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Soul-Funk-Disco-grail officially reissued for the first time by Backatcha Records. Recorded and released in 1981, Stars' core line-up consisted of the musicians from Aura (‘Freex’, ‘Last Stop’, and ‘Sunshine Love’). “Stars was a band name and not a band”, explains keyboard player Steven Young. It was a studio group made up of mostly players from their neighbourhood band Hooker in Corona, Queens, that’d performed on the New York live circuit since the early 1970s. At the helm of Starbase Sounds was the Cadle Brothers trio: producer Ray Cadle, bassist Jules Cadle, and an older brother as financial backer, leading to the creation of the short-lived Starbase Sounds label. It released a total of four singles, including this rare 45 bomb, and three previous singles from The Freex Machine and Aura, all equally prized and sought after, and all reissued for the first time by Backatcha Records.

Out of Buenos Aires, Argentina the ever-consistent Manuel Sahagun comes
correct for Sounds of Style Records with our 6th release titled “Feed The
Flame EP”.
With excellent releases on Freerange, Pomme Fritte and Fortunea we are
excited to welcome Manuel to the team!
We start off with a jam that's funky and moving titled “Stressed Out’ that’ll give
the heads something to think about while the dance floor boogie’s. Next up is
“1000 Shamans” with a nice spoken word over a funky chugger that will turn
out the heads whether its early in the night or full-on boogie till the sun comes
up.

The B side starts off with our title track “Feed The Flame” which gets to the
feels of classic House music that we love so much! We round out the ep with
“Younger Brother” that ties a catchy spoken word over solid chord work and
bumping low-end to round out this quality record!
Already getting play by DJ Sneak, Toomy Disco, Jay West, DJ Dazy, Mateo
Dufour, Cory Wells, Sound Process & more.
Up next, we have Eddie Leader ”Need To Pivot EP” that is due out January 30th!

DC10 remains one of the most authentic clubbing experiences on the White Isle. It has different golden eras depending on your age, but for minimal lovers, that was 15 years ago, when you would get the likes of Romanina outfit a:rpia:r doing a cult b4b with Ricardo Villalobos. That's the vibe these new edits are going for from the Sorry We Play Vinyl label. 'EDIT4' is all wonky rhythms and twisted synthetic sounds and rising sine waves with chopped vocal fragments. 'EDIT5' is dubby house scattered with congas and 'EDIT6' is a more light and soulful sound for the early morning session with funky guitar twangs and skeletal rhythms locking you in for the duration.

Monsieur Van Pratt is one of the leaders of the edit game and his Illegal Disco is all the proof you need. This latest drop finds him tap into vintage Japanese rare grooves and flip them with his signature style. 'Space Scrapper' is up first and is the sort of comic cut that will have you wide-eyed as it reworks a celebrated Japanese musician and vocalist. 'Time Machine' is a big, stomping disco cut with rubbery bass riffs and Japanese city pop vocals riding next to cursing synths. It's a bright but steamy sound for when things really heat up. Last but not least is another showstopper with 'Feel So Fine' layering wispy cosmic melodies with cool-as-you-like disco drums and carefree vocals. Lovely stuff.

Robohands, das Projekt des Londoner Schlagzeugers/Komponisten Andy Baxter, gilt mit seiner experimentellen Erkundung des Jazz, Krautrock, Ambient und cineastischer Soundscapes als aufstrebender Name der internationalen Jazz/Ambient-Szene - mit über 10.000 verkauften LPs seiner fünf Alben und Auftritten bei den London Jazz, Montreal Jazz und Waking Life-Festivals. Die neue LP "Oranj" ist eine Hommage an die Pioniere der analogen Aufnahmetechnik mit Röhrenverstärkern, einem 1960er Fender Jazz-Bass, Fender Twin Reverb-Verstärkern und einer Vintage-Hammond-Orgel. Die Tracks vereinen die Wärme der 1960er/70er Jazz-Fusion und Soundtracks der Spät-1970er/80er mit modernen Einflüssen von Boards Of Canada bis Robert Glasper. Frenetische Uptempo-Nummern balancieren mit besinnlichen und experimentellen Momenten. Teils auf Tonband für zusätzliche Klangsättigung aufgenommen, ist es das bisher rohste und spontanste Album von Robohands.

