Buscar:decade

An’archives presents 'sensitive', a new album, and the first solo vinyl release, by Japanese keyboardist and synth player, Mitsuhisa Sakaguchi. A deftly assembled suite of glistening electronic tonalities, 'sensitive' is the latest in a lengthy run of excellent, idiosyncratic albums by Sakaguchi. A low-key yet productive artist, Sakaguchi has released banks of solo titles via his own Bandcamp page, and is also an in-demand improvisor for electronics: see, for example, recent collaborations with Yoshiki Ichihara ('TO(R)RI INFRANTA', 'Ftarri', 2025), Tatsuhisa Yamamoto ('non equal mad', self-released, 2020), and the - trio with Yamamoto and Uchihashi Kazuhisa ('self-titled', Modern Obscure, 2023).

'sensitive' is a startling album for many reasons, not least its rich attention to detail. Sakaguchi’s ear is sensitized to the complexity of electronic sonority, something he’s developed through decades of performance and improvisation, though he’s not limited to that language. “I mainly use multiple synthesizers and process the sounds with effects,” he clarifies, detailing his approach to his music. “I also use a lot of acoustic sounds such as field recordings and percussion; sometimes I also use sounds such as prepared piano.”

Indeed, you can hear this see-sawing balance between the electronic and acoustic written across 'sensitive' – see the activated cymbals that twist and stutter through the first half of “metatoxic”, which are soon replaced by a similar stream of burbling synth-flow. The opening “sensitive rot” folds field recordings into Sakaguchi’s electronic kit to such a degree that the differing forms dissolve into each other; on “green shrine”, the field recordings are more present, yet still poetically framed, taken as they are “from the mountains of my hometown, Yawata City, Kyoto,” Sakaguchi explains.

The tender balance achieved by Sakaguchi as he moves between practices, tonalities and temporalities helps manifest the guiding conceptual force behind 'sensitive', where Sakaguchi explores a cleansing reverie. “What I wanted to portray with this album was to create an album of sounds that shattered and reassembled my current ‘sense’ and ‘toxins’,” he nods, “along with the ‘nature’ around me. Electronic sounds, our bodies, the environment around us, and nature all blend.”

From there, Sakaguchi attempts a transformation, or transmutation – an alchemical process of exchange. “I am attempting to explore whether it might be possible for the sounds to come closer to each other,” he concludes, “or perhaps even to interchange places.” On the five pieces that comprise 'sensitive', you can hear this fusing and exchange. Inhabiting similar spaces as the music of Nuno Canavarro, Asmus Tietchens, Omit, and other like-minded visionaries, 'sensitive' traverses curious, quixotic terrain between electronic composition, electro-acoustics, and improvisation.

Relive three decades of Belgian clubbing history.

We're celebrating the 35th anniversary of Cherry Moon withan essential collection of the anthems that defined a generation. Hard to find tracks, classics and sounds from the underground combined in a splendid 10x12" Vinyl Box Set.

From the first beats of 1991 to the peak of the "House of House", this is the ultimate tribute to a legendary venue.

Sueño Stereo is the final album recorded by Argentine rock band Soda Stereo. By 1995, it was clear that the band was the most important Argentinian group of the decade. The album went platinum in 15 days and Rolling Stone considered it the fourth-best album in Latin rock history.

The album is a true reflection of the times, blending Britpop, dream pop and electronic music. Next to that the band named The Beatles as a major influence on the album's structure. Inspired by The Beatles did the band end the album with a medley on the D-side. This gives the album a strong conceptual feel.|

Sueño Stereo is available as a limited edition of 2000 individually numbered copies on transparent vinyl, is packaged in a gatefold sleeve, and includes an insert.

From the subterranean grooves of deep techno to the cosmic pulse of electro and IDM, Deep Space Protocol sees Japanese legend DJ Compufunk navigate a vast sonic universe with precision and feeling. A veteran of Osaka’s celebrated Compufunk Records scene — where he’s sold and spun cuts for nearly three decades — Compufunk seamlessly weaves together influences that span Detroit-infused machine rhythms, hypnotic electro textures, and the thoughtful intricacies of left-field IDM.
Pressed as a limited vinyl release, Deep Space Protocol feels like both a nod to classic techno lineage and a forward-thinking exploration of sound — perfect for listeners who cherish the raw pulse of the dancefloor as much as the cerebral depths of an immersive listening session. With roots that include releases on Detroit’s Motech and connections to Underground Resistance figures, this is an album that bridges cultures and decades while leaving plenty of room for the future.

For his new full-length on Second End Records, Lyon-based artist Jonnnah turns deeply inward. Conceived as a form of therapy, as much as a reflection and a testimony, the record retraces a process of introspection and confrontation with one’s own history, looking back at origins, DNA, and the invisible ties that connect us to our ancestors, while opening paths toward new connections.

The double-sided structure of the album makes this journey tangible. The first side lingers in uncertainty : opaque atmospheres, fragmented rhythms, and restless textures mirror the doubts, questions, and fragile states of self-analysis. The second side, in contrast, embraces clarity and resolution, dense yet luminous soundscapes where reconciliation and acceptance take shape, culminating in The Blue Comet, a piece charged with finality and revelation.

Opening with the multipart suite N-zero, symbolizing the beginning of therapy, and closing with O-one, evoking the soul’s original purity, the record traces a complete emotional and spiritual cycle. Between them, the third edition of Insomnia Never Ends once again portrays the struggle between sleep and the irresistible pull of musical distraction, a fragile tension that runs through the album as a whole.

The record condenses Jonnnah’s language into something rawer and more direct. Layers of dub and dub sonic resonate against ethereal ambient passages, while techno impulses maintain tension and forward motion. Each piece feels at once intimate and expansive, designed as much for solitary listening as for collective experience.

