Buscar:dub one

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their best-selling CLASSIC Studio One collections all released on limited-edition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics.

A blistering collection of non-stop Ska classic tunes featuring classic cuts from the originators of Ska alongside a heavy dose of superb rarities from the might vaults of 13 Brentford Road - pure fire! This compilation features classic tracks from The Skatalites, Bob Marley & The Wailers, Delroy Wilson alongside super-rare tracks from the likes of Ken Boothe, The Maytals, Jackie Mittoo, Tommy McCook and many more. Clement ‘Sir Coxsone’ Dodd’s musical empire was founded on Ska, the first explosive and most exciting music to come out of newly independent Jamaica. This album is a celebration of the music of Studio One Records’ seminal Ska releases and features a who’s who of some of the most important artists in the history of reggae music.

In 1979, Neil Fraser (artistically known as Mad Professor) founded Ariwa Sounds, the longest-serving and one of the most influential independently owned Reggae studios and record labels in the UK. From humble beginnings set up in the front room of Neil's home in South London recording on 4-track and homemade equipment, Ariwa would go on to record and release over 300 albums including works from some of the most impactful and storied artists of their time in the genres of Reggae, Dub, and Lovers Rock

Whilst our previous release in collaboration with Ariwa captured the label's early sound, a shared performance with Neil in Osaka and regular visits to his South London studio inspired us to assemble this 15-track compilation, showcasing the label's output across 45 years. Our release emphasizes some of the label's greatest vocalists: Johnny Clarke, Sandra Cross, Kofi, U Roy, Sister Nancy, Queen Omega, Aisha, Garnett Cross, Abel Miller, Horace Andy and more — presenting the Motown and Stax influences in the Lovers Rock, but also provides a glimpse into the dubbier and more experimental side of the label, showcasing Ariwa's commitment to quality but also their personality, philosophy and their humour. Love songs, break-up songs, socially engaged songs, dub experimentations — this compilation is not a "best of" Ariwa but a diverse and honest celebration of the label through the lens of Melodies International.

The compilation will be out in July in vinyl 2xLP, CD, digital formats, mastered from the original tapes by Frank Merritt (the Carvery), pressed at Optimal, artwork created by Jason Evans with design and assembly contributions from Nevil Bernard and Will Sweeney, animated teaser by Nevil Bernard and Melozine designed by Mafalda Meireles.

Dub-Stuy continues its one-riddim series with Punchliner riddim, an original production crafted by DJ Madd, returning on beatmaking duty since his 2021 relick of the classic Answer Riddim. Driven by syncopated rhythms and a rolling bassline, this new addition to the series provides the perfect backdrop for three standout cuts from an international cast of vocalists.

The late Nazamba offers "Thief," a powerful social commentary in the tradition of dub poets like Linton Kwesi Johnson. UK-based Ras Demo showcases his versatility with "Lyrical Designer," while Spanish vocalist Lasai unleashes rub-a-dub energy on "The Punchliner." An instrumental version is also included.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 2 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
Given Beatrice M.’s reputation as a prolific collaborator, the LP naturally features a few heavy-hitting joint efforts. Bristol-based Sir Hiss features on the subby, 140bpm techno thumper ‘Juice’, while the LP title track, ‘Sinking’, brings forward Beatrice M.’s fresh take on influences from Tectonic’s past in a bass-driven 4/4 number that demands physical movement. ‘Dear Dubstep’ allows a moment to reflect, placing us in a spacious aqua-cave where atmospheric sounds are punctuated by wumping sub-bass, before we surface with ‘Help’ to catch our breath in the melancholy of the moment.

180g Heavy double vinyl LP with liner notes by Tyran Grillo. Limited Japanese Obi for the first pressing. Original artwork by Russell Mills and photography by Jean-Baptiste Mondino.

The third Time Capsule is a body of dub reinterpretations by celebrated producer Bill Laswell of Ethiopian singer Gigi. Curated by Tokyo record collector, music researcher and seasoned reissue supervisor Ken Hidaka, it is the first time Illuminated Audio is pressed to vinyl after its CD release in 2003.

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell.

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.”

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”.

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents.

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’.

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell's music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 1 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
Opening track ‘Ever’ plunges us into deep waters with a sense of dubwise command. The momentum picks up on ‘Ocean’, where the vocal snippet "everyday life" circles around reverbed stabs and intricate hi-hat moves. ‘Motion’ sets the pace with its jumpy but rolling rhythm, leading straight into the eyes-down, party-time energy of ‘Disco Corner’.

Apex militant late '70s style here, if you think you are into steppers you should have this one firmly in your sights. One of Mr. Smart's hardest records, this originally appeared only as an album track, but also had some fame as a dubplate played at the time by Jah Shaka and others. We've long had that cut in our sights, and while some nice new re-mixes of this tune appeared in the last few years, here is the real thing from '79 steel. The A-side features the raw dubplate cut vocal, no horns or other adornment, HARD to the point stepping drum and bass style. The B-side features the original Gussie Clarke dub mix aptly titled "Hot Steppers", also previously released only on album. This cut as well was run on dubplate back at the time, a killer mix with full horns but no vocal. Leroy Smart is one of our all time favorite artists and we take pride in having re-released a handful of his all time best records, this one now added to that list.

10 years of El Hey, pressed into wax.

A decade of sweat, sound, and raw energy has led us to this: our 10 years anniversary various.
Six tracks, one vision, and zero boundaries.

From the deep textures of Dub and IDM to the groove of House, and the driving force of Techno, Break and Minimal, this record is a celebration of the eclectic sound we’ve been digging since day one.
Featuring the core family Antoine LV, Elhadji, Sebizarre, and NOCH, alongside special guests and long-time friends Camion Bazar and Wooka.

6 tracks. 10 years. One record.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

Over a decade has passed since this 12" was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of cv313 mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape masters while focusing on enriching every finite detail. While listening to these remasters you can feel the analog warmth of the original tape recordings, with a low end rumble in a way only POLE could pull off! On the A side we have cv313's classic "Lost Sequence" culled from the celebrated Japan exclusive "live" double CD album released back in 2009. On the B side there's a rare live version performed by intrusion at a loft event put on by the good folks over @ Little White Earbuds. This rare recording was reduced and stripped down, core traces of the original swim inside oceanic bass and modulated high end frequencies creating an atmosphere all of its own. This is one for the heads and a true lesson in space and bass!

UK Street Soul, electronic, Deep House

After enticing tastemakers and fans the world over with her 2-track junket into street soul, Be Loved / What Could Happen, Kuzco doubles down with the after-hours antidote. Bound to Be presents the final two tracks to complete the 4-track EP, plus 2 remixes from Ladymonix and Black Moonchild.

Ladymonix delivers an uncompromising scat dub of Be Loved - a niche and signature style to emerge from the Detroit underground that Ladymonix champions. This one is strictly for the house dancers. The B-side features "Waaalk" and "Ha Ha Ha", a sultry and energetic jaunt into ghetto tech and electro. If it wasn't already evident, Kuzco is clearly making a stand and representing the FLINTA and queer club spaces that she embodies.

The B-side is perfectly complemented by an outstanding remix from Detroit powerhouse Black Moonchild - a superbly deep and hypnotic techno groove reminiscent of UFO activity over the Motor City, with bleeping electronic signals passing through jittery hi-hat and drum passages, married with Kuzco's saucy spoken word.

Deeply rooted in dub techno but reaching far beyond genre routine, weight, atmosphere, restraint and absolute emotional pull. This is dub techno at a truly exceptional level, elegant, deeply absorbing and crafted with the kind of vision that separates strong releases from genuinely unforgettable ones. A massive record with real staying power, and another stunning transmission from Notta Records.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

Veteran UK producer Darren Roach delivers Archivio Records third installment with a four track EP of certified dance floor gold, heavily inspired by a 2025 trip to NYC to visit the Brooklyn based crew.

A1: A Free Democracy pairs a booming bass line with edgy panned strings, trippy melodic elements and a series of politically relevant vocal samples to create a high energy roller, that continually evolves to keep your attention til the very end!

A2: Schizzle my Schnizzle is a warm, groovy, deeper take on the classic tech house sound, with fizzling percussion, sparkling melodies and catchy warping bass, reminiscent of vintage E.B.E. A sure fire after hours hit.

B1: Feel the Rhythm can best be described as a peak time bomb, laced with dubbed out reggae vocals, a big rolling bass line, lush chords and punchy, driving drums. No dance floor can resist this one!

B2: The Train of Thought defines the term chugger. A serious DJ tool, with booming bass, crunchy hypnotic drums, wigged out melodic elements and field recordings of real New York trains recorded during Darren’s trip. A one way ticket to party town!

Darren’s been on fire lately and this release continues his run of red hot records. If you’re looking for a multi-purpose tool kit of high quality tech house gems, look no further than the Lovejoy EP.

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

2026 Repress

KiNK & Raredub launch new sub-label Raw on SHDW's Mutual Rytm with bold two-tracker 'You And Me', backed by a VIP remix of 'Time To Change' from Paul Woolford aka Special Request.

Following their standout debut on Spectra with 'Time To Change', Bulgaria's finest dance music export KiNK & Raredub return to the Mutual Rytm universe to launch the label's new sub-series: Mutual Rytm Raw. Their latest release, 'You And Me', marks the next step in their collaboration - two stripped-back yet anthemic cuts that embody their signature sound: "Rude Boy Techno", a fusion of techno's drive with the swing and grit of UK Garage. Both versions of 'You And Me' are built for the floor, combining sharp percussion, catchy vocal hooks, and powerful low-end pressure - minimal in structure but rich in character and groove.

Rounding off the release is a standout VIP remix from Paul Woolford aka Special Request - one of his infamous 'Variation in Production' versions - offering a stripped yet high-impact reinterpretation of KiNK & Raredub's previous single 'Time To Change'. Raw, rolling, and unmistakably shaped by his UK Garage-influenced style.

