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They say 3 is the magic number so here we are with Part 3 of our 'Back To The Old School' 12" series. Four cuts of the finest Disco-Rap remixes by Dave 'Love' Lee, we start things right off with some uptempo disco in the shape of Eddie Cheeba's " Lookin' Good" with it's clav stabbing & synth jabbing funk, ready to rock any dance floor with it's brilliant part-rapped, part-sung vocal play. Two versions are included of the B-Boys early 80's breakers anthem 'Rock The House'. First up is the breakbeat underpinned 'Magic Funk' mix that utilises one of the funkiest basslines of all time. On the flip the 'Roller Rink' mix is a mid tempo floor filler reprising a much loved 90s r&b jam to great effect. Finishing affairs is the 'Maximus Boogie Mix' of Maximus Three, leaning heavily into the classic disco-rap sound of fat Good Times bass, squelching synths under the bragging raps of TJ Swann and Pee Wee Mel.

San Francisco electronic pioneers Darwin Chamber and DJ Spun head down the arcade for four tracks of the unmistakable flavour of modified 8 Bit sound chips from the 80s. 'LFO's Are Real' definitely nods to the Leeds duo that kicked the Warp Records revolution off, but that's just a starting point for some rough edged electro machinations and some spooky extra-terrestrial samplings. '8-Bit Phantasy' connects Chicago-style piano magic with acid undertows and gets brought to dancefloor life by a serious injections of funky ass breakbeatery. 'Intruder Alert' is the gnarliest of the lot, the bass end nothing if not speaker threatening, before 'We Gotta Get' is wonderfully disorientating disco dub delirium. Raw and direct, this will set the floor alight quicker than a can of petrol and lit match.

THE EPIC RETURN TO MARS FROM RICK WAKEMAN A NEW PROGRESSIVE ROCK SUITE INSPIRED BY BOTH PAST & THE LATEST DISCOVERIES ON THE RED PLANET FEATURING LEE POMEROY, DAVE COLQUHOUN, ADAM FALKNER & MOLLIE MARRIOTT - RELEASED ON CD/BLU-RAY EDITION - INCLUDES CD OF THE STUDIO ALBUM + BLU-RAY DISC FEATURING DOLBY ATMOS, 5-1 SURROUND SOUND & HI-RES STEREO MIXES & THE MAKING OF THE 'RETURN TO THE RED PLANET' DOCUMENTARY + 20-PAGE PRINTED BOOKLET / CD EDITION / 2LP VINYL. Following his acclaimed 2020 album 'The Red Planet', Rick Wakeman makes a triumphant & inevitable return to Mars with 'Return To The Red Planet', a sweeping new progressive work that fuses science, imagination & musical virtuosity into one of the most ambitious recordings of his career

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Hallelujah Trial is Tom Roberts (Cranebuilders, Beatowls) and John Canning Yates (Ella Guru): two Liverpool songwriters who knew each other for twenty years before they ever played a note together. Roberts brought a folder of songs to Yates' front room. Yates answered with piano. A weekly ritual of tea and talk became a repertoire, the repertoire became a debut performance at the final La Violette Società, and a few weeks later the songs became an album, recorded in May 2026 in the Gustav Adolf Church, the Scandinavian seamen's church on the edge of Liverpool's Baltic Triangle.

The sound is spacious, stripped back and gloriously melodic: voice, guitar and piano, songs in a room, storytelling that recalls Bill Callahan, Lee Hazlewood and the late Johnny Cash records. Yates' Ella Guru drew a Peel session and 'the best debut album since Marquee Moon' from the Independent on Sunday. Roberts' Cranebuilders recorded two Peel sessions of their own. The pedigree is genuine. The songs are better.

Recorded, mixed and produced by John Canning Yates. Mastered by Jason Mitchell (PJ Harvey, Aldous Harding). Sleeve by Pascal Blua, after a rose from William Turner's herbal of 1568. The closing 'Reprise' carries a hallelujah chorus of friends and family, recorded live in the ch

Dire Straits' arresting self-titled debut arrived in the midst of punk's reign but couldn't have been further removed from the era's slash-and-burn style. Recorded in West London in February 1978, the band's tasteful, jazz-inflected set embraces folk, blues, and pub rock while also tracing a direct line back to the beat-oriented sound of early rock n' roll. Country and roots accents further distinguish the British quartet's stripped-down music from any 1970s peers, as does the transparent production, which has remained revered among audiophiles the world over – and which has never been better than on this meticulous pressing.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Dire Straits features natural tonalities, superb balances, you-are-there imaging, deep-black backgrounds, and pristine clarity. Even if you've heard this album hundreds of times before, you've never experienced it with such lifelike sonics and premium richness. This numbered-edition collector's set immerses you within the smoky, laidback atmospherics of every song. This is how all vinyl should sound.

Crucial to every arrangement, Mark Knopfler's winding guitar lines emerge with supreme transparency and multi-hued textural detail. His intricate playing comes across as if it's being transmitted via his 60s-era Fender Vibrolux amplifier placed right before you. The cleanliness, dimensions, and live feel are that good. His bandmates, too, benefit from the extra groove space afforded by this 45RPM edition. Rhythms skate and swirl; percussive effects resonate with crispness and attack; the leading edges of notes naturally decay.