A new chapter in Jonnnah’s trajectory, the album is a document of transformation : from shadow to light, from questioning to acceptance.

Following the recent worldwide success of “Otsukare SUMMER,” the analog edition of HALCALI’s debut album “HALCALI BACON,” originally released in 2003,
is now set for release 22 years later. The name “HALCALI” comes from combining the two members’ names, “HALCA” and “YUCALI.”
The album was fully produced by O.T.F, the production team of RYO-Z and DJ FUMIYA from RIP SLYME.
“HALCALI BACON” includes a diverse lineup of tracks such as “Otsukare SUMMER,” produced by Tomoyuki Tanaka (FPM)—a song that has surpassed 4.5 billion
views on TikTok and is generating global buzz—and their debut track “Tandem.” After more than two decades, the HALCALI wave is once again ready to sweep
the world

Celebrate four decades of the fan-favorite iconic film, Pretty In Pink with the ultimate soundtrack of the ‘80s. Now available on black vinyl.

2 x LP Yellow Vinyl in Picture Sleeve

Celebrating three decades of cutting-edge electronic music, iconic Canadian Melleefresh’s Play Records marks its 30th anniversary with a premium collector’s edition vinyl release. Founded in 1996, Play Records was the launchpad for much of deadmau5’s early catalogue as he rose to global stardom. This special anniversary edition dives deep into the Play Records archives, showcasing previously unreleased gems, exclusive tracks, and rare remixes and covers spanning the label’s storied history. The release comes as a 2×LP transparent yellow vinyl, housed in an iconic artwork sleeve with photography marking the label’s rich legacy.

For over four decades, Mr. Fingers has been shaping the core of house music. Now he returns with a new album that continues his timeless journey through deep rhythms, soulful melodies, and immersive atmospheres. Crafted with the warmth and musicality that define him, the record blends deep house, jazz-infused harmonies, and subtle R&B textures. Mr. Fingers once again reminds us why his music remains essential: hypnotic grooves and heartfelt compositions. Not just music for the club, but also for the quiet spaces...

British electronic music pioneers Graham Massey (founding member of Manchester legends 808 State) and Brian Dougans (the mind behind acid house milestone Humanoid and one half of The Future Sound Of London) join forces for their debut collaboration In Place Of Language, released on Belgian label De:tuned.

Both 808 State and Humanoid helped shape the UK's early rave and acid house movement. Here, Massey and Dougans channel that legacy into a beautifully balanced four-track EP that radiates warmth and energy, drawing on more than three decades of experience in electronic music. Inspired by key elements of the '89-91 era while embracing a contemporary edge, the duo merge their distinct sonic identities into a sound that feels both timeless and forward-looking.

In Place Of Language is not a nostalgia trip, but a natural evolution: a meeting point between foundation and future, and a blueprint for a new wave of electronic experimentation!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Oliver Koletzki Releases Twelfth Studio Album 12

The beautifully crafted twelve-track opus is out now via Stil vor Talent.
Berlin-based artist, DJ, producer and Stil vor Talent co-founder Oliver Koletzki today releases his twelfth studio album, “12” — a deeply considered, emotionally rich long-player that marks the next chapter in a career spanning more than two decades at the forefront of electronic music. The album is out now on Stil vor Talent in digital formats and as a 2x12” gatefold vinyl.

Serving as both a milestone and a manifesto, “12” distils Koletzki’s evolving sound into its most refined form yet. Across twelve tracks, the album explores atmosphere, restraint and emotional clarity, balancing slow-burning club energy with introspective storytelling. It’s a record shaped by experience, patience and an unwavering attention to detail; qualities that have long defined Koletzki’s output as both an artist and a label curator.

The journey begins with album opener “Petrichor”, a quietly powerful introduction built around wistful organ chords that gradually unfold into a warm, hypnotic groove. Acting as the album’s emotional threshold, the track sets the tone for what follows: music that rewards immersion, thrives on nuance and unfolds with deliberate pace. From there, 12 moves seamlessly between introspective moments and more direct dance floor statements, always guided by Koletzki’s unmistakable melodic sensibility.

Singles released in the lead-up to the album offered carefully sequenced glimpses into its breadth. December’s “Trip With Me”, a collaboration with Frida Darko, brought playful energy and sharp modern club dynamics, while January’s “I Don’t Need Your Love” delivered a confident, emotionally charged statement rooted in Koletzki’s introspective yet club-ready DNA. February’s “Petrichor” revealed the album’s cinematic depth, followed by “Schnapsidee” in March — a track that leans into groove, character and subtle eccentricity.

Elsewhere on the album, tracks like “Logic”, “It’s All Gone” and “Tick Tick” showcase Koletzki’s ability to create tension and release through finely balanced arrangements, while “La Hora de Mosquitos” and “Calle Sur” hint at the global influences that continue to shape his sound. The closing stretch — from “About the Fox and a Tiger” through “What Remains” to “Voice or Noise” (with Frida Darko) — brings the album to a reflective, yet characteristically playful conclusion.

As a whole, “12” feels purposeful and cohesive, guided by a clear narrative arc rather than fleeting trends. It reflects the maturity of an artist with nothing left to prove, yet still driven by curiosity and a desire to evolve. Much like Koletzki’s previous albums, “12” stands as a self-contained world, inviting listeners to step inside and stay.

Released on Stil vor Talent, the album also reinforces the label’s ethos of artistic freedom, quality and long-term vision. Now over 20 years strong, the imprint continues to shape contemporary electronic music while remaining deeply rooted in underground culture: a balance Koletzki himself has embodied throughout his career.

After two co-headlining tours over the past decade, (the) Melvins are continuing their long tradition with us of teaming up with another band on an album. Next up – Napalm Death! This isn’t just some split release with the bands each getting a side. Savage Imperial Death March is a full collaboration with both Melvins & Napalm Death playing together on all the tracks.


