrangements and experimental production. No two songs inhabit quite the same world, and the album never lingers in one room for long.

Influenced by the inventive songwriting of The Beatles, The Beach Boys and Frank Zappa, the atmospheric sophistication of AIR and contemporary psychedelia from Tame Impala, King Gizzard and Melody’s Echo Chamber, Druid Fluids balance vintage warmth with a distinctly modern sense of possibility.

Pareidolia is hypnotic, intimate and surreal. Melodies twist and reform, rhythms circle back upon themselves and subtle motifs appear like half-recognised symbols. Its labyrinthine passages and dream-logic imagery invite listeners into an immersive space where clarity and confusion remain in constant negotiation.

Pareidolia follows the band’s acclaimed 2023 debut, Then, Now, Again & Again, whose first vinyl pressing sold out worldwide. Since then, Druid Fluids have toured Europe and shared stages with The Brian Jonestown Massacre, Wolfmother, Psychedelic Porn Crumpets, The Murlocs and Amyl and the Sniffers.

Immersive, melodic and wonderfully unpredictable, Pareidolia is a psychedelic masterpiece that rewards repeat listening, revealing new details and hidden connections with every spin.

Following her previous appearances on Blueprint, Manchester-based techno artist Kerrie returns to the label with her latest release, "Pressure Signal". The four-track EP sees Kerrie deliver another focused collection of raw, uncompromising techno, continuing her distinct approach to dark, gritty, metallic and industrial sounds.

Kerrie is a multidisciplinary artist whose work spans live performance, production, DJing and running her own label, Dark Machine Funk. Having honed her craft for almost 20 years, Kerrie has developed a sound deeply rooted in UK, Detroit and European techno, with her sets and productions characterised by tough moods, high energy and a strong sense of groove.

Kerrie first made her debut on Blueprint in 2022 with her"Raw Regimen" EP, before returning to the label with further releases in 2024 and 2025 and joining the Blueprint crew at showcases around the globe.

Physically tethered to this reality, yet creatively unmoored from any earthly restraints, Holy Fawn freely slip in and out of metal, shoegaze, electronic, alternative, and rock as if inhabiting multiple states of sonic existence all at once. Blazing new trails both seen and unseen as well as heard and unheard (but always felt), the Arizona quartet—Ryan Osterman, Evan Phelps, Alexander Rieth, and Austin Reinholz—continue to cover uncharted territory on their second full-length offering, Dimensional Bleed.

The group emerged in 2018 as a critical and fan favorite with their debut LP, Death Spells. Stereogum said the music is “all so beautiful,” while Heavy Blog Is Heavy went as far as to christen it “a landmark.” Thrice and Deafheaven each invited the band on tour, and Lamb of God’s Randy Blythe was effusive in his praise.
In 2020, Holy Fawn shared The Black Moon EP, which the Phoenix New Times hailed as “a ferocious slab of twilight guitar crunch.” In the midst of the Global Pandemic, Holy Fawn carefully assembled what would become Dimensional Bleed. Due to the closure of their practice space and de facto headquarters, the bulk of creation and recording happened remotely. Ryan performed vocals and electronics at home, while Austin and Evan tracked and mixed out of Evan’s studio. This time around, they enlisted Mike Watts The Dillinger Escape Plan, Glassjaw, The Dear Hunter for mixing and additional production and Mike Kalajian for mastering.

It was through the first volume of the Musique Ambiante Française compilations that we met the hermit Dagerlöff. From a sanatorium and the depths of his own entrails, he delivered the aptly named From The Womb To The Tomb, which you may remember. Out of that dark period came a spark: the fleeting vision of a little girl running happily through a public garden struck Dagerlöff like a trigger. An urge to live, a visceral need for rebirth. From this epiphany came a vibrant ode to childhood and a return to innocence.

To give flesh to that vision, the artist withdrew from the world once more and, pushing his creativity to its limit, set out to recreate the sonic cocoon of his own youth. This debut album, “Solarpunk”, resurrects the magic of the Amblin productions (E.T., Gremlins, The Goonies, Young Sherlock Holmes…) where digital synth arpeggios embraced the warmth of orchestras, while summoning the epic energy of Japanese cartoon theme songs and the luminous aesthetic of Nintendo consoles.