“Behind the Noise“ marks a powerful new chapter in Aleqs Notal’s musical journey.It's a declaration, a rupture and a surge of heat aimed straight at the dance floor and the soul, engineered to move thebodies and the foundations.The E.P. includes 4 tracks sculpted with a cutting-edge groove that fuses the weight of dub, the propulsion of DetroitTechno, and the warmth of House Music into one timeless movement.In an era drowning in gloss and shallow repetition, "Behind the Noise" rises as a manifesto for honesty, for the craft andfor music that dares to makes you feel and meditate.Through his music, Notal is urging us to listen deeper, to move with clarity, and to remember what lies beneath thesurface.Behind the Noise, there is truth..and it hits hard!

Brazilian duo DEAFKIDS returns with a vital and combustive new album, CICATRIZES DO FUTURO (SCARS OF THE FUTURE).

This nine-track sonic assault forges a path beyond the conventions and boundaries of static musical genres. Here, electronic fury and feverish organic percussion collide with a relentless Latin American punk spirit.

Vinyl is opaque orange with black dot splatter. Limited


PRESS FOR PREVIOUS ALBUM ‘METAPROGRAMACAO’ (NR113)

LEAD REVIEW IN WIRE MAGAZINE: 'BRAZIL'S DEAFKIDS PERFECT AN UNHOLY COLLISION OF DUB, METAL AND PSYCH ON THEIR CACOPHONOUS NEW ALBUM'
'OPENER 'MENTE BICAMERAL' SOUNDS LIKE BAD-TRIP MINISTRY AND THE SEVEN MINUTE CENTREPIECE 'RAIZ NEGATIVA' IS ABSOLUTELY HUGE' 4.5/5 NARC

“ONE OF THE MOST INDIVIDUAL ENDEAVOURS OUR COMMUNITY WILL DELIVER THIS YEAR” ZERO TOLERANCE.

9/10 REVIEW IN LOUDER THAN WAR: “. IT'S NOISY, IT'S INDUSTRIAL, IT'S PUMMELLING AND ULTIMATELY, IT'S COMPLETELY SATISFYING..

Conceptually, the album is a visceral diagnosis of a world intoxicated by its own fictions
of power, tracing the anatomy of a systemic grand deception and exploring its mechanics
of psychological, social, and material domination, the indelible marks imprinted on bodies
and minds and its catastrophic consequences.

It is a journey from the poisoned and addicted collective psyche to the desperate search for an antidote, while the future seems to be already cursed by the very forces that pretend to build it. Yet, for all its thematic weight, CICATRIZES DO FUTURO is hypnotically danceable - physical and ritualistic music that demands body movement as a form of mental cleansing. The album doesn’t just reflect a fractured and violent world — it breathes desire to live and resist through new sonic paths

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 2 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
The album's lead single and sole vocal track, ‘In Touch’, showcases Beatrice M.’s split UK-France upbringing. The track unites French MC Kaba and UK MC Jinnal for a bass-driven anthem that seamlessly trades French and English lyrics. Next up is a vinyl exclusive track: the ‘Remedy Mix’ VIP of ‘Poison’, a rolling, bass-driven tech house/techno crossover version of a track originally released on the Tectonic Sound collection from last year.
‘Here’ sees Beatrice M. collaborating with Jay Carder to create a soulful broken-beat flavoured track as ‘Years’ rounds off the journey with contemplative melancholy, providing a deep and dubby closer.

For its 30th anniversary, Kruder & Dorfmeister’s DJ-Kicks is available for the first time in mixed form on 3LP, remastered by Bernie Grundman and packaged in a special box set including original imagery. Kruder & Dorfmeister's rendition of the series created an era defining moment, which tied together a glowing array of musical registers. The Viennese downtempo royalty blended a fusion of slowed down moments across many genres with rolling Drum and Bass from the likes of Aquasky, the melting acid lines of deep Hardfloor and the 90s boom bap sampling, smoked out atmospherics of Thievery Corporation amongst many more.

These masters of mood channeled the sound of a moment with their DJ-Kicks, which still retains a certified cinematic sheen, the patina of the real – curation and mixing at its most playful and refined. It remains to this day one of the most recognizable DJ-Kicks and mixes of all time. Containing two certified cuts from K&D themselves; the wooze is strong on “High Noon” with Dorfmeister's intoxicating jazz flute licks and a trembling harmonica atop a mirage of breaks. Their DJ-Kicks original and legendary tune “Black Baby” closes the mix providing a piece of grandeur, riding off into the distance deep to the vanishing point.

When the mix dropped in 1996, the slo-beat pioneers were among the hottest producers in the dance universe. Even though they only produced two unreleased maxis, names like Count Basie, Bomb The Bass, Alex Reece or United Future Organization had some of their tracks remixed by these exceptional producers. Rumour has it during the work for DJ-Kicks and their debut album they refused doing remixes for U2, Grace Jones, Elvis Costello and the Fantastic Four! ‘DJ-Kicks: Kruder & Dorfmeister’ took its place in the pantheon a long while back, effortless in its ability to traverse sounds, styles and tempos while retaining a selection which remains timelessly recognisable as: Kruder & Dorfmeister.

Soul Stage lands another essential chapter with Soulstage 002, a seriously classy and deeply authentic statement from the one and only Orlando Voorn. Carried by the unmistakable spirit of Detroit, this release is the kind of record that reminds you why true house music never loses its power, timeless, soulful, effortlessly cool and full of authority.

Twenty years ago, somewhere in Scotland, an album that was the missing link between The Black Dog, Chain Reaction and Irdial was released by an enigmatic Glasgow producer called Pub, on his equally mysterious label Ampoule.

The album ‘Do You Ever Regret Pantomime?’ (2000) has become the stuff of local folklore, a key work in the UK’s rich history of IDM and ambient, and one of the most celebrated albums of the early noughties. Bizarrely, it even infiltrated the Billboard Top 100.

‘Do You Ever Regret Pantomime?’ is also very much a key statement from a producer who has chosen to stay in their own space, where everyone is welcome. Records like these are about losing yourself in the sound and creating your own universe to explore.

Over the record's 70 minutes or so you’re instantly wrapped in a deep matrix of spacious chords, abstract textures and gently shifting rhythms.

The 2020 reissue has been re-mastered and cut at Berlin’s Dubplates & Mastering, pressed as a 2x12” and features new artwork and a bonus track.

This release also heralds the return of Ampoule, the Glasgow label which released music from the likes of Lucky & Easy, Omens Jot and Moped Endo among others. Forthcoming releases will be a mixture of new music and re-issues from the archives.

Since the early 2010s, photographer and producer Izaak Schlossman has been surreptitiously using the Topdown Dialectic moniker to frame his most enigmatic and most psychedelic productions: faceless pure sound experiments that ogled dub and techno archetypes from somewhere far beyond the veil. This generous 2LP collection surveys over a decade of persistent activity, pulling together recently unearthed gear written between 2013 and 2016 (the same time period as the iconic Peak Oil trilogy) and muddling it with more contemporary material. It's a rare chance to fully comprehend the slow, measured evolution of the project: its genesis as a method to fractalize various bass music frequencies with suggestion rather than over-compression, and its ongoing advancement through sensitively finessed ASMR ambiance towards spangled neo-psychedelia.

So it's no surprise that the lengthy suite of five-minute snapshots was initially devised while Schlossman was preparing for his first ever Topdown Dialectic live appearance in 2025. A hazed early morning, open air performance that's still lodged in the memory banks of anyone who witnessed it, the set provided the narrative anchor for the album, blurring the past and present and reaching tentatively into the future - ideal material for audiences whose brains are fully plasticized. The tracks, while divided, sound as if they're breathing over and into one another; beats and phrases materialize and dissolve just for moments, leaving the mind to fill in the gaps with any available sonic material. What might reflect the bright neon light of acid house at first soon embodies the flicker of a candle over a desk of drum machines in a Midwestern basement, or the first blush of sunlight over a tiny campground as subwoofers creak in the distance.

It's music that asks the listener to be involved in the creation itself, projecting their own shapes on the negative space, their discreet fantasies on haunted stretches of near silence. Schlossman's identity was never the point, Topdown Dialectic was always a scrying stone intended to divine far more personal revelations.

The dream team of Sugar Minott and Victor Axelrod returns with a deep rub-a-dub reggae take on The Notation’s low rider classic, “I’m Still Here”. Shortly after falling in love with the song via a 45 mix from Gabe Roth, Axelrod received a serendipitous message from the late great Minott saying he was in town and ready to work.

Sugar's effortlessly soulful vocals coupled with Axelrod and Co's sweet and spacious groove, transform the Notation's track into a slow , sticky revelation of love that's actually stable. The perfect soundtrack for discerning soirees and those moments where you have one foot out the door but need a moment of reflection.

Citing sources from early Dub influenced Clash, Blitz and The Modern Lovers - Spiritual Cramp exist in a strange vacuum somewhere between David Byrne's oversized suit and a bar fight between a bunch of drunk goons on Polk Street in SF. Hate for the police, the government and the status quo are reoccurring themes in Bingham's lyrics. The sounds borrow from the past, echoes of late 70's / early 80's working class rock and punk, which function on the upbeat, showcasing very bright guitars yet generating darker vocal rhythms and darker patterning.