This release originally came out on super-limited CD and vinyl via AmRep in 2025 (tour and AmRep store only). This will be an extended version with 2 extra songs, brand new artwork from Mackie Osborne, new vinyl variants, and will be the official release for the first time at record stores, DSPs and more.


Napalm Death are credited as pioneers of the grindcore genre by incorporating elements of crust punk and death metal. Even after exerting an indelible influence on the entire world of heavy music for nearly 40 years, there is still no band on Earth that sounds like Napalm Death. Not just pioneers, but an enduring benchmark for invention and fearlessness in heavy and experimental music of all kinds, the Birmingham legends are still hurtling forward at full pelt.


The Melvins are one of modern music’s most influential bands. Having formed in 1983, the group — founded by vocalist/guitarist Buzz Osborne, with drummer Dale Crover joining a year later — has been credited with merging the worlds of punk rock and heavy music, forming a new subgenre all their own. Over their 40-plus-year career, they’ve released more than 30 original albums, numerous live records, and far too many to count singles and rarities.

The long-overdue revival of Bim Sherman’s catalog begins here. These essential recordings will become widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica’s most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series will not only preserve his legacy but will also offer listeners the chance to experience the depth and timeless resonance of Sherman’s work in its full glory.

Bim Sherman—born Jarret Lloyd Vincent, in Westmoreland, Jamaica—holds a unique place in reggae history. Emerging in the mid 70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations.

The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman’s artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman’s various tracks into spectral presences that drift in and out of the mix. The arrangement and production—minimal yet profoundly textured—captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae’s most otherworldly and visionary figures.

To celebrate over ten years of groove and sonic elegance, Roche Musique presents its “BEST OF” compilation, available exclusively on vinyl. A handpicked selection of 20 essential tracks tracing the label’s DNA — a refined blend of modern soul, nuanced electronics, and timeless groove.



Featuring the label’s cornerstone artists — FKJ, Darius, Kartell, Zimmer, Cezaire, Crayon, Dabeull, Lossapardo — alongside acclaimed collaborators such as Reva De Vito, Darianna Everett, Ayelle, Leven Kali, Panama, Chester Watson, Sølv, and more. From “Vibin’ Out” to “Espoir”, through “Wildflowers” and “I Can’t Stop”, this compilation captures the very essence of Roche’s sound: warm, heartfelt, and endlessly groovy. A pure analog listening experience designed for true music lovers and vinyl collectors — every groove telling the story of a decade of passion and sound.

Marking twenty years since South African producer and DJ Esa Williams left Cape Town, Dala What We Must is a deeply personal and expansive debut LP, an exploration of movement, memory, and sound shaped by two decades of creative evolution.

Co-created with collaborator and multi-instrumentalist Robin G. Breeze, the album deftly combines field recordings, layered instrumentation, and emotionally resonant compositions into a nuanced, globally influenced body of work. It also stands as Esa’s most collaborative release to date, featuring contributions from musicians across London, Oaxaca, Nairobi, and Cape Town, each adding their own creative energy to a project built on openness, trust, and shared experience.

The album draws inspiration from Esa’s recent ventures into documentary scoring and soundtracking, with projects like Cursed (Audible) and The Invisible Hand teaching him to listen differently, to honour space, to serve the story. That sensibility permeates the album, resulting in music that breathes, lingers, and listens as much as it speaks.

The title, Dala What We Must, is a South African call to action: a reminder to do what’s necessary, even in uncertainty. Finalised in the months leading up to Esa’s transition into fatherhood, the record carries a sense of grounding, care, and quiet transformation.

Dala What We Must is a sonic reflection of journey and community, a deeply collaborative project rooted in connection and guided by intention.

A veteran touch meets fresh intent on this pair of cuts for CA, where decades of experience translate into effortless groove. Best known as part of Sugar Ray, American DJ, musician, rapper, singer, record producer and radio personality DJ Homicide_ shows his range here with two confident, club-ready jams. 'Wild Mary' leans into a smooth 90s hip-hop and r&b feel, all creamy vocals and soft-focus chords riding an easy swing. Flip it over and 'Get Up Steez' digs deeper into early hip-hop attitude, driven by tougher drums, crunchy low end and soaring falsetto hooks.

Silicon Scally and Fleck E.S.C. need no introduction at this stage. Both artists are veterans not just of Sheffield's Central Processing Unit label but of modern electro as a whole, with the pair having decades of skin in the game at this point. Their new release, a four-track EP entitledSlipwhere Silicon Scally handles the first half and Fleck E.S.C. the second, carries itself with the adventurous confidence of a record made by masters of their craft.

Slipopener 'Phased Array' is exactly the kind of top quality machine-funk tackle you'd expect from this meeting of minds. The beat programming is deliciously tactile from the off, hissing and clanking like machinery in an old Detroit factory. The feel of 'Phased Array' is altered, though, when the chords come in, a series of alternating floating sounds which give the track an altogether eerier feel. When all of this is coupled with the otherworldly synth blurts that periodically force their way to the front of the track, the overall effect is a piece of real depth assembled by an expert practitioner.

'Phased Array' is followed up by 'Stax', another brilliantly propulsive number. Here we find the drum beat - one which is a little reminiscent of that Kraftwerk tune about the numbers, no less - once more offset by some decidedly more shadowy synth work, all while arpeggiated keyboard licks work against an intricate web of basslines, chords and unidentifiable flying synth tones.

Fleck E.S.C. opens theSlipB-side with 'Good Ride', a number where the nudge-wink title is borne out by a track built around looped snippets of sighing vocals. That said, with a bassline that sounds like a blurting old landline telephone, a ghoulish synth lead and all manner of motion-sick breakdowns, the 'ride' in question could just as well be aWipeout-style whizz through hyperspace as anything more suggestive. 'Good Ride' also sets itself apart from the other joints here by showing off a swaying halftime breakdown.