No Fuss is back with a 14th outing that levies up to its name of dealing in only quality, fad-free sounds. Saison kicks off here with 'The Truth' which is a deep, lithe and soulful sound laced with soft acid, before DJ Romain's 'I'm Gonna Love You' taps into 90s New York house depths with neat organ stabs. On the reverse, Manuel Sahagun gets loopy with his bumping and raw 'Rouff' and its deft melodic curlicues while classy house operator Toni Lionni's remix of Deepmore's 'Babe' is a prime slice of serene and gently back-lit deep house hypnosis.

Third Space returns with ‘Third Wave’ and it’s a big one! The latest Various Artists EP gathers four deep and soulful house cuts from talented producers SY, Mbius, Jay Gadian, and label boss Miguel Seabra. A tribute to vibey, musical house tracks made for both the soul and the dancefloor. Each tune stands strong as an anthem, respecting the rich heritage of house music while dressing it in fresh, modern grooves. True to Third Space tradition, ‘Third Wave’ arrives as a limited vinyl-only release, capped at 150 copies with a strict no repress clause. A must-have for collectors and house music enthusiasts alike.

Mastered by: Miguel Seabra at Aura Project Studio

Distributed by: Carpet Distribution

Reissue 2026

"Call Me" is an electronic/house track by DJ Dino (Dino Lenny) on Nu-Tella Records, released in 2003.

It's praised for its deep, emotional, and melodic atmosphere, occasionally shifting from darker tones to uplifting major keys,

recalling classic electronic sounds with modern touches, though specific aggregate scores are scarce.

Official 2026 reissue includes, in addition to the original and remixes by Par-T-One and Santos, the previously unreleased version by Walterino.

Mixes completely remastered by Gianni Bini at HOG Studio.

Repress Orange Vinyl

Endlich können die Millionen Fans von "Stranger Things" ihre Leidenschaft für ihre Lieblingsserie durch den Kauf von physischen Produkten (vor allem LPs, aber auch CDs und sogar Kassetten, eine Anspielung auf die 80er Jahre als zentrales Thema der Serie) zum Ausdruck bringen! Noch mehr als in den vorherigen Staffeln spielt die Musik eine wichtige Rolle in der Erzählung, insbesondere das Kate-Bush-Phänomen "Running up that hill", das natürlich im Soundtrack enthalten ist, sowie "Pass The Dutchie" von Musical Youth und "You Spin Me Round" von Dead or Alive, die in den ersten Episoden sehr auffällig waren. Supererwartetes Kultprodukt: Vorbestellungsstart am 1. Juli, wenn die zweite Hälfte von Staffel 4 startet. Enfin les millions de fans de "Stranger Things" vont pouvoir matérialiser leur passion pour leur série préférée en achetant en physique (surtout le LP, mais aussi le CD et même la cassette, clin d'oeil aux 80's thème central de la série) ! Plus encore que pour les saisons précédentes la musique joue un role prépondérant dans la narration avec en particulier le phénomène Kate Bush « Running up that hill » évidemment présent sur la BOF ainsi que Pass The Dutchie de Musical Youth, You Spin Me Round de Dead or Alive très remarqués dans les premiers épisodes. Produit culte super attendu : lancement de précommande à ne pas manquer pour le 1er juillet, date de lancement de la 2e partie de la saison 4.

London-via-Accra artist BLACK FONDU shares his seven-track debut EP ‘BLACKFONDUISM’, following the underground momentum of singles ‘im not sleeping’ and the Steve Lamacq BBC 6 Music-premiered ‘holla back girl’. Available on vinyl, and with a self-directed video for ‘#music’, the project marks the first full expression of a voice emerging as one of the UK’s most uncompromising new forces.