/// First track, Symmetry, debuted on BBC Radio 6 New Music Fix, 10th February: "A beautiful, beautiful album" /// I got my life back. On 17 February 2025, 1024 rays of ultra sound converged at an operation table in Bern, Switzerland, and disconnected a noisy circuit on my brain. 90% of the manifestation ceased – of a disease that I no longer wish to mention by its name. During the same period, I completed my new album: Self Help Manual. I’ve read more current research about the nameless disease than my neurologist, who despite that I didn’t follow his advice on suitable treatment, called me after the successful operation: a brave, brave man. I have composed the music in the same way as in my previous album – Songs for the Nervous System – through layers upon layers of improvisations in dialogue with my synthesizers, most of which are the same age as me. I made the majority of the songs in my studio in the remains of Old Hagalund in Solna. I edited the recordings in my bed during the waking hours of clarity at night. Some songs – NAC, Ketosis, Overkill – were recorded in the basement of my childhood home in Skutskär, in Norduppland, where I’d returned to be nurtured by my retired parents – who during a night when I couldn’t turn over in bed, or pull the blanket over me – made a list of what would happen to my belongings. To my friends who have stood out with me despite my disease, I want to state: you will not inherit me yet. On the new album, the electric bass takes on a leading role. ESG and Liquid Liquid have been important when I reinvented my baselines, limited and liberated by my poor fine motor skills. Plasma is my homage to Summertime Rolls by Jane’s Addiction, that I listened to frequently in my youth. I guess that no one will hear the resemblance. In several songs, the Fender Rhodes plays an important role, a magical instrument that I bought shortly after my diagnosis over a decade ago, and for a long time didn’t dare to touch out of respect for Herbie Hancock and Fela Kuti. A couple of songs draw inspiration from the Horn of Africa – Inner Nile and Delta. At first, subconsciously in the reverb-drenched Inner Nile, then more consciously in Delta. I’m sorry it doesn’t swing the right way, but it was my attempt to return to the cradle of humanity. Longevity is possibly my favourite. The melody is played by an arpeggiator that I controlled by pressing down different keys in an exhilarating sense of freedom. One song in particular, the second track – One – has caused friends to associate freely: one thought it sounded like Patrick Cowley, another like Sly & Robbie meets Kraftwerk, a third like Air – Moonlight Safari. I made one song just before the surgery: opening track Symmetry. It’s the mightiest and most minimal song. I made one song after the surgery: finishing track Self Help Manual. My previous medication pump is heard through the microphone of my Ovation Magnum. It’s the most hopeful song on the album. I took the cover photos with my Hasselblad during walks in Tokyo suburbs of Ōmori and Kamata more than ten years ago. It was something about the faith of the traffic cones that fascinated me – born in the same streamlined form, they had over the years become increasingly individual and lovable. The mixing was finalized by Christoffer Roth in the newly built Studio Dubious in Nacka. Rashad Becker, who in an interview said that he listens as much with his mouth as with his ears, mastered the album at Clunk in Berlin. Right now it feels like anything is possible. My recovery is perhaps a small step for mankind, but a giant leap for me. I hereby leave the music to you. Joakim Forsgren

Now into its sixth year, NuNorthern Soul’s Summer Selections series has become a popular annual fixture. Like its predecessors, 2026’s edition showcases a variety of Balearic dancefloor workouts, sensual soundscapes and tracks tailor-made for poolside sun-down sets.

As usual, Summer Selections Six is a vinyl-first affair, offering wax enthusiasts a chance to cop killer cuts set to feature on a swathe of forthcoming NuNorthern soul releases – including some that would otherwise be unavailable on physical formats.

To begin, is It Balearic? label regulars and Rotation Sound System crew members Wrekin’ Havoc turn their attention to NuNorthern Soul favourite B.J Smith’s 2014 cover of Outkast’s ‘Prototype’. Their take, which will be featured on a forthcoming collection of reworks of Smith’s NNS material, places the long-serving producer’s beautiful, beguiling vocals atop lo-fi 80s electro beats, moody pads, squelchy synth sounds and far-sighted electronics.

Up next is label newcomer Sasha Foam, a fast-rising Lisbon-based DJ/producer whose Memoria EP is set to land digitally soon. ‘Curios’, his contribution to Summer Selections Six, is a propulsive and ear-catching affair, with joyful synth melodies, rushing piano riffs and cheerful TB-202 style acid tweaks rising above a crunchy, drum-machine driven mid-tempo groove.

Rounding off side A is ‘Call To Wind’, a rootsy, warming and sun-baked slab of Balearic dub gorgeousness from Strictly Dub Records founder Saimon AKA Roots Artefact. The track, which marks his first new material since last year’s NuNorthern Soul debut Different Perspective, is one of the many highlights set to be featured on the Estonian’s forthcoming Rocking Boat EP.

Turn to the flipside and you’ll find three more inspired, immersive treats. Dan Dub Lounge, Muzka and Simon Sheldon being their Visions of Light project back to NuNorthern Soul with the borderline genius ‘ReBorn Slippy’, an exotic, intoxicating and sitar-laden slow-motion instrumental cover of the Underworld favourite taken from their soon-come collection of ‘mild pitch’ takes of dance and electronic classics.

To complete another stellar Summer Selections 12-inch label founder Phil Cooper platforms two recent additions to the roster. First is Potteries-based producer Andrew Wright AKA Lonely Deckchair. Wright offers up ‘Adaflo’ from his forthcoming debut album. Atmospheric and magical, ‘Adaflo’ is a simmering, slowly unfurling fusion of poignant pianos, minimalist beats, shuffling bass and tumble-down chords.

Then there’s Aussie artist Perth Lewis, whose first two self-released albums (Moments In Time and Distance Between) were recently reissued by NuNorthern Soul. The Sydney-based producer is set to release a new EP, Cherry Moon, soon, and ‘Monolith’ is taken from that collection. Deep, dubby and beguiling, it sees Lewis pepper a head-nodding, effects-laden beat with spacey sonics, cascading piano motifs and some seriously sparkling synths.




d B1: Visions of Light -

Japan's Takuya Matsumoto returns to Inhale Exhale with a new six-track EP entitled 'Song Of The Ocean'.
Japanese DJ and producer Takuya Matsumoto has quietly established himself as one of the most distinctive voices to emerge from Japan's contemporary house scene. Known for his warm, deeply musical approach to production, Matsumoto blends classic house
sensibilities with jazz, funk and soulful influences, crafting records that balance dancefloor functionality with rich musicality. Through releases on respected international labels like Clone's Jack For Daze and Royal Oak, Vibes and Pepper, and Fina he's built a
reputation for refined grooves, elegant arrangements and a timeless approach to house music.
Across the six tracks Matsumoto once again radiantly showcases the depth of his production skills as the project sonically traverses Balearic-tinged House, bouncy acid- laced electro, cosmic nu-disco, breaks driven jungle and dub infused deep house.

One year on from his first Samurai release, Vardae returns to plunge even deeper into his mesmerising strain of hyper-mobile drum mantras and textural intrigue. Cédric Arnous' prolific run over the past few years has rapidly positioned him at the forefront of a scene between scenes where the rhythmic intrigue of drum & bass collides with modern techno's hypnotic linearity. On The Energy Of Presence he relishes the flexibility afforded by this intersection to deliver four distinct, high-impact workouts made with his ever-evolving live set in mind. 'Grounded Attachment' leads with the sonar strafe and broken beat pulse readily associated with the Vardae sound, threading twitchy percussion and steely brushstrokes around the bedrock of low-end pressure. It's the slowly emerging drone sweeps that round out the character of the track, betraying a warmth encased within the metallic overtones that deepens the emotional weight immeasurably. By contrast, 'Magnetic Flux' swerves towards a more direct thrust with its high-tempo 4/4 undercarriage and a limber, acidic lead line that helps join the dots between Vardae's modernist sheen and the roughneck days of free party tekno. This is still charged, atmospheric dance music, but it has no problem showing its teeth, too. 'Electric Feelings' is similarly sprightly in its tempo, but as ever Vardae runs a tight game with the weight of his drums, finding lightness and dexterity even at 170BPM while the transcendental wormhole opens up around the rhythmic force at the centre. Ensuring there's no space for predictability on this release, 'The Energy Of Presence' plies its own trade in sumptuous dub techno chords and angular groove designed to make you move on a different kind of downbeat. The consummate title track, it's the most roundly melodic offering on the record, served as a crescendo to the whole listening experience comfortably nestled on the B2 of the physical edition. Capitalising on the hypnotic codes etched into the dub techno sound, Vardae dials up the delay feedback for a psychedelic release at the end of a record that covers a lot of ground without losing focus.

King Street Sounds Sampler Vol. 6 continues the long-running series from the legendary King Street Sounds catalogue, bringing together a selection of classic house cuts from some of the label’s most respected artists.

Featuring productions from Dennis Ferrer, Mood II Swing, Studio Apartment and Blaze & Palmer Brown, the release highlights the soulful, vocal-led house sound that has defined King Street across decades of dancefloor culture.

Including standout King Street favourites such as Dennis Ferrer’s Touched The Sky and Mood II Swing’s Closer, the sampler brings together several proven catalogue moments in one DJ-friendly vinyl package.

With warm grooves, powerful vocals and timeless club arrangements, these proven King Street records offer strong crossover appeal for both long-time house collectors and DJs looking for reliable dancefloor material.

As the sixth edition in the King Street sampler series, this release presents a selection of essential catalogue moments on one highly playable vinyl release.

A strong catalogue addition for stores serving soulful and deep house buyers.

Be As One boss Shlomi Aber returns to Chris Liebing's CLR with the 'Schema' EP, arriving 24th April 2026 alongside a remix from James Ruskin. Active since 1994, Aber has been a cornerstone of underground techno for over three decades, with his focused, hypnotic approach in both the studio and DJ booth leading to releases on some of the scene's most respected labels, including Cocoon, Ovum, Nonplus, and Figure. With the 'Schema' EP, he follows his recent 'Retrospective' EP for Ben Klock's Klockworks, as well as previous CLR outings such as the 'Limelight' EP (2025), and the 'Remote 101' EP (2023), which both kept a spot in the Beatport Techno chart for over two years after release, while winning support from the likes of Carl Cox, Alienata, Dave Clarke, and many more.

Shlomi Aber's 'Schema' EP opens with the title track and heads straight into subterranean territory, pairing weighty low-end pressure with tightly controlled tension. Rattling bass foundations are o?set by sharp hi-hats and static-laced textures that flicker through the mix, keeping the groove locked and the atmosphere charged.

On remix duties, James Ruskin, founder of the seminal Blueprint, delivers a shadowy, atmospheric rework. Eerie pads hang in the background as swampy bass anchors the rhythm, with haunted melodic elements slowly unfolding to create a deep, immersive take built for late hours and dark rooms.