'Intox Remedy',Slip's closer, wraps the EP in a manner which continues some of the trends of the record's earlier tracks - richly tuneful chords, precision-engineered broken beat drum programming and a wide palette of delightfully unusual synth tones are all present and correct. However, there is also something about the chords here which pares back the eeriness of previous joints for a bit more of a wide-eyed, stargazing feel, and as such 'Intox Remedy' sees the record out by placing the listener firmly back in the cosmos.

Tough enough for the dancefloor and intricate enough for home listening, theSlipEP is a fabulous collaboration from two of the most respected voices in the electro game.

London Based Deadbeat is a techno label founded in 2000 as an outlet for the more eclectic, risk taking and aggressive elements of the genre. Dedicated to unveiling forward thinking new talent, championing cult underground producers and celebrating established global acts the label has created a loyal fan base and now after more than two decades presents its first vinyl release, a massive six track EP that covers a lot of creative ground and features three artists well known for pushing boundaries while delivering face melting, dancefloor destroying beats.

Sane ( Don't Recordings / Fun In The Murky ) is a Uk based producer and techno DJ who has featured multiple times on the 'Best electronic music on bandcamp' pages. Described there by music journalist Joe Muggs as 'Filthy, dirty, vile and brilliant. His techno will tear the top off your head and make soup with the contents. It screeches, it blurts, it whistles, and it roars. Above all, it crashes and clangs like a dancing mech warrior, crushing all before it. What more do you need to know?'

TSR ( Analog Records / Hörspielmusik ) are a highly regarded creative force of Swedish musical mentalists, a crazed, technologically berserk band of electronic wizards who relentlessly conjure up the most brilliant, silliest, toughest, most dance bootable funky techno on this train of existence. Known for high-energy, raw, and sometimes humorous tracks they have released to high acclaim on many notable labels and played all over the world.

DJ Ze MigL ( Djax-Up-Beats / Minimalistix ) is first and foremost a DJ, but also a producer & a Dude! Creating crazy, funky and sometimes brutal techno mayhem. Residentially from Portugal, he’s been the one of most prolific Portuguese techno producer/ DJ during the last 25 years. Producing and Spinning his own special brand of honkin’ techno, not changing a single cowbell. Never too serious or dark, always with proper party ON!

The record additionally features full sleeve artwork by Ed Twist ( of the influential 'Ugly Funk' label ) and is pressed on yellow vinyl.

Mathias Kaden announces the ‘Three Decades’ LP on Rekids, releasing 3rd April 2026, with single ‘Fyutr’ featuring Zoë Xenia and a remix from the legendary Dennis Ferrer available now. His third full-length, following 2009’s ‘Studio 10’ on Vakant and 2015’s ‘Energetic’ on Freunden Am Tanzen, ‘Three Decades’ spans nine tracks and celebrates Kaden’s 30-year career as one of Germany’s most enduring House and Techno figures.

The ‘Three Decades' album opens with a title intro, in which Mathias Kaden expresses gratitude to those closest to him before moving into his signature deep, emotive House sound. Tracks like ‘Keep Balance’ set the tone with sub-heavy bass and crisp, driving drums, occasionally punctuated by vocal snippets, while ‘I Got You’ features Cassy for a high-energy, soulful dancefloor moment. Reminiscent of Kaden’s work as Mathimidori, the dubbiness of ‘Getting Closer’ sets the stage for ‘Inner Signal’, which leans into wiggy electro territory, before the second record shifts gears with ‘Next Wave’ and ‘Shelter’, returning to pacey, piano-fuelled rave energy.

‘Viral’ follows with tough drums and excellent stab work, before the album closes on ‘Fyutr’, Kaden’s collaboration with Zoë Xenia, already supported by Honey Dijon, DJ Deep, Laurent Garnier, and more. Active since the mid-90s, Mathias Kaden quickly became one of the artists at the forefront of Germany’s flourishing rave scene. He began releasing music in the early 2000s, first collaborating with Marek Hemmann on a series of EPs for Freude Am Tanzen, before establishing himself as a solo artist with more than two dozen EPs on labels including Desolat, Watergate Records, Pets Recordings, Diynamic, Ovum, and Cocoon. Since first appearing on Rekids in 2019 with the ‘Control Your Mind’ EP, Kaden has released multiple projects on the label and remains a regular contributor to its catalogue.

Alongside his own productions, he has remixed artists such as DJ Koze, KiNK, Monika Kruse, Trentemøller, and Sven Väth, while under his Mathimidori alias, he has explored more spacious territory with releases on Mule Musiq, Ornaments, and Freund der Familie, including an additional album, ‘Akebono’, on Echocord.

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

Little is known about Em Vee, the elusive German editor and producer whose dusty vinyl crates have unearthed some of the most coveted disco and boogie reworks of the last decade. Born somewhere between the fading echoes of Berlin’s underground clubs and the hidden record shops of Hamburg, Em Vee’s story is as much about myth as it is about music.

From the funk fuelled hands in the air love bomb of Where Is The Love to the arms embracing body jam of Body to Body. On the flip the heavy disco balearic boogie monster, All Night Long takes it up a few gears before the rounding the EP off with the dramatic closer, Pleasure Island. Em Vee delivers an outstanding EP that covers all bases, that will no doubt appeal to late night disenfranchised Disco fiends.

