English Garden, by Bruce Woolley and the Camera Club, is an album steeped in British pop history. It is not only an amazing collection of new wave and power pop songs, but also the start of many fascinating careers. The first eye-catcher is the first recorded version of "Video Killed the Radio Star", written by Bruce Woolley, Trevor Horn and Geoffrey Downes (The Buggles).
The album also features none other than Thomas Dolby on keyboard and Matthew Seligman, who played bass in The Soft Boys. After the band broke up in 1983, Bruce Woolley enjoyed an impressive career in songwriting, with his songs being recorded by artists such as Grace Jones, Cher and Donna Summer.
English Garden is a limited edition on white vinyl and includes an insert.
Jetzt mit Fettfleck Records (Loikaemie) unterwegz! SOKO LINX melden sich zurück! Mit einem Knall? Mit einem Konzept für Weltfrieden? Nicht ganz, aber immerhin mit Album #3! Dieses entstand in einer Zeit der masziven Veränderung und des Umbruchs. 2024 verstarb völlig unerwartet ein enger Freund und wichtiger Wegbegleiter der Band. Drummer und Gründungsmitglied NiXS KOOL verliesz nach einer Zeit der Ungewiszheit die Band. Die Aufnahmen fanden nicht wie zuvor innerhalb von zwei Wochen in Leipzig statt, sondern in unterschiedlichen Sessions in zwei Berliner Studios auf zwei Jahre verteilt. ACEY AVALON unterstützte bei den Gitarren- und Schlagzeugaufnahmen. Er spielte aus Ermangelung eines Schlagzeugers auch die Drums ein. Aus diesen Gründen bedeutet PUNK FÜR LEUTE, DIE PUNK HASZEN sowohl Abschlusz als auch Neuanfang. Abschlusz, auch weil dieses Album eine Trilogie vervollständigen wird. Neuanfang, auch weil mit dem nun gefundenen neuen Drummer ONLi KOXS frische Einflüsze und Impulse SOKO LiNX bereichern werden. Mit Features von THE DEAD END KIDS & WIZO! Nach den schon reichlich gefeierten Singelz "Jetzt bitte keine Neiddebatte!", "Kleiner Demokrat, was nun?" und "Gewaltenteilung" kommt vorab noch "Zeitmanagement" mit WIZO als Gast dabei. Und kurz danach kann mensch alle 15 neuen SOKO LINX-Trackz komplett haszen! Oder lieben! Schwarzes Vinyl im Gatefold-Sleeve mit 8seitigem 12"-Booklet und bedruckter Innenhülle oder farbiges Vinyl (Marbled Lilac-Violet-White) genauso plus als Deluxe Edition mit Patch, SOKO LINX-Poster & welterstes Analog-Meme inklusive persönlichen Grusz!
Jetzt mit Fettfleck Records (Loikaemie) unterwegz! SOKO LINX melden sich zurück! Mit einem Knall? Mit einem Konzept für Weltfrieden? Nicht ganz, aber immerhin mit Album #3! Dieses entstand in einer Zeit der masziven Veränderung und des Umbruchs. 2024 verstarb völlig unerwartet ein enger Freund und wichtiger Wegbegleiter der Band. Drummer und Gründungsmitglied NiXS KOOL verliesz nach einer Zeit der Ungewiszheit die Band. Die Aufnahmen fanden nicht wie zuvor innerhalb von zwei Wochen in Leipzig statt, sondern in unterschiedlichen Sessions in zwei Berliner Studios auf zwei Jahre verteilt. ACEY AVALON unterstützte bei den Gitarren- und Schlagzeugaufnahmen. Er spielte aus Ermangelung eines Schlagzeugers auch die Drums ein. Aus diesen Gründen bedeutet PUNK FÜR LEUTE, DIE PUNK HASZEN sowohl Abschlusz als auch Neuanfang. Abschlusz, auch weil dieses Album eine Trilogie vervollständigen wird. Neuanfang, auch weil mit dem nun gefundenen neuen Drummer ONLi KOXS frische Einflüsze und Impulse SOKO LiNX bereichern werden. Mit Features von THE DEAD END KIDS & WIZO! Nach den schon reichlich gefeierten Singelz "Jetzt bitte keine Neiddebatte!", "Kleiner Demokrat, was nun?" und "Gewaltenteilung" kommt vorab noch "Zeitmanagement" mit WIZO als Gast dabei. Und kurz danach kann mensch alle 15 neuen SOKO LINX-Trackz komplett haszen! Oder lieben! Schwarzes Vinyl im Gatefold-Sleeve mit 8seitigem 12"-Booklet und bedruckter Innenhülle oder farbiges Vinyl (Marbled Lilac-Violet-White) genauso plus als Deluxe Edition mit Patch, SOKO LINX-Poster & welterstes Analog-Meme inklusive persönlichen Grusz!
This limited vinyl edition of Brain Invaders offers another chance to experience the album in
its most iconic format. Faithful to the original release, it features high-quality pressing andpackaging, making it a must-have for collectors and fans alike. Part of Be the Change, a project conceived and developed by Rude Cares to raise awareness about climate change and environmental sustainability within the music
community, this exclusive eco-friendly variant is more than just a vinyl release. Created in collaboration with artists who share this vision, each edition supports a more sustainable future: a donation is made to Green Future Project for every release, and 100 new trees are planted to fully offset the project's residual environmental footprint. A timeless album with the same energy and impact that made it a fan favorite, Brain
Invaders remains an essential addition to any punk rock vinyl collection—now with a positive
impact beyond the music.
