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FJAAK return with a powerful remix package, delivering fresh takes on a selection of tracks from their unforgettable 2024 album 'FJAAK THE SYSTEM'. Welcoming three standout remixes from some of techno's most respected names, 'REMIX02' sees offerings from Robert Hood, Shed and West Code, as well as some surprise Bandcamp digital only remixes selected from the participants of FJAAK's latest remix competition. Kicking off the main remix package release, Detroit legend Robert Hood brings his unmistakable raw, relentless and pioneering sound to the table as he reimagines FJAAK's 'Breathe Underwater'. The genre-defining godfather serves up an undeniably signature cut flooded with euphoric energy, thumping grooves, rippling musicality and spaced-out vocal injections, carving out an authentic Floorplan-esque peak-time jam. Berlin-based artist Shed (one of the many monikers of established electronic stalwart Ren? Pawlowitz) is next to feature, delivering another impressive spin on FJAAK's work, this time exploring his vision on 'Micro Expressions'. An impressive blend of hypnotism and electricity, this bold remix echoes FJAAK's preference for cultivating huge dancefloor heaters that thrive on live instrumentalism and limitless energy. It's racy, groovy and raw, building around rolling rhythms, warping layers of analogue sound and intricate breaks throughout. Argentinian talent West Code was the winner of the 'Redemption' remix competition and rounds off the main package with a huge interpretation of FJAAK's original mix. Almost bordering into tribal techno in places, its emphasis on groove and subtle South American influences create a unique remix, overflowing with boomy low-end drive, piercing percussive drive and mind-bending melodics - a real gem for the height of the party and irresistibly sinister from start to finish. The remix competition of 'Redemption' drew an overwhelming response from producers worldwide, which made it very difficult to choose a winner. Even though West Code's interpretation was the chosen remix, four other interpretations were so good that FJAAK decided to showcase the talent of Helsmoortel, Genex, Ay Din and Your friend daao by including their reworks on an exclusive Bandcamp-only EP, highlighting the duo's ongoing commitment to to the underground.

Composed, Arranged, and Conducted by: Norio Maeda

Has there ever been a soundtrack so thrilling and beautiful? This is the pinnacle of cine-jazz, crafted by the master Norio Maeda.

Released in 1971, Shadow Of The Highway is a suspense-action film produced and starring Jiro Tamiya, and directed by Jun Fukuda.
True to its tagline—“A sports car tearing vertically through Japan, from Kagoshima to Hokkaido”—the film features a Mitsubishi Galant GTO racing
across the country. Often compared to the American New Cinema classic Vanishing Point, it stands as a Japanese road movie gem.

The music was composed by the legendary Norio Maeda. His piano corners with elegance, the vibraphone dashes forward with flair, the bass charges
ahead with power, and the drums shift gears with precision. Motion and stillness, obsession and desire, joy and sorrow—thrilling performances and
beautiful melodies elevate the film to new heights.

As a soundtrack, it is exceptional. But even more, it represents an extraordinary level of quality for Japanese jazz in 1971. The performances are so
remarkable that it’s unfortunate the exact personnel remain unidentified. However, it has long been rumored that the musicians may have been associated
with Takeshi Inomata’s Sound Limited—or possibly The Third.

Text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

The seasoned DJ & producer (GALAPOGOS4, QWEL, GLUE, ALTERED TAPES) shines a light on his love for obscure Latin disco on this scorching hot 7". In constant rotation at our office since it arrived. Def don't miss this sun drenched, surefire dance floor filler!

Born in Antwerp in 1939, Ferre became a true icon in the sixties, adored by youngsters and hippies and hated by the establishment. His successful debut album in 1966, which featured the hits “Ring Ring, I’ve Got to Sing,” “Crucified Jesus,” and “Drunken Sailor,” brought him an international breakthrough with concerts in Paris, London, and Hamburg, leading to a contract with the famous French Barclay label. The next three albums did not equal the initial commercial success — a pressure the music business was happy to put on his shoulders. Still, these three albums, reissued in their original packaging and artwork on vinyl for the very first time, are loaded with hidden gems, combining folk, blues, and psychedelics in Ferre’s original songs.

Grignard sadly succumbed to throat cancer in 1982 at the early age of 43.