‘BLACKFONDUISM’ captures that evolution in its rawest form. The EP came together quickly through instinct and freestyling, recorded between his room in London and a short period in Paris. Each track reflects a world he understood only after living through it. ‘IN D4 CLUB’ channels the exhilaration of acceleration, ‘BOYS’ explores the foundation provided by maternal love, ‘im not sleeping’ confronts denial after more than twenty revisions, ‘C00N V2’ marks a moment of creative rebirth, and ‘BLACK1E’ navigates the tension between self-perception and the world’s gaze. Closing track ‘#music’ distills the entire project into one statement.

Working alone has brought challenges, but he has learned to trust the emotional volatility that fuels the work. “I care so much and would die for this, but I cannot let it kill me. I have to trust myself the same way I trust myself when I make music.”

At 21, BLACK FONDU has carved out a sound that collides hyperpop, noise, rap, punk energy and abstract grime into something instinctive and volatile. Influenced by everything from Rachmaninoff to MF DOOM to Xiu Xiu, he writes, produces and performs every element, including the fractured visuals that accompany his tracks. Praise from BBC 6 Music, Pitchfork, NME, The Quietus, Pigeons & Planes, METAL and Line of Best Fit has positioned him as one of the most intriguing new voices in the UK underground, with explosive live shows across London, the UK and Europe.

With BLACKFONDUISM, he introduces a universe that refuses to sit still. “I wanted this EP to act as an introduction to my worlds. It felt important to put this out so I can do anything after.” He hopes listeners feel alive when they hear it, and jokes that he wants the record to “evolve music, even just a little.”

BLACK FONDU’s sound remains a paradox, abrasive and fragile, chaotic and meticulous, always guided by instinct. Or, as he puts it, “A bit fucked. But alive.”

Janeret present Orizon, With his new record label, Janeret opens the door to a world of unrestricted sound. A label that thrives on variety, mixing styles while providing a platform to artists who resonate with his vision. Orizon001, Mantrax EP is dedicated to the different spectrum of house music to a deep dive into atmospheric Drum & Bass. ,

Força Maior combines the vital saxophone explorations of Pedro Alves Sousa with the infinitely subtle electronic processing of Pedro Tavares. Sousa (aka Má Estrela) is known for manipulating his woodwind through guitar pedalboards & amplifiers, creating far-from-ordinary sonics rooted in unceasing curiosity. For his part, Tavares (aka funcionário) conjoins video & sound work to create space for the pensive wanderings where memory and imagination interlace.

The album Morte Lilás was recorded over a week in June 2023 in Pedro Alves Sousa's family farm, located in the village of Ferreirim, near Lamego, in Portugal. The partly abandoned farm served as the residency, studio, and inspiration for the album: it is a 400-year-old granite farm that belonged to a member of the "40 conspirators"—a group that led the revolution for Portugal's independence from Spain in the 17th century.

Morte Lilás is a remarkable album of committed meditation. Each day on the farm was a recording day for the two Pedros: Sousa on sax & electronics, Tavares on sampler & processing. Apart from slight sonic incursions from the surrounds—the birds on 'Quinta à tarde'—and the sporadic use of sine tones, the source sounds all start from the saxophone. It is then processed both by Sousa & Tavares. The album unfolds as a saxophonic tapestry that breathes with quiet intensity. Each piece invites close listening, revealing fine gestures and tonal shifts that shape a contemplative, ambient space. Força Maior move with calm precision.

The album opens with the unhurried overture 'Quinta à Tarde' a Portuguese pun on Eno's Thursday Afternoon that announces the textures at play. Sousa's breathy entrance is paired with a soft, delicately shifting, backdrop. As the track progresses, time seems to stretch. The arrangement resists urgency, favouring subtle evolution over dramatic turns. Pensive layers shift & drift, creating a sense of suspended motion that brings the listener into the environs of Morte Lilás. 'Quinta à Tarde' is a long-form fade, shifting emphasis from Sousa to Tavares.