Evasion and Conman return to our label with their brand new album "Shadow Circuit", refining their unique style. The release moves through cinematic soundscapes, blurring the lines between jungle and dnb, with intricate rhythms and deep low-end engineered with surgical precision.

12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking to bring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!
Sampler 13 opens with Kollektiv Turmstrasse - Sorry I Am Late, the club track many will recognise from Solomun's legendary Boiler Room set in Tulum. Its unmistakable bassline sets the mood straight away. Next comes Skape D'Jear - Everything In You (Dedicated Clubba Mix), a
lesser-known house gem making its first appearance on vinyl.
Side B features Karmon feat. Terry Shand - Take My Hand, a melodic house track with a strong vocal performance that remains hard to find on vinyl. Tocadisco - Morumbi then takes things up a notch. With its driving percussion, this is a record that has blasted through the speakers of countless Belgian clubs and beyond.
Side C brings Fred again.. x The Blessed Madonna - Marea (We've Lost Dancing). A track about missing the shared experience of dancing, it became closely linked to the return to the dancefloor for many. Next, we head to Berlin with Kotai - Sucker DJ (Marcin "Highfish" Kozlowski Remix), a distinctive club classic that still holds its own. Daddy's Groove & Little Nancy - It's Not Right, But It's Okay closes this side with a groovy reworking of Whitney Houston's well-known song, now available on vinyl for the first time.
Side D captures the spirit of Ibiza with G Club presents Banda Sonora - Guitarra G (Martijn ten Velden Remix). Its recognisable guitar lines and gradual build make this a track to lose yourself in. This remix makes its vinyl debut here. Closing the sampler is Slam feat. Tyrone Palmer -
Lifetimes. Palmer's distinctive voice and the Scottish duo's outstanding production make this a record that still hits home after all these years.

Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, lesser-known gems and tracks making their vinyl debut. Selected with the same love for music that has driven 12 Inch Lovers' events for 15 years.

With the “Extrasensory” EP, Slices Of Life welcomes one of the most versatile producers in the UK minimal house scene. Since 2003, Tom Ellis has been creating funk- and jazz-inspired house and techno, distinguished by his keen sense of organic rhythm. His extensive discography spans labels such as Logistic/Telegraph, Minibar, Wisdomteeth, KANN, Banoffee Pies, Onysia, among many others. Beyond his solo work, he is also the mastermind behind the electronic jazz ensemble Soulstatejazz.

The four tracks on “Extrasensory" distill this wealth of musical experience into diversely textured minimal house productions. Precisely placed drums and percussion, and rolling grooves form the foundation - clearly shaped by Ellis’s background as a drummer, percussionist, and bass player.

All the tracks share a warm, organic atmosphere, oscillating between lightness and relentless drive. The title track, "Extrasensory", blends almost pop-like melodies with shimmering vocals. "Bring Forth" takes us into deeper, dubby, and driving territories, while "Be The Moment" reveals a playful and melancholic side. Finally, "Vividly" immerses us in a dense, dreamy, yet pulsating sonic world.

»Breathing Soil« is the third full-length album by Swiss musician and performance artist Elischa Heller. As a member of groups such as Film 2, Beurre, or 222Rn as well as in his live practice as a solo artist and his performances, notions of physical and temporal presence have always informed his multi-genre approach. These two side-long compositions centre around drone music and are both intended as an invitation to listen deeply as they are a product of deep listening itself. Drawing on Heller’s live practice, which aims to create shared social experiences, this music mediates between matter and metaphysics.

»If we recognise that we and the world around us are nothing but vibrations and oscillations, drone music can get in touch with a profound aspect of our ways of being,« says Heller. »It enables us to get in tune with our surroundings and each other.« Hence, resonance serves as the guiding principle of his work. As Heller explains, the title »Breathing Soil« can be read in two ways: As a description of how one breathes in the soil and gets in touch with the Earth through the sound, or that it is the soil itself that resonance, with sound serving as the connective tissue between different forms of being.

»Breathing Soil« relies on radical forms of reduction that treat sound as raw form—as vibrations and oscillations whose subtle acceleration and deceleration can have wide-reaching consequences. Meant to be played on speakers, the subtle shifts in dynamics, timbre, and volume of these two pieces are supposed to resonate with the rooms in which they are played. This music aims to make the things sing.

