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The follow up the successful ‘Gary Crowley’s Lost 80s’ released in 2019
“I count myself incredibly lucky when I think back to my 1980’s. A lot of those bands and artists that
resonated with me during that time are featured on this, our sequel to our first Lost 80s collection, which we
have inspiringly titled “GC Lost 80s Two”!
I must be honest and say as soon as I delivered the track listing for the first compilation, I already had a
selection in mind for a sequel (if ever I was asked by those cool folks at Demon). Thankfully, they asked...and
this is it.” Gary Crowley
21 tracks compiled and themed by Gary Crowley side-by-side. Many of these tracks are rare and hard to find,
the better-known artists appearing represented by some of their lesser-known (‘lost’) tracks.
Presented on 2 x 180g Clear Heavyweight vinyl, includes an introduction and track-by-track notes by Gary
Crowley, plus memories of the era from Mick Talbot (The Style Council) and more.
“Expect a selection of not only the bigger names with some of their ‘lost’ gems, but also a raft of lesserknown artists. Many of the latter came nowhere near the mainstream but most certainly (IMHO) deserve
another chance to shine under the spotlight. It was such a diverse and eclectic time for music, hopefully this
box set mirrors that.” Gary Crowley


b a2. Working Week – Venceremos (We Will Win) 7” version





h b2. Working Week – Venceremos (We Will Win) 7” version









r c6. World’s Famous Supreme Team – Hey! DJ 7” version
[s] d1. General Public - Tenderness [Special Dance Mix]
[t] d2. Colourbox featuring Lorita Grahame– Baby I Love You So [12” Version]
[12” Remix]

2025 Repress

Inexplicably, yet true, Lexx has never appeared in any way, shape, or form on International Feel recordings – until now. And it’s been worth the wait. Into the Stream is one of the finest endeavors of the Zurich record hound, DJ, musical mastermind, and Balearic baron to date. Bespoke for International Feel, it feels like a comforting blanket for hard times. Inspired by early 90s electronica and serene landscapes, the title track embodies those magical moments just before sunset on warm summer days — a light breeze carrying the sweet scent of earth as you cycle past a peaceful herd of white, black, and brown sheep moving in unison.
Revisiting stages of faith and devotion of one of the favorite bands of nearly every 1980s teenager, and using their formal vocabulary after a deep dive into their rich discography, Lexx delivers a respectful nod and a heartfelt bow, one that is not only a question of lust, but simply irresistible.
Last, but not least, Abun-dance is a celebration of life and love. It manages to tap into the stream and discover the true abundance of the (Balearic) bliss that surrounds us. A match made in heaven.
Lexx, we salute you. credits

Sydney artist Natalie Slade's debut album Control, co-written with Hiatus Kaiyote's Simon Mavin, is now followed-up with a second instalment of Australian future soul in Molasses, an album featuring a range of UK and Antipodean artists. Joined by The Dieyoungs on keys and Laneous on guitar, Natalie's songwriting and vocals are brought to the fore with excellent production by key Melbourne scene driver, Brisbane's Sampology and additional production from guest Dan Kye. Staying true to the debut album's style of Australian future soul Molasses has an emphasis on poetic storytelling, Natalie's lyrics and melodies that are heard against a lush bed of string arrangements and the influence of Sampology’s soulful but gritty sensibility. As well as her amazing eponymous releases Natalie has also featured on tracks from artists as important and diverse as Posy, Plutonic Lab, Parker and Rhodes and Dojo Cuts among others. Sampology is an innovative producer who, for the past 15 years or so, has been a driving force behind Australia's Hip-Hop, Neo-Soul and Broken Beat/Jazz explosion and has worked with the likes of Ron Trent, Tiana Khasi and Charlie Hill as well as releasing his own tracks. This collaboration between Natalie and Sampology on Molasses is a real high-water mark of music, song-writing and production. Releasing on digital and double vinyl LP, Molasses further chronicles the rising stars of Australia's burgeoning and increasingly important neo-soul and future soul scenes.

Selected songs from Yu Hayami's album "Delicacy of Love" released in 2016, are now available on vinyl from SLENDERIE RECORD, a music label
led by Takashi Fujii!

Contains two songs "" Tokeruyouni kiss me"" a masterpiece with lyrics by Yu Hayami, music by Takashi Fujii, and arrangement by Ken Tomita, and "Boogie
Boogie Love Train (English Version)" an English cover of Anne Lewis' "Koi no Boogie Woogie Train" which was not included on the album.
Experience the charm of the songs anew with the sound that only an analog record can provide. Limited quantities available, so don't miss out.

Yu Hayami Profile
Made her debut as a singer in 1982 with "Isoide! Hatsukoi".
Has had many hits, including "Natsuiro no Nancy" and "Passion"
Yu Hayami spent her childhood in Guam and Hawaii, and is bilingual, fluent in both English and Japanese.
Graduated from the Department of Japanese Culture, Faculty of Comparative Culture, Sophia University. In 1992, she participated in the Earth Summit held in
Rio de Janeiro, Brazil, and is active on a global scale.
She is also a certified wine expert and dance fitness ZUMBA® instructor. She has a diverse range of charms not only in music but also in lifestyle.
In 2022, she will celebrate her 40th anniversary since her debut and release her best album, "Affection ~Yu Hayami 40th Anniversary Collection~".
In the summer of 2024, she released a new song, "DISCO de DISCO" (composition: DJ Night Tempo), which she wrote the lyrics for.
She currently appears regularly on NHK Radio's "Midnight Flight NEXT" and NHK World's "Dining with the Chef". She also hosts BS-TBS's "MUSIC X".
Her annual summer solo concert, "Natsuiro no Nancy Festival 2025" is scheduled to take place at Otemachi Mitsui Hall on July 13th.
In recent years, she has also been working on jazz, pursuing new musical possibilities through the fusion of pop and jazz.

18 tracks pressed across three vinyls. A limited-run tee. Seven digital relics, unearthed for Bandcamp only.

As always, dance floor-focused with a clear nod to the ’90s — Progressive, deep & dubby, transcending, 303s. Immersive, but never drifting. Direct, but never dry. Forward thinking, expansive.

Direct, 303s, raw — this lane’s locked down by Roza Terenzi, Cybernet, Aju, Kalani, Ash Is and Xupid, each carving out their space with raw, floor-focused energy. On A2, Xupid slips in Raindanc94 — a long-lost gem some might recognise from D.Dan’s 2021 Boiler Room. Unreleased until now, it’s finally getting the drop it deserves.

Transcending? You know it. Trance mind-melters? Always. Plastic GRNchannels that classic 90s Xpander sound, Alfred Czital drops a dance floor annihilator, while Dutch duo Match Box keeps it as bright and club-ready as ever. It’s a full spectrum of sound, each track weaving into the next with peak energy and timeless hooks.