Dire Straits' strong, well-edited batch of original material further enhances the overall enjoyment and makes the record one whose pleasures go far beyond the organic sonics. Just as Knopfler's narratives pour forth with poetic and surrealist texts, the musical settings – an intoxicating combination of easygoing shuffles, back-hall boogies, and pop-honed ballads – mirror the old-fashioned soulfulness inherent in the classic recordings of the late 50s and early 60s. The lyrics are equally captivating.

Drawing from his time as a youth in Newcastle, Leeds, and London, Knopfler invests tunes with an autobiographical slant and emotional connectivity that become obvious the moment he opens his mouth to sing. "Down to the Waterline," "Wild West End," and "Lions" all feature colloquial touches that add to their reach. By extension, "In the Gallery" functions as a tribute to Leeds sculptor Harry Phillips (father of future Knoplfer collaborator, Steve Phillips) while the record's breakout smash, "Sultans of Swing," pays homage to struggling bar bands.


Through it all, Dire Straits performs with a subtle cool and clever poise that no band ever matched. Just how good is the chemistry? Bob Dylan heard the quartet and invited Knopfler and drummer Pick Withers to play on Slow Train Coming. But even Dylan himself didn't hear Dire Straits sound this magnetic back in its original heyday. Now, everyone can.

Wayne Shorter stepped out as a Blue Note artist on his masterful 1964 label debut Night Dreamer, a sublime set that signalled the arrival of one of the most important saxophonists and composers in jazz history. Timeless Shorter compositions are given transcendent performances by a quintet with Lee Morgan, McCoy Tyner, Reggie Workman, and Elvin Jones. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

The single was released in Italy in 1984 as a 12-inch vinyl. What immediately stands out about the pressing is the complete absence of a record label; it was released as “Not On Label” with the catalog number HAS 1958. We are reissuing the original and also including a few unique interpretations/remixes by A.P. Mono and O.C. Lee. Once again, a true collector’s item! Limited edition pressing of 200 copies.

Budapest based concept label Blue Sun arrives with the 3rd edition of their annual VA series, showcasing a colorful taste of the local underground music scene, with some international sidenotes.

Following up on the label’s customs, the 19-track selection is not only released digitally, but also on a limited 200-piece cassette series. Curated by the label heads, the tracks follow Blue Sun's listening-oriented concept without genre restrictions with downtempo, trip-hop, jazz, dub, balearic, ambient, experimental, and electronica as highlights, with pieces that are more difficult to classify.

As before, instead of the usual A-B markings, the two sides are divided by the label's colors: “ORANGE” contains more organic and high-energy music, while “BLUE” contains more pensive and experimental tracks. Moreover, the selection has been carefully curated so that it can be listened to as an endless loop: the end of a side always resonates with the beginning of the other, wherever the listener begins.

The list of contributing artists this year are truly various and just as impressive. From uniqe debuting local artists to internationally recognised performers, it gives a taste of how the Hungarian underground scene sounds like atm. Important to note, that the release marks another debut: the label’s new visual identity by Blue Sun’s new designer, Péter Tóth.

House of Groove presents Marc Cotterell’s “Connection”*, now pressed on a limited edition marbled vinyl. Known for his signature garage and soulful sound and for his work through Plastik People, Marc delivers a record built for the dancefloor, with six cuts selected from the full project. Side A A1. Connection With You (Plastik Vocal Mix) A2. Connection (Plastik Vocal Mix) A3. Smooth Groover (Yambow & Cotterell Mix) Side B B1. Connection With You (Roméo Louisa Remix) B2. Connection With You (Baka G Remix) B3. Quicksand (ZAV Club Piano Mix) From the warm groove of **Smooth Groover** with Yambow to Roméo Louisa’s peak time interpretation, Baka G’s remix and ZAV’s piano driven club mix, the record moves between garage, soulful house and pure club energy while keeping Marc Cotterell’s identity at its core. Pressed on a striking clear and white marbled vinyl with black splatter, each copy has its own unique visual character. Mastered by Benoit Daudin at Perception Mastering. Marc Cotterell, Connection Limited Edition Vinyl House of Groove

Take a trip back to the golden age of popular music with Golden Oldies, a 2LP collection bringing together 40 timeless favourites from the 1950s and early ’60s. Featuring legendary artists including Elvis Presley, Buddy Holly, Sam Cooke, The Everly Brothers, Roy Orbison, Chuck Berry, Etta James and Bobby Darin, this hit-packed set captures an unforgettable era of rock ’n’ roll, pop, soul and rhythm & blues. Highlights include Johnny B. Goode, Heartbreak Hotel, The Wanderer, Mack The Knife, Crying and Smoke Gets In Your Eyes – classic recordings that still sound as good today as they ever did.

The ultimate Limited Edition double LP repress of "Morning Coffee" is finally here! ☕

Treat yourself to this ultra-exclusive double LP featuring an incredible liquid-filled vinyl. It's the perfect opportunity to acquire an exceptional collector's piece that is as hypnotic to watch as it is to listen to.


✨ Vinyl Features

Ultra-Rare Liquid-Filled Disc 1: much more than just a vinyl record, it's a technical marvel. This first disc contains a moving, coffee-colored liquid that comes alive to the rhythm of your turntable, offering a hypnotic and extremely rare visual experience.