Born in Antwerp in 1939, Ferre became a true icon in the sixties, adored by youngsters and hippies and hated by the establishment. His successful debut album in 1966, which featured the hits “Ring Ring, I’ve Got to Sing,” “Crucified Jesus,” and “Drunken Sailor,” brought him an international breakthrough with concerts in Paris, London, and Hamburg, and led to a contract with the famous French Barclay label. The next three albums did not match the initial commercial success — a pressure the music business was happy to put on his shoulders. Still, these three albums, reissued in their original packaging and artwork on vinyl for the very first time, are loaded with hidden gems, combining folk, blues, and psychedelics in Ferre’s original songs.

Born in Antwerp in 1939, Ferre became a true icon in the sixties, adored by youngsters and hippies and hated by the establishment. His successful debut album in 1966, which featured the hits “Ring Ring, I’ve Got to Sing,” “Crucified Jesus,” and “Drunken Sailor,” brought him an international breakthrough with concerts in Paris, London, and Hamburg, and led to a contract with the famous French Barclay label. The next three albums did not equal the initial commercial success — a pressure the music business was happy to put on his shoulders. Still, these three albums, reissued in their original packaging and artwork on vinyl for the very first time, are loaded with hidden gems, combining folk, blues, and psychedelics in Ferre’s original songs.

Grignard sadly succumbed to throat cancer in 1982 at the early age of 43.

The song sets the tone of this album. A simple structure, over which a web of rhythm is woven using an instrumentation of old drum machines in dialogue with live drums and percussion. Lots of sax, tenor and baritone! A pumping bass. A frisky pizzicato violin. And some classic keyboards: the Fender Rhodes, the Hohner Clavinette D6, the L-100 Hammond organ. And lots of analogue synthesisers: a rippling Juno-106 marks the path to follow, which is crossed with phrases from other museum pieces: Crumar's Stratus, Farfisa's Synthorchestra, Sequential's Prophet-10. Or still the Casio Club M-100, which is basically a toy, but has been subtly colouring SKC's songs for years!

SKC has often dived deep into the repertoire of artists he holds in high esteem, looking for pearls, forgotten or not, to work on. Likewise on this album with versions of songs by Prince, Dez Mona, Alain Bashung…

Kimberly Claeys, known as Little Kim, has been pursuing her musical career for 20 years. She has performed with the Western Swing band Little Kim & The Alley Apple 3 in Belgium, the Netherlands, France, and Germany, and has released four albums. Since 2019, she has brought a breath of fresh air to the folk monument Kadril, with whom she released the album Jolie Flamande in 2022. Little Kim is also known as one of Guido Belcanto’s regular guest singers.

Her solo debut, Moederland (2022), was produced by Guido Belcanto, who also appears on several songs and lent her his band Het Broederschap. In addition to Belcanto, Bruno Deneckere and Lieven Tavernier wrote and interpreted songs for her, drawing from artists such as Gillian Welch, Nathalie Merchant, and Bob Dylan. The album was very well received by both the press and fans.

On 28 March 2025, her new album, Ademhalen, was released, featuring Dutch-language songs written especially for Little Kim by Bruno Deneckere, Lieven Tavernier, Lennaert Maes, and Wigbert.

Little Kim offers a mix of country, folk, roots, and Americana — you could call it Flandricana, or as record boss Felix Huybrechts describes it: “Country molded from Flemish clay.”

For the recording of Ademhalen, Kim was able to rely on her regular band and the support of Gianni Marzo (Marble Sounds, Isbells). Together, they created a new sound that can be abrasive at times and soothing at others, but always centered on the pure beauty of the song.

Her new single, Bij Jou, was featured on Radio 2's playlist for weeks.

Little Kim performs as a soloist, a trio, or with a full band.

LITTLE KIM & GROUP
With: Kimberly Claeys – vocals | Bruno Deneckere – vocals, guitar | Bart Vervaeck – pedal steel, guitar | Andries Boone – violin, mandolin, accordion | Jasper Hautekiet – double bass | Bert Huysentruyt – drums

Ahhhh, dick wie Lava, schwarz wie Ebenholz, kantig und kratzig wie das Kinn von Conan, dem Barbaren. Piece, ein Dreigestirn im Auftrag des fetten Riffs, legen nun mit Ramblers Axe endgültig Ihr Masterpiece ab. Nach _.... und ordentlich Live-Erfahrung merkt man dem neuen Opus die Erfahrung der letzten Jahre an. Spitzen Songwriting, was den internationalen Ebenbildern um nichts nachsteht. Die Berliner liefern eine kraftvolle Mischung aus Sludge Metal, Doom und Rock'n'Roll. Inspiriert von Bands wie Crowbar, High on Fire und Eyehategod, vereinen sie die rohe Aggressivität, der musikalischen Wurzeln aller drei Bandmitglieder, des Hardcore und Punk mit der erdrückenden Schwere und den riffbasierten Klängen von Sludge und Heavy Metal.