Immersive, roots-infused dub-reggae power from Jamaica meets heavyweight instrumentation from Denmark on a landmark collaborative album out now via Recall Reality.

Rooted in the rich traditions of classic Jamaican sound yet pulsing with a hypnotic, contemporary organic weight, Signs of the Time brings together the evocative vocal artistry of rising roots talent Azizzi Romeo and the master craftsmanship of Denmark's formidable instrumental 11 piece band Guiding Star Orchestra. Built for sound systems and vinyl purists alike, featuring lush tape saturation, spring reverbs, and spacious dub mixes.

Released on Recall Reality, the album is a masterclass in modern roots reggae and deep dub dynamics. Rather than relying on rigid digital presets, Signs of the Time champions warm analogue textures, sprawling horn arrangements, and rolling basslines that echo the golden age of Studio One, Joe Gibbs, Bunny Lee and Channel One while carving out an entirely fresh, meditative space for the listener.

Azizzi Romeo carries forward a legendary musical lineage as the son of the late roots icon Max Romeo, bringing a captivating blend of spiritual urgency, conscious lyricism, and soulful conviction to the microphone. His delivery cuts straight through the mix, offering profound reflections on modern society, unity, and resilience in a changing world.

Backing him are the Guiding Star Orchestra, renowned for their authentic analog production ethos, deep-crate sensibilities, and musicianship that treats the mixing board as an instrument in its own right. The result is a seamless symbiotic project where every bubbling organ skank, hypnotic drum drop, and reverberating tape delay serves the song's core message.

To bring the record home, producer CHLLNGR spent a week in the spring working alongside UK dub maestro in his London studio - Prince Fatty, who mixed the entire album. Fatty invited legendary drummer Winston "Horseman” Williams into the sessions, and Horseman percussion added the final glue to the record.

Track highlights:
"Signs of the Time": Azizzi is joined by his late father, the legendary Max Romeo, on a prophetic warning of what awaits the world if we don't soon unite in peace and love.

"Thanks and Praises": An anthem of gratitude for everything life brings, and of rising up even when others want to see us fail.

"Jah Jah Disciples": A meditation on following Jah, and the strength that faith gives in the midst of adversity.

Signs of the Time is available now on Vinyl LP and Digital streaming platforms via Recall Reality.

Well where do you go from the killer release of sde 78 Kinky Foxx "Is It Still Good To You" which sold out quicker than we could have imagined. I guess you should expect that with a group that has a cult status like Kinky Foxx.

Trawling through the guys demo sessions of the late 1970's and early1980's we always had a soft spot for "Lovely Night" but felt the audio and vocals were not quite on point for an official release. But not letting any obstacles get in our soulful way we took the demo and made it ten times better. New vocals were added by Vincent Lilly jr and with the watchful production skills of legendary Curtis Styles we are so pleased with the outcome. Its a modern day dancer but keeping in line with the 1980's boogie funk from the Kinky Foxx crew!!. Flip the 45 over and you get "Call You Up" again which has been touched up like a classic car with a respray. Keeping all the elements of 1980's synth boogie soul and taking it into 2026.

"Acid Morning" by Toni Rios, remixed by Andreas Henneberg, is a captivating track that skillfully blends elements of techno and house, creating a nuanced auditory experience. Andreas Henneberg is known for his ability to infuse tracks with a distinct energy, and his remix of "Acid Morning" is no exception. Henneberg transforms "Acid Morning" with his signature style. The "Toni Rios and Andre Walter Remix" for Nicoleta is a track that brilliantly blends elements of classic electronic beats with modern production techniques. Toni Rios alongside Andre Walter (Stigmata) brings a refreshing twist to the original composition through this remix. These are two more gems from Toni Rios

"Now and Forever," the latest EP from Boo Williams, showcasing his unmistakable style once again. Known for his hypnotic grooves and infectious rhythms, Williams delivers a collection that embodies his signature sound. Each track on this EP captures the essence of deep house, blending intricate beats with soulful melodies. The production is polished, allowing the music to resonate authentically while inviting listeners to immerse themselves in the experience. "Now and Forever" reaffirms Boo Williams' position as a master of his craft, offering a captivating journey that will resonate with fans of electronic music. This EP is a testament to his talent and a must-listen for anyone seeking quality grooves.