BBE Music announces the first repress of the classic Roy Ayers albums ‘Virgin Ubiquity’ 1 and 2 since 2006, on luxurious 180g vinyl with brand new sleeve notes written by Sean P. The music on 'Virgin Ubiquity' was selected and mixed down from previously unreleased multi-tracks recorded between 1976 & 1981, which Roy had in storage. It's all unmistakably Ayers, but is diverse and fresh enough to be more than a mere adjunct to one of his most productive and popular periods - testament to his and his musicians' creative abilities, as much of most revered Ayers output stems from this time. These discoveries take their place beside some illustrious company in a timeline bookended by 'Everybody Loves The Sunshine' and 'Africa, Center Of The World', several solo and Ubiquity albums, collaborations with Wayne Henderson & Fela Kuti, as well as guesting on LPs by Buster Williams and Herbie Mann. Out of print on vinyl and CD for over a decade now, BBE is delighted to re- present these groundbreaking Roy Ayers titles, neatly coinciding with the 45th anniversary of his classic album ‘Mystic Voyage’ and a UK tour to commemorate it during April 2020.

2026 Repress

After releasing on a variety of labels for a few decades FFF presents the "Control Tower EP" the first release on his own "3AM Eternal" label. This 3 track EP brings a mixture of styles from within the hardcore & jungle universe. The titel track "Control Tower" is a mix of dub infused amen jungle, clash vocals and rare grooves. Followed by "Cut Bwoy" hectic, stomping, moshpit ready, hardcore & dubby. The final tune Obedience goes a bit deeper, a synth heavy, moody amen roller but still with plenty of choppage.

Blue Hour distills over a decade of artistry into his debut album Selva, unearthing eight tracks inspired by ancient wisdom and forgotten worlds.
Blue Hour is the moniker of Luke Standing, a multifaceted artist, producer, and label owner navigating between past and present electronic dance music. Over more than a decade, Standing has built a career balancing transformative craft with a sharp curatorial approach, earning him respect across the global scene. After years of sonic experimentation, he now releases his debut LP Selva. “I never set out to make an LP – it just wrote itself,” he says. “I followed my intuition, and the music found its own path.”
Born and raised in the UK, Standing grew up in parallel with club culture, moving between Brighton, Bristol and Berlin while running club nights and establishing himself under former aliases Furesshu and Esoteric.
He launched his Blue Hour project in late 2013, shortly after relocating to Berlin. Initially a platform for his own music, Blue Hour quickly became a collaborative hub, blurring the lines between personal output and curation. Over time, Standing has cultivated an international ecosystem of like-minded artists while continuously expanding his own sonic horizons.
Selva marks his first full-length studio album, weaving a lifetime of influences into a cohesive narrative inspired by ancient wisdom and forgotten worlds. The eight-track double LP transforms his inner dialogue into a subconscious story pulling inspiration from a labyrinthine network of influence and experience. “I followed the music obsessively, reflecting and refining until the story revealed itself,” Standing explains.
“To me, the LP evokes Amazonian or Mayan jungles, themes of exploration, the mysteries of the natural world, wisdom passed down through generations. I didn't set out to write about these things consciously,
they just emerged on their own.” he adds.The album was shaped through intensive work in his studio and periods spent in subtropical locations.
Listening closely, Selva unfolds like a modern ceremony: the opening tracks channel his early UK dance influences, shifting into blends of traditional and contemporary techno, then expanding into melodic soundscapes before concluding with transcendental textures and atmospheres. The result is an introspective journey where functionality and emotive storytelling coexist, revealing a depth in Blue Hour we haven’t heard before.
Whether performing, curating, or producing, Standing operates with a deep commitment to sound, culture, and collaboration. More than an artist, he is an architectural thinker of what electronic music could become. “Every release is my own metamorphosis,” he says. “This LP reflects my current form, and I’m curious to see what the next chapter brings.” Few artists can unify a lifetime of genre-spanning influences into a sound as sharp and focused. On Selva, Blue Hour does exactly that, opening a new era of deeper
immersion from his Berlin-based label.

Bill Converse should be a household name in every head’s abode. He’s been DJing live with 3+ turntables since he was a teenager, always under the same name. Unfathomably envious record collection. Your favorite DJ’s as well as very likely your favorite DJ. Whether it is DJing or a live set, his presentation is head-spinning, hard-edged but hypnotic. His avalanching drum programming is as recognizable as Coltrane’s timbre. His records have been released on Dark Entries, Fit Sound, Texas Recordings Underground, Tabernacle Records, Immortal Sin, Acid Test, Feral Colony and Obsolete Future. Now Fixed Rhythms presents a 2×12” pack of Bill’s characteristically bewildering excellence.

The first 12” has four cuts. Woozy, heavy, bombastic machine workout opener “Stress Test” followed by the tension peaking sustainer “ZoneZone” on the A side. On the B side, “770” brings us to a new place of plucky bass lines and unconventionally tuned drum workouts, with “lure me” closing the first 12” with flexing low-end, percussive stabs syncopated with heavy snaredrum riffing.

Where does this music come from? Although you hear the decades of Midwest techno, jacking Chicago house, brain-tickling Warp Records cuts, and his dizzying skills as a DJ in the brew, his sound is uniquely Bill’s. The second 12” peels back the curtain a bit more, as the C and D side are two extended cuts from his live set at 2024’s Jackie O’Body Vol. 2 in Denton, Texas. We here at the label were at that gig. Pure energy. Sexy distortion. Rhythms that made you scream. After the set, the room erupted in a chant of “BILL! BILL! BILL!”. Dear reader, witness the power of Bill Converse’s raw, overdriven, drummy, jack house tech madness!