Stunning Coffee-Marbled Disc 2: to perfectly pair with the liquid disc, enjoy a beautiful brown marbled vinyl that captures the warm aesthetic of a freshly brewed cup of coffee.


22 Remastered Tracks: 54 minutes of carefully selected, soothing melodies, remastered to bring a gentle warmth to your morning coffee routines.

Specially designed for fans who couldn't secure the original first pressing due to its instant sell-out, this limited reissue is the missing centerpiece your collection deserves.

Priding themselves in having cultivated a community and culture at their club nights, they play some of the best music ever cut to wax. It might not be quite what you’d expect from a typical northern soul night, it isn’t stepping back into the past, it’s the music stepping forward into 21st century.

“We’re not interested in nostalgia – we love soul music because it’s brilliant. It probably still resonates with young people because it has a message of something bigger than what’s inside your own head – that what really matters resides in relationships with other people, not material things. We think that is beautiful” – DNSC.

“Deptford Northern Soul Club have emerged as the new faces of northern soul” – Yuck.

As featured in Alan Byron’s documentary Northern Soul: Still Burning (2026).

“By recontextualising northern soul in a modern context, they empower the genre to continuously evolve, imparting new meaning to younger, perhaps previously unaware audiences” – Pilot magazine

WHIMM formed around the shadowy heart of the Toronto post-punk underground over a decade ago. The partnership between Mounir Al Shami and Andrew Matthews has emitted sporadic musical shards over time, while slowly evolving into something so much bigger than its beginnings. Ideas seep out of every corner of No Promotion, showcasing a burning desire to explore and challenge while delivering very direct sonic offerings. The result is an album that feels as if you took the entire Coil discography and smashed it into pieces, assembling these precious songs from the fragments. Or as if Vangelis beckoned Section 25 to the studio in hopes of recording the score to a seedy film. The resulting LP is in a state of flux – equal parts motion and decay.

Patrick Flegel, of Cindy Lee, welcomed Al Shami and Matthews into REALISTIK Studios in Montreal to engineer half of the tracks for the album, including lending guitar to the opening track "Five in Decline." That influence is evident early on, as the first three songs are taken from those sessions. "Five in Decline" throbs and barks before racing through the hallways closing in around it. "Another Labour" slows to a spidery waltz as anxious melodies call out to one another. "Returnal" pulses, floats through the night sky and haunts you forever. "Rye" carves a percussive pathway toward similar travellers like Terry Riley and Jon Hassell, before the lament of "A Death Remembered" forms the perfect midpoint for the record. A slow build countered by twitching drums and blanketed by organs recorded at Metropolitan United Church in Toronto, it feels like emotion right on the edge of resolve.

"Rhymes of December" screeches through on a solitary train under the towering cityscape as the flickering lights blur past, its doors opening to the candlelit altar of "After the Last Sky" (those beautiful organs again) with an operatic swirl. "K'20" throws you into a claustrophobic and chaotic cab ride (Who is talking? Are those sirens?) until you finally find the quiet of the early morning, waiting at the window for the sun to join you once again as the first notes of "No Promotion" are delicately plucked. The final song from the Flegel sessions, it is over eight minutes of contemplative beauty. A restless heart that is ready to rest. Closing with a final apparition in the key of The Caretaker, "After the Last Sky (Reprise)" is a return to melody when words lose all meaning.

Al Shami and Matthews weave their lyrics throughout, words describing a search for lucidity, and of reactions and reflections. Al Shami – speaking from the Palestinian diaspora – ruminates on displacement, both personal and collective. His journey from having "been without a land and I can still see clearly" in "Rhymes of December" to a more defiant "we will be back again, no matter how it ends or where we've been" in "Returnal" takes a very insular turn on No Promotion. That sense of alienation pulls at the very center of a relationship when land and circumstances separate: "And after our last breath, all that's left in me is our flesh and fears, your last words would swim for years, you'll never find a home in me." Hearts on the outskirts that know the direction.

“Cue Blue”, the latest and fifth studio recording from Australian down under, gritty jazzfunk grooves ensemble Kerbside Collection sees a return to a more classic, stripped back, meat-and-potatoes, home-cooked, quartet formation sound of guitar, bass, drums and brass.


A sound formed on previous, recent recordings (incl. Golden Rules compilation tune “Fleet Streak” etc), seemingly harking back to the approach of the group’s first recordings (2013’s “Mind The Curb”, “Night in Tunisia” etc), whilst embodying inspirations from more ‘true school’, classic, bluesy New Orleans funk and soul groove flavours à la early Meters, Boogaloo Joe Jones, Melvin Sparks, Billy Butler etc. But it’s not all completely ‘retro’ and ‘looking back’, the album definitely taps into some of the current exponents and leaders of the contemporary deep funk sound – The Greyboy Allstars, Eddie Roberts, The New Mastersounds, The Mighty Mocambos, Breakestra and fellow Aussie funksters Cookin’ on 3 Burners, Lance Ferguson and The Bamboos etc.