Closing track 'Gasolina' sees Aber shifting into broken-beat territory, where warm, glitchy rhythms loop with hypnotic precision. Ghostly synth motifs drift in and out of focus, giving the track a cinematic, heady quality that rounds out the release with understated intensity.

Founded by influential techno lynchpin Chris Liebing in 1999 and reemerging in 2021 after a five-year hiatus, Create Learn Repeat (CLR) has hosted a range of artists like Dubfire, Flug, Bjarki, DJ Dextro, and more while also focusing on developing newer acts in the scene, such as Risa Taniguchi, The Southern, and Klint.

Active for more than a decade within the Geneva scene, DJ Laxxiste A. has established himself as one of the key figures of the local club culture. A DJ digger, musician, producer and experimenter, he moves between rave culture, dub and adventurous electronic music. As one half of Oram Modular, a project that left a mark on Geneva's house and techno landscape, and through several live projects, he has long navigated between soundsystem culture, the dancefloor and free party. This new release, composed of five original tracks and two remixes, offers a synthesis of Laxxiste's musical obsessions. Jungle, acid, breakbeat and dub collide in a dense, textured universe shaped by a distinctly dub-driven mix. The tracks were first tested in a hardware live set, where machines, FX and samples were pushed and reshaped in real time before being refined into finished pieces. The result is an organic and sometimes raw sound, combining lo-fi textures, twisted samples and deep basslines designed for adventurous dancefloors.
The record also features two collaborations. Lateena, a key voice of the Swiss dancehall scene, appears on one track, bringing a distinctive vocal presence. Another piece unfolds through a double transformation, with a remix by Bony Fly later extended into a dub version by dubmaster Androo.

Unearthed from the original DAT at Strange Weather Studios in South London, Get Fucked's Unearthed Stash traces a chronological journey through the legendary group's earliest recording sessions, from the raw chaos of their 1999 debut album to the more refined dub house explorations that led into their second LP.

Sourced from the best surviving master DATs this collection brings together remastered classics, lost versions and previously unreleased edits, offering unfiltered look into one of the UK underground's most fearless creative period.

Each track has been carefully remastered to preserve the saturated punch, tape grit and raw energy of the original sessions, while expanding definition for modern sound systems.

Pressed on 180g heavyweight black vinyl, Unearthed Stash is strictly for collectors and true heads preserving the energy and attitude that made Get Fucked pioneers of the London underground sound. A raw document of a lost era, revived.

Archival Gold. From The Source. Unearthed at Last.

Dx2ov arrives on Blank Mind with Tonegues, his second vinyl LP following on from Interzona on Gost Zvuk in 2024. The LP title is a wordplay on the idea of speaking in tongues and sonic tonalities, echoing the process and dialogue that went into creating the record. Taken from a vast archive of material from 2019-2025, these ideas were arranged with the collaboration of label owner Sam Purcell and then completed with the long-distance assistance of Toupaz.

Tonegues is best seen through the lens of a beat-tape, with the playful flow and variety that the format provides, bursting with oddball ideas and punctuated with intangible vocal samples. Much like the LP’s beguiling, hand-drawn artwork by Wolfgang Matuschek, it is a glimpse into an inner world, a portal to somewhere uncanny and strange borne through imagination.

Light dub flourishes mix with footwork/IDM hybrids and understated, melancholic synthesis on ‘2018’, whilst the loose, rhythmic march of ‘Fon32’ evokes the dusty beatdown styles of early 2000s Detroit downtempo records. Whilst on one of the LP highlights ‘Trout’ he lays down a gleefully strange bed for the surrealist storytelling of Jacob Dwyer about interactions with dogs, dripping old houses and a perennial wish for the phone to ring with a heavy dub poetry slant. Dx2ov swiftly moves through more footwork adjacent, almost bedroom hyper-pop territories with a penchant for gabber kicks on ‘No Strings (feat DJ Paprika)’ and the maximalism of album closer 'Demetch' which continues in the tradition of wonky, mid-2010s UK bass music flips. The outcome is a confounding, unorthodox piece of work, zigzagging between forms, textures and moods.

Edition of 200

Mercurial Swede Axel Boman debuts on Aus Music with four spellbinding deep house beauties

Swedish artists pbeatgirl and Joakim Åhlund & Jockum Nordström feature on one track each
Axel Boman has brought playful charm to the underground for nearly two decades. His colourful, emotive sound marries melodic whimsy with warm, cuddly grooves and is underpinned by invention and experimentation in sound design, rhythm and mood. The Studio Barnhus co-founder is an artist who can make you laugh and cry at the same time, as continually shown across more than 20 EPs and four full-length albums on a tasteful array of labels. He strides into 2026 with a first EP for Aus that embodies everything that makes him easy to love and hard to pin down.

First up is 'Night Blooming' feat pbeatgirl - a provocative figure in Sweden's post-pop underground. The sensual late-night lullaby has soft drums and even softer spoken words whispered in your ear. Add in the dreamy synths, and you have perfect house hypnosis. 'Someone Stop Me' slows the tempo but ups the texture with raw, tumbling drum loops, incidental guitar licks and sustained pads that help you zone out and gaze into the distance on a summer's afternoon.

'Svalor Radiosignal (Axel's Dub)' features Joakim Åhlund, who is currently on tour of Australia with his band Les Big Byrd, and is also a guitarist and lead singer in the Caesars band he founded, as well as being a prolific producer. World-renowned multi-disciplinary artist Jockum Nordström works across painting, sculpture and collage and also features. There's a signature Boman innocence and charming naivety to the melodies here. They leave wispy, painterly trails above the smooth, dubby groove and fill you with warmth and comfort. Closer 'Spooky' journeys later into the night with a more rickety, edgy mood, but beautiful, shape-shifting synths are like a tender hand guiding you into darkness.

This is Axel Boman at his most intimate and expressive, a quietly powerful EP for heads-down moments and after-hours warmth.

Surrrealism label boss EdOne returns to HABITAT with the ‘Show Me Love’ EP, following the release of his track ‘Madness Diary’ on the ‘METAFLORA III’ compilation in April 2025. Dropping on 26th February,
‘Show Me Love’ is a striking four-track EP that captures the full emotional range of his meticulously crafted sound. With multiple top ten Beatport chartings and releases on respected imprints such as Innervisions, Bedrock, Global Underground, and Renaissance, EdOne now brings his signature intensity, tension, and melodic precision into one of his most complete and expressive works to date, with the package featuring a collaboration from Rotterdam’s Beswerda.

Title track ‘Show Me Love’ opens the EP, delivering a backbeat-driven, clap-heavy groove, with soothing maracas, sundrenched synths, and warm pads creating an inviting, melodic house cut. ‘DTS’ serves as a moodier counterpart; its thudding bassline, rattling central synthline, and atmospheric low-end strings build a deep, cinematic tension. On the flip side, ‘The Next Men’ leans into EdOne’s progressive, hypnotic sound, featuring preaching vocals, minor-key progressions, and steadily building emotional weight. Closing with ‘Lahn’ , EdOne and Dutch mainstay Beswerda descend into a raw aesthetic, blending industrial grit with dub-like textures for a brooding final statement.

Fresh Meat Records is proud to present the vinyl re-release of From Chicago With Love, a record originally produced and released by Mazi Namvar (aka Audio Soul Project) in 2004. Though it may have flown under the radar upon its initial release, the record has recently gained a cult following, with prices on the secondhand market steadily climbing. A single copy now fetches as much as $170, with a recent test pressing selling for $100. Recognizing the demand, Fresh Meat Records has gone to work offering a beautiful repress of the record—one that truly does justice to the original while adding something special for long-time fans and newcomers alike.

From Chicago With Love Reprise is a celebration of a classic with a new dimension. The record includes a fresh fourth track, “Murmurs Low,” which features the saxophonist Jimmy Tripp and a spoken word performance by Mazi. Together, they add a soulful and atmospheric touch to the original, expanding the sonic palette while retaining the deep, intimate energy of the original release.

The tracklist remains faithful to the original with the standout “Tattoo Of You” leading the way on the A1 side, sounding better than ever thanks to an impeccable re-cut by Lawrie Dunster at Curve Pusher. The deep grooves of “Tattoo Of You” still deliver their deep and mesmerizing house vibes, setting the tone for the rest of the release. In the A2 position, “Murmurs Low” provides a captivating, subdued moment, with the saxophone adding a melodic layer to the evolving rhythm that makes this track truly memorable.

On the B-side, “Down” takes its rightful place as the first track, maintaining a dubby soulful drive and emotional call to action. Closing out the record is “Let Me Know,” a track that brings the journey full circle, providing the perfect outro for the reissue and reminding us why this record is still beloved.

In creating From Chicago With Love Reprise, Mazi Namvar has ensured that every detail is accounted for, from the masterful cutting by Lawrie Dunster to the selection of 8 different color sleeves, offering something for both collectors and music lovers alike. The reissue ensures that this classic can now be enjoyed at a reasonable price, far more accessible than the inflated prices on Discogs. This new pressing is a labor of love, showcasing not only the timelessness of the original tracks but also the care that has gone into its revival.

Whether you’ve been following Mazi Namvar’s work for years or are just discovering this release for the first time, From Chicago With Love Reprise is a powerful reminder of the depth and beauty of house music’s rich history, as well as the enduring passion that drives artists to continue creating for the dancefloor. Get ready to experience this iconic record in a whole new way—one that honors the past while looking forward.

Written, produced, performed, mixed, and arranged by Maziar Namvar.
Additional keys on A1 by Joshua Collins.
Saxophone on A2 by Jimmy Tripp.
Vocals on B1 by Lori Reigler.
Copyright Control
2025 Fresh Meat Records

After finding their feet with a couple of remixes for Before I Die, Talking Drums ditch their sea legs and swap the pirate booty of their cult edit series for a five-track EP of original productions, each swimming in LinnDrums, digital chimes and synth-vox sunshine. Summer sounds abound as the crew refract house, disco, ambient and dub through shimmering sea glass, bringing the beach to the bar, club, garden or grotto.