Progression, progression, progression — it’s shaped our sound from the start. Uplifting, expanding, always pushing into the outer zones. DJ Life, Aiden Francis, Jeku, Tifra, Cosmic G and Laars are back on the label and doing the business. Whether it’s a floor-heating bopper by DJ Life or emotive, widescreen territory by Aiden Francis, this release has it all.

And of course, no 6-year celebration of ND would be complete without a deep dive. Dubbed-out rollers and hypnotic house cuts come courtesy of Baumb, Glen S, and Harrison BDP. Fresh off his second EP last month, Baumb returns with those trademark low-end orbs, guiding us through the fog with finesse. Glen S strips it back and locks into a tech-deep groove. BDP lands on F1. Sublime, heads-down deep house with that unmistakable sample finesse — pure signature gear.

A nod to the 9 incredible artists who feature on the release through digital exclusives — Astro alongside Ash Is, Rounds & Plastic GRN, Primitive Needs, Hotpretty, Tourman, Skinner (making his way through the Pyramid Fields portal), and Wigs — whose Trigger Step track has been getting heavy rotation from Spray and Roza Terenzi, to name a few.

DAYBREAKERS are back from their first dive into the Music Station catalogue and hop from New Jersey to land in Germany’s Black Forest region for 002, more specifically they arrive into a basement in Freiburg.

In 2008, Rainer Trüby started on an album that ended up getting lost due to a crashed macbook. Two tracks were saved from this lost album and see the light of day 17 years later. After playing one of these tracks “Schoko-Bolla” in the woods at “Root Down With Love” at We Out Here 2024, miche and Rainer decided it was finally time to take this secret weapon for a full release.

The A Side is “Schoko-Bolla” features a looping brazilian vocal from an all time great, building gently into a real groove and the B side, a deeper than deep house track with latin elements. House deeper than the Neckar river, perfect for any dancefloor.

Don't miss out, buy or cry.

Let There Be Cello finds 2CELLOS exploring a diverse catalogue with their signature boundary- breaking playing style. Co-produced by Šulić and Hauser themselves as well as Filip Vidovic, Let There Be Cello is a showcase of their exceptional talent for reinventing the music of any genre. The collection includes their take on Ed Sheeran’s “Perfect” and “Despacito” by Luis Fonsi, a fan-favorite rendition that has garnered over 39 million views on 2CELLOS’ YouTube alone. Known for bringing their explosive playing style to some of rock’s biggest anthems, they make
no exception on this album, which features favorites “Eye of the Tiger” by Survivor and The White Stripes’ iconic “Seven Nation Army,”. Taking their classical instrumentation to new heights, 2CELLOS rounded the album with everything from celebrated classics (“Imagine” by John Lennon, “Hallelujah” by Leonard Cohen) to never- before-heard original compositions (“Concept2,” “Cadenza”) for a listening experience unlike any other.

New pressing for this album, in translucent highlighter yellow. Inspired by minimal pop and the pioneers of electronic music, LES MANIÈRES DE TABLE, Annie-Claude Deschênes’ first solo album, is as danceable and melodic as it is disquieting and dystopian, proposing to set the table differently by deconstructing the social codes of politeness imposed on us. Conceived during the lockdown to overcome the surrounding inactivity, the songs that make up LES MANIÈRES DE TABLE were not intended to be released. It was by familiarizing herself with new technologies (drum machines, sequencers) that the conceptual and aesthetic ideas that define the album began to develop organically. Through producing beats composed from samples of utensils, table etiquette became a source of inspiration, a form of conformity that she enjoyed deconstructing. At the same time, a fascination for surveillance cameras and other futuristic-looking, but already obsolete technologies became part of her visual universe. Her experiments gradually evolved into a full-fledged project reminiscent of the works of the pioneers of electronic music. The album is inspired by Steve Reich’s minimalism, Kraftwerk’s synthetic textures, Herbie Hancock’s stylistic diversity and experimental cinema’s non-traditional approach to narration.

The line between art and entertainment has always been fuzzy. Certainly, there’s plenty of overlap between the two, but lately it feels like there’s a growing divide, an ever-widening chasm separating our fundamental need for creative expression and our insatiable appetite for disposable content. That’s where T. Hardy Morris comes in.

“I’ve spent a lot of time parsing the difference between the two,” he explains, “not just for myself, but for society at large. What does it mean to be an artist? How do we measure creative success? Where are the boundaries between audience and performer when everyone’s broadcasting their lives 24/7?”

Morris dives into those questions headfirst on his riveting new album, Artificial Tears, and while the answers don’t come easily, the search yields plenty of reward. Recorded in Nashville with My Morning Jacket’s Carl Broemel at the helm, the collection is an electrifying work of existential exploration, a raw, rock and roll reflection on meaning and identity in a modern world that’s simultaneously more connected and isolated than ever before. Despite the weighty ruminations at its core, the result is a remarkably grounded, down to earth album that’s at once honest and abstract, a poignant, clear-eyed look in the mirror from a master craftsman committed to his work for nothing more—and nothing less—than its own intrinsic value.

Welcome to another deep dive into Thighpaulsandra’s salacious sound-world. A double album opus, Acid and Ecstasy synaptically sabres a host of immersive soundscaping, raucous rock moments and lyrically sharpened balladry we’ve all come to expect from this troubled troubadour plus plenty of fleshy surprise. Seven weighty tracks that potently tangle you up in the best of ways and chauffeur you around an eclectic circus of unadulterated genius. Displace dis-belief and crucify your curiosity - you will not be disappointed…

Available on double vinyl or CD from Retractor.

Eine länger vergriffene, seltene und von Fans begehrte Liveaufnahme wird hiermit wiederveröffentlicht. Zwischen 2010 und 2012 wurden diverse Sweet-Shows mitgeschnitten und die vorliegende Liveaufnahme fängt die enorme Power dieser außergewöhnlichen Performances eindrucksvoll ein. Der Erfolg des Originalalbums "Sweet Fanny Adams" aus dem Jahre 1973 war der Katalysator, der Sweet ihren weltweiten Superstar-Status verschaffte.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This first volume of a two-volume series presents a selection of the best of early Syliphone recordings. The songs demonstrate not only the essence of Guinea’s authenticité policy and of its subsequent Cultural Revolution, but of a confluence of musical styles from Cuba, jazz, highlife and the diverse influences of Guinea’s cultural groups.

Hitomi Toi's famous cover album "YOUR TIME Route #1", released in 2012, is being reissued on a colored LP for the first time in 13 years.

Produced by Kunimondo Takiguchi (Ryusenkei) as a sister album to the summer classic "CITY DIVE", it covers a number of famous Japanese pop songs, mainly from the early 1980s.


Included are Yuming's "Tenohira no Tokyo Tower" from the 1981 classic "Sakuya Oimasho", Takeuchi Mariya's "Natsu no Koibito" with lyrics and music by Yamashita Tatsuro,
Miyamoto Noriko's "SILVER RAIN", and the radio song "Black Moon" by Kisugi Etsuko and Minami Yoshitaka.
The selection of songs is also amazing, capturing the atmosphere of that era, including EPO's "Saturday Night Paradise," the ending theme of "Oretachi Hyokinzoku" and Akemi Ishii's "CHA CHA CHA" the theme song of "Nanjou ni Natsu Monogatari"

The music that sparkled in the streets back then is revived.