The lead single and first tune “Shivers” gives us a clear, picture and definitive opening statement to the record with all the characteristics you’ve come to expect from the Kerbside gritty jazzfunk sound: silky guitar line phrasing, rubbery bass-lines, tight crusty drum breaks, and sweet brass arrangements. Then it’s straight into a frenetic, jangly, mod-funk workout complete with Northern Soul & Motown inflections in the surging B sections. “City Park Avenue” conjures up classic New Orleans funk flavours with its strutting brass, slinky guitar and swinging tambourine groove. There’s classic, b-boy funk territory covered in “Coffee Grinder” (a breakdance move) with its razor-sharp drum break groove and chunky riff complete with sizzling trombone solo. Before the pace of the record changes up with the finger-clicken’, hand-clappin’ boogaloo, reminiscent of early 60s Harlem x Puerto Rican Bronx sounds (à la Willie Bobo, Mongo Santamaria, Ray Barretto) loaded with a scintillating baritone sax solo from long standing part of the collection ‘Papa Joe’ Roberts.


“Sittin’ On The Porch” cools the temperature down even more, delving into slight Southern Louisiana Delta blues territory, while suggesting some of the hot and muggy atmosphere and imagery of their home town location in suburban Brisbane Australia, complete with kooky Casio percussion representing familiar yard sounds such as sprinklers (spinning lawn watering devices) and ‘mozzies’ (mosquitos), passing cars indicated by trombone, and guitarist TC Tyler, channelling some bluesy John Lee Hooker, R.L. Burnside guitar flavours - you can almost feel the humidity on your skin.


Then it’s time for a stroll down memory lane, with their version of a People Under The Stairs hip hop classic “San Francisco Knights”, bringing the tune full circle back into band mode, also with another tasty guitar solo. The album then enters its final stages with a mesmerising, soulful, jazz ballad “Shimmer”, complete with Elliott Parker’s sultry upright double bass, and trombone taking the melody for a gentle stroll down the street. The album finally closes and arrives at its title “Cue Blue”, a classic blue-eyed soul number (penned by bassist Parker), emitting the scent of true school, vintage R&B and soul (à la Donny Hathaway, Marvin Gaye).


An album of funky arrangements and refined compositions, mostly penned by recent new-ish member, guitarist Tyler (for fans of Tower of Power & John Scofield guitar playing) taking the ensemble through their paces with all the usual characteristics of the Kerbside sound, on top a groove that will take you round-the-block-and-back :P Gritty jazzfunk and rustic soul grooves with definite bluesy overtones, some classic 60s, 70s flourishes and down-home funk flavours.

Repress of since last 2025 sold out box set. Ltd edition Gold vinyl, 4 X 140g LP Box set, 24pp booklet, DL card. or Ltd edition 4xCD Bookback. Trees classic albums, beautifully packaged as a four-disc anniversary edition includes 12" book with liner notes from founder member David Costa and comedian Stewart Lee - Features two new discs of alternate mixes, early demos, BBC session tracks and 2018 live recordings in London - Includes lost demos of 'Polly On The Shore' and 'Streets Of Derry' It's now over fifty years since Trees' formation and, although 'Acid Folk' has now become a sub-category in the lexicon of record dealers and music critics, and although founder member David Costa feels the original noughties reissue helped consolidate a gathering wave of curiosity, they themselves remain in the shadows. Earth's new Trees collection brings together both albums adding shiny alternate mixes of key tracks along with a selection of radio sessions and demos, all sounding brighter and cleaner than ever before. Trees first album, 'The Garden of Jane Delawney' (1970) snuggles nicely into contemporary nu-folkies' idea of the genre, and shares some of the pastoral-whimsy that characterised The Incredible String Band or Donovan, offset by some stunning interpretations of traditional material and Bias' own songs, which were somehow part of the tradition Trees had adopted. Readings of 'Lady Margaret', 'Glasgerion' and the old standard 'She Moved Thro' The Fair', and the extended fade of the group's own 'Road', presage the explosive instrumental duelling that would come to characterise the follow up album, 'On The Shore'. There's a definite shift between the records, the second being darker and more ambivalent. Here Trees don't tell you what to think. You're left to formulate your own response to this odd, opaque music. The 'Streets of Derry' session version leans into the brain vibrating drone-groove they somehow found at the traditional tune's centre. 'Polly On The Shore', another traditional tune, is one of the definitive moments of English folk rock. This special expansive collector's edition celebrates the bands 50th anniversary. "A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret" - Edd Gibson, Friendly Fires

With “Rides Again Again And Again” US born and London resident singer, songwriter, producer, arranger und multi-instrumentalist extraordinaire Shawn Lee releases the third part in a series of very personal albums.

“Returning to my ‘Rides Again’ project feels like a home coming of sorts-familiar yet completely different from how I remembered it,” Shawn Lee says. “This time out it felt really fresh and freewheeling. Discovering things which were already there but somehow had remained hidden just out of sight. The genius of JJ Cale provided a lot of inspiration for this album. I had to pay tribute with the song ‘JJ’ in his honour. I also wrote a song for my dad called ‘Helluva Way’ who sadly passed while I was finishing the album. Multiple US tours last year with Young Gun Silver Fox informed lyrics on several tunes particularly ‘Hot Food’ and ‘Plastic Forks and Paper Plates’. The latter features a motley cast of characters on the ‘hell yeahs and the outro sing -a-long. My wife Kiren, Andy ‘Young Gun’ Platts, his wife Jodie and daughter Frankie plus all the live members of YGSF band, Ederlezi, as well as Smith & Liddle and our tour manager Claire Darling all contributed to the cause on ‘Plastic Forks’. Songs about Evel Knievel, my dog Carla, Tacos and Abilene Kansas round out the album as-well as a few instrumentals to boot. Three albums into the ‘Rides Again’ trilogy and I feel like I’m just getting started. So saddle up partners and join me on this musical ride!”