Ralf Hildenbeutel is an award-winning producer and film composer. His style is shaped by his eclectic background as of his classical education in piano and composition and his obsession for electronic music since the late '80s.

In the 1990s he collaborated with Sven Väth on Väth's major albums, released a countless number of club classics and founded his electronic live-project Earth Nation. He has been touring across Europe and playing at the Montreux Jazz Festival, London's Brixton Academy, Tribal Gathering Universe and others.

In that time he also produced various remixes for artists such as Anne Clark, Robert Palmer, Enigma and Yello and was awarded with the "Viva Comet" as Best Producer from Germany's music TV channel VIVA. His film music for the movie "Hommage á Noir" received the golden medal at the New York Festivals in 1996.

At the end of the '90s and first years of the 2000s it was the time for new directions and Hildenbeutel started focusing on artist-related productions and songwriting. He founded the production company Schallbau with Stevie B-Zet and A.C. Boutsen. They produced and co-wrote for artists such as Laith Al-Deen, Andreas Bourani, Yvonne Catterfeld, and Simon Collins (son of Phil Collins). That time they archived several top-ten entries and gold or platinum records.

In 2010 Hildenbeutel moved away from pop productions and focused on film music. He worked on feature movies such as "Vincent will meer" ("Deutscher Filmpreis", 2012 – German Film Academy Award) and international productions such as the Italian mini-series "Maltese".

His film music for the short movie "Momentum" (by Boris Seewald) received various awards such as "Cinedans" and a nomination for best music at the Newport International Filmfestival in the UK in 2014. In 2017 he won the "Goldene Reiter" at the esteemed Filmfest Dresden for his score for the movie "Eine Villa mit Pinien".

Hildenbeutel currently works on several international and German productions. He also collaborated with Chris Liebing on Liebing's latest solo album "Burn Slow", which has been released worldwide on Mute Records.

The intriguingly named Pigeon Steve joins Especial for an EP of trippy, psychedelic electronic dance music that goes far beyond its origin – a thirst for all forms of movement – a struggle filled with all possibility.

Since its inception, the label has sought to take inspiration from a wide range of music genres – new wave and new beat to disco-not-disco, post punk and proto-house – never looking for a trend. This belief system expressed is human; intimate and authentic, dissolving and uniting around shared truths and universal values.

Music as ecstasy, the flux of rhythm and sound, to find and be yourself; no guilt, no competition, no games. It is phenomenon – magick – that short circuits through human (emotional) response.

Relocated to South-East London, Glaswegian DJ and producer, Pigeon Steve aka Adam Low, showcases his talent. A dubby, trippy approach to DJing mirrored in his productions; the recent, well-received EPs on the esteemed Offen Music and Weirdos Inc lead here – an EP of sample heavy cuts, wrapped in echo-laden grooves, the beats dripping in psychedelic, new beat and steppers electronica.

Dialect locates us, through its cadences, inflections and intonations we journey through life. Language allows us to escape the lion in a cage. The moment we forget ourselves, we can reach joy and clarity. To live is to exist, the struggle against controls, fighting for an individual destiny.

Grammy- and Academy Award-winning rapper and actor Common is widely regarded as one of the most influential Chicago rappers of all time. He is best known for his sophisticated lyrics and jazz-rap, which introduced the world to hip-hop classics such as "I Used to Love H.E.R.", "The Light" and "GO!".

He started his career with Can I Borrow a Dollar? This album immediately drew attention thanks to its top-notch production and clever, playful lyrics. Common worked with contemporary household producers like No I.D., The Twilite Tone and The Beatnuts to create this album, which put Chicago hip hop on the map.

Can I Borrow a Dollar? is available on black vinyl.

Vintage Pleasure Boutique returns to the classic Hotsound Records catalogue with Primero’s “Oh Que Calor”, another unmistakable production from Michiel van der Kuy.

This vinyl edition brings together three newly remastered original versions: Extended, Radio and Instrumental, preserving the sound and atmosphere of the original release, alongside fresh remixes from A.P. Mono, Spacehawk and Disco Computer.

All three remixers share a fascination with Van der Kuy’s signature sound. Their interpretations may take different routes, but the original DNA remains intact: pulsing synths, Linn Drum, cosmic melodies and that unmistakable late-’80s vocal spacesynth energy.