Zwei Monate bevor Jackie McLean sein bahnbrechendes Meisterwerk “One Step Beyond” einspielte, hatte
der Altsaxofonist im Studio von Rudy Van Gelder ein dynamisches Quintett für eine Aufnahmesession versammelt. Trotz der hochkarätigen Besetzung mit dem Trompeter Donald Byrd sowie dem Pianisten Herbie
Hancock und dem Schlagzeuger Tony Williams - die kurz danach Mitglieder des zweiten großen Quintetts
werden sollten - legte Produzent Alfred Lion die Aufnahmen erst einmal auf Eis. Sie wurden erst 1980
als Teil der “Connoisseur”-Reihe unter dem Titel “Vertigo” veröffentlicht. Das Quintett präsentierte eine
schwindelerregende Vielfalt an Stilen - von energiegeladenem Post-Bop über raffnierten Funk bis hin zu
langsamem Blues. Gekoppelt wurden das Material auf dem Album mit einer klassischen Hard-Bop-Nummer
aus dem Jahr 1959, die McLean mit einem anderen exzellenten Quintett ursprünglich für das Album “New
Soil” aufgenommen hatte. Auf diesem Album war sie aber wegen Platzmangels nicht erschienen.
Der Begriff „Classic Rock“ existiert in den USA schon seit vielen Jahren, doch in Deutschland musste sich diese Bezeichnung nach und nach etablieren. Er umfasst das Spektrum zwischen AOR und Hardrock mit vielen Facetten. In diesem Vinylboxset findet man diese Bandbreite. Über MOLLY HATCHET muss man kaum Worte verlieren. Zusammen mit LYNYRD SKYNYRD zählt man zu den erfolgreichsten und wichtigsten Southern Rock Bands und ist auch heute noch aktiv.
RICK DERRINGER ist leider 2025 gestorben, hat uns aber nicht nur mit seiner ersten Band THE MCCOYS („Hang On Sloopy“) unsterbliche Musik geliefert, sondern vor allem als Solokünstler. Dieses Schaffen wird auf der LP „Beyond The Universe“ zusammengefasst. JOHNNY BLACK kommt eigentlich aus dem Punk, aber auch in diesem Segment gibt es Gruppen, die man anderweitig verorten kann. Seine von der Presse hochgelobte LP enthält einen zugänglichen Mix aus Classic Rock, Hardrock und 70s Rock – teilweise hitverdächtig. Etwas mehr Aufmerksamkeit muss man der Band FLOATING OPERA schenken, deren einzige LP einen anspruchsvollen Mix aus Classic Rock, Krautrock und Progrock aufweist. Das passte perfekt in die ausklingenden Siebziger und gerade beginnenden Achtziger. FLOATING OPERA ist die versteckte Geheimwaffe in diesem Boxset. Alle LPs wurden für Vinyl gemastert!
Universal Language is the second release on Magic Hollow and an exploration of the voice before song and before speech. Written and recorded during pregnancy and early motherhood, Rose Keeler-Schaffeler's album draws inspiration from the earliest forms of human communication: coos, cries, sighs and instinctive vocalisations that precede language yet already contain the seeds of music.
Best known as Keel Her, the cult DIY songwriter, producer and NTS Radio DJ whose fiercely independent body of work helped define a generation of bedroom pop, Rose reveals a strikingly different side of her musical practice here. Produced by Daniel O'Sullivan, Universal Language places the human voice at its centre, treating it not as a vehicle for lyrics but as the raw material from which music, language and relationships emerge.
With the exception of a handful of bass vocal parts performed by O'Sullivan, every voice heard on the album is Rose's own.
Across twelve meticulously composed pieces, layered vocal arrangements intertwine with subtle electronics, tape manipulation, synthesizers and understated drum machines. At times the music evokes the luminous purity of medieval sacred music; elsewhere voices dissolve into hazy ambient textures or unfold through hypnotic loops that blur the distinction between singer, choir and atmosphere.
The album was recorded during the first year of her son’s life. Many of its melodic contours and vocal gestures were inspired directly by his earliest sounds. His pre-linguistic attempts at communication became compositional material, guiding Rose towards a deeper exploration of the voice at its point of origin.
Deeply personal yet reaching towards something universal, Universal Language is a meditation on the human voice: our first instrument, our first language and our first experience of belonging.
Originally released on the Escape From South Warren LP via Motech Records in 2015, “We Get Down” was born from a hypnotic Turkish loop sample twisted into a raw modern dance weapon — driven by Gary Martin’s preacher-style spoken vocals and underground Detroit energy.
The story behind the youANDme remix runs even deeper. He first delivered a version back in 2015, but it never made it to the two 12” releases. The track refused to die. He later released it as “Swell,” and stripping away the original GM elements and releasing it with a massive remix from Kenny Larkin that went on to make serious waves. This latest version includes originals samples.
After asking Franki to release it on Teknotika, he came back wanting to make a much better version than 10 years ago. And he definitely delivered! This version includes much more elements of the original version with the fire fire of his sound.
Now “We Get Down” returns with the strongest remixes the track has ever seen — alongside the original cut that started it all. Detroit pressure, rebuilt for a new era.
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There’s something quietly defiant about Melody Boy. Written and recorded in a tiny beach hut studio on the English coast, and notably know for his previous work with Paul Weller and The Moons, Andy Crofts’ debut solo album arrives without compromise or concession to trend. It’s a record built on melody above all else, songs that feel unearthed rather than manufactured, guided by instinct, memory, and a lifelong obsession with the craft of songwriting.
Crofts, long established as a songwriter and musician, steps forward here with a voice that feels both seasoned and strangely elusive. There’s no rush to explain, no attempt to overstate. Instead, Melody Boy unfolds with a natural confidence, hook laden, harmonically rich, and emotionally direct without ever losing its sense of mystery.
Drawing from a lineage of classic songwriting while remaining firmly his own, the album leans into warmth, analogue textures, and a sense of timelessness that resists the churn of the modern music cycle. It’s not chasing a moment, it’s creating its own space.
Lead single “Blue” introduced that world: melodic, reflective, quietly anthemic. Across the album, that same thread runs deep, songs that reveal themselves slowly, rewarding repeat listens rather than demanding immediate attention.