Schwarz-weiße Galaxy-Vinyl in Gatefold-Hülle mit gedrucktem Textheft und Download-Karte

Schwarz-weiße Galaxy-Vinyl in Gatefold-Hülle mit gedrucktem Textheft und Download-Karte

Wenn du ASHEN noch nicht kennst, wird sich das mit ihrem Debütalbum “Chimera” ändern „Chimera“ klingt wie ein Ich, das in zwei Hälften zerbricht. Aus dem Pariser Underground bringt die moderne Metalcore-Band Ashen frischen Wind ins Genre der harten Musik. Mit ihrem ersten Album stellen sie sich nicht einfach nur vor, sie reißen ein ganzes Universum auf. Eines, das aus Schmerz, Ekstase, Wahn und Klarheit zusammengenäht ist. Dieses Album ist alles, nur nicht vorhersehbar. Metalcore wie durch ein Kaleidoskop gesehen: filmisch, instabil, wunderschön verstört. „Chimera“ ist ein brutaler, aber zugleich schöner Abstieg in verdrängte Emotionen - eine Suche nach etwas Echtem unter all dem Lärm. Eine langsame Verwandlung, wie das eigene Spiegelbild, das sich verändert, in etwas Fremdes, vielleicht Wahreres. Trotz seiner Komplexität verliert das Album nie seine Seele. Der Sound ist modern und maximalistisch – jeder Glitch, jeder Drop, jeder Sound wirkt durchdacht. Man hört, dass hier eine Band am Werk ist, die jedes Detail liebt, nicht nur musikalisch, sondern auch textlich. „Chimera“ ist eine Auseinandersetzung mit dem eigenen Werden: damit, was passiert, wenn man sich der verzerrten Version seiner selbst stellen muss - der Version, die durch Schmerz entstanden ist.

'Girl Violence' ist das dritte Album der New Yorker Künstlerin King Princess (Mikaela Straus) und ihr bisher persönlichstes und unverblümtestes Werk. Sie schrieb das Album, nachdem sie eine langjährige Beziehung, einen Major-Label-Deal und eine Stadt, die ihr den Funken nahm, hinter sich gelassen hatte. Es fängt das Chaos, die Klarheit und die Katharsis eines Neuanfangs ein.

In kühnen Pop-Hymnen und intimen Bekenntnissen erforscht Straus die nuancierte, chaotische und magnetische Dynamik der Liebe zu Frauen. Das Ergebnis ist eine Platte, die emotional wild, klanglich furchtlos und zutiefst selbstbewusst ist.

Seit ihrem Durchbruch mit der Platin-zertifizierten Hymne '1950', die über eine Milliarde Streams verzeichnen konnte, hat sich King Princess einen einzigartigen Platz im modernen Pop geschaffen. Mit 'Girl Violence' wendet sie das Blatt, übernimmt die volle kreative Kontrolle und liefert ihre bisher eindrucksvollste und kompromissloseste Vision.

Ilija Rudman makes us thrilled to welcome him to Sosilly Records with this spellbinding new EP, Abracadabra. A visionary Croatian DJ producer based in Zagreb, Ilija has carved his legacy over more than two decades as a driving force in underground disco and house. Founder of Red Music Records and co owner of Imogen Recordings, he’s released over 100 vinyl EPs and 8 studio albums globally, collaborating with legends like Robert Owens, Greg Wilson, Faze Action and Ron Trent—all while maintaining his trademark analogue only, deeply soulful sound.

Drawing on influences from 1970s boogie, Prelude and Salsoul-era disco, Ilija’s music vibrates with warmth and authenticity—a perfect match for Sosilly’s ethos. This EP offers three cuts of pure groove magic:

If any album could conjure up the revolutionary spirit of Jamaica in the mid 1970’s, Tapper Zukie’s invincible M.P.L.A. set would surely be a fighting contender. The coming together of great rhythms and meaningful lyrics in a time of unrest in the country seemed to have made the album all the more urgent and relevant. As time would tell it would also prove to be a lasting success, not only with the hard core reggae fans but also their punk counterparts. Who embraced its militant themes and crossed the album over to a whole new audience. Tapper Zukie (b. David Sinclair, Kingston, Jamaica.) had already returned from a trip to London England by the mid 70’s .Initially sent with help from his parents, brother Blackbeard and producer Bunny ‘Striker’ Lee to remove the youth from his troublesome ways on the streets of Kingston, Jamaica. He had performed some live shows in London and made some recordings for Larry Lawrence, that produced his debut ‘Jump and Twist’. Alongside other recordings that would emerge as his ‘Man A Warrior’ set. But feeling homesick he had returned to Jamaica in 1974 to work with Bunny Lee. His work would consist of arranging sessions and collecting payments to bodyguard, the now very successful producer. His frustration of Bunny Lee’s reluctance to record him led him cutting ‘Judge I Oh Lord’ for producer Lloydie Slim. Bunny Lee’s then recording of Tapper’s ’Natty Dread Don’t Cry’ and its subsequent release aboard, led to an altercation between Tapper and producer. The police had to be called and an offer to provide the singer with a set of rhythms put this matter to rest. The eight rhythms and a further two from Jo Jo Hookim and Ossie Hibbert alongside some free studio time at King Tubby’s Studio would result in the M.P.L.A album.

The rhythm provided by Jo Jo Hookim was a Channel One studio cut by The Revolutionaires based on Little Richards ‘Freedom Blues’ and provided the backdrop to M.P.L.A. The Ossie Hibbert rhythm again cut at Channel One based on The Royals ‘Pick Up The Rockers’ would provide the backdrop to Tapper’s ‘Pick Up The Rockers’. These and the remaining Bunny Lee rhythms, were all cut in a one hour session, at King Tubby’s Studio. ’Don’t Get Crazy’ cut on a rhythm based on the Joe Frazier rhythm to Tony Brevett’s ‘Don’t Get Weary’. ‘Go De Natty’ cut on Cornell Campbell’s ‘Please Be True’, originally a cut to Alexander Henry’s ‘Please Be True’. ‘Stop The Gun Shooting’ runs over Horace Andy’s ‘Skylarking’.’Ital Pot’ cut on Johnny Clarke’s version of Burning Spear’s ‘Creation Rebel. ‘Marcus’ see’s Tapper professing over Johnny Clarke’s ‘Poor Marcus’ .’Chalice To Chalice’ pulls on Johnny Clarke’s ‘Give Me a Love’,’ Don’t Deal With Babylon’ answers Junior Ross and The Spears ‘Babylon Fall’ and ‘Freedom’ rides on the great rhythm of Junior Ross and The Spears ‘Liberty’. An outstanding album cut by one of Jamaica’s finest DJ’s and producers the mighty Tapper Zukie. We hope you enjoy this now timeless set.

Die legendäre Vinyl-Serie für alle Italo Disco-Fans geht in die nächste Runde!

Mit The Italo Disco Collection Vol. 3 erwartet dich eine exklusive 4LP-Box, randvoll mit den größten Klassikern der Italo Disco-Ära der 80er Jahre – ein Muss für Sammler, Nostalgiker und Liebhaber des typischen Synthie-Sounds.

Diese Box bringt den Sound der Tanzflächen der 80er Jahre zurück – authentisch, analog und mit jeder Menge RetroFeeling. Ideal für DJs, Fans der Italo Disco-Szene oder als stilvolles Geschenk.

Classically trained, with a background in jazz, soul and gospel, Laura Mvula emerged from Kings Heath, Birmingham in 2012 with her first EP, She. The following year her debut album, Sing To The Moon, dropped to enthusiastic reviews; earning two MOBO awards (plus nominations for both the Mercury Prize and two Brits) and going gold. Preceded by Laura’s most popular single, ‘Green Garden’, a hymn to her west midlands home, Sing To the Moon was described in The Guardian as ‘Gospeldelia’, a genre unto itself, which may have been a small exaggeration but speaks to the album’s ambition, inventive arrangements and striking originality.

Everything Is Recorded, the collaborative music project centred around producer Richard Russell, returns with a brand new single, “Porcupine Tattoo” - a stripped-back lament featuring two American musical icons - Noah Cyrus and Bill Callahan - who appear on record together for the very first time. The collaboration came together while Russell was hosting sessions for a forthcoming Everything Is Recorded album, one set to build on previous acclaimed releases including 2018’s eponymous, Mercury Prize-nominated debut album. Reaching out to Callahan - an artist he’s long admired and whose song “I’m New Here” was covered by, and provided the title for, Gil Scott-Heron’s final, Russell-produced studio album - Russell asked the simple question “who would you like to write a song for?”. “Noah Cyrus” was Callahan’s reply. The final single features Callahan’s original demo vocal, pitched down and resting on layers of sub bass and complemented by Cyrus’ crystalline counterpoint vocal. It was recorded during a rainy week of sessions in a bungalow at Los Angeles’ Chateau Marmont, which Russell described as “comfortable but haunted”. The song continues a lineage of Russell productions – from “I’m New Here” to Bobby Womack’s “Deep River” and Damon Albarn’s “History of a Cheating Heart” – that explore a sparser, more acoustic side of his sound. The limited edition 7” vinyl single is released on XL Recordings in partnership with Drag City, Bill Callahan’s long term label home. The 7” exclusively features a second collaboration between Everything Is Recorded and Callahan in the form of “Norm”, a tribute to the Austin-based singer songwriter’s favourite comedian Norm MacDonald”