And “Oh Que Calor” still has the power to transport you somewhere else entirely: to a seaside resort on some Spanish coast, sometime in the late 1980s – hot nights, neon lights, open-air dancefloors and a whole summer soundtrack built from Italo Disco, spacesynth and electro. Somewhere between the beach and the club, Primero feels completely at home.

For fans of Laserdance, Koto, Cyber People, Proxyon and Sisley Ferre, this is both a return to the original and a new chapter.

Three original versions. Three new remixes. One unmistakable Hotsound DNA.

Dutch producer Kid Sublime presents his first EP on Makin’ Moves, here he teams up with Philly singer/song writer Lady Alma exploring elements of soul, broken beat and house.

The EP kicks off with The Grind a super smooth soulful house track, that catches your attention straight away with its groovy baseline that remains throughout adding to that Alma’s meaningful lyrics demonstrating the power of the music as she uses it as to get herself through the day.
The positivity continues on ‘Can You Feel It’ another quality piece of soulful house as the action moves to the dance floor as the beat and grove winds you in as once again Alma’s lyrics drop perfectly on the track.
The B side shows Kid switch it up on the broken beat production wiith ‘Ready To Meet You’ a touching song about two individuals excited to meet each other for the first time, a sure shot hit for the ‘bruk’ beat and dance heads alike!

Lucid Dream Records is proud to announce its very first release: a reissue of four tracks by German producer Trancefeld, originally released on Sunset Recordings and CTM in the early 2000s. Years after their initial release, these productions still sound remarkably fresh on today’s dancefloors. Pure Fiction and Arcade showcase Trancefeld's tight programming, pairing hypnotic rhythms with progressive and trippy influences. On the flip side,
Seaquence explores deeper and more melodic territory before Outroduction closes off the EP with a richly textured and contemplative downtempo cut. Even today, these recordings remain difficult to place within a single category and together showcase the versatility and timeless quality of Trancefeld's musical output

Originally released in Japan in the early 1990s, "Make Me Know It" offers a glimpse into a moment when reggae and lovers rock were taking root in unexpected places. The record pairs Chieko Beauty's understated vocal style with Miyazaki Izumi aka Dub Master X's production, resulting in a sound that feels equally informed by Jamaican traditions and Tokyo's rapidly expanding musical landscape. Built around a subtle interpolation of Manuel Göttsching's E2-E4 – already immortalised by Sueño Latino – the record brings together musical traditions that, on paper at least, have little reason to meet. Chieko Beauty would go on to become one of the defining voices of Japanese reggae, collaborating with artists including Mad Professor, Yann Tomita and Emerson Kitamura. This 7" revisits an early chapter in that story

Two voices at the frontier of deep, hypnotic and experimental electronic music converge with four-track split EP that moves between first light and subsurface dark.

Lost Few’s productions inhabit the hazy threshold between ambient and dancefloor music - textured, atmospheric productions built around mood and motion. On the A-side, Broken Dawn opens with a sense of slow emergence: layered pads and rhythmic pulse conjuring beauty before sunrise, when sound feels closer to dream than waking. Light Before The Haze deepens the journey; a longing, weightless piece that traces the diffuse glow that precedes full light — melodic, restrained, and deeply felt.

Dino Sabatini needs no introduction; his productions have bolstered the underground electronic music scene while sculpting a new narrative for deep, modern electronic music. On the B-side, Subsurface Light is characteristically Sabatini: a hypnotic descent into pressurised depths, where rhythm becomes ritual and texture carries the weight of ancient resonance. He then reimagines Lost Few's Light Before The Haze as a closing meditation — pulling it further inward, slowing its pulse, and casting it in the particular deep-techno shadow he has made his own.

Together, the four tracks form a coherent arc from the pre-dawn quiet of Lost Few's introspective electronics to the subterranean intensity of Sabatini's world — a release that rewards both patient listening and late-night movement.

Two voices at the frontier of deep, hypnotic and experimental electronic music converge with four-track split EP that moves between first light and subsurface dark.