Ramjac Corporation, aka Paul Chivers, emerged from the UK's late-'80s rave underground, performing live at parties like Sunrise, Energy, Back to the Future, Fun-da-Mental and Synergy. Building tracks with an Atari computer and an E-MU 12-bit sampler, turning severe technical limitations into raw, elastic club music, 88-92: It is What it Was gathers music born in bedrooms then tested in front of crowds at warehouse raves, while the culture was still inventing itself without boundaries, completelyfree.

Ramjac was the original artist on Irdial Discs, following label founder Akin Fernandez's Aqua Regia, and introduced Lee Purkis' In Sync and Neuropolitique to the label, shaping the singular catalogue of that extraordinary imprint alongside Luke Slater's Morganistic, Thee J Johanz and Anthony Manning.


That legacy is now revisited by Musique Pour La Danse, with the release of a limited edition vinyl and digital edition featuring extended liner notes by Nick Halkes of XL Recordings, Positiva and Kicks Like A Mule fame, who witnessed the early Ramjac period first-hand. The release is illustrated by Grant Fulton, who created the visual identity for The Shamen's Synergy events and Orbital albums.

This album presents music written exclusively between 1988-92 and forms the foundation of Ramjac Corporation's ongoing live performances. Restored from the original floppy discs, the recordings preserve the uniquerelationship between early digital technology, sampling culture and live improvisation that defines the Ramjac approach.

Mixed for release for the first time by Trevor Lancaster-Smith, whose 90s engineering work encompassed Leftfield, Faithless and Roni Size, the album brings these compositions into sharp focus while preserving the character of the original instruments and performances. Not just a historical document, 88-92: It is What it Was is a living body of work: music created then, realised now, and continuing to surprise and evolve.

Bristol trio Jabu return with their first release for two years. Following on from their widely acclaimed third LP ‘A Soft and Gatherable Star’, this stand-alone double A-side Disco Mix 12” features four exclusive new tracks, while signposting fresh material currently being written, recorded and mixed for their forthcoming LP, due 2027.


If 2023 LP ‘Boiling Wells’ documented Jabu learning to be a live band, leaning into writing collectively in-the-moment, ‘A Soft and Gatherable Star’ took that record’s ad-hoc/mixtape blueprint, and fleshed out their transformation from an outfit rooted in hiphop and dubstep, to a guitar-based band with a unique take on dream-pop. It saw them described by The Face as “an experiential trio blending the raw edge of industrial dub with dreamy layers of ambient pop and shoegaze", and by The Wire as “like Mazzy Star remixed by The Mad Professor“.


Jabu have continued to grow in the space between releases, touring regularly for the first time, playing festivals such as Rewire and Le Guess Who?, and supporting the likes of Maria Somerville and AR Kane. Their extended live line-up now regularly incorporates those that contributed to ‘A Soft and Gatherable Star’, with new material often further developed as it gets passed back and forth between collaborators. Cellist Josh Horsley (Powders / Nightingale Floor) and multi-instrumentalist Will Yates (aka Memotone) both feature here, under the guiding hand of Birthmark’s mixing.


Titled after the rural, estuarine landscape bordering their Bristol hometown, ‘Severn Flood Plain’ sees the band pivot towards a more jagged and up-tempo, post-punk sound. It runs on a nagging drum machine pulse that feels closer to Joy Division than Sly Stone; while the echo-laced vocals and tremolo guitar phrasing hark back to the ‘50s slapback sound of Lee Hazlewood or Duane Eddy. Written and sung by Jasmine Butt, the lyrics describe a visit to a friend near the mouth of the Severn, and hint towards a darkness that can also be felt across that tidal landscape.


Dropping the pace to a languorous, sensual sprawl, ‘Where You Run To’ is plaintive and yearning, an opiated, ethereal flipside to ‘Severn Flood Plain’s more urgent, anxiety-laced opener. Alex Rendall’s vocals glide over a stripped, metronomic backdrop, eventually entwining with Memotone’s ghostly, processed clarinet.


If the band’s musical reference points appear to have shifted, their process remains indebted to dub and still very much rooted in the multicultural cross-pollination peculiar to their home city of Bristol. Both tracks are extended, with dub versions courtesy of Birthmark. The band sat in on those sessions, completing the circle that began with J’s on-stage mixing of their live sets. The strands provided by Will and Josh provide introspective counterpoint to the sound system leanings.


Jabu’s influences are threaded together as naturally here as on their long-running NTS radio show, ‘Music For Lovers’, which now occasionally guests on the Early Bird show slot. They are due to play World of Echo’s ‘Expected Music 2.0’ at London’s Walthamstow Trades Hall on 21st November with Loopsel, Insides, Giulio Erasmus, Thomas Bush, and Raime amongst others.