There’s a deliberate sense of distance in Melody Boy. Not coldness, but clarity. A refusal to overexplain. The result is a body of work that feels personal without being confessional, detailed without being crowded.
In a landscape built on constant output and fleeting attention, Andy Crofts offers something else entirely: a record that trusts the listener to meet it halfway.
"Blue is another song that I can't get enough of at the moment" - Gary Crowley (BBC London)
There’s something quietly defiant about Melody Boy. Written and recorded in a tiny beach hut studio on the English coast, and notably know for his previous work with Paul Weller and The Moons, Andy Crofts’ debut solo album arrives without compromise or concession to trend. It’s a record built on melody above all else, songs that feel unearthed rather than manufactured, guided by instinct, memory, and a lifelong obsession with the craft of songwriting.
Crofts, long established as a songwriter and musician, steps forward here with a voice that feels both seasoned and strangely elusive. There’s no rush to explain, no attempt to overstate. Instead, Melody Boy unfolds with a natural confidence, hook laden, harmonically rich, and emotionally direct without ever losing its sense of mystery.
Drawing from a lineage of classic songwriting while remaining firmly his own, the album leans into warmth, analogue textures, and a sense of timelessness that resists the churn of the modern music cycle. It’s not chasing a moment, it’s creating its own space.
Lead single “Blue” introduced that world: melodic, reflective, quietly anthemic. Across the album, that same thread runs deep, songs that reveal themselves slowly, rewarding repeat listens rather than demanding immediate attention.
There’s a deliberate sense of distance in Melody Boy. Not coldness, but clarity. A refusal to overexplain. The result is a body of work that feels personal without being confessional, detailed without being crowded.
In a landscape built on constant output and fleeting attention, Andy Crofts offers something else entirely: a record that trusts the listener to meet it halfway.
"Blue is another song that I can't get enough of at the moment" - Gary Crowley (BBC London)
Fourteen years after its original release, Dux Content returns with a newly remastered version of Lifestyle, the cult album by A. G. Cook and Danny L Harle.
Around its initial release, very little information existed about Dux Content beyond the description “audience entertainment specialists”. Lifestyle was initially self-released in 2012, before a limited reissue from PC Music in 2013 as a digital download, continuous mix, and video by Daniel Swan.
Lifestyle remains a remarkably singular and forward-thinking record, capturing a slice of Cook and Harle’s formative years. The album contains unmistakable traces of the musical sensibilities and maximalist production that would later define the pair as highly influential figures in contemporary and experimental pop.
A. G. Cook is an artist, producer and songwriter best known as the founder of influential record label PC Music and for his work as executive producer for Charli xcx on the albums BRAT, Charli, Pop 2, Number 1 Angel and the forthcoming Music, Fashion, Film. Other credits include work with Beyoncé, Hikaru Utada, Oklou and Turnstile.
Danny L Harle is a music producer and composer, and founding member of PC Music. His work includes executive producer credits for Caroline Polachek’s albums Pang and Desire, I Want to Turn Into You, as well as collaborations with Dua Lipa, Clairo, Carly Rae Jepsen and PinkPantheress. This year, he released his album Cerulean via XL.
‘THE GREATEST ROCKSTEADY ALBUM OF THE MILLENNIUM’ NARC - MAY 2022
4/5 REVIEW IN MOJO: “ONE OF THE MOST THRILLING ROCKSTEADY ALBUMS TO HAVE BEEN MADE SINCE THE GENRE EMERGED IN THE LATE 60's”
8/10 REVIEW IN UNCUT + TRACK ON COVERMOUNT: “A STUDIO-ONE INDEBTED, VINTAGE-SOUNDING STUNNER.”
The Frightnrs escort Daptone into the world of long-playing reggae with both the sweetest and the roughest record of the decade. This record will long be treasured by lovers of reggae, lovers of soul and lovers of love...
Crafted under the meticulous eye of black-belt reggae mastermind/producer Victor Axelrod (AKA Ticklah), Nothing More to Say is a rocksteady masterpiece the likes of which has not reared it’s head since the golden era of Studio One. However, you’ll find no imitation here - none of the faux-jamaican cliches of lesser reggae bands. Like all things Daptone, this record is above all soulful and honest.
With the exception of two soul covers (both from the Daptone catalog: Bob & Gene’s "Gotta Find a Way” and Saun and Starr’s “Gonna Make Time”,) the record is populated by original compositions of the highest order.
They are simply great songs, and though their treatment here is masterful, each one of them has the melodic and lyrical substance to hold it’s own in any genre. “Till Then” invokes the coquettish hyper-rhymes of top-form Smokey Robinson, while “Hey Brother” sounds like it fell off the desk of Gamble and Huff, and “Purple” defies any comparison at all.
From the first cracking snares of “All My Tears” through the final pulsing echoes of “Dispute,” the murderous rhythms of Rich Terrana (drums,) and brothers Preet and Chuck Patel (bass and piano, respectively) can be heard chunking mercilessly towards oblivion as Dan Klein pours his endearing poetry over the top like some
otherworldy falsetto potion.
A new chapter unfolds on Cécille Records as Naples-based duo Shokë step forward with their first full solo EP for the label.
Following a string of standout appearances on Cécille, Shokë now deliver the “Chiamami EP” – their most complete statement on the label to date.
Now firmly part of both the Cécille Records and Cécille Events roster, this EP feels long overdue. After consistently delivering every time, Shokë have more than earned their own full release on the label. Leading the EP is “After You”, a warm and uplifting house record with all the ingredients of a true Ibiza summer anthem. Built around an infectious groove and feel-good atmosphere, it’s one of those tracks that instantly creates memories of sunsets, terraces and open-air dancefloors. The rest of the EP follows suit, packed with the timeless house grooves and understated musicality that have become a trademark of the Shokë sound.
A strong release from two artists who continue to establish themselves as an important part of the ever-growing Cécille family.