We’re excited to present this special edition vinyl celebrating Lofi Girl’s collaboration! For the second year running, we’re proud to sponsor the Champions Chess Tour 2024—the largest online chess tournament in history with a $1.7 million prize fund and the world’s top players competing for glory.



This vinyl features our curated compilation, synthwave beats to play chess to, blending the focus and creativity of synthwave music with the strategy and brilliance of chess.



Thank you for joining us on this journey—let the games (and the beats) begin!

‘(Listen for) The Rag and Bone Man’ - Reissued and available on vinyl for the first time, was the album that marked the renaissance of the band in 2007, bringing them out of the quietest and most hermetic period of their existence and setting them back on course to establishing themselves as the global, underground phenomenon that they are today.
This new, remastered, edition includes six previously unreleased pieces, written during the same period but not included on the original album.
A work that takes us on a dreamlike journey through dark landscapes coloured by a guitar that brings to mind the trademark sound of their formative years and populated by characters as diverse as the nursery rhyme like ‘A man with a drum’ to William Faulkners ‘Candace’.
The vinyl comes as a gatefold, double album. Also available on CD with booklet including lyrics and photographs. ‘And Also The Trees’ are currently writing their sixteenth studio album and will be performing live in numerous European venues throughout 2025.

We are excited to announce the return of the iconic Totally Wired series with a brand new collection on LP and CD. The first 50 orders will include a special art print of the artwork. We are also doing a limited edition T-shirt to celebrate this milestone!

In 1988 Acid Jazz released its first compilation album ‘Totally Wired: A Collection From Acid Jazz Records’. Compiled by Eddie Piller and Gilles Peterson it collated 11 tracks that summed up the early days of our scene, mixing new label signings, cool new records being played in our clubs and a couple of oldies. It sold well to the then small scene and set the template for a series, that in the wake of the international success of The Brand New Heavies, Jamiroquai, The James Taylor Quartet and others exploded. By the time that Volume 5 appeared, we were selling tens of thousands of copies, with major label artists vying for inclusion.

By that point ‘Totally Wired’ was a phenomenon, that sign-posted changes in both the directions of new music, but of the oldies that were played on the scene. It gave DJs new tunes to play and soundtracked 1000s of Cafés and bars the world over in the age of the CD. It was largely retired at the end of the 90s and as times changed.

Over the years we have been asked to return to the scene of the crime, but it has never quite felt right, until now. With vinyl back, and the need for easy to digest compilations becoming neccessary in the chaos of streaming’s ‘I can listen to anything I want, but can’t think what that might be’ is evident, but also we are feeling excited about where Acid Jazz is right now. New artists on the label are making great records, Matt Berry has a Top thirty album, and The Brand New Heavies are headlining the Royal Albert Hall. It’s easy to make an exciting album when that is happening.

So we are releasing “Totally Wired: A New Collection From Acid Jazz” and treating it like the important milestone that it is. From the Acid Jazz sid we have new and exclusive recordings by Matt Berry, Chris Bangs and new signings Earth-o-Naut and Quiet Fire, there is also a recent white label only 45 cut by the Soul Revivers – released ahead of their new album due this Autumn and featuring Kokoroko’s Shiela Maurice-Grey and Anoushka Nanguy. For the oldies we have dug deep into our own archives to bring you the Acid Jazz Orchestra’s version of Corduroy’s ‘Something In My Eye’ and The Brand New Heavies astounding funk take of Aretha Franklin’s ‘Rock Steady’. These are all joined by recent scene records by Carmy Love – one of the greatest voices in the UK – The Romero Brothers, and BDQ, carrying the series onwards at last.