“Only Skies Stay Eternal” is a full length album from Fille – the final chapter in a sonic trilogy that began earlier with two captivating singles. A restless explorer in the oversaturated wilderness of digital soundscapes, Fille brings her vision to a powerful conclusion.

This album dives into profound and final questions: the meaning of human existence, the nature of dreams and reality, the evolutionary mission of our species, and the fragile, intricate microcosm of the self. Fille embraces the contrasts of our new era – the tension and harmony between technology and nature, the digital and the analog. Her sound is a refreshing fusion of IDM, breakbeat, and dreamy textures, layered with extraterrestrial vocals that feel both ancient and futuristic.

Things just get heavier and heavier in Scott ‘Wino’ Weinrich’s career and his short-lived classic band The Hidden Hand is no exception. Formed in 2002 and already disbanded in 2007 the trio featured Wino, Bruce Falkinburg on bass/songwriting/vocals and drummer Dave Hennessy.
If The Obsessed, St. Vitus, Shrinebuilder, Probot and Spirit Caravan aren’t enough to bring Wino's CV to legendary status, stop reading now.
LINER NOTES from WINO:

"When I returned from California after The Obsessed Columbia record deal fell apart, I didn't have any gear at all and after we put together (SHINE) which became Spirit Caravan, I was hustling to put a guitar rig together. I discovered ATOMIC MUSIC a super cool store in MARYLAND that encouraged trades, and had a lot of cool shit there,we had met another cat Sonny, who being the gregarious friendly cat he was befriended us (the band) and introduced me to his friend who's recording studio shared space with Atomic Music, Bruce Falkinburg and Phase recording studio. Bruce was a very interesting and hyper intelligent guy, bassist, knowledgeable in all things but specializing in recording rock music. We had decided to diversify our recording process and parted ways with one of my old friends Chris Kozlowski and PolarBearLair studios who had recorded everything Spirit Caravan had done so far.

I hired Bruce to record the version of Darkness and Longing that was our song on the Sixty Watt Shaman -Spirit Caravan split single. We liked what he did on that recording and decided to record more with Bruce at Phase and so we did ;the last SC single -" So Mortal Be/ Undone Mind" and recorded three tracks that were eventually released on "The Last Embrace." Bruce and I had firmly cemented our friendship and when shit fell apart with Spirit Caravan , we decided to form a band. Out of a very interesting list of possible band names Bruce's idea" The Hidden Hand " seemed to resonate the most and once Bruce had recruited Dave Hennessy (guitarist for OSTINATO) to play drums it was ON. Over the next couple years and a couple different drummers, The Hidden Hand would record one single, one split ep ,one compilation song and Three full length albums. Knowing Bruce, and working with everyone in The Hidden Hand realm enriched my life greatly . Bruces enthusiasm, knowledge, creativity, intellect and musical abilities remains an inspiration. Thanks Bruce, Sonny, Louis and Eric and all at ATOMIC MUSIC, Dave Hennessy,Matt and Jeremy Osinato ,Evan Tanner, J Robbins, Mcarthyism records, Andreas at Exile from Mainstream records, Greg Tubevision, 930 club ,Black Cat, Gussound, Diana W, Woody, Stinking Lizaveta, Jadd Schickler and Meteor City, Southern Lord records and extra special thanks to Gianluca and Improved Sequence for keeping this music alive!"
Wino - summer 2024

Things just get heavier and heavier in Scott ‘Wino’ Weinrich’s career and his short-lived classic band The Hidden Hand is no exception. Formed in 2002 and already disbanded in 2007 the trio featured Wino, Bruce Falkinburg on bass/songwriting/vocals and drummer Dave Hennessy.
If The Obsessed, St. Vitus, Shrinebuilder, Probot and Spirit Caravan aren’t enough to bring Wino's CV to legendary status, stop reading now.
LINER NOTES from WINO:

"When I returned from California after The Obsessed Columbia record deal fell apart, I didn't have any gear at all and after we put together (SHINE) which became Spirit Caravan, I was hustling to put a guitar rig together. I discovered ATOMIC MUSIC a super cool store in MARYLAND that encouraged trades, and had a lot of cool shit there,we had met another cat Sonny, who being the gregarious friendly cat he was befriended us (the band) and introduced me to his friend who's recording studio shared space with Atomic Music, Bruce Falkinburg and Phase recording studio. Bruce was a very interesting and hyper intelligent guy, bassist, knowledgeable in all things but specializing in recording rock music. We had decided to diversify our recording process and parted ways with one of my old friends Chris Kozlowski and PolarBearLair studios who had recorded everything Spirit Caravan had done so far.

I hired Bruce to record the version of Darkness and Longing that was our song on the Sixty Watt Shaman -Spirit Caravan split single. We liked what he did on that recording and decided to record more with Bruce at Phase and so we did ;the last SC single -" So Mortal Be/ Undone Mind" and recorded three tracks that were eventually released on "The Last Embrace." Bruce and I had firmly cemented our friendship and when shit fell apart with Spirit Caravan , we decided to form a band. Out of a very interesting list of possible band names Bruce's idea" The Hidden Hand " seemed to resonate the most and once Bruce had recruited Dave Hennessy (guitarist for OSTINATO) to play drums it was ON. Over the next couple years and a couple different drummers, The Hidden Hand would record one single, one split ep ,one compilation song and Three full length albums. Knowing Bruce, and working with everyone in The Hidden Hand realm enriched my life greatly . Bruces enthusiasm, knowledge, creativity, intellect and musical abilities remains an inspiration. Thanks Bruce, Sonny, Louis and Eric and all at ATOMIC MUSIC, Dave Hennessy,Matt and Jeremy Osinato ,Evan Tanner, J Robbins, Mcarthyism records, Andreas at Exile from Mainstream records, Greg Tubevision, 930 club ,Black Cat, Gussound, Diana W, Woody, Stinking Lizaveta, Jadd Schickler and Meteor City, Southern Lord records and extra special thanks to Gianluca and Improved Sequence for keeping this music alive!"
Wino - summer 2024

Salamanda is the collaborative alias of South Korean producer/DJ duo, and close friends, Uman Therma (Sala) and Yetsuby (Manda). Together they create avant-garde electronic music inspired by minimalist concepts, harmonious rhythms and the work of American composer Steve Reich.

Across the eight tracks of Sphere, their debut for Small Méasures, the pair conjure spherical worlds inspired by bubbles, refracting light and planet earth. Soundscapes laden with percussive elements ebb and flow as arpeggiated stanzas cede to misty synths and shimmering plates, conjuring images of solitary temples sat in vast open plateaus.