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Anne has a passion for writing in alternative open tunings and her eclectic musical influences span blues, jazz, folk and country. Her new album Cigarettes and Smokescreens showcases her talent for storytelling. When not playing sold- out stages across the UK, you can find Anne in a field in the middle of nowhere with her two retired horses. This special album is now available as a vinyl LP pressed at Seabass Vinyl in Scotland, following an initial CD only release.
Anne Gair has toured extensively across the UK. She has played iconic venues including The Glasgow Royal Concert Hall, King Tuts Wah Wah, The 100 Club and The Voodoo Rooms. She has played festivals including Belladrum and Celtic Connections. "Anne has got the most stunning voice, It's very Joni Mitchell- esque. (Her music) is beautiful storytelling and gorgeous melodies." -- Anna Foster - BBC Radio "A voice that just soothes your soul" - Rambling Folk "(Anne's) voice is beautiful, just gorgeous" - Nerina Pallot
Katatonia released their seismic opus, ‘The Fall Of Hearts’, in 2016 to chart & media success; reaching #1 in the USA Heatseekers & #5 in the USA Hard Rock charts, #2 in Sweden's Hard Rock chart, #3 in Canada's Hard Rock chart, #4 in the UK's Rock & Metal chart, #6 in Finland, #11 in Germany & saw success in Australia with their first ever chart entry.
Katatonia had worked tirelessly touring the world since 2012's ‘Dead End Kings’, as well as expanding their fanbase through two albums on Kscope, Peaceville's sister label. 2013 saw the release of ‘Dethroned & Uncrowned’, which exploded the core of the songs on ‘Dead End Kings’ creating new moods & textures. Both releases illustrated the band’s journey toward ‘The Fall Of Hearts’, which featured a more progressive sound, a sound which provoked The Guardian to refer to the band as "bridging of the gap between metal & modern prog."
‘The Fall Of Hearts’ was the first record to feature new drummer Daniel ’Mojjo’ Moilanen with the addition of their then recently recruited guitarist Roger Öjersson (Blindead 23, ex-Tiamat), who sprinkled some blistering solos on the album. With this release, Katatonia continued to push their musical boundaries beyond the metal scene whilst drawing in new fans from across the musical spectrum, putting them on par with peers such as Opeth & Anathema, cementing their place as one of the most revered & cherished bands in modern heavy music.
This special & limited tenth anniversary pressing of 'The Fall Of Hearts' is presented on double pearl dawn vinyl, & includes gatefold sleeve.
A remarkable mixture of echo, reverb, smoke, and resourcefulness, MERCILESS DUB lives on the edge of danger and adventure. This one's a real DUBWISE SITUATION! Remastered & Pressed on 180-gram vinyl.
Inspired by classic post-punk bands like The Cure, Sad Lovers & Giants, The Chameleons, and The Danse Society, but includes other musical influences like new wave, dream pop, deathrock, and even 90’s emo/screamo. DECEITS has shared the stage with acts such as She Past Away, She Wants Revenge, New Order, and Xmal Deutschland. The group is also set to perform at Darker Waves Festival in November alongside Morrissey, The Smashing Pumpkins, and more.
Riding the Thin Line" is an EP by DJ Bone, an influential figure in the Detroit techno scene. Released in 1999, the EP showcases DJ Bone's signature style characterized by deep, driving beats and intricate rhythms. The tracks blend elements of classic Detroit techno with contemporary sounds, reflecting his ability to bridge different eras of electronic music. The EP is noted for its experimental approach while maintaining a dancefloor-friendly vibe. Each track offers a unique listening experience, highlighting DJ Bone's skills as a producer and DJ. His work often emphasizes a sense of journey, making "Riding the Thin Line" a compelling addition to any techno enthusiast's collection. Overall, the EP reinforces DJ Bone's reputation as a pioneer and an innovator within the techno genre.
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Plåy launches with T. Jacques’ Serve Chilled; two dancefloor-focused deep cuts.
A1 Keep On drifts in with spacious percussion, warm pads and soft vocal textures that ride the groove with hypnotic ease - a warm late-night closer.
On the flip, Serve Chilled finishes on a deep-house high, with resonating pads and lush chords drifting effortlessly over tight, hardware-driven drums. A classy, hypnotic, after-hours glide.
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“Wavebreaker” is a magnificent post-punk and minimal wave album originally self-released in 2024 by Orus Boris — a brilliant work that unquestionably deserved a proper vinyl edition for both its musical depth and outstanding technical quality. Built around a truly exceptional production, “Wavebreaker” moves in line with the finest contemporary wave sounds while constantly expanding its own universe. The album never feels nostalgic or predictable. Instead, it reshapes its influences into something fluid, sharp, and deeply personal, refusing to remain confined to a single language. Alongside its minimal wave foundations, the record introduces subtle incursions into darker electronic territories such as dark electro aesthetics, making each track feel unexpected and constantly evolving. Melancholy collides with tension, elegance with aggression, precision with emotional weight. The result is an immersive and surprising listening experience from beginning to end—a remarkable work that confirms Orus Boris as one of the most exciting and essential voices to follow within the new wave underground. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
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Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.
To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.
“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.
Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.
Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.
Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.
Froid Dub have steadily developed their “cold” Digidub style to acclaim –
releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.
Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.
Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.
To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.
Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.
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Children, the one and only instrumental song that breaks all the rules, created by Robert Miles. The netherlands producers Tinlicker signed the new remix of Children.
Bio:
Tinlicker are Utrecht based duo Micha Heyboer and Jordi van Achthoven who have been crafting their computerized soul together since 2013. Before joining forces, they individually honed their skills as part of world renowned drum 'n bass act Black Sun Empire (Heyboer) and as producer, songwriter and music editor for many artists (Van Achthoven). Their previous experience was apparent from day one of their collaborative project, resulting in an impressive
string of highly mature and deeply emotive tracks. Since starting working together they’ve quickly become a household name in the world of electronic dance music previously releasing on Armada,
mau5trap, Anjunafamily and Astralwerks. They have released their first full length album 'This Is Not Our Universe' last fall and released their remix album this past spring from the likes of Dosem, Joris Delacroix and Grum.