Lost Few’s productions inhabit the hazy threshold between ambient and dancefloor music - textured, atmospheric productions built around mood and motion. On the A-side, Broken Dawn opens with a sense of slow emergence: layered pads and rhythmic pulse conjuring beauty before sunrise, when sound feels closer to dream than waking. Light Before The Haze deepens the journey; a longing, weightless piece that traces the diffuse glow that precedes full light — melodic, restrained, and deeply felt.

Dino Sabatini needs no introduction; his productions have bolstered the underground electronic music scene while sculpting a new narrative for deep, modern electronic music. On the B-side, Subsurface Light is characteristically Sabatini: a hypnotic descent into pressurised depths, where rhythm becomes ritual and texture carries the weight of ancient resonance. He then reimagines Lost Few's Light Before The Haze as a closing meditation — pulling it further inward, slowing its pulse, and casting it in the particular deep-techno shadow he has made his own.

Together, the four tracks form a coherent arc from the pre-dawn quiet of Lost Few's introspective electronics to the subterranean intensity of Sabatini's world — a release that rewards both patient listening and late-night movement.

The first release in the B.I.T. Productions 30th Anniversary 12″ Collection, BIT30-1 M-ULATE “M-Pathic E.P. 2025”. Originally released as a very limited white label 12″ in 1992 as a 3 Track E.P.,this 6 TRACK E.P. features: “M-Pathy (All Come Together)” K69 Dream Frequency Remix - uplifting piano house M-ULATE Anniversary Remake - breakbeat piano/rave Original 1992 Mix“ - Old Skool piano/rave A Need For Love” SARASOTA Anniversary Remake - uplifting piano house Stu Chapman Remix - breakbeat piano Original 1992 Mix - Old Skool hardcore Gold Coloured Vinyl, with a rounded anti-static inner sleeve in a black discobag sleeve.

RADYO BOMBERO - ABOUT THE LABEL
Radyo Bombero is the record label founded by acclaimed filmmaker, author, DJ and record collector Fatih Akin. Born out of his personal passion for vinyl and film music, the label will initially focus on soundtracks from his films: previously unavailable works will be released on vinyl for the first time, while out-of-print titles will return as carefully produced reissues. Its inaugural release is the soundtrack to Akin's new film Geister, scheduled for release in November 2026. Further projects are already in development.

ABOUT THE RELEASE

MALAKOFF KOWALSKI - GEISTER
ORIGINAL MOTION PICTURE SOUNDTRACK
Composed by Malakoff Kowalski, the soundtrack to Fatih Akin's Geister is the inaugural release on Radyo Bombero.
Born in the United States, raised in Hamburg and now based in Berlin, Kowalski is a composer, pianist and multi-instrumentalist whose work moves between film music, contemporary classical composition, theatre and pop. He composed the music for eleven films by Klaus Lemke, as well as for productions including Schweigend steht der Wald and Stasikomödie. His solo work has been released by MPS and Sony Classical, and he has collaborated with artists including 2raumwohnung, Igor Levit, Chilly Gonzales and Nils Frahm. His sound combines elegiac melodies with a warm, cinematic atmosphere and a subtle sense of unrest beneath the surface.

For Geister, this distinctive musical language meets Fatih Akin's vision of a deliberately anachronistic and romantic score: a tribute to Ennio Morricone's great love themes that plays a defining role in the film's tragic love story and atmosphere.
LP 1 contains Kowalski's complete original film score.
LP by JUGGLERZ opens up a second musical world, bringing together four productions by the internationally successful Jugglerz on a four-track 12-inch disc at 45 RPM: the film's title song Ya Mami, performed by Aya Samra; Mood by Cloudee, Milaa and Jugglerz; Tip by Jugglerz, Limitlezz, Maureen and Demarco; and Beirut Nights Riddim. The four tracks bring Arabic tarab and contemporary Levantine pop together with hip-hop, urban beats and dancehall rhythms.