Texas drone pioneers Stars of the Lid take stock of a landmark career with this 30th anniversary edition of their debut LP Music For Nitrous Oxide on their own Artificial Pinearch Manufacturing imprint. Long before the brittle-yet-warm racket Adam Wiltzie and Brian McBride kick up became synonymous with the achingly beautiful decay of America they were two audio geeks in Austin with almost no connection to the city’s vibrant, but rock and roll focused music scene. Finding brotherhood in mangled tape collages and engulfing fuzz, Stars of the Lid was born out of their mutual abstraction from what surrounded them. While to its creators, Music For Nitrous Oxide may have simply been a (slight) refinement from the drones Wiltzie and McBride were unleashing on unsuspecting college radio listeners at UT Austin, the rest of the world was slowly catching up to the duo’s noise-addled magic.

London-based producer Tar Blanche, also known as a member of the dreampop band Yumi Zouma, unveils How to Dance Freely Without Social Anxiety, a 7-track journey through jazz-house, deep house, and chill-out lounge.



With a sound that resonates alongside artists like dublon, Table, and Berlioz, the English producer blends ambient textures, refined guitar riffs, and emotive productions, crafting an intimate yet hypnotic atmosphere. Signed to Délicieuse Records, Tar Blanche continues to push boundaries, cementing his place as one of the most exciting producers in modern electronic music.

Barcelona-based producer Ikari debuts on NIX with When It’s Over, a tightly constructed EP that brings together the weight of low-end pressure with crisp percussive detail. Built for the club but with a strong emotional pull, the release folds bass-rooted aesthetics into tightly wound techno frameworks, led by carefully sculpted sound design and a deep sense of mood.

Each track acts as a standalone world, but together they form a cohesive whole, driven by feeling rather than formula. There is a subtle melancholy running through the release, not overbearing, but present in the tonal shifts, textural tension and soft-release moments that flicker throughout. It is a record that sharpens Ikari’s already distinctive voice, pushing his technical process further without losing the raw edge that defines his work.

On When It’s Over EP, the focus isn’t on maximalism. Every choice feels deliberate: harmonic details, spatial effects, rhythmic structure. All of it is aimed at stirring something visceral in the listener. It is the sound of an artist locked into his own narrative, inviting us to step in.

Mitsubishi Fuso is the first single from Ikari’s debut EP for NIX, out on 4th of July. The full EP follows on the 18th of August as a limited stamped white label, mastered and cut by Tim Xavier at Manmade Mastering.

Australia's powerhouse Hammond Organ trio Cookin' On 3 Burners serve up a heavy double-sider, offering DJs and collectors a taste of what's to come from their first studio LP in six years, due October 2025. With a 27-year legacy in the global funk and soul scene, CO3B have earned praise from the likes of Dusty Groove, Wax Poetics, and Rolling Stone Australia, and boast over 2 billion streams worldwide — thanks in part to their breakout hit "This Girl" (Kungs remix).

Side A – Cookin' The Books
A gritty, upbeat Hammond-led instrumental cooked low and slow in the heart of Melbourne's funk scene. It's all business up front — deep pocket drums, greasy organ licks, and guitar work that snaps and struts. No vocals, no fat — just a raw funk workout that's ready for the crates.

Side B – Give a Little Bit More (feat. Stella Angelico)

A classic-feeling, mid-tempo soul joint with a message that cuts deep. Longtime collaborator Stella Angelico delivers a powerful vocal performance about generosity, empathy, and turning things around when it matters. With uplifting lyrics, smooth horns, and a groove that nods to vintage 45s, this one lands straight in the heart — timeless, spiritual, and soul-drenched.

Captured live to tape at Soul Messin' Studios using vintage gear, the record oozes warmth and authenticity. Supported with airplay from Craig Charles (BBC6) and limited to just 500 copies on black vinyl in a Soul Messin' Records disco sleeve, this 45 is a must-stock item for funk, soul, and groove-focused retailers.

FFO: The Meters, El Michels Affair, Menahan Street Band, Quantic, Daptone Records

1988's Love Hysteria was produced by Simon Rogers, who at the time was also playing with The Fall. It contains eight songs written by Peter with Paul Statham, plus a cover of Iggy Pop's "Funtime". Record Collector said that the album's songs "All Night Long, Indigo Eyes, Dragnet Drag and Blind Sublime managed to combine direct rock power with Murphy's vocal gymnastics and imaginative way with lyrics."