“For Sphere, we came up with an abstract concept and image to explore more diversity and encourage imagination. Each track is related to different kinds of sphere we found or imagined. From the big round planet embracing every creature to dancing little bubbles underwater, fragments of ideas floating around, exploding tomatoes, and movement of lights flashing and tickling the eyes…

Or the tracks can be about completely different types of spheres in other people's perspective. We hope Sphere can unleash the imagination and take you on a delightful journey of music.’’

THEE MICHELLE GUN ELEPHANT’s 5th original album CASSANOVA SNAKE will be reissued on vinyl to commemorate the band’s 30th anniversary!
This 180g 2LP reissue is part of the “THEE 30TH” project and features the latest remaster, newly cut for vinyl."=

LTD BRIGHT GREEN VINYL W/ 4 PAGE INSERT** **JEWEL CASE CD W/ 12 PAGE BOOKLET** A gloriously off-kilter yet deeply personal record that mixes absurdist punk theatre with an unexpectedly tender dive into mental health, Catholic guilt, and the surreal poetry of everyday life. “It’s more personal than the previous ones,” frontman Pete explains, “but not in a heavy way – more like Mortimer & Whitehouse than The Bell Jar”, succinctly summing up the Dinner Ladies’ approach: taking the kitchen sink, giving it a saxophone solo, and letting it spill over with charm, wit, and a fair helping of existential unease. Parody and poignancy runs through every song. Tracks like ‘Is There Life in Rhyl?’ and ‘Holy Pictures’ explore personal trauma and social conditioning through an unmistakably British filter; Catholicism, childhood fear, seaside holidays, and haunted toilet trips included. For fans of: The Fall, The Kinks, John Cooper Clarke, X-Ray Spex, Madness, cabaret, collage, chaos, and joyfully honest punk.

Heavily influenced by Motown and Stax soul sounds, Version is the second studio album by British DJ
and producer Mark Ronson, a triple platinum success in the UK that is by far his most successful and
helped to win him the BRIT Award for Best British Male Solo Artist.
Released in April 2007, it is entirely comprised of carefully selected cover versions produced with an
impressive cast of collaborators (from Ol’ Dirty Bastard to Robbie Williams) that produced three top
ten hit singles: ‘Stop Me’ with Daniel Merriweather, ‘Oh My God’ with Lily Allen and the timeless
Valerie featuring Amy Winehouse.

Brown/Black smoke vinyl. Hex; Or Printing in the Infernal Method is the fourth full-length studio album by Earth. Contains a special vinyl only bonus track. Comes with 18"x24" poster exclusive to this release. Marking a new direction the band would follow in years to come, Hex stands in stark contrast to Earth's previous works. While retaining the extremely heavy doom/drone metal song structure of epic riffs over simple repetitive drum beats, the guitar was inflected with country influences that favored a cleaner reverb-heavy tone layered with acoustic instruments over the band's previous predilection for distortion. The press release cited diverse influences such as Ennio Morricone, Billy Gibbons, Neil Young's soundtrack to the movie Dead Man, country musicians Duane Eddy, Merle Haggard, and Roy Buchanan.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the works by Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and following the first ever vinyl release to attend to James Tenney's legendary Postal Pieces, the label now presents the first LP published by the visionary Swiss composer Jürg Frey. Drawing from the transformative power of breath and resonance, this release represents one of the most profound explorations of musical metamorphosis to emerge from the contemporary experimental landscape.

The completed work represents a "conjunction of these two artists" that has "activated a transformative form of experimentalism." These renderings "dance with an airy lightness, humour, and play, imbuing them with a beauty and emotiveness that can be rare within experimental music." They exist as "breaths, carrying the curiosities of life, belonging to no time and all time, to no one and everyone: a human music to be inhaled and pondered, for which the outcome remains unknown." In this liminal space between composition and interpretation, between breath and resonance, Zurria and Frey have created something that transcends the boundaries of experimental music itself, offering what might be called a metaphysical cartography of sound in its most essential form. As Bradford Bailey observes in his penetrating liner notes, "music is rarely a fixed entity," existing instead in a state of perpetual flux, "taking on the influences of its interpreters and performers." This fundamental truth finds its most eloquent expression in the transformative collaboration between Italian flutist Manuel Zurria and Frey, longtime member of the Wandelweiser Group. Where conventional recordings might preserve a definitive version, this release activates what Bailey calls "states of unknowing and continued experimentation," allowing Frey's compositions to evolve into entirely new dimensional territories. The original string quartet and piano works dissolve into breath-carried architectures of sound, where "the original remains in a constant dialogue with its transformation." This is not mere arrangement but ontological metamorphosis - an alchemical process through which crystalline harmonies are reborn as atmospheric phenomena.

The metaphysical dimensions of this transformation become clear through detailed analysis of the musical result. Where Frey's original compositions operate through what he calls "basic confidence in the clear and restricted material," Zurria's interpretation activates entirely new perceptual territories. Space holds almost atomic sense of weight against the airy punctuations of timbres, textures, and tones, creating "suspensions of time within which questions and identities posed by instrumentation fade." The Extended Circular Music pieces - each comprising "a small number of bars to be repeated an undetermined number of times" - become organizations of sound that defy being definitive or fixed. Originally scored for different combinations of violin, viola, cello, and piano, these works now exist as pure phenomena of breath and resonance, where "hanging, breath-length utterances dance and intertwine amongst complex harmonic clusters and conjunctions."

The philosophical implications of this transformation illuminate a lineage of composers who have moved "away from abstraction and responding to the need to create" something beyond mere technique. Drawing parallels to Morton Feldman's understanding of non-functional harmony, Zurria's approach represents "a transformative form of experimentalism" that activates what Frey calls the "thaumaturgic power" of music - its capacity to heal and transform consciousness itself. The result is "a radical reimagining of ambience: sprawling sonorities and resonances adrift in space, carrying the liberated traces of the work's former incarnations and their truths." In Zurria's interpretation, Frey's String Quartet n.3 becomes something approaching "an organ played in slow motion, its seals leaking," while the Extended Circular Music pieces transform into "glacial chords from a diverse palette of voicings, harmonies, timbres, and tones."

Performed by Manuel Zurria. Recorded and mixed by Zurria at BigCardo, Catania between 2022-2024, with mastering by Bruno Germano at Vacuumstudio, Bologna, this Blume release represents a profound exploration of musical transformation.

The extroverted blend of attitude, energy, and ostentatiousness that spills from the New York Dolls’ self-titled debut can be seen in full view on the album cover. Depicting the quintet in its hallmark flash-and-trash apparel and in drag appearance, the 1973 album scared away a considerable amount of potential listeners while capturing the attention of a sizable audience that recognized the band for what it was: zeitgeist pioneers who helped develop the punk and glam rock movements.

Named by Rolling Stone the 301st Greatest Album of All Time and by Mojo the 49th greatest album of all time, New York Dolls receives long-overdue audiophile treatment on Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set. Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, this collectible version marks the first time the group’s career-making statement is available to be experienced in audiophile quality.