FATIH AKIN ON RADYO BOMBERO
"Radyo Bombero is on the air. Don't miss a tune!
"
Music is - alongside cinema and literature - a fundamental source of inspiration for me. Having grown up in the 1980s, the way I listen to music has hardly changed: I buy records, listen to them carefully and then copy them onto a portable device. It used to be a Walkman, then an iPod - today it is my smartphone with my playlists.
I do not use Spotify or any other streaming services. Why that is, I do not know. In most other areas, I try to keep up with technological developments. Not with music. I like unpacking a record, cleaning it before listening, holding the sleeve in my hands and reading who worked in the studio, who wrote the music and where the record was made. These things interest me. And they lower my cortisol levels.
Music plays a major role in my films. It is not that, as a director, I want to impose my favourite music on the audience. The music must always serve the story. In Head-On, for example, it tells us something about the characters and their biographies. Crossing the Bridge - The Sound of Istanbul is the musical portrait of a city. Its music tells us about the people who live there: where they come from, the cultures they brought with them and how those cultures have merged with local traditions. The Cut was conceived as a Western, and the music had to help reinforce that idea.
Geister tells a tragic love story. The music was meant to be gloriously anachronistic. And romantic. Just like the light and colours, it had to shape the atmosphere of the film. My films are often about cinema itself, and Geister is no exception. Its music is a tribute to Ennio Morricone's great love themes.
In Malakoff Kowalski, I found the perfect creative partner. He immediately understood my idea and realised it brilliantly. That made it all the more painful when I was told by the music industry that there could be no soundtrack release for Geister because soundtracks were too expensive to produce and would simply sit on the shelves.
It is not as though I am a spoiled child who absolutely has to have a lollipop. But this music is simply too good to withhold from the audience. The idea that there would be no soundtrack release felt like a great injustice.
Then several friends and collaborators advised me to release the record myself. No sooner said than done. But Radyo Bombero is not a one-off project. Geister is only the beginning.

Finally, I have the opportunity to gradually release all the soundtracks from my films that have remained unavailable. Soundtracks that were previously released but have since gone out of print will also return as reissues.
Hainbach's soundtrack to Amrum is already in development, as is a double album featuring the unforgettable German pop songs from The Golden Glove. And, finally, a vinyl soundtrack to Head-On.
Fatih Akin

In the realm of Swedish melodic rock from Skövde, few bands command the attention and admiration quite like NIVA. With their signature blend of soaring melodies, powerhouse vocals, and infectious hooks, the band has established themselves as a force to be reckoned. Now, with the release of their highly anticipated 7th full-length album ""Stratospheric,"" NIVA once again proves why they are considered among the elite in the genre.
From the opening chords of the title track, it's clear that ""Stratospheric"" is an album that aims for the stars and reaches new heights of sonic excellence. Led by the Swedish powerhouse vocals of frontman Tony Niva, the album is a tour de force of melodic rock anthems that resonate with passion, energy, and raw emotion.
Throughout ""Stratospheric"" NIVA demonstrates their mastery of the melodic rock genre, effortlessly blending elements of classic rock, melodic rock, and AOR to create a Nordic sound that is uniquely their own. With its larger-than-life production and infectious energy, the album is a testament to the band's evolution and growth as artists, while also paying homage to the rich legacy of melodic rock and AOR that has inspired them along the way.
For fans of NIVA and lovers of melodic rock alike, ""Stratospheric"" is a must-listen experience that promises to transport listeners to new heights of musical ecstasy. With its unforgettable hooks, powerhouse vocals, and electrifying performances, the album is a fitting tribute to the band's enduring legacy and a testament to their status as one of Sweden's most beloved rock acts. So, strap in, turn up the volume, and get ready to embark on a journey to the stars with NIVA's new upcoming release ""Stratospheric"".

- Seventh studio album by the Swedish Melodic Rock group
- Feat. members of Master Massive, Lion’s Share, Wolf, Starchaser
- Produced by Tony Niva & Jan Strandh; mixed & mastered by Thomas Plec Johansson.

For fans of: Niva, Lion’s Share, Treat, Imperium, Eclipse

DIVA AS TECHNOLOGY
Arca announces the details of her highly anticipated new studio album, XXXXX, arriving via XL Recordings. Five years after the twice GRAMMY-nominated KiCk i and subsequent KICK pentalogy, the Venezuelan-born musician, producer, vocalist, and visual artist returns with her first full-length album since concluding one of the most ambitious chapters in contemporary music.

If the KICK era expanded Arca's universe outward, XXXXX turns inward and fractures it apart. Across 16 tracks, the album excavates vastly different emotional landscapes to deliver a body of work that is darker, more aggressive, more experimental, and unwilling to settle into fixed form. Initially conceived as a mixtape before revealing itself as an album, XXXXX embraces contradiction as a core methodology. In the spirit of her previous mixtapes @@@@@ (2020)—released as a 62-minute single—and &&&&& (2013), XXXXX thrives on raw exploration and instinct. It arrives as a deliberate interruption of expectation.