'Carnaval De Luz' is the exhilarating 16th studio album from U2, 12 melodically rich new songs from one of the most celebrated & enduring bands of all time. Acknowledged as one of the best live acts in the world, U2 has sales of over 175m & won numerous awards, incl. 22 Grammys. Set for release in the year Bono, The Edge, Adam Clayton & Larry Mullen Jr. will mark 50 years together in U2, 'Carnaval De Luz' includes lead tracks 'Street of Dreams', 'Silencio' and the extraordinary 'Torn (ft. Dolly Parton)'.

This November, Brownswood Recordings will release Mek Do & Mend, the debut album from self-taught producer, multi-instrumentalist, composer and artist Wonky Logic. Although his name may not yet be familiar to everyone, Wonky Logic (AKA Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK's most respected musical collaborators. His career has moved comfortably between London's jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. Alongside his work as a producer and composer, he's been musical director for projects with Eddie Chacon, John Carroll Kirby and I.G Culture's LCSM, scored the feature documentary Zandra With A Zed, contributed music to A24's The Smashing Machine, and continues to lead music workshops with young people, refugees and people experiencing incarceration.

Far more than a collection of compositions, Mek Do & Mend is a deeply personal reflection on the people, places and experiences that have shaped Kilvington throughout his life. It's the story of growing up on a Leeds council estate, where music became both a creative outlet and a way of understanding the world. Making music often meant working with whatever was available: a second-hand keyboard, a makeshift studio desk or ageing equipment that simply had to last a little longer. The title itself came from a conversation with his mother, capturing the resourcefulness that defined his upbringing and continued into the making of the album itself, which was written and produced to a tight deadline around touring, family life and Kilvington's work as a musician and educator.

Built from material spanning more than fifteen years, Mek Do & Mend brings together some of Wonky Logic's earliest compositions alongside brand new pieces written during the making of the record itself. Childhood ideas sit alongside music conceived only months before recording, creating an album that draws together a lifetime of writing rather than documenting a single moment. Running throughout are voice notes from family members, teachers, friends, mentors and collaborators—not simply as interludes, but as a reminder that no creative life is ever self-made. Rather than telling his own story outright, Kilvington invites listeners to discover him through the people who've shaped him: an aunt remembering him playing in church as a child, lifelong friends recalling early experiments making beats together, fellow musicians from different stages of his career and his mother describing him in her own words. Together they reveal the invisible network of relationships, philosophies, communities and experiences behind the music. "The album exists somewhere between being a biography and an autobiography," says Dwayne. "The biography is in the voice notes and how other people see me. The autobiography is in the music."

That same philosophy extends to the musicians who appear on the record. Every contributor has played a meaningful role in Wonky Logic's life beyond the studio. Long-time collaborator Luke Wynter, Steam Down drummer Benji Appiah, partner Vanessa Rani, Jonathan Enser, Joe Bristow, Brother Portrait and Nubiya Imani all feature not simply because of their musicianship, but because they form part of the album's story.

Across its fourteen tracks, Mek Do & Mend moves effortlessly between dynamic jazz arrangements, pulsating broken rhythms, delicate, twinkling piano passages, interstellar synth textures and elegant brass lines. Album opener and first single 'Strange Attractor' begins with a shimmering introduction before unfolding into an exhilarating surge of rhythm and momentum. Named after the mathematical concept of the same name, it serves as the conceptual point of origin for the album. Written when Kilvington was just seventeen, the composition reflects the idea that even the most unpredictable lives are guided by hidden patterns that often only become visible with time. Second single 'A Thousand Hands' features the unmistakable vocal tones of Brother Portrait, whose cerebral lyricism drifts over a low-slung, constantly shifting groove as woozy synth lines ebb and flow overhead. At its heart, the track celebrates the family, friends, mentors and collaborators whose often unseen influence shapes who we become, echoing the album's belief that every achievement is, in some way, a collective one. LP focus track 'BAME (Beyond All Marginalised Expectations)' is a lush, spiralling composition, brimming with both emotion and resolve. Reclaiming an acronym long imposed on racialised communities in the UK, the piece transforms it into a statement of possibility rather than limitation: a defiant rejection of stereotypes and a refusal to let identity be defined by other people's expectations.

The album itself only exists because other people believed in it. Isabel Gracefield made the RAK sessions possible, Rick David brought the record together with his characteristically thoughtful mix, and Gilles Peterson committed to releasing it on Brownswood before hearing any of the music. Away from the stage, Kilvington works with the charity Finding Rhythms, writing and producing original records with people experiencing incarceration, while also leading workshops with Arts Train and Dovetail Orchestra.

Recorded live in a single day in Studio One at RAK, Mek Do & Mend was mixed by Rick David through an analogue Cadac console before being mastered by Stuart Hawkes at Metropolis. The aim wasn't nostalgia or audiophile perfection, but to create a record people could return to throughout their lives, discovering something new with each listen.

As Dwayne puts it: "I don't want this body of work to be reduced to a jazz record. It's more like a novel about life told through music."

1st repress of the rare UK compilation “In Reggae Time”.

Originally released in 1970, it brings together a series of very rare tracks issued only on 7" singles around 1967 by Ember Records and its sub-labels.

The sound is not just Reggae—it’s only marginally so—offering a vibrant mix of 1960s UK mod, R&B, Ska, and Northern soul.

Limited-edition Picture-disc LP.