'Cubos' continues the gauzy feel, but with a more up-tempo tilt. Rhythmic clicks & pings setup a swung time for the sax to interpose melodic lines that are fed back & bent with cascading delays. Força Maior in distilled form.

Força Maior is in top form on the title track 'Morte Lilás', a sprawling centrepiece that showcases their command of atmosphere & emotional pacing. By turning up the reverberation & leaning into a continuous format, they dissolve the gap between hypnotic trance & articulate reverie. Then, a moment of stillness. The track pauses, not abruptly but like a tide pulling back, revealing the contours beneath. What follows is a return to the album's more relaxed architecture: understated rhythms, softened textures, and a sense of spaciousness that opens space for reflection. It is a transition that feels organic, as if the song itself needed to exhale before settling back into its contemplative groove.

'Menta' is another short-form miniature of the band's signature contours: beautiful loops of air pressure gradients that carry an emotive weight & light.

The album closes with 'Cascata do Inferno'. The title suggests violence, but the music whispers instead—an atmospheric cascade of breath & tone that emerges in slow, deliberate waves. Short melodic cycles are matched by shimmering electronic chords. It's a piece that rewards patience, draws the listener in to drift downstream, eyes closed, into the serene turbulence of its current.

The wild lunar landscape of Lanzarote is the dreamy frame in which Populous paints his new album, “Isla diferente”.

An instrumental trip between cumbia and latin ambient music through the mysterious and magical landscape of Lanzarote, with some gloomy vocal interventions from Fuera (Italy), Javier Arce (Costa Rica), Eva de Marce (Mexico) and Esotérica Tropical (Puerto Rico).

An organic mixture of sweet ethereal melodies and experimental electronic sounds which the artist himself labeled as “latin ambient”.

i am so thrilled to share the film for my concert cornucopia with you . this has been a long journey with hundreds of people helping out . i am so beyond enormously grateful to every single one of them .

i feel the modern concert film is a matriarchially friendly construct , welcomed in the current climate . where female musicians can share their worlds uncorrupted . in cornucopia , i was joined by musical director and multi instrumentalist bergur þórisson , percussionist manu delago , flute septet Viibra , harpist katie buckley and the hamrahlid choir .

i spent last decade working with 360-degree sound and visual software in virtual reality and animation, creating Biophilia and later Vulnicura as a VR album . i was deeply inspired by the idea of a fully-immersive experience spreading Utopia and Fossora into fully surround speakers . my intention was to bring what we had created for 21st-century VR into a 19th-century theatre - taking it from the headset to the stage .

this vision was realised with 27 moving curtains that captured projections on different textures and LED screens , creating a digitally animated show : a "modern lanterna magica" for live music . i also wanted to feature bespoke instruments: a magnetic harp , an aluphone , a circular flute , and a reverb chamber , specially built with an audio architect to enhance the most intimate version of a performance—in a personal chapel .

throughout this tale, there is a subplot woven in : a second story of an avatar—a modern marionette who alchemically mutates , from puppet to puppet , from the injury of a heart wound to a fully healed state . i hope you enjoy it . warmness , björk

Debut studio album by the British soul singer, who topped the BBC's Sound of 2012 list. Produced by Paul Butler, the lead singer of indie rock band The Bees, the album debuted at #4 in the UK Albums Chart and features the singles 'I'm Getting Ready' and 'Home Again'.

As the man who basically brought the conga into the modern age with his innovative multipercussion set-ups and tunable congas, and as a former member of Dizzy Gillespie and Stan Kenton’s bands, Cándido Camero Guerra a.k.a. Candido already had a long and storied career when he cut Dancin’ and Prancin’ for the Salsoul label in 1979 at the age of 58. So, you might have been excused at the time for assuming this was just another case of an old-timer trying to cash in on the disco craze, right? But you would have been very, very wrong…the record was pure brilliance, as the infusion of Candido’s Latin conga beats into the disco-fied 4 x 4 syncopated rhythm proved irresistible, revolutionizing the sound of underground disco while pointing the way to the house music to come. Indeed, both “Jingo” (an unstoppable version of the Olatunji classic) and “Thousand Finger Man” are still DJ favorites. Speaking of DJs, we’re putting this one out on black vinyl, perfect for queueing up and spinning. for A must for any dance music library!