“It seems playful, also mischievous, to interrupt that autopilot,” says Arca.

The album's striking artwork depicts Arca as a biomechanical entity, accompanied by two owls—symbols of protection and the underworld in Greek mythology. Like the music itself, the imagery inhabits a space between worlds where transformation is both terrifying and liberatory. Suspended between posthuman augmentation and raw emotion, XXXXX exposes the mainframe. It is a record born from uncertainty, contradiction, instinct, and surrender—a becoming-machine that continues Arca's lifelong project of redefining what it means to be human both in, and against, the machine.

For Arca, rebirth has never been a metaphor, but a practice. She continues to exist in multiple states simultaneously, collapsing boundaries between human and machine, high and low culture, and experimental noise and pop music. Following her first-ever painting exhibition at London’s ICA earlier this year, XXXXX arrives as the latest transmission from a continuously evolving creative process. Over the last year, Arca has remained prolific: unveiling the double-sided single "Puta" / "Sola"; remixing tracks for Addison Rae, Robyn, and Hikaru Utada; collaborating with Tokischa on “Chama”; and contributing production to Madonna’s CONFESSIONS II. She walked the runways and made appearances at major international fashion weeks, while also composing the original motion picture soundtrack for Stillz’s film, Barrio Triste.

Now, after years of transformation beneath the surface, her next musical evolution reveals itself.

After a stellar debut on the No Guestlist label Blay steps back into the light with an ambitious new record Wave Formations. This record finds Blay pushing further into the space where afro-centric jazz and deep house collide, weaving together synth heavy production with organic rhythms and live instrumentation.

From its opening moments its title track ‘Wave Formations’ holds you captive. From field recordings blurring into a dreamy atmosphere, taking you on a 9-minute spiritual journey across the cosmos.

Its counterpart ‘Rhythm Of Love’ is equally dreamy; A reverb-soaked vocal track with live-band-like energy shape-shifts around its steady and forward pushing rhythm before unwinding into a meandering, melancholic piano outro.

On the flipside, ‘New Teacher’ is an invitation to dance — call-and-response synth phrases on top of driving percussive polyrhythms. What starts off simple and stripped down transforms into a full-on celebration; a boisterous rush of sonic afrofuturism that tries to reach the sun.

Keeping the joyful spirit high, the record closes off with the festive and playful ‘Faith In Us’. This highlife and afro funk inspired record reimagines band members feeding off of one another, switching from recognisable motifs to energetic solos pushing each other further into the light.

The debut Peacefrog album from Kenny Dixon Jr. aka Moodymann originally released in 1998 is an album of truly epic proportions, a must have for any and all collectors and lovers of house music. Utilising soul, funk, gospel, and even hip hop production techniques and alternating from mellowed-out disco dubs like "Mahogany Brown" and "Stoneodenjoe” to more raw and dirty tech-house tracks like "Me and My People's Eyes.”. Mahogany Brown delivers a slice of Black American music that affirms Kenny's reputation as a major influence on house music today.

Originally released in 2005 on Playhouse, isolée's second album we are monster received widespread critical acclaim and was featured in numerous year-end lists, including Pitchfork's Best Albums of 2005, where it is praised for breathing "so carefree, years from now crits might accuse it of sounding timeless-- maybe even of being so." (Nick Sylvester in his Pitchfork review in 2005)

While closely associated with the minimal and microhouse movement of the mid-2000s, the sound on we are monster resists categorization; its musical vocabulary is too expansive to be confined to a single genre. Tracks such as schrapnell, mädchen mit hase, my hi-matic and enrico avoid many of the production conventions that define its period, allowing the record to retain a freshness that continues to resonate with listeners and music producers alike.

We are monster proved to be significant in more ways than one. Alongside its musical legacy, the album introduced the first record sleeve by Stefan Marx, whose artwork would become a familiar presence across countless releases on influential labels like Smallville or Mule Musiq, but also fashion labels like Comme des Garçons and many art galleries in the years that followed.

This anniversary edition revisits an album whose influence extends well beyond its original context!