Eve 6 is the debut studio album by American alternative rock band Eve 6, originally released in 1998. The lead single and popular song "Inside Out" became a hit and reached #1 on the Modern Rock charts. Other singles include "Leech", "Superhero Girl", "Open Road Song" and "Tongue Tied", all contributing to the album's wide recognition.

The album was produced by Don Gilmore, known for his work with Linkin Park and Good Charlotte. Eve 6 became certified Platinum, selling over one million copies in the United States and achieved high positions on the Billboard charts, making it a hugely successful rock debut.

Eve 6 is available as a limited edition of 1500 numbered copies on yellow & white marble vinyl. The record comes in a deluxe sleeve finished with leather laminate and includes an insert with lyrics and liner notes.

Platypus Trax's first edition of the annual vinyl VA-series brings together an impressive bunch of artists around the globe! A1 - Guchon (Japan) - Hard Normal: A timeless club roller with a hardgroove attitude and inventive splatter of vocal cuts and sounds, that blend together with the driving drums and hard and stabby bassline. 140BPM A2 - Chambray (Germany) - Step Aside: A legend that is Chambray brings the old school ghetto techno back to his repertoire with Step Aside, not shying away from keeping it as minimal as possible, yet keeping the overall sound as full and destructive as possible. 132BPM A3 - Joedan & Killaman (UK) - Slam Down: A fun little ender for the A-side by them boys from Leeds. Big drums and even bigger techy bassline for the peak time of almost any event imaginable. 135BPM B1 - Little By Little (France) & Reginald (Finland) - City Skyline (Detroit Mix): A touch of experimentalism and big synths molded together with sick drum groove and stretchy vocal line. Wait for the second drop for pure nostalgia! 140BPM B2 - Beth Alana (Germany) - Birds of Paradise: A minimalistic workout from the depths of Berlin. Fresh soundscapes and the voices of birds counterbalancing the deep groove and heavy basses. Meditative piece to end the compilation with pure style and respect. 145BPM

Brooklyn-based DJ and producer Son of Lee is a native New Yorker who's been active in the local underground for over a decade. He launched this label back in August with a doozy of an EP that soon sold out, and so we're glad he's back. These are four more flame-hot disco edits marbled with references to many classic sounds and artists. 'Stop Making Cents' is jangling disco-pop, while 'Different Places' slows down to an 80s synth chug and 'Louis-Dreyfus Dance Face' brings some erotically charged disco sophistication and 'Nichols In May' is a mid-tempo and dubbed out delight with funky guitars for days. Classy and effective.

Enamour returns to Crosstown Rebels with his latest EP ‘What U Said’, featuring SAM SHI. Featuring a remix from recent Crosstown signees Bonafique, the US producer continues his evolving relationship with the label following his 2025 contribution to SPIRITS VII and earlier remix work for bullet tooth.

LA-based DJ/producer Enamour has long operated outside of fi xed lanes and guidelines, shaping a sound defi ned by melodic depth and a psychedelic edge that translates across both club systems and through headphones. With regular support across his work from the likes of Solomun, CamelPhat, Hernán Cattáneo, Lee Burridge, and Damian Lazarus, alongside remixes for RÜFÜS DU SOL, RY X, and Lane 8, his catalogue reflects a balance of reach and individuality.

"What U Said" is about the moment language turns physical; when words create a chemical reaction you can’t take back” says Enamour. “It taps into the same quirky energy as my other records on the label, which I think heightens the feeling of surprise as the instrumental meanders underneath SAM SHI’s vocal It’s a track that pairs Enamour’s textured, immersive production with fellow LA-based artist SAM SHI’s vocal presence, shifting through atmospheres and rhythmic drive.

Making a return to the label, in-demand duo Bonafique step in on remix duties, reworking the original into a more hypnotic, groove-led interpretation built for deeper club moments. Closing track ‘Dip’ has already become a fixture in Enamour’s sets, operating as a trippy counterpoint to the vocal-led A-side and employing commanding drums, oscillating synths and a driving energy made to capture dancefloors. “‘Dip is a fan favourite and secret weapon that’s been a staple in mine and others’ sets for quite a while now,” he adds. “Balancing out the release with this one felt like the right time to finally get it out into the wild.”

2026 Repress

It's time for no.7 in the Disco Combine vinyl only series, with two heavy hitters re-worked and re-mixed from the tapes by Dave 'Love' Lee. On the A is 'Not This Time (Baby) (Give Me Some Moore Mix)' a much loved slice of Philly Disco,Aabsolutely bursting with lush orchestral arrangements. This classic jam has been given a noticeably different refresh, with a show-stopping acapella intro and more of the less heard instrumental passages. Speaking of classic, on the B is 'Jammin' Up In Smoke (Ready Steady Eddie Mix)' a Harris Machine, gospel charged chuggerAwhich is given a more groove based mix, which builds up instrumentally before hitting some falsetto vocals half way through, leading to a big hands in the air finale. Stay still if you can!!

One of the UK’s best loved and most respected dance music producers, Michael Gray, unveils his exciting third artist album, ‘You & Me’, on his own ever vibrant Sultra Records. Featuring a superb array of both fresh and regular vocal and musical collaborators, Michael delivers another superb helping of lovingly crafted discofied, boogie and soulful dance treats, where meaningful songwriting, passionate vocal performances and impeccable musicianship combine to create one of Michael’s best bodies of studio work to date!