Everything Is Recorded, ist das musikalische Kollaborationsprojekt von XL-Recordings Chef Richard Russell. Auf dem Album "Temporary" sind zu hören u.a. Sampha, Bill Callahan, Noah Cyrus, Florence Welch, Maddy Prior, Berwyn, Alabaster Deplume, Jah Wobble, Yazz Ahmed, Laura Groves, Kamasi Washington, Ricky Washington, Roses Gabor, Jack Penate, Samantha Morton, Clari Freeman-Taylor und Nourished By Time. "Temporary" entstand im Verlauf von vier Jahren in Russells Londoner Copper House Studio und während einiger zusätzlicher Sessions in Tottenham, Cumbria, Dorset, Los Angeles und Las Vegas Es schließt an die vorangegangenen Releases wie das 2018 für den Mercury Prize nominierte Debüt an. Auf dem neuen Album erfährt Russells musikalische DNA allerdings ein Reboot: Sein Cut & Paste Approach reicht in die Zeit vor Sampling-Helden wie The Bomb Squad und Prince Paul zurück bis hin zu Innovatoren wie Steve Reich, Robert Rauschenberg und William S. Burroughs. Während Russells Musik bislang geprägt war von Rhythmus, Worten und Melodie - in ebendieser Reihenfolge - tauschen zwei Aspekte diesmal ihre Rollen. Der Rhythmus tritt zugunsten der Melodie in den Hintergrund. Musikalisch ist "Temporary" vom Gedankenexperiment "what if folk music had "gone digital" in the 80s, just as reggae had?" geleitet, während sich in spiritueller und lyrischer Hinsicht vieles um Trauer und den Verlust von Freunden, Familienmitgliedern und Kollegen dreht. Im Ergebnis stehen leuchtende und gelassene Kompositionen, auch dank der faszinierenden und vielfältigen Gästeliste, die "Temporary" mitbringt. Die fragilen, zärtlichen und stillen Tracks liefern vielleicht eines der sanftesten Alben, die je über den Tod geschrieben wurden. "Das Album zu machen, war erfüllend, eine Art, das Leben zu heiligen", so Russell. "Temporary" ist die erste reguläre Veröffentlichung von Everything Is Recorded nach über vier Jahren. In der Zwischenzeit war Russell allerdings nicht untätig. Via Soundcloud und Bandcamp erschienen zuletzt "Summer Solstice", "Autumn Equinox", "Winter Solstice" und "Spring Equinox", die alle mit einer Reihe von Gastmusikerinnen und -.musikern im Rahmen ausgiebiger Jams an jeweils nur einem Tag entstanden. Mit der Schauspielerin und Regisseurin Samantha Morton tat er sich zum Duo Sam Morton zusammen, welches sein Debüt "Daffodils und Dirt" veröffentlichte. Für Peter Gabriels Comeback-Album "i/o" produzierte Russell den Song "Four Kinds of Horses".