Leading Danish contemporary jazz label April Records is proud to present Well, actually..., the third album from Polish acoustic jazz quartet O.N.E. Grounded in the spirit of democracy andcollective improvisation, the album offers a tightly woven set of original compositions that blur the lines between modal jazz lyricism and the raw energy of free improvisation.The band name O.N.E. is a clever double entendre: in Polish, "one" (pronounced oh-neh) means "they" in the feminine plural - an apt nod to the all-female lineup. In English, of course, it signifies unity. Both meanings reflect the band"s egalitarian, leaderless approach and cohesive group sound.Almost three years after the recording of their previous release Entoloma(Audio Cave), the group reunited in December 2024 at Studio S4 in Warsaw to record a fresh set of ten compositions. Spread over two sides, the album captures the continued evolution of a band that thrives on interaction, trust, and shared purpose - even in a society fractured by post-pandemic socio-economic uncertainty and political ambiguity. Featuring contributions from all four members - pianist Kateryna Ziabliuk, saxophonist Monia Muc, bassist Kamila Drabek, and drummer Patrycja Wybranczyk - the recordreflects their commitment to artistic democracy. Each voice is given space, yet the music always feels greater than the sum of its parts. Even on the miniature solo track solo form, the other three players remain present, supportive, and responsive. From Ziabliuk"s percussive piano textures and dreamlike voicings on tracks like Osloand Berio, to Muc"s expressive, woody tone on alto and baritone sax, each piece explores dynamic interplay and shifting emotional landscapes. Drabek"s resonant, grounded bass - by turns lyrical and propulsive - provides a central thread, while Wybranczyk"s drumming fizzes with precision and imagination, as heard on Cipherand the angular closer Sneaking Around.Together, these four distinctive creative forces have developed a shared language built on mutual respect, long-term collaboration, and deep listening. Their concerts across Europe (including Jazzahead, B-Jazz, Umea, and the Edinburgh Jazz & Blues Festival) haveaffirmed their standing as a boundary-pushing group with something new to say.
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Leo Mas is a true icon, who was there at the start of the Ibiza revolution in the 80s, he is the protagonist and witness of the birth of Ibiza as the World Capital of Clubbing alongside Dj Alfredo Fiorito at Amnesia (Ibiza) during the years of 1985, 1986, 1987, 1988 and 1990, thanks to his unique sound and innovative set he is as one of the Pioneers of House and Techno music and one of the Balearic Beat Originators.
Leo Mas - The Dark Side (Irreverent Mix)
Amnesia was the club that changed the European and later the global club scene in 1987, thanks in part to the support of London DJs Paul Oakenfold, Danny Rampling, Nicky Holloway, Johnny Walker, and Nancy Noise, who came to Amnesia for the first time that year. At the time, Amnesia was still an open-air club, and the group was amazed by the unique, eclectic, and irreverent style of Alfredo and Leo, who played the new House Music imported from the United States along with a genre-blending sound that would later become known as Balearic Beat. When he returned to London, Paul Oakenfold bought all the records that were being played at Amnesia, with the help of Nancy Noise, and together with his friend Ian St. Paul opened the one-night event Future, “The Original and Only Balearic Club.” This later became Spectrum on Mondays, and eventually evolved into Land of Oz, where in the VIP chillout room, the White Room, the DJ was Alex Paterson, later known as The Orb. Danny Rampling and his wife Jenny wanted to recreate their Ibiza experience by opening Shoom, while Nicky Holloway would go on to open The Trip. All of these clubs transformed the London club scene and, in turn, had a worldwide influence. During the second half of the 1980s, Amnesia was also the favorite club of Sven Väth, who was a regular customer there.
This one-hour long recording is an essential snapshot of a pivotal point in dance music history. The records’ selection was, deliberately a mix of Indie Rock, Gothic Synth-Pop, Subversive Electro, Industrial, Belgium New Beat, Techno with Poetry, EBM. A magical moment in time that could never truly be repeated, yet lives on through this tape, now finally available to music lovers everywhere, including those who only ever dreamed of experiencing it firsthand.
The release comes with liner notes by Robert Harris (Dr. Rob), DJ, music writer and author of the well-known book, IBIZA DJ 1976 - 1988, released in 2019, during his collaboration with Paul Byrne (Test Pressing)
Ri-tape & ELSI Berlin produced a very limited run of 50 tapes, be quick!
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Liam Sinigoi returns for the second edition of nonsono Records. A four-track dance floor geared EP, somewhere between the busy pitter-patter of UK clubland and lengthy studio sessions in solitude.
On the A1 'Orbiting Voices’, Sinigoi sparks the release with a seductive main room rocket. With a bass line and set of synths reaching for devilery, it has spirited its way into the dark rooms of London’s Fabric and beyond. This track speaks the language of well-seasoned techno journeys.
A remix sits on the A2, with Barcelona artist Ildec twisting out a driving jacking tool. A clean interpretation, nodding to its original with grit and punch to match.
In a groove-soaked minimal B1 track titled ‘Stretch’, suspense and atmosphere are toyed with as label boss Liam presents the identity of the label perfectly. A dapper lunge into deeper territories, with crunched percussion and metallic bells.
Written using the aftertaste of memorable mornings underneath trees in forest parties and global festivals, Sinigoi closes off the record with B2 ‘Darling’. The track emits a scent of cross-genre magic, progressing with fluidity throughout.
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Persona proudly presents its debut release, introducing Nae – a trusted friend, dedicated producer and creative force behind the new label. Nae delivers with his deep and immersive production style, providing a powerful blend of driving bassline and crystalline drums, all the while delving into his signature atmospheric sound.