ATA Records are proud to present the new release by Work Money Death, A Portal to Here. This album continues WMD’s exploration of Spiritual Jazz and the sounds and styles that evolved out of the 60s New Thing, particularly the recordings of

Alice Coltrane and Pharaoh Sanders. The first WMD album released since the tragic death of ATA guitarist Chris Earl Dawkins in early 2025, all four tracks reference the journey that band members and the studio have been on – in many ways this record is a testament and tribute to Chris, his musicality and creativity.

Featuring WMD stalwarts Tony Burkill, Neil Innes, Sam Hobbs, and Sam Bell, the album introduces Sorcererskeyboardist Johnny Richards to the WMD sound. Richards brings a fresh new take to the piano role here, drawing on what is clearly a broad knowledge of jazz history and channelling that through his own unique 21st century musical perspective.

The album also features contributions from Alice Roberts on harp, bringing the spirit of Alice Coltrane, Ben Powling on baritone saxophone, Richard Ormrod on woodwind, and Kev Holbrough & Steve Parry on brass. Those Sun Ra-esque horn sections lift the mood whenever they appear.Standout tracks are the second, Dance of the Spirits, with a strong core of Baptism and The Blues and some lovely playing by Richards, and the third track, Brother Earl, which begins with Tony on flute over rhythms that are directly reminiscent of open-hearted, late-60s spirituality. Tony later moves to tenor and, as on all four tracks here, eventually builds to the peaks of shattering emotional intensity that fans of Work Money Death - and spiritual jazz in general - love.

Nach einem super Jahr mit Auftritten mit LCD Soundsystem in den USA und einer Reihe abgefahrener Festivals in Großbritannien und Europa, machen Mermaid Chunky den Sack zu mit einer richtigen Double-A-Side-Remix-12"-Platte für DJs, die noch an Schallplatten glauben. Zuerst bringen die New Yorker Legenden Justin Strauss und W. Andrew Raposo von Midnight Magic ,céilí" ins Haus, tauschen barfüßige Felder gegen die Schweißboxen des Big Apple, es klingen Dur-Akkorde, alle sind ein bisschen wild. Auf der anderen Seite gibt es die Version von Peach von ,chaperone", ein Rhythmus-Ausbruch, der die chaotische Euphorie des Originals in House-Musik-Manna verwandelt: kalte Maschinen, warme Herzen, kein Schlaf.

Wood White Sessions, the new sub label of Berlin based Sushitech Records dedicated to laid back, atmospheric dub presents its second release.
Roots For Your Soul, the new 12” album from Bristol’s Tubby Isiah, marks their second full length outing.
Featuring right stunning tracks, the record blends fresh material with carefully unearthed, previously unreleased archive sessions.
Together, these pieces form a heartfelt dub journey, rich with warm textures and unmistakable sonic character that define the Tubby Isiah’s sound.
Mastered at Wood White Studios and beautiful finished with artwork by in-house designer Scott Cottrell.

Killer set of six from Picture aka Central aka Natal Zaks.

Speedy, flighty stuff. Filter dials turning, little licks, sometimes small vocal hits. Zephyr and pressure. Some midwestern techno vivre carrying the whole thing along. If you've caught any of the Picture records from the last few years you might know the momentum at play already, a mix of breezy euphoria and deeper, dubbier minimalist force.

Combining a live and impactful improvised energy with Nat's signature twinkling production that has always been in a class of its own. Club tools as well as multifarious instruments of levitation. You could have the 38 most productive minutes of your life with it spinning as your soundtrack next to you.

Mastered & cut by Mike Grinser at Manmade.

Art by Mammo.Works.