Far from harboring the crude elements that became associated with the punk scene, New York Dolls benefits from keen production overseen by none other than Todd Rundgren. Though more accustomed to working far higher-caliber musicians, Rundgren — taken by the New York Dolls’ charisma and cool, if not their instrumental approach — fully understood the ensemble’s aesthetic. He captured what went down at New York City’s Record Plant with an astute blend of live-on-the-floor feel, raw authenticity, and professional acumen.

On Mobile Fidelity’s definitive-sounding reissue, you can hear those facets as well as key details, dynamics, and textures with previously unimaginable insight. Rundgren preserved generous degrees of grit, grime, and grease while bestowing the raucous music with elevated levels of separation, solidity, and impact every landmark recording deserves. His vision extends to introducing choice accents — barroom piano notes, Moog synthesizer passages, Buddy Bowser’s honking saxophones — that add to the songs’ appeal without interfering with the primary architecture.

Afforded extra groove space on this pressing, the tenor, presentation, and attack of both vocalist David Johansen and now-iconic guitarists Johnny Thunders and Sylvain Sylvain come across with stunning vibrancy and vitality. The New York Dolls often seem headed off the rails and into the red, but somehow, the strut, swagger, and sloppiness — and the associated sleaze and scruff, scrape and snarl, frenzy and feverishness those characteristics entail — remain together as a whole that shakes its collective fist at the frustrations, isolation, disarray, and disillusionment of youth chaos and urban decay.

Kicking off its debut with “Personality Crisis,” cited by Rolling Stone as one of the 500 Greatest Songs of All Time, the band makes obvious its grasp of alienation, deviance, displacement, and suburban disaffection — as well as its capacity to play hanging-by-a-thread boogie, noisy rock ‘n’ roll, and Brill Building-inspired pop. The lipstick-kissed New York Dolls possesses traits many of its harsher predecessors would overlook: joyfulness and melody, topped with a knack for knowing how and where to take a song inside of three-and-a-half minutes.

Dive and dash with the belligerent “Looking for a Kiss”; stomp your feet and clap your hands to the big choruses of “Jet Boy”; surrender to the demands and provocations of the coded “Vietnamese Baby”; decide whether “Bad Girl” yearns to explode or implode. It’s one of several tunes here that allude to the world coming to end. Of course, that doesn’t mean there isn’t time for a fling before everything burns. “There’s no place I gotta go,” yowls Johansen. And he means it.

Adorned with tonal crunch, glitter, and gristle, New York Dolls takes pride in its brashness and brattiness. The rambunctious effort, which earned the band the distinction of being voted both “Best New Group of the Year” and “Worst New Group of the Year” in the pages of Creem, displays knowing reverence for the blues without calling attention to the style. The folk-laden “Lonely Planet Boy” is nothing if not a collision of heart-on-the-sleeve emotions and the desire in the face of challenges to maintain a tough-skinned exterior. An interpretation of Bo Diddley’s “Pills,” complete with shivering harmonica and clattering rhythms, announces there’s no cure for what infects this band. It’s that contagious. And how.

His deliveries gushing with campy fun, playful irreverence, and sheer decadence, Johansen doubles as the equivalent of an open fire hydrant that spouts at will. He’s at once tender and vicious, serious and tongue-in-cheek. On arguably his finest hour on the album, Johansen’s phrasing, passion, and lyrical ambiguity alone turn “Trash” into an insistent glam-rock gem whose echoing harmonies and girl-group references stamp it a pop classic.

Too much, too soon? Only for those averse to some of the finest rock ‘n’ roll ever put on tape.

Experience the Double-Platinum 1996 Album in Audiophile Sound for the First Time
Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Is Sourced from the Original Analogue Tapes
1/2” / 30 IPS analogue master to DSD 256 to analogue console to lathe

If great art, as many believe, is inherently polarizing, then the Stone Temple Pilots’ Tiny Music… Songs from the Vatican Gift Shop easily ranks as the California-based band’s finest album. Simultaneously celebrated and castigated upon release in spring 1996, the group’s third full-length finds vocalist Scott Weiland and company expanding their “grunge” palette with a smart blend of glam rock, psychedelia, jangle pop, and other related styles. Having benefited from long-view reassessments that shed the biases and meanness of initial criticisms, the double-platinum effort is now largely and rightly seen as a creative masterwork. All the more reason why it deserves reference-grade production.

Overseen by producer Brendan O’Brien, Stone Temple Pilots used bedrooms, hallways, bathrooms, and the lawn to capture a broad blend of textures, spaciousness, and ambience that helped underline the group’s obvious (and somewhat unexpected) leap from normal “alternative” status to an artist whose aspirations went beyond that of many of its contemporaries. You can hear the multitude of details and tonalities with previously unattained clarity, presence, and scope on this fantastic reissue, which also delivers the impact and punch every rock record deserves. Another tremendous asset: The depth, grain, and pitch of Weiland’s voice.

For all the contagious choruses and glossy melodies that help make Tiny Music… Songs from the Vatican Gift Shop sparkle, the vocal performances of the late singer arguably rank as the best that the much-missed Weiland committed to tape. None other than the Smashing Pumpkins’ Billy Corgan — who, like many peers and critics, felt a pressing need to reevaluate the record as both time marched on and the self-importance attached to the “alternative” scene faded — praised Weiland’s efforts by noting: “Like Bowie can and does, it was Scott's phrasing that pushed his music into a unique, and hard to pin down, aesthetic sonicsphere.”

Smooth and diverse, those traits are everywhere on Tiny Music… Songs from the Vatican Gift Shop. From the clever combination of emotional closeness and distance he brings to the catchy albeit ultimately melancholic “Lady Picture Show”; to the lounge-fly balladeering that causes “And So I Know” to lightly swing akin to a bleary-eyed house band’s final number at a 4 A.M. bar; to the effortless cool and laissez-faire casualness he articulates on the grinding “Pop’s Love Suicide”; to the dimensional raspiness, defiant energy, and let-loose wail that sail through the crunchy “Big Bang Baby.”

The latter tune, the record’s first single and per Weiland a conscious attempt by the band to deconstruct its prior approaches, clearly borrows from the Rolling Stones’ “Jumpin’ Jack Flash.” Because of it, the song drew all kinds of barbs from naysayers. Their disdain extended to most material on Tiny Music… Songs from the Vatican Gift Shop, which indirectly references other prized acts such as the Beatles, Cheap Trick, T. Rex, and Lush. Those cynics failed to grasp that Stone Temple Pilots were paying homage and having a blast, with even Weiland, then battling serious substance-abuse and legal issues, getting in on the action.

Stone Temple Pilots’ skeptics also turned a deaf ear to the records’ stellar pop craftsmanship, sticky hooks, and sly commentary on music-industry machinations and fame. Not to mention the band’s intent, made clear from the outset. In an interview conducted in 1994, guitarist Robert DeLeo stated: “The last thing I wanted to do with this band was make everybody believe we invented something.”