These tracks are carefully crafted to captivate the dance floor, delivering bursts of pulsating intensity, as well as more intimate, reflective moments. With four tracks and four different flavours, this EP is designed to fit seamlessly into your record bag. With only 300 copies available, this limited first release of Persona’s debut is not one to miss. Grab it while you can
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UK DJ, producer, and Dumb Safari label head Huxley joins Radio Slave’s Rekids for the first time with the ‘MIND G%MES’ EP, dropping 25th July 2025. The first track, ‘M%ND’, kicks off with woozy and alluring pads swirling round a cuddly but kicking Deep House groove. Soulful vocals and delicate, cosmic melodies rise out of the mix to bring it to a close in style. 'CLUB SH%T' ups the ante with zippy synths injecting some texture to slamming drums that straddle the House and Techno divide, while wispy stabs and warm daubs of sound dance around the cowbells to make this an evaluated late-night tool.
'FEAR N%THING' is a new school cut, with fi ltered loops, sugary chords, and pent-up energy all surging through the dance fl oor. Last but not least is 'ANY1', a sleazy House pumper featuring moody spoken word, a big, rubbery bassline, and slinky, Garage-infl uenced percussion.
Active in the underground music scene for two decades, former Rinse resident and sometime Aus, Shall Not Fade and Unknown To The Unknown artist has had one hell of a career. From huge breakthrough tracks like ‘Let it Go’ on Hypercolour and ‘Box Clever’ on 20:20 Vision to his 2014 ‘Blurred’ LP on Aus, he’s seen universal critical acclaim as well as massive support from DJs and dancefloors globally. In recent years, his Dumb Safari label, the online community R Trybe (co-founded by Ramin Rezaie/BAKKIS) and collaborations with Steve Bug are just a handful of his projects, while his ‘MIND G%MES’ EP for Rekids is already feeding the fi re with support from Jen Cardini, Cromby, I.Jordan, Jennifer Loveless and big room dons, Michael Bibi and Solomun.
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Polygonia & MTRL - Division / Taris EP incl. Remixes by Claudio PRC and Mary Yuzovskaya
A1. Polygonia - Division
Right from the start the listener is cast into orbit with driving percussion and abstract sound effects. Soon they are followed with a morphing bass sound and cymbals which lock the groove into place, cranking the drive to the max. As the track progresses the landscape of sound reveals its nature with metallic quality, like schrapnel from a barren city. Truly a Deep Techno banger which will without a doubt fill a dance floor.
A2. MTRL - Taris
The listener is slowly submerged into the waves of percussive bass sounds and menacing sweeps of noise which remind of a storm in a desert, the horizon only slightly glimmering behind the veil of sand. Soon the listener is introduced with a pounding kick drum, almost making the landscape seem even more ruthless as the track progresses.
Quality, heady Deep Techno.
B1. Polygonia - Division Claudio PRC Remix
The hypnotic Techno maestro Claudio PRC twists the idea of the original track into a mind explorative voyage with a triplet feel. The remix is shrouded in melancholy with distant pad sounds, which add a nice tension to the track. As usual, a brilliant remix from Claudio PRC.
B2. MTRL - Taris Mary Yuzovskaya Remix
On the remix the Berlin based producer is molding the source material into a driving and psychedelic track, functional yet synapse tingling. Now the bass has a bit more liquid-like quality and the overall soundscape is more abstract. Hallucinatory effects of noise are filling the spaces between the sounds, almost like being surrounded with faint whispers. Driving and psychedelic Deep Techno done with finesse.
Sasha takes charge of the 200th release on his influential label, Last Night On Earth.
The two richly detailed cuts balance cinematic emotion, club functionality and meticulous sound design and arrive on vinyl alongside the digital release.
Electronic music titan Sasha launched Last Night On Earth in 2011, and for 15 years, it has been at the forefront of the melodic underground. Breaks, house, techno, ambient and progressive have all been explored by a mix of original pioneers, new school innovators and Sasha himself, either solo or often in collaboration with friends, peers and exciting emerging talents. The label swiftly became a movement, with regularly sold-out showcases around the world and exclusive merch. Enduring tastemaker Sasha remains as busy and innovative as ever in the studio and on the road, and just weeks after his last outing here with Franky Wah, he returns with another standout single.
Majestic opener 'Hollow Sun 25' is a slow-burning seven-minute odyssey with an acid-infused bassline and Sasha's signature celestial touch in the spectral vocal fragments that infuse the mix. The wavy, fl uid grooves provide a constant, gentle uplift to this widescreen, immersive gem. 'Hollow Sun 24' reworks the same cut into something with a more epic and spine-tingling breakdown that douses dancers in classic Ibizan trance synths while the bassline is darker and the groove more heads down.
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Terence Fixmer Reimagines Chris Liebing & Luke Slater's 'Double Split' for CLR. Fixmer's remixes of Liebing/Slater's collaboration from the former's 'Evolver' LP release on 31st July.
Terence Fixmer has delivered two remixes of Chris Liebing and Luke Slater's 'Double Split' track, one of a handful of collaborations on Liebing's first-ever solo LP, 'Evolver', which was released in March this year. Having contributed to the LP as a member of The Alte Stuben Modular Ensemble, a super-group featuring Liebing, Daniel Miller, and Pascal Gabriel, Fixmer is a fitting choice to remix 'Double Split'.
Fixmer has been evolving his sound for more than 25 years. From deep and mind-bending to experimental and soulful, he is a visionary who has been hugely prolific, with many standout LPs and EPs on labels such as Mute Records, Novamute, Ostgut Ton, and Planete Rouge Records.
Fixmer's first 'Double Split' remix is inspired by the energy of the original, but focused on dubbier, hypnotic vibes. Strident drums and clattering percussion are stark by design, but smoky vocals and eerie synths hang in the air, bringing a bleak human futurism over all-consuming bass. Then comes the Melting Mind rework, which is boiled down to a handful of key elements, not least the original's penetrating acid line. It's an immersive, late-night dive that locks you in a state of constant motion and unrelenting pressure. The original from Chris Liebing and Luke Slater, a dark and futuristic roller with automated drums and layers of rusty synths encircled by acidic gurgles, completes the package.