"Ed DMX has been part of Shipwrec since the label's inception. Under his DMX Krew moniker, this analogue wizard has released four Eps and one LP on the Nijmegen imprint. DMX Krew returns to Shipwrec for a brand new album, a collection that displays yet another side of this sculptor's sound. Brutal and cold, shadows are long and shades dark from the outset. Drum patterns twist in tempo and intent, from hard and punishing to gentle and fragile. Elements of breaks and industrial are also present in the percussion, this fragmenting allowing deep and soulful melodies to counter the battery. In fact, echoes of electronica permeate the harmonies across the LP such as deep and divergent "Interrupt." No single style is adhered to. Instead, the full palette of machine music is employed. From the squelchy Tudor electrofunk of "I Wonder Why" to the melancholic braindance of "Rephlections in Time", genre boundaries are given little credence. Instead, Ed DMX draws on his decades of experience to create sounds that are both familiar and completely one of a kind. The deep-sea dive of "Final Comedown" is juxtaposed with the ambling calypso of "Dinosaur Reaction", styles reimagined and reshaped to the creator's evolving purpose. Echoes of the halcyon days of Rephlex permeate the 2LP. The harshness and softness of the Cornwall imprint being present throughout, those more subtle tones coming to the fore in the delicate beauty of the "Phaser Level 2." A transcendent album and a certified future classic. To accompany this very special release, there will be a limited edition run with full cover art by Ruwedata. An artist very close to Shipwrec's heart, Ruwedata was responsible for the sleeve work on DMX Krew's Cosmic Awakening."

Walter Thomas’s “Chicago Knights” LP features a retrospective of songs written and released between 1987 and 2009, primarily with the Roland 1824 and the Fostex 8 track reel to reel. Channeling the spirit of underground soul and dance music specifically rooted within the greater area of Chicago, Illinois–a city known for its deep and healthy soul and r&b roots–this compilation features 8 of its 9 tracks on vinyl for the very first time.

The intro track “I Wanna Get Witcha” dates back to 1987, holds a proven track record of kicking off many a dance floor, rocking clubs worldwide in a blur of boogie-funk, disco, and soul. “Immaturity” and both versions of “Fed Up” echo the emotional differences and tensions between lovers in a spat. “Magic City” served as the anthem and homage to its namesake roller skating rink in 90s-era Waukegan, IL. While “Chicago Knights” is a relentless mid-tempo groove inspired by the aggressive motorists that dominate Chicago roadways, “2nd Chance” drops the tempo to a slow r&b roll, preaching the ethos of love, peace, and forgiveness.

Last but certainly not least, “E&J’s” was a real commercial jingle used for a once legendary BBQ joint “E&J’s” in Illinois: a short bonus track to close out the LP. These 9 tracks are just a touch of Walter’s expansive body of work, and we’re stoked to bring them to you on wax.


Walter Thomas is a singer, songwriter, producer, arranger, and composer from North Chicago, IL known for his soulfully smooth arrangements and vocals. Walter has toured internationally with quintessential soul groups like the Temptations and Friends of Distinction, as well as opening for performers including the Floaters, Bette Wright, The Emotions, and The Drifters. His decades of touring with nightclub and concert performances have honed this gifted artist into a seasoned and refined live act.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract. There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.

Gatefold Sleeve

M’Bamina – African Roll (1975)
The story of an album born between Africa, Italy, and the nightclub culture of the 1970s
In the heart of 1970s Italy — a country undergoing profound social change and a music scene just beginning to open itself to distant sounds and cultures — an extraordinary, almost improbable story took shape. It is the story of a group of young African musicians who found their way to Europe, of a Turin nightclub that became a crossroads for communities and experimenters, and of an album which, released in small numbers and largely unnoticed at the time, is now considered a rare jewel of Afro-fusion.
The band called themselves M’Bamina — an ensemble of musicians from Congo, Cameroon, and Benin, who arrived in Italy in the early Seventies. Settling between northern Italy and the Pavia area, they began performing in small clubs and community events, bringing with them a vibrant rhythmic heritage: African polyrhythms, call-and-response vocals, funk-infused bass lines, and Caribbean or Afro-Latin colours absorbed along their musical journeys. Their raw, contagious energy on stage quickly drew attention.
Meanwhile, in Turin, another story was unfolding. There was a venue becoming almost legendary: Voom Voom, one of the city’s liveliest nightclubs, run by Ivo Lunardi. The club attracted an eclectic crowd — students, artists, foreigners, night owls — and Lunardi quickly understood that the dancefloor wasn’t just a place for music, but a melting pot for a new kind of cultural energy. Out of this vibrant atmosphere came his idea: to turn the club’s name into a small independent record label, Voom Voom Music, capable of capturing the spirit of those years and giving voice to unconventional projects.

When Lunardi heard M’Bamina, he immediately sensed that this was the sound he had been searching for: fresh, different from anything circulating in Italy at the time, and capable of blending African tradition with funk and European sensibility. He brought them into the studio.
Production was handled by Lunardi along with Christian Carbaza Michel, while the engineering was entrusted to Danilo Pennone, a young sound technician with a sharp, intuitive ear.
The recording sessions — held in Turin in 1975 — produced a remarkably warm and direct sound. The music feels almost live: grooves rooted in African tradition, but open to funk-rock structures and modern arrangements. It is a natural fusion, never forced. Tracks move between tribal rhythms, funk basslines, light electric guitars, congas and Afro-Latin percussion, with call-and-response vocals and melodies that echo both Congolese tradition and the lineage of Latin jazz. Not by chance, one of the album’s most striking tracks, Watchiwara, reinterprets a Latin standard through M’Bamina’s own rhythmic language.

The album was titled African Roll — a name that was already a statement of intention. It is African music that “rolls,” that moves, adapts, transforms within a new geographic and cultural setting. It is not strictly Afrobeat, nor Congolese rumba, nor Western funk: it is a spontaneous, hybrid blend, shaped more by lived experience than by any calculated aesthetic program.
When African Roll was released, the world around it barely noticed. Distribution was limited, and 1970s Italy had yet to develop a cultural framework for receiving such music. The national music press rarely paid attention to African or “world” productions. The album slipped into silence — though the band’s own story did not.