Inspired equally by tropical Sceneries (but Not Songs), Ecco the Dolphin and Echoes of Wally, as well as a few tall tales about trendy whales, this 16-bit caper makes a splash from wave top to bikini bottom. Written and produced as a cohesive EP over three sun-baked weeks in 2025, and stitched together with field recordings and found sounds from Sicily, rural France, Japan and Singapore, Pier Pressure sees each track flow into the next: distinct seas that make up one larger ocean.

Opener ‘Fashionable Whale’ surfaces with mystic motifs and dreamy pads arcing above the spray before a purring low end and drum-box shuffle plunge us into Balearic house depths. A rippling breakdown, bookended by insistent arps, provides respite from the rhythm before the low-tempo pulse returns to take us home. Sticking with Zone 2 cardio, ‘Salmon Hats’ serves wonky disco at Valium pace, its beatific vox and glittering sequences underpinned by a hip-swivelling bassline and topped with a future-primitive melody. After drifting into dream house for a sunset lull, it’s back to the beat and the enduring question of how best to dance on a lilo.

‘Mangrove’ offers an intertidal intermission as tuned percussion finds a place among the cicadas and lapping waves, gently unfolding into an RPGambient ode to humid languor. Refreshed, albeit ailed by a sunstroke haze, we’re back on the dance floor with the optimistic motifs and jolly polyrhythms of ‘Flutti Di Mare’, an uptempo, Afro-adjacent house workout designed to inspire mile-wide smiles. Then the EP sails off into the sunset with the fathoms-deep delight of ‘Squid Dub’, a Cousteau-coded cod-reggae stepper with digi-dub bass, pound-shop marimba and all manner of THCtinged FX. Don’t be deceived by the loose and limber opening: a solid sequencer emerging at the midpoint sees the Squid squeeze every bit of bump out of the finale.

Forget ATOL protection - Talking Drums deliver your summer holiday directly to your stereo.

Somewhere between the after-hours haze and the first flicker of sunrise, Nebraska re-emerges - this time with a twist in the signal. Long respected for his deep-cut sensibilities and dancefloor intuition, Ali Gibbs returns to Delusions Of Grandeur not just as Nebraska, but with a handover to his new alias: Dubl Drat. The Alter Alter Ego EP plays like a transmission from both sides of his creative psyche - one rooted in warm, groove-led house and disco mutations, the other drifting deeper into dubbed-out, heady abstraction.

The A-side opens with Alter Alter Ego in its Nebraska OG Mix form - a crunchy, funked-up mid-tempo burner. Chopped Rhodes solos flicker in and out of the mix while a rolling bassline locks into a low-slung groove - equal parts party-starter and late-night dancefloor hypnosis. Next, The Teckel Track slides the tempo down into a proper slo-mo four-on-the-floor bumpy groove. Fat stabs punch through layers of glitchy FX while a melodic bassline snakes underneath, forming a hazy, infectious earworm tailor-made for those early-night mood-setting sessions. Closing the A-side, Olive (Dubl Drat Dub) signals a shift. Here, Gibbs leans fully into his Dubl Drat persona, dissolving structure into a blissed-out dub excursion.

Chopped breaks scatter across the stereo field, chiming melodies echo into the distance, and granulated percussion parts build a dense, immersive landscape - one to get lost in rather than dance through. Flipping over we have Alter Alter Ego (Dubl Drat Remix) which reconfigures the title track into a stripped-back boogie workout. The groove is leaner but no less potent, driven by a killer bassline and punctuated with signature Rhodes licks - pure, understated club pressure. Finally, Olive (Nebraska Version) offers a gentle comedown. This alternate take softens the edges, introducing additional guitar textures that drift into Balearic territory. It’s nostalgic, introspective, and quietly expansive - a closing chapter that lingers long after the last note fades. The Alter Alter Ego EP isn’t just a new release - it’s a dual-state exploration, a conversation between rhythm and space, between Nebraska and Dubl Drat, and marks the last ever Nebraska release as Ali closes the chapter and the alias for the final time.

Sound Therapy is the culmination of over ten years of sonic experimentation, developed across the past three years between Sicily, the United Kingdom, and Brooklyn. It builds on the foundation of the 2021 Dub-Stuy single Pon Pause featuring Al Campbell, whose success became the catalyst for the album’s eight tracks.

Conceived across two distinct halves, the album reflects the dual nature of D-Operation Drop’s sound, moving from one drop and roots/steppers traditions into more modern, forward-leaning bass music. The whole is intended to move the listener between foundation and progression, day and night, light and dark, a dynamic reflected in both the music and album artwork.

Sound Therapy also reflects the collaborative nature of sound system culture, featuring vocalists Blakkamoore and JonnyGo Figure (US), Galas and Marina P (Italy), and Rider Shafique (UK), alongside instrumental contributions from Brooklyn-based saxophonist Troy Mobius. The album was collaboratively mixed in person with McPullish (US) and mastered at Star Delta (UK), with a focus on depth, weight, and sound system translation.

Sound Therapy stands as a complete body of work while establishing a broader musical direction for D-Operation Drop, with further singles, mixes, and related projects to follow.

When the first lockdown hit, Ben Westbeech ended up stranded in Walthamstow after months spent drifting through India and Thailand, unable to make it back to Ibiza. Armed with little more than an SM58, a Korg Minilogue and a soundcard, he pieced together a temporary setup in a friend’s flat and got back into the habit of writing music in splendid isolation.
Somewhere in the middle of all that, Deetron sent over a sketch that instantly hit a nerve. Ben wrote and recorded the vocal for Deep In Your Soul in one sitting, then the track quietly sat and evolved over the next couple of years until Sam resurfaced with the finished version. A final vocal session in Ibiza sealed it properly.
What emerged is one of those records that feels lived-in rather than laboured over: warm, soulful and naturally unfolding across different places, phases and points in time. Another chapter in the long-running musical conversation between Deetron and Ben Westbeech.

Tip! Amazing Dub House and Techno. REFRACTION returns with Opal (Remixes), the label’s second vinyl release, revisiting one of its most refined collaborative projects to date. Following the strong impact of the original EP by Pedro Capelossi and Aeikus, this vinyl edition brings together three reinterpretations by Federsen, Tm Shuffle and Dubtommy, alongside the original version of Opal, expanding the sonic spectrum while preserving the essence of the release.

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

King Street Sounds Sampler Vol. 7 continues the long-running series from the legendary King Street Sounds catalogue, bringing together a selection of classic house cuts from some of the label’s most respected artists.

Featuring productions from Mood II Swing, Jovonn, Roy Davis Jr. and Osunlade, the release highlights the soulful, groove-led house sound that has defined King Street across decades of dancefloor culture.

Including standout tracks such as Mood II Swing’s Nafara and Osunlade’s The Fifth Dimension, the sampler brings together several proven records in one DJ-friendly vinyl package.

With warm grooves, musical depth and timeless club arrangements, these proven King Street records offer strong crossover appeal for both long-time house collectors and DJs looking for reliable dancefloor material.

As the seventh edition in the King Street sampler series, this release presents a selection of essential house cuts on one highly playable vinyl release.

A strong catalogue addition for stores serving soulful and deep house buyers.

The 18th Parallel strikes hard once again with its new riddim series called ‘BONANZA CHARGE’. Carefully produced in its Geneva studio, the collective of musicians presents two vocal cuts and one horns instrumental released as three 7” singles with dubs mixed by Roberto Sánchez. This is heavyweight roots reggae tailor-made for the heaviest sound systems!

First song recorded on the riddim, ‘Don’t Tell Me To Smile’ is NIGHTSHADE’s debut single on Fruits Records and it really is music with a powerful message. Turning an everyday frustration into a universal cry, Nightshade sings out loud what she always wanted to answer to the countless strangers who told her – like so many other women – to smile… because “a woman who smiles looks so much prettier”.

She says: “If it’s really such an innocent thing to say as some claim, why do men never say it to other men? Why do some feel entitled to tell complete (women) strangers how they should look, feel or behave? These so-called ‘small comments’, repeated over and over, are just one piece of the constant scrutiny and everyday violence many women face – and we can’t take no more of it.”

Carried by three united voices, ‘Don’t Tell Me To Smile’ reminds us that a woman is not a decorative object meant to please the male gaze. It’s a call to see through the trap: under the guise of compliments, what is at work is control over women’s bodies and minds. A smile should come from the heart, never from an obligation.

Our third EP lands on Rupture. Four tracks, four sessions - a case of following the feelings and catching the vibes as quickly as possible!

The EP opens with Late Night Runner. Atmospheric but with a tuff amen, it’s named after Ed, who’s notoriously on time, who was late to the session ;) Open Water was the most recent track we made. We wanted something a little deeper, a long intro, spaced out kind of vibe. The title track Force 32 is a direct nod to Phantom Force, gully horseman energy throughout! Closing things out is One Shot, which has been on dub for over a year - a rowdy jungle rinse out.

Aaron Coyes (PEAKING LIGHTS, LEISURE CONNECTION, NTS) is back with part 2 of this 3 part series under the EXOTIC GARDENS moniker.

This time, the listener finds themselves sauntering into the post-noon hours with a little more grit: Acid synths, distorted phones ringing, some hungover spoken word samples and even the sounds of a Monchichi if you listen closely enough.

But at the heart of it all remains the same backbone that made his 2024 "MORNING DUBS" a surprise hit for Pinchy and Friends: infectiously deep, perfectly produced psychedelic dub
grooves.

Coyes has had a busy year. He released another Exotic Gardens EP on the Emotional Response label, indulging his more distorted, shoe gaze and post punk passions (and sounding much different to his work with P&F). He also worked with fellow P&F artist COYOTE on the "Love Letters" EP. (2025- Is It Balaeric???)

Now that we are 2/3rds into the day, one can only wonder…what will the EVENING bring???