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The second album from Chicago based Brigette Calls Me Baby firmly establishes them as a band to watch. It's fair to say that they are a band that takes a lot of influence from 1980s UK indie in general and The Smiths in particular. Opening track 'There's Always' finds vocalist Wes Leavins channelling Morrissey's finer moments; and in particular those moments when Morrissey was in thrall to the crooners of the 1950s. This is particularly poignant in relation to the themes that run through the album, most notably the idea that certain moments in your history shape your very being for the rest of your life. Clearly hearing certain records has shaped Brigette Calls Me Baby as much as those all important life-change moments. That's not to say this a band that isn't ploughing its own furrow, songs like "Slumber Party" with its relentless bassline and dance influenced drums show a band that can mix its influences are create something unique. "I Can Take The Sun Out Of The Sky' might have those darkened crooning tones from Leavins, but they can't keep a lid on the sheer positivity that his band is generating, it has the feel of a real summer anthem.
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TMAC returns with a raw Chicago house banger inspired by tape-deck tracks From the early days of house. One-sided cut with two mixes on colored wax, this joint delivers funky synths, hard-hitting drums, and peak dance floor pressure.
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Last delivered 73 days ago available to reorder, subject to availability
320 page, beautifully written, designed and printed, hardback book
ISBN: 978-1-0687642-2-6
“Keep the books coming, keep the music coming, keep the art coming. When you think you know everything, you can miss out on a lot. When you realise you don’t know everything the floodgates come down a bit and you start following literary links and musical links that you might not have made before. It’s a whole new parallel universe.” Andrew Weatherall, 2015 Today Disco Pogo is delighted to announce A Disco Pogo Tribute To Andrew Weatherall, a 320-page hardback that gathers everything we love about the man and his music. It is the fourth in our hardback Tribute series – following Daft Punk, Aphex Twin and LCD Soundsystem – and the long-overdue successor to the sold-out and hard to find Jockey Slut Tribute To Andrew Weatherall from 2020. Inside you’ll find the best of that original Jockey Slut book, plus more than 200 pages of brand new material – fresh essays, oral histories, interviews and photography from the writers, photographers, musicians, producers, DJs, designers and friends who knew Andrew best.
The book is being published with the full blessing, approval and cooperation of the Weatherall estate, who will also receive a share of the profits from the book. From the fanzine kid at Boy’s Own to the producer who rewired Primal Scream and made ‘Screamadelica’ sound like the future; through The Sabres Of Paradise, Two Lone Swordsmen, The Asphodells and the much-loved A Love From Outer Space night and Convenanza festival, Weatherall left behind a body of work, a sensibility and a way of carrying yourself that is still being unpacked six years on. This is the book that tries to do all of it justice.
Highlights include: an interview with Bobby Gillespie that goes beyond ‘Screamadelica’, essays on ‘Sabresonic’, ‘Haunted Dancehall’, the Two Lone Swordsmen and his solo releases, plus a look into his many remixes. In addition: oral histories on his early years, A Love From Outer Space and Convenanza, an interview with Timothy J. Fairplay on The Asphodells and a celebration of his art work and his NTS radio shows. And then there’s the Disco Pogo Tribute regulars: a timeline, family tree, a studio gear deep dive, discography and more… Featuring interviews with Sean Johnston, David Holmes, Jagz Kooner, Leftfield, Shaun Ryder, Chemical Brothers, Terry Farley, Dot Allison, Beth Orton, Irvine Welsh, Daniel Avery, HAAi, Tia Cousins, Steve Mason, Richard Fearless and many more.
Das akustische Instrumental-Album "Daniel" erweitert die Welt jenseits der Betonschluchten und Überführungen von LA hin zum pulsierenden, brodelnden Meer des Lebens, das Mexiko-Stadt ist, bis hin zur kargen, hügeligen Landschaft von Red Cloud, Nebraska. An jedem dieser Orte war der ständige Begleiter eine Nylonsaiten-Akustikgitarre - mit einer eigenen, weitgereisten Geschichte. "Es war die Gitarre meines Vaters", erinnert sich Danny Garcia, der Mann hinter dem Reverend. "Vor ein paar Jahren habe ich herausgefunden, dass sie auch meinem Großvater gehörte." Seit seiner Kindheit allgegenwärtig, hat die mexikanische Akustikgitarre für Garcia mit jedem Jahr an Bedeutung gewonnen. Stunden um Stunden des Spielens, Reisens und des Einhauchens von Leben in ihr Griffbrett haben sie sowohl zu einem Werkzeug als auch zu einem Talisman gemacht. "Da ist diese offensichtliche Abstammungslinie, die Familie und die Verbindung_ diese Verbindung durch die Geschichte", vertraut Garcia an. "Es ist sozusagen das einzige Familienerbstück, das ich habe." In der letzten Zeit hat all dieses Spielen (oder Herumklimpern, wie Danny es nennt) Reverend Baron dazu gebracht, einem Klang nachzujagen - einem, der die Ursprünge der Gitarre Lügen straft. Es ist ein Klang, den er von Zeit zu Zeit hörte, und als es darum ging, "Daniel" aufzunehmen, war dieser Klang sein wahrer magnetischer Nordpol (oder Südpol, sozusagen). Wenn du dich durch "Daniel" hörst, wirst du Anklänge an die Gitarrentöne von Antonio Bribiesca und Luiz Bonfa hören. Wenn du tiefer gräbst, wirst du auch die Grundzüge der Gitarrentexturen von Townes Van Zandt und Nick Drake erkennen. Ohne deren Virtuosität in seinem Spiel für sich zu beanspruchen, ergänzen die Seele und die Verletzlichkeit, die zu Markenzeichen der ersten beiden Reverend-Baron-Alben geworden sind, diese Einflüsse. Es liegt eine Wärme in "Daniel", die in diesen akustischen Meditationen im Mittelpunkt steht. Von kurzen, fließenden Momenten wie "El Monte" und "How Glad" bis hin zum hoch-einsamen "Muchacho" schweben die Songs wie Cumuluswolken über einem tiefblauen Himmel.