Seen through that lens and the hindsight afforded history, and appreciated independent of the self-righteous authenticity standards of the day, Tiny Music… Songs from the Vatican Gift Shop sounds borderline fearless while authoritatively checking all the right boxes for fun, flavor, and finesse. Part winking send-up, part tribute to the glitter rock age, and part middle finger towards the hip crowd that didn’t know what they were missing, this mid-90s classic repeatedly invites you to drop the needle and press play.

Seguim Records, a Barcelona-based label rooted in retro-futuristic electronic music, continues its pursuit with the release of its third EP: “The Rabbit Hole V.A.”. This marks their inaugural venture into the realm of original productions, following their first two acclaimed edit releases.

As their first EP distributed via Subwax, it solidifies their commitment to maintaining an underground stance while delivering authentic, unfiltered sounds. The tracks weave a diverse tapestry of house, techno, breaks, and trance, all meticulously crafted to energize the club scene and keep the momentum alive.

On the A side, the EP features three compelling tracks from Vince Void and Alex Garcia, highlighting their eclectic influences and forward-thinking approach.

The B side offers a taste from Eyes of Goa and Santacreu, further showcasing the label’s dedication to blending vintage sounds with modern sensibilities.

odh Teri is back with a brand-new chapter.
The Return of Neela Devi kicks off a vinyl-only series where the iconic characters from Deep In India finally take center stage. With the Sampadan era behind us, a bold new sound is rising.
Leading the way is Neela Devi herself, across three genre-spanning tracks that cover everything from vintage disco to spaced-out synths and slow-burning indie dance. There’s something here for every kind of listener – the groover, the dreamer, and the deep digger.
We open with “Maalgaadi 54” – a relentless disco heater drenched in ’70s glam, trippy layers, and hands-in-the-air energy.
Next comes “Cosmic Dirt” – dusty, mysterious, and dripping with attitude. Think desert synths, dark disco grooves, and a mood straight out of an Indian spaghetti western.
Closing the record is “Beauty Blues” – a dubby slow-burner that gently builds before locking into a bouncing, blissed-out groove. A cheeky take on a classic that’ll leave you smiling from start to finish.Those who dig a little deeper into the wax will uncover a secret locked groove Visually, the record is a stunner. The artwork is helmed by Soju Aduckathil, with creative direction by Manoj Kurian, the visionary behind Masala Movement.
Marking the sixth release on the Masala Movement label, this vinyl-only beauty is just the beginning – with plenty more surprises lined up for 2025.
The new era has arrived. Ready to dive in?

Grisline is a fresh-born label exploring the balance between light and shadow — a sonic playground where genres blend, bend, and collide. Rooted in the pulse of electro, techno, and house, we’re drawn to contrasts, emotions, and movement, always in search of unexpected harmony.

Our first release comes from Fabrega & Christian, delivering four original tracks that chart a dynamic journey across the dancefloor. The title track, Dark Chai Bowl, opens with a groovy electro cut full of harmonic twists and crisp synth work, setting the tone for the ride ahead. Onda Vampiresca dives into darker territory, layering driving rhythms with flickers of brightness — a hypnotic blend for losing yourself in the moment. On the flip, Lilac Lebal ramps up the intensity with a percussive, floor-focused tool built for peak-time energy. Finally, Lampin’ (featuring Ku$h) winds things down with a smooth, atmospheric break — perfect for the after-hours or sunrise sets.

We reunited for this second EP two best friends who have been shaking up the South of France techno community for a few years now. They started as a duo named Flyov before exploring their solo projects. Tibahuult has since been touring all over Europe with his explosive live set, blending Techno, Electro, and Punk music. Nathanaël, on his side, has grown into one of the DJs you don’t want to miss when partying in Marseille.

We’re thrilled to bring them back together on this project, where you can witness how a shared universe can evolve in two very different ways as each artist grows. To highlight this evolution, we selected for each of them one track produced a few years ago and one track created more recently with this project in mind.

On the A-side, Nathanaël opens the EP with a mysterious, trippy, jazz-infused house track, revealing all his finesse as the bass comes to embrace you like a big warm morning hug. For his second track, Cosmic Messenger, Nathanaël dives into a much darker space with a banger designed to destroy any dancefloor it hits

With Bass in the Sound, Tibahuult expresses his love for Punk music and flawlessly merges both worlds into an addictive ear-worm that will stick in your mind all day long. Tibahuult closes the B-side with one of his all-time festival anthems—the track that made me fall in love with his music. This high-energy piece will make anyone dance like the devil has taken over their body.

Hip-hop legend Ice Cube finally returns with his latest studio album “Man Down” – a hard-hitting statement that once again proves why he remains one of the most vital voices in rap today. With “Man Down”, Ice Cube delivers a powerful project that dives deep into today’s social realities, both musically and lyrically. Fans can expect raw lyrics, strong production, and real stories from one of the most inflfluential MCs of all time.

Exclusively for collectors and true fans: “Man Down” is available in several formats: Black Double Vinyl, Limited Marbled Double Vinyl, Music Cassette

Hip-hop legend Ice Cube finally returns with his latest studio album “Man Down” – a hard-hitting statement that once again proves why he remains one of the most vital voices in rap today. With “Man Down”, Ice Cube delivers a powerful project that dives deep into today’s social realities, both musically and lyrically. Fans can expect raw lyrics, strong production, and real stories from one of the most inflfluential MCs of all time.

Exclusively for collectors and true fans: “Man Down” is available in several formats: Black Double Vinyl, Limited Marbled Double Vinyl, Music Cassette

Introducing 'A Drama on Richard Street' - an album born from a journey of rediscovery and creative challenge. Influenced by a yearning for simplicity and heartfelt melodies, this collection is a love letter to soulfulness. Dive into the soulful world of Menahan Street Band's 'The Crossing' and the rejuvenating energy of 17-year-old inspiration. Join us on this musical voyage, where we stepped away from complexity to embrace the beauty of simplicity. 'A Drama on Richard Street' is a testament to the power of soulful music and the joy of heartfelt melodies. Listen and let your soul groove to its rhythm.

Following his well-acclaimed previous EP ‘A Drama On Richard Street’, supported by TSF Jazz, Somewhere Soul, and BBC 6, Tremendous Aron introduces his new project ‘Carlos & Lola’, a 6-track EP. This latest endeavor, akin to "A Drama On Richard Street," reflects a pivotal moment in the German producer's musical journey. Feeling stagnant while studying music, he instinctively reverted to the music he cherished during his teenage years, ranging from the eclectic offerings of "Daptone Records" to artists like The Menahan Street Band. Inspired by the documentary "Summer of Soul," Tremendous Aron incorporates fragments from it into his compositions, alongside influences from Molly Lewis, The Altons, and Ruben Gonzales. This EP promises a captivating blend of soulful melodies and vibrant rhythms, showcasing Tremendous Aron's evolution as an artist.