“Dancing is immediate. It happens in infinitely small blips of the present, strung together one into the next, direct and spontaneous. And as each moment fades out of the present and into the past, these blips coalesce and ferment and refract into memory.

Play is the first album from Sam Hall’s new project, Spinbeat. Sam has previously released glitch-inflected bedroom pop under the name Ghost Orchard, putting out albums on Orchid Tapes and Winspear. Spinbeat comes with a turn towards rawer sounds and something like the dancefloor.

The tracks on Play linger in the space between music for dancing and music for listening. They are the memory of a dancefloor- sounds, feelings, moments of darkness and color. In contrast with other recent music to come out of the dubby post-club zone, Play is marked by its lightness and warmth. Fragile, intimate moments come bubbling up from underneath the surface, glimmering in plain view for a moment before sinking back into the fog. These pockets of earnestness lend depth and substance to the mystique of the murkier stretches.

Dance music for post-rave romance, for August haze, for the frogs in the pond out behind the warehouse party.

Mastered by The Bastard.”

REPRESS 2026!

This sought after one from Lance Desardi, on his own Legwork imprint is getting a small repress in Black. Grab them whilst you can as these are going to fly!

After winning the seventh series of The Voice as part of Sir Tom Jones' team Ruti has picked up a multitude of fans and co-signs including both Tyler the Creator and Adele - the latter of whom selected the rising star as support for her 2022 BST Hyde Park show, as one of the artists she is 'obsessed with'.

Lungs (Calibre Extended Remix) is the version Calibre has been playing exclusively in his DJ sets since late 2023.

The 18th Parallel strikes hard once again with its new riddim series called ‘BONANZA CHARGE’. Carefully produced in its Geneva studio, the collective of musicians presents two vocal cuts and one horns instrumental released as three 7” singles with dubs mixed by Roberto Sánchez. This is heavyweight roots reggae tailor-made for the heaviest sound systems!

Three months only after the release of the hit song ‘More Work To Be Done’, Young Kulcha – the rising star of European sound systems – returns with a second single on Fruits Records! In stark contrast to the heavy stepper riddim of The 18th Parallel, Young Kulcha’s high-pitched voice tackles the classic rasta theme of mystical revelation. This ‘Mystic Revelation’ is spiritual music designed to be danced to at sound system community gatherings. Scorcher!

The 18th Parallel strikes hard once again with its new riddim series called ‘BONANZA CHARGE’. Carefully produced in its Geneva studio, the collective of musicians presents two vocal cuts and one horns instrumental released as three 7” singles with dubs mixed by Roberto Sánchez. This is heavyweight roots reggae tailor-made for the heaviest sound systems!

Fruits Records is a label run by musicians, that’s why we love instrumentals so much. In 2022, The 18th Parallel did a first collaboration with some of our favorite reggae musicians, Danish band Guiding Star Orchestra. ‘Meeting In A Wonderland’ was such a killer tune that we wanted to push the collaboration further with our Danish friends. ‘Bonanza Charge’ is another instrumental gem created between Geneva and Copenhagen: a powerful riddim section enhanced by the finest three-piece horn section in the business. Wheel up and come again!

Phonica welcomes Mattias El Mansouri, a Swedish-born DJ and producer of Moroccan/Chilean descent who has been behind some of our favourite releases over the past few years on labels such as Aniara and Nous'klaer.

On the 'Sense Data' 12", El Mansouri expands on his atmospheric House and Techno explorations with three deep yet dancefloor primed pieces that hold personal resonance for him.

El Mansouri, who holds a degree in Theoretical Philosophy, explains:

"'Sense Data' are the immediate elements of perception; what is directly given to the senses before any judgment or interpretation. In vision, these appear as colored, shaped patches; in other senses, as sounds, tastes, smells, or tactile qualities. For example, seeing a brown table with a white coaster involves sense data of a brown patch and a white roundish patch, from which one infers the presence of a table and coaster."

On the record's flip, we have the beautiful "Cielo Vacío' and 'Ouzo Hallon' dub version of 'Sense Data'. El Mansouri continues:

"Cielo Vacío translates to “empty sky” in Spanish. The track serves as a eulogy for my brother, who passed away in December 2023. I chose this title because it resonates with the sonic and emotional atmosphere of the piece. Its ambiguity is intentional, carrying both the weight of grief that lingers after losing someone you love, and a strange, fragile peace you extend toward the departed. It reflects the hope that, wherever they are, whether or not one believes in an afterlife, they have found rest.

Ouzo Hallon translates to Ouzo (the Greek liquor)+Hallon (Raspberry). It’s a long drink that my (Greek) ex came up with last summer, mixing ouzo, raspberry syrup/raspberry juice and ice. It became a thing in our little friend group, consisting of mostly Greeks, and every time we all hang out we would all just drink ouzo hallon until we couldn’t stand straight. I always wanted to name a track Ouzo Hallon, just for the fun of it, and what better way to get the chance than now!"

Back on PANORAMA Records, we turn to a beautiful slice of under-the-radar Jamaican reggae with Horace Martin – “Me Rule.”

Born in Kingston, Jamaica, Horace Martin was just 20 years old when he stepped into Channel One Studio to record the track in 1974. At the time he was building his name locally, performing in clubs and talent shows around the city while cutting sides in Kingston’s vibrant studio scene. “Me Rule” captures that moment perfectly — youthful confidence over a deep, steady rhythm.

This record earned its place among the deepest collectors: Proper rootsy dancefloor reggae that feels just as good today as it did when it first came out of Kingston.

On the flip, things open up with a dubbed-out version of the rhythm titled “Rule,” credited to Prince Huntly. Stripped back, the dub extends the track — echo, percussion, and bass doing the work.

As always, PANORAMA Records continues its search for overlooked gems from across the globe — records with history, character, and real musical weight. Carefully remastered and brought back on 7inch, PAN013 is another example of these records finding their way back to the turntable.

J-Walk return to BiD with a one off single 'Never Go Home' ahead of an album of new works to be released next year...

Recorded in his Stockport studio & channeling the DIY ethos of his previous BiD release Broken Beauty, 'Never Go Home' is a paeon to the mind-altering oeuvre of late 80's indie psychedelia, influenced by artists such as Spacemen 3, Nick Nicely & The Field Mice.
On the flip 'Dub Never Go' expands the vision with a version that wades deeper into dub territory, spacing out the stems & positioning the song in an abstract format.

This limited-edition vinyl release comes in a homemade sleeve which is stamped, numbered & implanted with J-Walks DIY DNA.

12 Inch Lovers nothing but classix, straight from vinyl! Part 2 of two double vinyl-pack incl. Tensnake, Afro celt Sound System, Midnight Star, Robert Babicz, Gregor Salto, Lovebirds, and Codec & Flexor



After its foundation in 2012, 12 Inch Lovers have become a household name for vinyl lovers in Belgium. Their parties sell out time and time again and focus on an adult audience that loves house and club music from the mid 90s to the present. This in combination with unique locations and DJ's that only play vinyl generates a very dedicated and passionate audience that share one big love: vinyl.

UK tech stalwart Aubrey has dropped many classics, but this one from all the way back in 1997 takes some beating. It came on the Offshoot label and has been in demand and much coveted ever since, and now reappears on his own Solid Groove imprint. 'Marathon' opens up with a liquid synth and dubby bass combo that comes to life with a warm, fizzy lead that suspends you just above the floor. 'Evacuation' has a more rigid lead and mechanical drums that work you into a lather and '6 Pole' sits somewhere between the two as a stylish, soul-infused tool that sounds as good today as ever. This is a top reissue that will excite all the real heads.

Sans-i, the new brainchild of Sunny Seppä, aka Sansibar, is a project that takes a deeper dive into a more expressive, expansive and entropic world. The debut Fenno Dub is a two-track EP featuring “Science” and “Paranormal.” Both tracks echo (…echo, echo, echo…) from different sides of the same coin—which one will you choose? Sans-i stirs a potent brew on the Fenno Dub EP, where the sound emerges from the continuum of The Bush Chemists, The Disciples, Jah Shaka, On-U Sound, Conrad Schnitzler, and The Slits, just to name a few.

Earth Dog Records label heads djfix & Jek present the 12th release on their label, Unknown Species.

The A-side, “Unknown Species,” highlights the duo’s signature bass driven, swampy tech steeze. The original track snaking listeners deep into tech-house hypnosis, with neck-snapping, pitch bent basslines, spiraling vocal chops, and crunchy looping drums.

To beef things up, they’ve asked Koduku for his deep techno take on the title track. He takes the original to a hypnotic sweet spot with time-stretched rippling textures and subtle, hard hitting percussion.

On the flip side, “Datura” and “Earth Dub 2” go full on freak mode. Tunes perfect for the deepest, darkest part of the night, or as the sun starts to break through a smoke-filled dance floor.

Pre-orders available now through One Eyewitness, with digital available via Earth Dog Records Bandcamp.

Credits:
Written by Ethan Donovan & Jack Anderson in Bedstuy, Brooklyn
Mastered by Mike Grinser, Manmade Mastering

With absolute joy we can announce that one of our favorite dubplates of the last years is finally going to be released. If you heard Lion’s Den play, you heard this one. This is Violinbwoy’s take on a Belarusian traditional song. A beautiful interpretation by Laboratorium Pieśni remixed for sound system play by Violinbwoy in his laboratory.

A tune gathering the ancient spirits - from that time to this time… play it loud and feel the vibrations!

2026 REPRESS

With a new alias, TM404, Andreas Tilliander has created enjoyable ambient dub simmering with life and details. The songs have all been recorded live, in real time in the studio. A unique way of operating within today's electronic music. - Everything is recorded in one take. Nothing is post arranged, says Andreas Tilliander, and adds that this might be his most ambitious album ever. The project's name is also a tribute to Roland, although of the more intricate kind. - When they made these machines in the eighties, they avoided the 404, since the sound for four, 'chi', is the same as the sound for death in Japanese. At that time it was therefore taboo and the 404 was never launched. Not until now, due to my album!