Leon Michels ist still und leise zu einem der gefragtesten Produzenten der Musikszene geworden.Sein unverwechselbarer Sound hat die Aufmerksamkeit des Mainstreams auf sich gezogen und inspiriert gleichzeitig weiterhin die Underground-Szene. Seit dem 2023 erschienenen Album Glorious Game von El Michels Affair & Black Thought war Michels als Produzent für andere Künstler aktiv - darunter Norah Jones' Grammy-prämiertes Visions, Clairos Grammy-nominiertes Charm, Kali Uchis' ,Moonlight" sowie Alben für seine Labelkollegen Brainstory, Derya Yildirim & Grup Simsek, Thee Heart Tones und Liam Bailey. Sein neues Album 24 Hr Sports markiert die langersehnte Rückkehr unter seinem eigenen Namen: El Michels Affair.24 Hr Sports wurde inspiriert von Mode und Grafikdesign der Sports-Illustrated-Magazine der 80er- und 90er-Jahre, MF DOOMs Special Herbs-Alben, den dort verwendeten Sample-Quellen und Gospelmusik à la Pastor T.L. Barrett. Die Summe dieser Einflüsse, gepaart mit Michels' unfehlbarem kreativen Gespür, ergibt ein Rezept für einen Instant-Klassiker - ein Werk, das zweifellos zu den meistgefeierten Veröffentlichungen des Jahres 2025 zählen wird.Der Album-Opener ,Drum Line" ist ein hymnischer, mitreißender Track mit Marschband-Schlagzeug und donnernden Bläserarrangements, die sofort alle Aufmerksamkeit auf sich ziehen und den Ton für das folgende Album setzen. 24 Hr Sports bedeutet eine deutliche Abkehr von der bisher überwiegend instrumentalen Musik im Katalog von El Michels Affair. Mit einer Vielzahl von Gesangsfeatures spiegelt das Album das schwer einzuordnende Genre seiner Musik wider.Das erste dieser Features ist ,Mágica" mit dem brasilianischen Künstler Rogê, der die ohnehin energiegeladene Nummer mit seinen fußballinspirierten Lyrics auf ein neues Level hebt. Weiter geht es von Brasilien nach Ghana: In ,Say Goodbye" feiert Florence Adooni ihre Individualität mit lässigem Selbstbewusstsein und wechselt mühelos zwischen Frafra und Englisch, besonders eingängig im Refrain: ,never gonna find a girl like me_".Labelkollege und weltbekannter Trompeter von The Roots, Dave Guy, veredelt den 70er-Jahre-Groove von ,Oakley's Car Wash" mit seinen charakteristischen Bläserlinien, bevor der Track in ein Dub-artiges Outro übergeht. Vom wilden zum sanften Klang: ,Anticipate" mit Clairo knüpft an die musikalische Chemie an, die das 2024er-Album Charm hervorgebracht hat. Clairo gleitet über die typischen EMA-Arrangements, während sie sich nach unerreichbarer Liebe sehnt - getragen von einer perfekt eingespielten Band.,Eastside" ist ein Stück, das einen Sonnenaufgang am Meer vertonen könnte - Leon Michels' Sinn für Raum und Arrangement wird hier besonders deutlich. Aus Japan ist der Suginami Children's Choir auf dem üppigen Track ,Clean The Line" zu hören - sie singen ein Lied über den Mond, die Sonne und Vögel. Danach reißt ,Cortex" mit verzerrten Gitarren und donnernden Drums die Tür auf - ein Moment purer, filmreifer Intensität in der Mitte des Albums.Leon Michels übernimmt selbst den Lead-Gesang auf ,Shining", einem Song über die Suche nach einem Freund, mit dem man die Freude eines sonnigen Tages teilen kann. Der international gefeierte Shintaro Sakamoto ist auf ,Indifference" zu hören - ein lässiger Song mit federnden Basslinien und gefühlvollen Flöten, in dem Sakamoto zwischen Gesang und gesprochener Poesie über eine vergängliche Liebe reflektiert.Das Grammy-prämierte Duo Norah Jones und Michels kommt auf ,Carry Me Away" erneut zusammen: Jones' honigsüße Stimme schwebt über einem schwer einzuordnenden, aber sofort liebenswerten Track. Michels lehnt sich hier wieder mehr in Richtung El Michels Affair-Stil, der sich klar von seinen bisherigen Produktionen für Norah Jones abhebt. ,Take My Hand" stellt den Gospel-Einfluss in den Vordergrund - mit dem Fabulous Rainbow Singers Choir im Refrain und einem Saxophon-Solo der verstorbenen Jazzlegende Rahsaan Roland Kirk.,Open Season", ein Piano-getriebener Midtempo-Track mit Gruppenrufen wie ,we want the gold, we want the gold_", könnte den perfekten Soundtrack für eine Slow-Motion-Highlight-Reel liefern. Der treffend betitelte Albumabschluss ,Victory Lap" schließlich ist ein traumhafter, euphorischer Ausklang, der dem gesamten Werk würdig ist.Am Ende spricht die Trophäe auf dem Albumcover Bände: El Michels Affair ist Champion Sound - und 24 Hr Sports macht das unmissverständlich klar.

In a history that stretches back some 25 years, Faithless have long occupied a pivotal position in the world of British electronica. Marrying elements of house, trip-hop, dub and a songwriting flair into arena-filling, explosive, euphoric dance floor classics. Their accomplishments tell their own story: seven Top 10 singles, six Top 10 albums (three at Number 1), a Mercury Prize nomination for their brilliant sophomore album, 1998’s ‘Sunday 8PM’ and their impressive four times Platinum certified ‘Forever Faithless -The Greatest Hits’ adding to a career total in excess of 15 million sales worldwide

In a history that stretches back some 25 years, Faithless have long occupied a pivotal position in the world of British electronica. Marrying elements of house, trip-hop, dub and a songwriting flair into arena-filling, explosive, euphoric dance floor classics. Their accomplishments tell their own story: seven Top 10 singles, six Top 10 albums (three at Number 1), a Mercury Prize nomination for their brilliant sophomore album, 1998’s ‘Sunday 8PM’ and their impressive four times Platinum certified ‘Forever Faithless -The Greatest Hits’ adding to a career total in excess of 15 million sales worldwide