Formed in 2012 by long-time musical companions Oyvind Holm and Hogne Galaen,
the band quickly grew into the six- piece musical force they are today. Their unique
sound fuses cosmic Americana and rich vocal harmonies with catchy melodies, highspirited improvisation, and contagious musical energy that will leave you craving
more.
The six members come from diverse musical backgrounds but are united by their
shared love of psychedelia and cosmic Americana. They draw particular inspiration
from the California sound of the late '60s, with bands like The Byrds, Crosby, Stills,
Nash & Young, and the Grateful Dead as key infuences.
Between 2012 and 2019, the band recorded and released fve critically acclaimed
albums, two of which were recorded in the California desert at the legendary Rancho
De La Luna, nestled among the Joshua trees. Like many other artists, the pandemic
shook their foundations, forcing the band into an involuntary hiatus. In the aftermath
of lockdowns and other imposed restrictions, the backlash from other projects kept
them from picking up where they had left off.
However, the fall of 2024 brought new opportunities. An unexpected email from Mike
Scott of The Waterboys reignited their spirit and motivation. While on tour in Norway,
Scott discovered one of their albums and was so taken by their sound that he invited
them to contribute vocal harmonies to 'The Tourist,' a track off The Waterboys' new
album Life, Death & Dennis Hopper.
Soon after, an even greater opportunity arose--an invitation to join The Waterboys on
tour in the UK and Scandinavia. To accompany the upcoming tour, we've put together
a beginner's guide to Sugarfoot.
The compilation album Cosmic Norse Americana features nine highlights from
Sugarfoot's career so far, along with a newly recorded cover of Emitt Rhodes' 1967
track "Time Will Show The Wiser."
Sugarfoot:
Hogne Galaen - guitars, vocals
Even Granas - drums
Thomas Henriksen - keyboards
Oyvind Holm - guitars, vocals
Bent Saether - bass
Roar Oien - pedal steel
THOUGHTS AND WORDS
The Sugarfoot story begins back in 2011. But before there was Sugarfoot, there were
the Dipsomaniacs, Kulta Beats, Motorpsycho, Too Far Gone, and Deleted Waveform
Gatherings--bands that, in one way or another, featured future members of what would
eventually become Sugarfoot. Six musicians from diverse musical backgrounds,
united by a shared love of psychedelia and cosmic Americana. Drawing deep
inspiration from the California sound of the late '60s, their musical compass points
toward The Byrds, Crosby, Stills, Nash & Young, and the Grateful Dead.
I say eventually, because Sugarfoot didn't start as a band--it began as a duo. Hogne
Galaen and Oyvind Holm had previously played together in Deleted Waveform
Gatherings. But when their drummer moved out of town, the group was put on ice. Not
ones to sit still, the two of them launched a side project to keep the creative wheels
turning.
Throughout the winter of 2011, they holed up in their rehearsal space, writing and
recording rough sketches of what would soon grow into a full album. And that's when
things got interesting. They drew up a wish list--a dream lineup of musicians they'd
love to bring into the fold.
Among the names on that list were Even Granas, Thomas Henriksen, Bent Saether,
and Roar Oien, all soon to be permanent Sugarfooters. Each was invited to contribute
to the project, adding their parts to the pre-recorded tracks--without knowing what the
others were doing. Like assembling a giant musical puzzle, Galaen and Holm later
pieced the album together from these blindfolded contributions. The result was This
Love That We Outwore, released in the fall of 2012.
From there, things escalated quickly. By the following year, Sugarfoot had become a
proper band. Big Sky Country-- written and recorded collectively-- landed in 2014,
solidifying the group's evolving sound, including favourites such as Dolphins Hotel and
Ego In A Bag. When it came time to record a third album, the band felt the itch for
something new. They wanted a change of scenery--somewhere that could spark fresh
inspiration and leave its own sonic fngerprint on the production. So they asked
themselves: where could they go that carried the spirit, the legacy, the stardust of their
musical heroes?
That search led them to the California desert, to the legendary Rancho De La Luna,
nestled among the Joshua trees. Their next two albums, Different Stars (2016) and
The Santa Ana (2017), were both recorded at the Rancho. In fact, The Santa Ana was
both recorded and mixed during a two- week stay in 2015, making it a true time
capsule in the band's discography.

Teasing dread atmospheres and zooming in on microscopic details that bring every beat in every bar to life, Seb Uncles returns to Samurai Music with another deep dive into his exquisitely crafted, cinematic progression of the drum & bass tradition.

Even a cursory glance at the Eusebeia back catalogue tells you Uncles is an artist committed to the storytelling promise of breakbeat culture. His work has been heavily tipped towards albums since he first broke through around 2015, and across more than 10 long-players he's cultivated a strong line in moody, evocative jungle and drum & bass more concerned with world-building and subtle detail rather than aggression and intensity.

Following up on his 2023 LP for Samurai, X, on Undertones Uncles applies his signature meditative tones to a broad expanse. There's a consistent sound palette that leans on the warm snarl of monosynth low end and aqueous pads, delicately edited breaks and crisply sculpted synth percussion, but Uncles moves with dexterity around different tempos and structures within this considered sound world. The overarching notion is one of things lurking beneath the surface - a comfortably open theme to be approached and understood from any number of angles. It certainly chimes with the upfront detail and brooding tension that gives the Eusebeia sound such depth.

There are moments of direct drum pressure, such as fierce opener 'Undertones' with its diced-up breaks and icy chords, the boisterous jungle dread of 'Uncover' and chasmic roller 'Root Out', but on the likes of 'Beneath The Surface' and 'Out In The Open' it's the mellow elements that take precedence over the deft drum science. The motion is persistent and nuanced, but it's achieved without deferring to default dancefloor tropes.

'Emergence' marks a pointed shift towards a delicate strain of techno that maintains the album's sound at a mid-paced pulse, focusing on synth shapes and textures to achieve propulsion with only the lightest of drum parts. Alongside the energetic intrigue of Uncles' sonic choices, the melodic make-up of the track is a compelling showcase for his emotionally ambiguous approach, both rousing and chilling in the same curious chord shapes.

From the half-time prowl of 'Lifting The Veil' to the creeping textures and haunted phrasing of 'Brought To Light', Undertones is another stunning exercise in widescreen jungle. It flows naturally from the rich body of work Uncles has cultivated over the past 10 years while carving out its own unique pocket - a reminder if you needed one of the profound sound bedded into the Eusebeia project.

Dive into the ultra deep field with the third release by Alphawaves. A0708EP, exemplifies Alphawaves' unique ability to sculpt atmospheric textures and intricate rhythms, seamlessly merging the organic with the synthetic. Yet another masterclass in balance, where cutting-edge sound design meets the warmth and depth of analog undertones. The result is an immersive sonic landscape that transcends time, presenting a vision of the future that feels both unsettling and profoundly familiar.