M’Bamina continued performing across Europe and Africa, even sharing a stage in Cameroon with none other than Manu Dibango. By the late Seventies, they moved to Paris, signed with Fiesta/Decca, and recorded a second LP, Experimental (1978). Meanwhile, the peculiar record they had made in Turin began to resurface quietly among vinyl collectors, Afro-funk enthusiasts, and DJs hunting for forgotten grooves.
That is when the album’s fate began to shift.

Over the decades, African Roll emerged as an almost unique document: a snapshot of an intercultural Italy before the word “intercultural” even existed, a fragment of migrant history, a spontaneous experiment in musical fusion born far from major industry circuits but rich in authenticity. Original copies began commanding high prices on the collector’s market, and the album became recognized as one of the hidden classics of European Afro-fusion from the 1970s.
Today, more than fifty years later, this reissue finally restores visibility and dignity to a project that deserves to be heard, studied, and celebrated. It is not simply an album: it is the testimony of a rare cultural encounter, born in an Italy unaware of how fertile such exchanges would one day become.

It is the story of a visionary producer, an extraordinary band, and a fleeting moment in which music, migration, and nightlife came together to create something genuinely new.
African Roll is — now more than ever — the sound of a bridge: between continents, between eras, between cultures. A record that, after rolling far and wide, has finally come home.

2026 Repress

French DJ and producer Hemka makes a striking solo debut on Mutual Rytm with 'Introspection'.

Born in Marseille and based in Paris, Hemka has been shaping her take on techno for over a decade, steadily growing her international presence with music on respected imprints such as Token. Her music fuses the raw energy of 90s techno with modern textures and is fast-paced, groovy and laced with subtle psychedelia. By weaving in her own vocals, Hemka adds a deeply personal and authentic layer that resonates with both the body and mind. Following the strong reception of her track 'Fragrance' on the 'Federation Of Rytm III' compilation, this potent new EP is a powerful reflection of her bold, emotional and forward-thinking artistic voice and the start of an exciting new chapter with SHDW's Mutual Rytm.

'Abyss' kicks off with tightly coiled, heavy-hitting drum funk and eerie synths that never let up while ghoulish vocals layer in extra darkness and anxiety. 'Time' is another sleek, stripped-back but banging wedge of linear techno excellence and 'I Can't Shine' layers up paranoid vocals with high-speed glitches and rubbery drums to ensure maximum impact in the club. The excellence continues with 'The Bad Place' with booming drums and moody synth atmospheres, getting you up on your toes and keeping you there. Last, 'Unchanged' fizzes with static electricity as wordless vocals refract around the mix next to wispy synths and icy hi-hats. Digital bonus cuts 'Voice In My Head' and 'Eternity' round things out with more heady and intense techno for driving deep into the night.

2026 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

Detroit powerhouse vocal trio Dames Brown make their long-awaited debut with ‘Take Me As I Am’, a bold, soulful celebration of the Motor City’s sound and a heartfelt tribute to their late mentor, Amp Fiddler.

Crafted at Amp’s legendary home studio, the album captures the essence of Detroit through rich instrumentation, gospel-infused harmonies, and unfiltered soul. Blending house, funk, techno, and 70s groove, Take Me As I Am embodies the city’s spirit; timeless, raw, and full of life.

Featuring collaborations with Detroit icons Andrés, Eddie Fowlkes, and Waajeed, standout tracks like ‘You’re The One For Me’, ‘Glory’, and ‘What Would You Do’ showcase the trio’s unmatched energy and vocal chemistry.

Across fourteen tracks, Athena Johnson, Teresa Marbury, and LaRae Starr channel the soul of Motown, the groove of Parliament Funkadelic, and the power of Aretha Franklin, uniting their influences into one authentic, uplifting sound.

With nearly a decade of releases on Defected and its sub-labels, including collaborations with Sophie Lloyd, The Vision, Floorplan, and Horse Meat Disco, Dames Brown continue to shine as one of Detroit’s most dynamic vocal collectives.

‘Take Me As I Am’ is more than an album… it’s a declaration of love, legacy, and Detroit soul.

Long considered a "Holy Grail" of Latin vinyl, The Booga Mambo Beat (1967) by Steve Hernández y Su Orquesta Latinoamericana returns.

This LP has puzzled collectors for decades: who was Steve Hernández, the shadowy figure behind this powerful orchestra including top Puerto Rican and New York musicians?

Arranged by Ray Santos and featuring vocalist Vitín Avilés, the album delivers a unique mix of mambo, boogaloo, descarga, proto-salsa and 1950s big-band swing. A rare bridge between the Palladium sound and the emerging salsa era. Originally self-released and barely promoted, the record became a cult favorite among DJs and collectors.

Sourced directly from the original master tapes, discovered in outstanding condition, this edition is pressed on 180-gram vinyl and includes extensive liner notes by Pablo E. Yglesias (DJ Bongohead).and a digital download code.


A must-have archival release for collectors, DJs, and anyone fascinated by the hidden corners of Latin music history.

Stay True Sounds presents a vinyl-focused celebration of a modern dance music classic.

Jazzanova need no introduction. For over two decades, the Berlin collective has shaped the sound of soulful electronic music — timeless, refined, and rooted in pure musicality. Their collaboration with the ever-smooth Vikter Duplaix produced That Night, a track that has since lived many lives on dancefloors across the world.

Central to its legacy is the Wahoo Remix by Dixon and Georg Levin — a cult favourite that continues to resonate from Berlin to Johannesburg. This vinyl release brings together key reinterpretations of that remix, spotlighting South African artists who have added new dimensions to an already iconic recording.