Collecting Orders For 2026 Repress

As Soul Capsule, Baby Ford and Thomas Melchior made some of minimal techno's most accomplished records. It has been many years since they stopped turning out new material - sadly - but their archive tracks are still in hot demand and undeniably relevant. While 1999's 'Lady Science' might be their most famous offering, this EP from 2001 on Aspect Music is no less vital and it will currently cost you well over L250 on second-hand markets. It is Ford's Trelik label who reissues it here in all its glory: the entirety of the a-side is taken up with 'Law Of Grace,' a delightfully deep and breezy minimal dub house roller with pensive chords draped over the frictionless drums. 'Meltdown' has a more experimental feel with brushed metal drums beneath a wordless vocal musing. The cult 'Lady Science' (Tek Mix) is also inched with the whole package being remastered by D&M to make this one utterly essential.

In this, the return of the one and only XI to the last standing first wave US Dubstep label LoDubs, which brought him out onto the scene over a decade and a half ago with the Jazz-step a’la Silkie preceding anthem “G-Funk 3000”, XI once again shows he has an indelible gift for making choons that are system rocking and cerebral all at once.

Heavy support from a slew of sound system stretchers. Currently being heavily featured by Distinct Motive on his tour spots, of which XI is joining the DM on selected dates.

For the decennial release on Punctuality Warsaw duo W.A.C., aka Private Press step up with their Forever W.A.C EP. Moving away from their more techno-oriented offerings, Forever W.A.C. keeps the tempo and energy of their earlier work but suffuses the mood with warm, glowing trance and prog energy. This is peak-time Punctuality business in its purest form– on time as ever. “No More No Show” comes in hot from the get-go: galloping snare rolls, raved-up breakbeats, uplifting pads, big basslines, acid licks, and the low-end wubs that have become synonymous with the Punctuality sound. One for that point in the night when the dancefloor has melted into sweaty, eyes-closed, hands-up amorphia.

Barely recognisable to its original counterpart, the Rhyw remix strips the A1 down to the bare essentials. Preserving only a few percussive elements, the euphoria of No More No Show is replaced with hazy, cinematic synth washes that drone around a skeletal groove loaded with bassweight, warping the original into a dubbed out psychedelic UK stepper. Shifting to the morning light, “Only Froggerz” is a shimmering roller that ebbs and flows around barreling kick drums, kaleidoscopic synth lines, and vaporous FX, with lustrous chord work driving the emotion dial to 11. Elegant and restrained but relentlessly pummeling, it’s early-morning club gear at its finest.

Rounding out the EP with an essential slice of modern prog, “Close” utilises all the good bits: skippy basslines, filtered squelches, tribal-leaning percussion, and a relentless groove that builds around the subtle interplay between the stabs and the vocals. An epic closer that feels as true to the Punctuality canon as ever.

The latest edition of 'Downtownsounds Classics' arrives from Dublin disco messers Fatty Fatty, just in time for the summer sunshine !

Fully licensed and cut loud on 12 inch vinyl the way God (aka Walter Gibbons) intended, it sees in-house producers Pablo and Shoey take on two choice cuts from the legendary Salsoul label.

Salsoul was the very first label to release a commercially available 12 inch remix - the aforementioned Gibbons and his 9 minute extension of Double Exposure's '10 Per Cent'. They would go on to issue a raft of underground disco classics with mixes by the legendary likes of Larry Levan, Tom Moulton and Shep Pettibone. Having robbed the famous 'Baker-Harris-Young' rhythm section from Philadelphia Records, they defined the disco sound in the second half of the 1970's and kept roaring well into the next decade.

The new mixes pay explicit tribute to two hugely formative influences on the Fatty fellas - The A extends the mysterious and wondrously wonky Big Bear edit of Bunny Sigler's 'By The Way You Dance'. Back in the day, these cosmic under-the-counter 12s helped show the Fatties how to disco real right, and they've stood the test of time wonderfully. This one has been at the front of Pablo's bag for longer than he cares to remember, and now the rest of the world can enjoy it, with some extra Pablo and Shoey disco magic thrown in for good measure...

Speaking of cosmic, the flip sees the lads turn in a stripped-back, ever-building mix of First Choice 'Hold Your Horses'. Having first heard this played by the Cosmic King himself, Danielle Baldelli, they found themselves let down by the commercially available mix. Through the disco haze, and with some subtle stemming, several outer-space whooshes and a string/vocal climax to die for, they've tried to recreate the way they heard Baldelli play it...

With the classic Salsoul artwork also present and correct, this is a love letter to perhaps the most important label in dance music history, with music that still sounds amazing five decades on... Don't sleep!

WRWTFWW Records presents the first ever vinyl release for the Startled Insects’ 1984-1985 abstract/synth-pop/post-punk/electronic run compiled into one album : The Antenna Years. The Bristol music must-have comes as a limited edition LP with astonishing artwork, liner notes and a heavyweight sleeve.
The Antenna Years compiles the independent EPs/mini-LPs the Startled Insects released in 1984 (self-titled) and 1985 (Underworld/Black Spring), with two bonus unreleased tracks that were only ever played in their live shows (W.W.W and What A Waste, both amazing).
Astonishingly futuristic when they landed in 1984, the Startled Insects sounded like they came from another planet while staying rooted in Bristol’s underground. Abstract electronic, leftfield synth-pop, dub science, gamelan heat, post-punk edge, cinematic atmosphere : The Antenna Years delivers one beautifully odd voyage into the sonic unknown.

In the 90s, the band released two albums, including the classic Curse Of The Pheromones via Antilles New Directions (Island Records), then evolved into The Insects: film composers for BBC/National Geographic, Emmy winners, and key architects of the 90s Bristol orbit, working with Massive Attack, Goldfrapp, Tricky, and members of Portishead.

Four decades on, The Antenna Years still hits like a transmission from the future. Dive in with no fear.

HOT Street Records presents another outstanding release by Shin Watanabe! Propper Classic House Music! Highy recommended!

A special one-sided 12” promotional pressing from Love Universal Music.

Built on hypnotic rhythm, deep groove pressure, and widescreen atmosphere, Yankari have quietly been carving out a sound that feels both timeless and impossible to pin down — blending afrobeat pulse, psychedelic textures, and ritual energy into something raw, transportive, and deeply physical.

For this exclusive remix, Frawl strips and dubs the original into deeper territory — extending key passages and reshaping sections for dancers, selectors, and late-night floors. A spacious, hypnotic rework built to stretch out and lock in.

Pressed in an ultra-limited run of 100 copies, this release acts as an early transmission from the wider world of the forthcoming Yankari LP — a record already generating serious attention behind the scenes.

Two seriously high-grade legends come together to mark the 30th anniversary of the cultured Seasons Limited imprint here: Don Carlos is behind one of Balearic house music's most enduring anthems in 'Alone' and Robert Owens has been voicing the genre since the 80s with his signature smoky tones. Here they cook up 'Inspired' in three different forms - there's a deep and soulful House Mix with an electric delivery from Owens, then a chord-laced and warm Classic Mix with a throwback Chicago bassline and finally a Dub Mix that strips everything back to a more breezy late-night sound that sinks you into the groove perfectly.

When The Style Council’s debut album Café Bleu was released in 1984, Weller and wing-man Mick Talbot unveiled a cosmopolitan blend of jazz, soul, and pop that felt effortlessly sophisticated and daringly fresh. Café Bleu was more than a debut—it was a statement of intent, redefining what British pop could sound like in a new decade.

Since then, fans have been waiting for a deep dive into the Style Council vaults eager to hear any unreleased material. And now the wait is over.

The Café Bleu Special Edition is a treasure trove for Style Council devotees and music lovers alike - an immersive journey into one of the most inventive eras of Paul Weller’s career. This lavish release unveils a wealth of previously unheard material, including early demos, alternate takes, and unreleased songs that showcase the band’s restless drive for experimentation and evolution.

Not long after the well-received 'Bottlemess Brunch' and 'Billa' dropped, the FLDIN2 label is back with another killer drop. This one, we're told, draws on Fold producer Rob's early immersion in pirate radio and record-collecting years in suburban London during the early 2000s. Lovers of Ben UFO, Joy Orbison and Floating Points will all be into the lo-fi designs, not to mention the irresistible garage, tech and dub swagger he packs into these jams. 'Lotion' is a crispy, tightly coiled and skeletal UKG sound underpinned with wobbly low ends and sprinkled with chopped vocal fragments that make for a ghostly groove. 'Soft Launch' is fuller, with a more boring emotional impact from the yearning vocal stabs that are teased and buried throughout the mix.

A welcome return for Boogie Café on vinyl with one of the standout moments from Piers Kirwan’s COLLABS series receives a high-spec remix package from the legendary Sean McCabe.

Sean McCabe delivers three distinct flavours: the main vocal remix provides a sophisticated, club-ready pulse; the Cosmos Dub shifts gears into syncopated, bruk-leaning territory; and the Instrumental offers pure groove utility.

This physical release features a Vinyl-Only Exclusive Dub, making this a must-have.

The Messier Objects returns with the second release on their label containing ten new tracks from the new TMO alter ego ‘Messier One.’ The work combines nostalgic IDM, eerie ambient and dreamy dub techno into one mini-album, inspired by the brute forces of nature and the power of healing and regeneration.

Expect to feel the force of nature on the A-side, where tracks such as ‘Earth’s Signal 04’ and ‘The Greatest Ebb Current’ contain distorted and fuzzy pads, eerie and vague echoing vocals, and whitenoise patterns that somehow feel strangely calming. Together with the broken drum patterns on tracks such as ‘Who Do You Worship?’, and the distorted kicks on ‘Kaalo Asmi Loka Kshaya Kritpraviddho’, the A-side manages to create crude IDM and ambient patterns – resembling historic natural events as if you were there yourself.