Representing the spirit of the underground in Dubai, Shadi Megallaa is a multifaceted music lover whose unwavering passion for music permeates throughout all of his endeavours. A pioneer of Dubai’s electronic music culture, Shadi’s roots lie with the foundations of modern day electronica: all shades of house, techno and beyond. His commitment to preserving and evolving the culture is inherent in his record shop, The Flip Side, which has been intrinsic to the growth and development of music culture in Dubai. As a DJ and producer he draws on a multitude of experience, diverse taste and a refined ear that has instilled the ability to craft compelling productions. On Spirits Of The Deep we find Shadi exploring the deeper side of electronic music, creating layers of vibration designed to immerse the listener in layers of positive vibration.

As prescribed by Shadi himself, we start the traditional way, with Side B (the info side), where ‘Microgravity’ transports us into the cosmos. Soothing sonics envelop a taut low end with crisp percussion and swathes of pad work cultivating an interstellar atmosphere. Subtly shifting layers keep you locked into a groove, as the track maintains its energetic pulse. The synth lines increase with intensity midway through, adding more potency. Across almost nine minutes Shadi takes us on an excursion beyond the stars…

This is followed by ‘G-Dub’, a smooth jazz-inflected piece full of soul nourishing goodness. Intuitive drum programming with a groove-laced low end form the propulsive backbone of this track. The dreamlike melodic elements are almost transcendent in their illuminating impact. With all of its elements combined, ‘G-Dub’ is a glorious foray into the depths of true deep house. Shadi keeps things interesting throughout, adding and subtracting layers to complement the pace. Those hi-hats and intermittent cymbal crashes are especially impactful. A delight.

On the flip we have ‘Pressure’, where Shadi’s UK breaks influence comes through. A characterful vocal sample features throughout the intro before we enter a world of unusual sounds. The beats are, once again, impeccably executed, accompanied by a dubby bassline and an ever-evolving cacophony of squelchy sounds and chirps. Running at just over 9 ½ minutes, ‘Pressure’ sees Shadi flexing his creative muscles with a heady, expansive composition that invites us on a deep musical trip.

Finally, ‘The Poet’ closes out the EP on an emotive tip. The track is dedicated to the Palestinian poet and activist Refaat Alareer, who was killed during an airstrike on Gaza in December 2023. It utilises Refaat’s powerful poem If I Must Die, with the spinetingling words taking centre stage, as Shadi’s beats, bass and bright pads provide the backdrop. A piano-led melody appears in the latter part of the track, amplifying its emotionally-charged atmosphere. A wonderfully imagined homage to a martyr for peace. As the samples state, Let it bring hope…

Hexagonal rising star Hyas & Parisian underground mainstay Aurèle join forces on their latest five-track EP, “Spider Rituals”. This release navigates the realms of techno, breaks, and UK inspired wobbling frequencies.

The journey begins with the 140 BPM head-turner, “Craig Mild” where an enchanting witchcraft ambiance intertwines with classic Roland drum machines and emotive Yamaha synth chords.
A2, “Pryorities” propels you straight into the heart of a sweaty basement, layered with naughty boys samples and a wonky bassline supplement that keeps the energy alive.

Flipping to Side B, we dive into the grooviest cut of the record, B1 – “Wow Seen”, certified banger material avidly tested by the French duo prior release… spoiler : it works every time. B2, “Bueno Dub” ventures into frowning-and-vibing territories, serving up a potent mix of daggering basslines, breakbeats, and off-kilter pop samples. Finally, B3 – “Cash Mire” closes the record on an ambient note, featuring deep 808s that seamlessly pull you in a deep bass bath.

With a commitment to blending influences, Hyas & Aurèle present this ambitious opus as a collaboration between their respective labels, Bardouin Music and Demi-Monde.

DJ support - Alix Perez, Fracture, Lenzman, Kyle Hall, Doc Scott.

Introducing a new remix EP series from Rosebay Music aiming to connect the dots between soulful D&B and more disparate styles, tempos and scenes - with remixes coming in from a carefully selected group of artists reinterpreting tunes from the catalogue in fresh and unexpected ways.

Detroit’s Kyle Hall has been 1 of the cities main ambassadors of soulful, gritty house & techno over the last 15 years. Here he’s joined by instrumentalist Ian Fink to deliver a classic slice of deep and raw Detroit house music in his remix of Submorphics - Blastoff. This unforeseen linkup between Kyle Hall and Submorphics represents a rare joining of forces between 2 Detroit-born artists who have both repped their hometown’s aesthetic quite heavily in their respective scenes.

Noodles142 is the new alias of D&B star Satl - making fresh bangers fusing UKG, techno, dubstep and bass music in a classic-yet-futuristic way. Here he flips Submorphics - Hey Baby into deep, dark and dubby 140 territory paying homage to middle-of-the-night Detroit grittyness.

Primitive Instinct has quickly become one of the hottest upcoming names in D&B, repping Bristol with ultra-modern production, swinging drums, gorgeous synth work and amazing vocal sample manipulation. His stellar EP on The North Quarter convinced Rosebay to get him to remix Submorphics - Cinerama; and the result is a truly infectious dancefloor weapon.

The final remix comes from one of the current stars of 1985 Music: Trail. Repping the Toulouse D&B scene over the last few years, Trail has a unique knack for melody, harmony and groove that sets him apart from other modern liquid artists. Here he flips Submorphics, Zar & aya dia’s modern classic “Another Level Of Love” into a trippy and experimental heater. A diverse and eclectic selection of remixes from some very intriguing artists each existing in their own lane. Enjoy the ride!

For the seventh installment of his Hardspace series, Len Faki selects three standout tracks from his personal vault - polishing them up with signature flair for maximum impact.

The A-side features a powerhouse mix of Jimmy Edgar´s Strike. Len Faki brings extra drive and spatial depth to the mix: sizzling hi-hats pan sharply across a tight stereo field, vocal chops flicker in and out, and the groove is stripped, slick, and forceful. A subtle reverb treatment adds atmosphere without compromising punch.

On the B-side, Faki dives into Robert Armani's 1994 album Right to Silence, revisiting two Chicago-style jacking tracks that are nodding to the Dance Mania era.
Up rides on a fierce hi-hat shuffle and a pounding stomp, centered around a bold vocal loop that captures the rough, battle-cry attitude of classic Chicago jack tracks. Faki's edit sharpens the angles and tightens the structure, giving the track even more bite.
Road Tour originally leaned on a harsh, detuned lead synth. Len´s Hardspace version removes the abrasive top line and lets the looping arp take center stage, which subtly shifts in tone and pans across the stereo field. The groove doesn't push forward so much as it sways side to side, creating a warped sense of motion. A pitched-up vocal sample-half command, half tease-injects just the right dose of jack attitude.
HS007 channels the raw, functional energy of vintage Chicago trax through Faki's modern lens - respectful to its roots, but fully tuned for today's sound systems.