Yup, he’s finally done it. Afters years of releasing some of your favorite DJ’s dance floor ammo, Sweater has started his own label. The inaugural release on Sauna Records is produced by the new label boss himself and features 4 tracks he’s held close to the chest for a bit of time now while testing dance floors, tweaking arrangements, and getting these baselines just right to ensure a hot & steamy dance floor experience.
The A1 “Chemical Reactions” races out of the starting line with a swampy bassline peak time heater full of classic rave sounds contrasted by Sweater’s signature lush pad and lead work creating a mad chemist’s auditory dream. A2’s “Yaoguai” bubbles with a thoughtful and playful bounce over an ear-worm bassline. B1’s “On & On & On” is the proggy tech piece of kit you didn’t know you needed to ensure “that” moment in a set. B2’s “One Chord” lands the EP in a calmer manner, acting as a production experiment to see if Sweater could keep you interested with one chord playing in the background the entire track. The result is an introspective, eyes closed, thoughtful bop.
We hope you enjoy Sauna Records first offering and use this record for the physical and mental detoxification through sweat therapy on a dance floor near you.
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Originally released in 2006, Alive marked an important chapter in the career of Kate Ryan, further establishing her as one of Europe's leading dance-pop artists of the 2000s. Following the international success of earlier hits such as “Désenchantée”, “Libertine” and “The Promise You Made”, Alive showcased a more mature and contemporary pop sound, combining energetic eurodance productions with melodic pop songwriting and multilingual performances that became a trademark of Kate Ryan’s style.
The album features the Eurovision hit single "Je t'Adore", the song with which Kate Ryan represented Belgium at the Eurovision Song Contest 2006. Although the song narrowly missed qualification for the final, it became a well-beloved track among fans across Europe. Alongside the Eurovision hit “Je t’Adore”, the album features the singles “Alive” and “All For You”, complemented by the standout tracks “How Many Times”, “Driving Away”, “Wonderland” and “That Kiss I Miss”. Many consider the album to be the strongest release of Kate Ryan.
To celebrate the 20th anniversary of Alive, this release brings forward an expanded edition containing four French versions and three extended bonus versions, highlighting the multilingual approach that helped define Kate Ryan’s unique crossover appeal across Europe. Blending euphoric dance-pop, emotional melodies and unmistakable early-2000s club energy, Alive remains an essential release in the discography of one of Belgium’s most successful international pop artists.
Alive (Expanded) is available as a 20th anniversary edition of 1000 individually numbered copies on green vinyl and includes an insert with liner notes by Kate Ryan.
The Sound Of Slip ’n’ Slide, Vol. 1 launches a brand-new series from the legendary Slip ’n’ Slide catalogue, bringing together a selection of timeless house and deep house cuts from some of the genre’s most respected artists.
Featuring standout productions from Blaze, Cassio Ware, Black Rascals and Alex & Rai, the release captures the soulful, vocal-led sound that helped define underground house music across the 90s and beyond. Including favourites such as Blaze’s Moonwalk and Cassio Ware featuring Sajaeda’s Fantasy (Klubhead Mix), this first volume brings together a selection of proven dancefloor records in one DJ-friendly vinyl package.
With warm grooves, uplifting vocals and timeless club arrangements throughout, these tracks continue to resonate with both long-time house collectors and DJs looking for reliable dancefloor material.
As the first edition in The Sound Of Slip ’n’ Slide series, this release offers a strong opening chapter for the new compilation run, now available on fresh black 12” vinyl. A strong catalogue addition for stores supporting classic house, deep house and soulful underground sounds.
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Pacific Northwester Drew Sullivan is the man behind the Slow Dancing Society and on his latest album, he interrogates nostalgia with clearer eyes while sculpting analogue glow, treated guitar and patient ambience into scenes that breathe. Tracks drift like headlights through snow - hums, howls, bass rumbles, rain-veiled keys all feature, each motion subtle, deliberate and devastating. The record's power lies in restraint: chord changes feel meteorological, melodies arrive as messages, then vanish. It's ambient music with a spine, grief without spectacle. By the time 'Blue Suburban Skies' lifts into Twin Peaks-levels of ache, Sullivan has rebuilt a world you want to hide away in forever.
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Last delivered 76 days ago available to reorder, subject to availability
Mit The Drum "n" Bass Session erweitert Wagram die renommierte Electronic Music Anthology um ein weiteres zentrales Kapitel der elektronischen Musikgeschichte. Auch diese Ausgabe wurde von FG Radio, einer der wichtigsten Plattformen für elektronische Musik in Frankreich, kuratiert und widmet sich ganz den energiegeladenen, bassgetriebenen Facetten von Drum "n" Bass. Die Compilation vereint wegweisende Künstler wie Goldie, Roni Size, Calibre, Nookie, DC Breaks, Souljah und DJ Gilb"R - Namen, die das Genre von seinen frühen Jungle-Wurzeln über soulful, deepen Drum "n" Bass bis hin zu modernen, clubtauglichen Produktionen entscheidend geprägt haben. Rasende Breakbeats treffen auf massive Basslines, atmosphärische Flächen und eine unverwechselbare Mischung aus Präzision und Energie. The Drum "n" Bass Session richtet sich gleichermaßen an DJs, Sammler und Liebhaber elektronischer Subkultur. Eine sorgfältig kuratierte Anthologie, die den Stil nicht historisiert, sondern seine zeitlose Dynamik und Relevanz eindrucksvoll hervorhebt - kompromisslos, direkt und absolut dancefloor-erprobt.