After a decade away from new music, Jill Scott returns with To Whom This May Concern, a soul-stirring body of work rich with texture, rhythm, and emotional truth. Rooted in community, reflection, and sonic exploration, the album weaves melodies, horns, and rhythms into an immersive listening experience that invites audiences to feel deeply, reflect freely, and take exactly what they need.

Now, with a new chapter in his musical journey, Pete Blaker presents his first-ever LP of Original Music, an eight track 2x12" masterpiece on the esteemed label Love Universal.

This isn't a collection of edits, but a deep, personal exploration of the Balearic/Deep House sound, a testament to his decades-long immersion in its eclectic and free-spirited essence.

The album invites listeners on a sublime journey, where laid-back grooves and atmospheric synthesisers create a rich mix of sound. It’s an album that perfectly captures the "anything goes" spirit of the Balearic beat, where elements of funk, jazz, ambient, and world music swirl together to create a sound that is both transportive and timeless. A1. RICHIE

Nail has been an important voice in the UK underground ever since his DiY Sound System days in the East Midlands in the 90s. After many years away, he returned, much to the delight of many heads, about a decade ago and has continued to roll out essential jams ever since. This one on his In The Dance label embodies his style - loopy, disco tinged house that's rough around the edges and burning with soul. 'Lick The Bag' is a cheeky title for a cheeky tune, 'The Price Is Wrong' shimmers with muted jazzy chords that are always held back, but the delight is in the promise and 'Medicine Stick' rolls on sweet grooves and knotted bass. 'Swing By' shuts down with plunging kicks and hints of MAW. Superb.

For more than two decades, Eamon Harkin has helped shape New York’s communal pulse. As a founder of Mister Saturday Night, Mister Sunday, Planetarium, and Nowadays, he’s created and DJed in spaces where dance, listening, and connection blur into something deeper — places where people come together to make sense of the world through sound.

On his new album, The Place Where We Live, Harkin turns that lens inward. Drawing on 25 years as a DJ and curator, he moves between house, techno, and ambient currents with a sense of stillness and searching. The result is a record that feels both physical and introspective — the sound of the dance floor seen through memory.

The title comes from psychoanalyst D.W. Winnicott’s idea of “the place where we live,” the psychic space between the inner and outer world — where play, art, and culture help us build meaning. For Harkin, an Irish immigrant long settled in another land, that idea resonates both philosophically and personally. The Place Where We Live captures the tension and beauty of the pulse of the club and the quiet of reflection — an album about belonging, transition, and the quiet resonance of finding home somewhere in between.

Wah Wah 45s present a limited edition vinyl special from Afro-dub masters, Soothsayers. With a history that goes back three decades, having released two classic LPs (Tradition and We Are Many) and numerous EPs and remixes on the imprint, the band deliver two brand new and exclusive versions of one of the highlights of their new LP, entitled Fly Higher.

Love Will Find a Way features vocalists Maia Avery and Akin Soul, both former members of Youthsayers - a South London based music performance and education group, taught by Soothsayers band members. With new mixes by acclaimed Sao Paulo based producer Victor Rice, it's a stepping reggae vocal duo piece with a strong, universal message asserting that despite the current divisive political rhetoric and the championing of greed over human empathy by those in power, love will always be a more powerful force than hatred and division. Maia and Akin Soul's distinctive voices blend and weave beautifully over a hypnotic groove with a fresh and poignant emotional energy contributing to what should be a future steppers classic. These previously unreleased mixes are available in both vocal and dub versions on hand-stamped 7-inch vinyl and Bandcamp only. "We are so proud and happy to be able to feature Maia and Akin on this beautiful song. Both are former members of Youthsayers, the youth music education organisation set up by Soothsayers in 2016. Maia (from recent Wah Wah 45s signings Kotoa) and Akin are now great artists in their own right and it feels very satisfying to feature them on this new Soothsayers release." Robin Hopcraft (Soothsayers)

a A1: Love Will Find A Way (Light Still Shines Version) [feat. Maia Avery & Akin Soul]
[b] B1: Love Will Find A Way (Victor Rice Dub) [feat. Maia Avery & Akin Soul]

[a] A1 | Love Will Find A Way (Light Still Shines Version) [feat Maia Avery & Akin Soul]
[b] B1 | Love Will Find A Way (Victor Rice Dub) [feat Maia Avery & Akin Soul]

For fans of post-punk and new wave, some songs aren’t just classics — they’re emotional landmarks. Joy Division’s “Love Will Tear Us Apart” and The Cure’s “A Forest” (both released in 1980) helped define an era, shaping decades of alternative music with their stark honesty, atmosphere, and unmistakable sound. Revisiting them is no small task.

Reimagining them successfully is even rarer. This special, limited 7” release — pressed to just 300 copies — does exactly that, thanks to legendary Dutch electronic producer Maarten van der Vleuten. A joint effort between Maarten’s own Signum Recordings and American chill-out imprint re:discovery records, he brings these two towering songs into new territory through the hands of an artist who understands both history and transformation. On one side, Maarten delivers a striking cover of “Love Will Tear Us Apart,” taking on Ian Curtis’ immortal lyrics himself. Rather than mimicking the original’s desolation, this version reframes the song into something unexpectedly inspirational and equally moving. It’s respectful, deeply personal, and emotional. Flip the record and “A Forest” is reborn as an ambient-electro journey, marking the vocal debut of Melbourne-based Linda Kastanja.
The result is dynamic and powerful, retaining the song’s eerie tension while expanding its atmosphere into something spacious and cinematic. Honoring their legacy while reshaping their form, it offers longtime fans and new listeners a rare opportunity to hear familiar emotions from a completely new perspective. Todocument this release, a music video has been made for “Love Will Tear Us Apart,” directed by Maarten and edited by Tobias Grönvall, aka Unit 21.