On the B-side. the noisy and broken patterns from the previous six tracks are replaced with warm and meditative sounds. ‘Two Tides’ is filled with soothing arpeggiated soundscapes and echoing voices, and the organic jungle chants and mythical vocals in ‘Rebuilding Temples’ further continue the process of regeneration. The B-side is accompanied with two remixes from Messier808 (known from the first release), who brings his typical meditative 4x4 patterns to the table, accompanied by dreamy textures, cyclical melodies and illusive effects from a now ‘healed’ society.

This thoughtful release brings a complete story told in only ten chapters. As always, their releases are backed by breathtaking artworks using vibrant and organic colours, completing an intriguing mini-album.

Welcoming prolific and essential Mexican artist Andy Martin to Animalia, with his mesmerising, mind-bending musical interpretation of the Nahual, a common & integral figure of the belief systems of ancient Indigenous peoples of the Americas, which embodies the spiritual connection between humans & animals. In some traditional stories, this connection is so strong that they are said to transform into one of them. Tierra de Nahuales refers to a region of ancient America inhabited by these mythological beings, which in this EP become part of the Animalia universe, shaped by psychedelic broken rhythms, tribal sounds, and dub influences. A release that feels both deeply personal to Andy's musical & cultural identity as well as the label's own - a telling ode to the abilities of the depth & outer worldly sense to his music - a world-building, shapeshifting & one of a kind artist who feels truly at home in the Animalia family.

Convertible returns to Sweet Free Association with a set of three driving house cuts!

"Sweet Free Association kicks off the year with the return of one of last-years breakout producers Convertible offering up his latest sure shot for the label.

The Free EP reflects its name - a package of cathartic music that is just asking to be played out late and loud in the club - but as always with Convertible, it has that timeless and beautiful quality - these tracks are for life!

Up until this point, Convertible has been a very mysterious figure, with very little online presence, but with this his second EP (and arguably a more upfront release), Free not only proves that he is more than a one hit wonder, but 2026 could be his year!"

All tracks written and produced by Convertible.
Mastered by Frank at The Carvery.
Comes in gradient-coloured sleeve.

Hekt's debut album Forever is released 1st May 2026 on Numbers, with the first single "Someday" featuring Valeria Litvakov out now.

Made with his friends Henriette Motzfeldt & Catharina Stoltenberg (solo and together as Smerz), Copenhagen-based composer/producer Fine Glindvad (who records as Fine), and Valeria Litvakov, Forever is built around juxtaposition: pop and bass brushing shoulders with dopamine fueled EDM. The record is a funhouse of mirrors where polystyrene arpeggios skitter underneath uplifting chords.

As Hekt describes the record: "Forever is desire and digital synthesis, car rides and lingering perfume. It’s missing someone who was never really there, holding on to something you didn’t want in the first place. The songs you hear when you’re falling in love on the dancefloor, and the songs you hear when you open your eyes and realize it’s just you alone with the DJ, the last one to leave. Songs to make out and break up to. A party so good you get depressed it can’t last forever."

Forever is a continuation of Hekt's work exploring the emotional core of pop music. "Someday" is the soundtrack to a hundred imagined futures with strangers in the club, as pristine arps and heartswelling chords skitter under Valeria Litvakov's ruminations, both lovestruck and terrified. Smerz add a level of fantastic to the slanted otherworldly pop of "Up in the Air, So" and "Forever." On both tracks, the melodies are squishy and impressionistic, the sound of all those memories we make in dance floors, taxis home, and in the blurry morning sunshine as we adjust to reality.

And while guest vocalists abound on Forever, Hekt also takes a turn at the mic himself. On "Without You" he shakes up a perfectly mixed cocktail of melancholy and beauty. And on "Promise" his voice is turned into another melodic accent against the fragile IDM sound design. Elsewhere he turns up the aggro. Dueting with Catharina Stoltenberg on Boys Noize's secret weapon, "Anytime Anywhere," the two trade bars across a compressed field of static and feedback while little hints of sub and wiry synths circle the edge of the stereo.

Hekt's music has always attempted to redefine what club music can and might be. This reimagining of the very basic building blocks of the dance floor is felt across Forever where he leans into the emotions of 2010s EDM. "What I loved about hardstyle and jumpstyle was the emotional intensity that kind of music can bring if you’re in the right setting. And I think that is what has stuck with me from EDM too. Emotional intensity," he explains. "It’s just been the soundtrack to some of the most fun moments in my life." On "But I Can't Really Show You," he compresses the EDM-era into 3-minutes. Vocal catharsis, dubstep womp, and soaring chords make it sound like the entirety of Tomorrowland being processed through MAX/MSP. This Skrillex-meets-Calvin Harris colossus is designed to destroy every sub woofer as it pulls on every last heart string.

And then there are the straight-up club stompers. "Baby" is UK club music reimagined with the steely lines of Danish modernism - think DJ Q going b2b with Errorsmith. It has a bassline made out of flubber with a vocal chopped beyond recognition as it bounces across chromatic synth lines. Even when he strips things down on the slinky garage-esque "Big Things," there are still unexpected twists and turns. The melody sounds like an Ibiza House compilation played in reverse, alongside drums that swing in and out of psilocybin bleeps and bloops. On other tracks like "Dream" and "You Won't Believe," the tropes of dance musics past, present, and future are dissolved in baths of synthesis and polished sound design.

Forever is a record where club music and Scandinavian EDM seamlessly mixes into avant-garde pop. Hekt has crafted singular and unclassifiable love songs alongside effortless bangers, making an ode to those eternal dance floor moments where time stops and you start hoping for something big.

*Originally pressed in 2021 - this is a brand new master and cut.**

In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.

Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:

"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."

Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:

"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."

An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.

On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.

'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

Huge classic techno history! Echoes originally appeared in 2001 on Kanzleramt, and from the moment it landed, it was clear this was something different. Eleven techno-dub-house tracks, rich in texture and depth, that mapped out a singular vision of Berlin's dancefloor aesthetic at the turn of the millennium. Not a collection of club tools, but a fully realised album statement, one that understood the dancefloor and the living room in equal measure.
Twenty-five years on, Alexander Kowalski reissues Echoes on his own label Cycles Music - remastered, on double vinyl, and presented as it always deserved to be heard. The ten tracks across four sides move through deep, rolling grooves, melodic undertow and the kind of emotional precision that made Kowalski's name in the first place. Echoes are fragments from the past which follow us into the future, the album's original motto reads like it was written for this moment.

In Ensenada, Mexiko, wo der Horizont des Pazifiks eine klare, unveränderliche Linie zieht, nahmen HOLY WAVE ihr neues Album "i'm DADA" auf - ein Werk, das für die Band weitläufig und neu fokussiert wirkt. Der Schritt außerhalb ihrer Heimat USA war weniger ein Rückzug als vielmehr ein Perspektivwechsel, der Abstand schuf, um einen neuen Sound zu erkennen, der sich langsam unter ihnen herausgebildet hatte. "i'm DADA" offenbarte schnell seinen Charakter: treibender, offener Underground-Lofi-Rock und ihr bisher strukturell durchdachtestes Werk. Durch die Zusammenarbeit mit dem experimentellen Duo Lorelle Meets the Obsolete in deren Studio floss das Gemeinschaftsgefühl in das Album ein, obwohl dessen emotionaler Kern bereits in den monatelangen Vorbereitungen entstanden war. Die Hälfte von HOLY WAVE ist mexikanischer Herkunft und hat ihre Wurzeln in der Grenzregion um El Paso, sodass sich die Aufnahmen in Ensenada intuitiv und entspannt anfühlten. Die Songs spiegelten Gespräche über Vaterschaft und Partnerschaft, Trennungen und Entfremdung, die beunruhigende Beschleunigung der KI und darüber wider, was es bedeutet, präsent und prinzipientreu zu bleiben, während die Welt unvorhersehbar voranschreitet. Diese Spannung wird nicht explizit hervorgehoben, sondern geht in der Musik auf. Die Band dehnt ihr bekanntes Gespür für eine schwindelerregende Atmosphäre zu etwas Schlankerem und Direkterem aus. Es sind mehr Loops und Samples eingewoben als zuvor, Grooves, die konstruiert, zyklisch und hypnotisch wirken. Manche Tracks driften in Richtung der elastischen Weite des Dub; andere pulsieren mit filmischer Downtempo-Schwere. Das gesamte Album ist von einem frischen Schwung geprägt, von Rhythmen, die vorantreiben, von traumgetränkten Texturen, Fuzz-Gitarren und sanft schwebenden Vocals. "dewey's dirge" entfaltet sich geduldig: Verschwommene Gitarrenklänge erblühen, während darunter ein gmotorischer Puls stetig voranschreitet. Der Gesang bleibt im Hintergrund, breitet sich eher aus, als dass er explodiert. Es wirkt weitläufig und nachdenklich, eine Hymne des Abklingens, die Drama gegen Eintauchen eintauscht. "i'm DADA" hingegen findet seinen Rhythmus in einem schlanken, kreisenden Groove. Eine straffe Drum-Figur, eine Basslinie und eine abgehackte Gitarrenphrase wiederholen sich, bis sie lebendig wirken. Textlich kreist der Song um die komplizierte Hingabe ein Eltern-Teil zu sein. "s33.u.in/HAL" klingt wie eine Übertragung, die mitten in der Luft abgefangen wurde, leicht mechanisch, immersiv, ohne sich jemals vollständig aufzulösen, und fängt das zentrale Gefühl des Albums ein: den Versuch, trotz Störgeräuschen klar zu kommunizieren. Während frühere Alben von HOLY WAVE oft durch ein Gefühl des Dahintreibens geprägt waren, wirkt diese Platte nun neu geerdet. Das Album verzichtet nicht auf das Eintauchen in die Musik, sondern zügelt es. Die Grooves setzen sich fest, Wiederholungen gewinnen an Gewicht, und die Musik bleibt trotz ihrer schwereren Themen gefasst und unerschütterlich. Was dabei entsteht, ist keine Neuerfindung, sondern eine Schärfung: Holy Wave klingen weniger wie eine Band, die durch die Atmosphäre treibt, sondern eher wie eine, die diese inmitten des Chaos bewusst gestaltet.