“I’m really excited about this album. I enjoyed making ‘Optimism’ 2 years ago, but I feel like my sound and creativity have developed further during the production of my third album ‘You & Me’. I think there will be a few tracks that people are not expecting from me… and that’s the joy of making an album! You can really get creative”. – Michael Gray

Across the album, Michael brings together an impressive array of world class talent. Rising 29 year old vocalist Bran Mazz features prominently, delivering fresh performances on the standout cover of Maxwell’s ‘Ascension (Don’t Ever Wonder)’, as well as on ‘I Like The Way’, ‘Medicine’ and ‘Breaking Away’. Chi town house legend Mike Dunn joins Michael on the title track ‘You & Me’, built around a clever sample of Freeez’s ‘Flying High’. Vocal powerhouse Tania Foster turns up the heat on the Latin disco flavoured ‘Shake’. New York singer Kelli Sae lends her unmistakable soul to ‘Give It To Me’ and ‘Detonate’, the latter also featuring singer/songwriter Errol Reid (China Black / Axwell). Jamiroquai’s Derrick McKenzie adds his signature live drums to ‘Detonate’ and ‘I Like The Way’. Sian Lee appears on the current single ‘Gravity’, which is sitting at the top of the Traxsource chart. ‘Universe’ sees Michael deliver an instrumental jackin’ house twist, set for a full single release on Toolroom in June. Adding further depth to the album, superstar diva Phebe Edwards brings her impeccable soulful tone to a cover of Cleo Sol’s ‘Life Will Be’, Brit soul favourite Dyanna Fearon shines on ‘I’m Falling For You’, and Audrey Martells lifts ‘Beautiful’ with her stunning, uplifting vocal.

Compounding a reputation for his unique vision on techno with an uncompromising underground ethos utilising a fusion of deep and energetic electronics, Lee’s sound always creates a myriad of tension and construction which has seen him become one of techno’s elite, appearing in the most prestigious underground venues across the planet. His consistently original and dynamic productions, which have earned him much international ecognition, are frequent and in great demand. Appearing on many impeccable cutting edge and classic imprints over the years, Lee’s music has generated relentless plays and support from the brightest and leading connoisseurs in the underground techno scene.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve got an electronic guardian of such resolute astral belief in how the purest of dance music should be relayed to the occupants of any Celestial City. You will believe in RIOT when we say “The ‘Sentinel’ has awoken.”

Featuring eight tear drops out of the smoke fuelled rain from a distant belt in the galaxy, no ‘Moonrunner’ will be able to surf the ‘Gravitational Waves’ this Motor-City inspired journey takes you on. Book yourself passage on the Starliner ‘Off-World’ for a stargazing extravaganza into ‘The Gates Of Orion’ and witness the brightest of glimmers ........... in the dark.

The full digital release also features one bonus spellbinding track so your mind can melt into the depths of
space and time.

WARNING: YOU WILL OBEY IN ORDER THAT RIOT CAN TAKE YOU ONE STEP BEYOND …………….

Credits:

Written by Lee Holman
Mastered by Joe Farr
Artwork by Alan D. Oldham & Nomad

Techno House Connoisseurs are back with their 8th release by Bay Area producer Tranquil Elephantizer. This 3 track ep covers all the bases with equal parts tribal and acid culminating into that West coast sound you have come to love and miss. The A side starts off with the Silverwind Mix....deepish house music with flutes and mood for days teasing and drifting with tight percussion keeping the track grounded yet still dreamy. Long winded but in the best way. The 2nd track on side A is the Brother Lee Love mix which has a similar vibe but transitions into layers of crisp and subtle 303 acid lines all throughout. Wonderful end of night or middle of set escapism for side A. Side B has a lone track titled 5 Strobes mix that will get yours and the dance floor's attention. Panning and hypnotic with skipping percussion and spoken word....truly psychedelic west coast vibed out acid house.

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

Depeche Mode, Yazoo, Erasure's Vince Clarke, Blancmange's Neil Arthur and the electronic producer-writer-synth-nerd Benge have joined forces to form the new project Doublespeak. Set to be released on May 29th, their self-titled debut album revisits eleven of their favourite songs from the past four decades, each reimagined and renewed in the timeless space of gleaming analogue electronica.

The 'Doublespeak' album is divided between songs from the postpunk netherworld brought blinking into the light (Fad Gadget, The Sound, Young Marble Giants), pop radio monsters ushered back down a dark stairway into the club (ABBA, David Essex, The Carpenters) and buried treasures from the 1990s onwards (The Magnetic Fields, Ed Dowie and Laptop).

Collectively, the album amounts to a shadow autobiography of the three collaborators' continuing musical education. Doublespeak is the great human songbook, synthesised.
Empathic vocals, bold arrangements and glowing analogue electronics turn familiar and forgotten songs into a personal, forward-looking electronic statement.

Dr. Lonnie Smith’s 1969 album Turning Point featured the organ virtuoso with a dynamic band featuring Lee Morgan on trumpet, Julian Priester on trombone, Bennie Maupin on tenor saxophone, Melvin Sparks on guitar, and the funky drummer Leo Morris (aka Idris Muhammad). Highlights include covers of “See Saw” and “Eleanor Rigby” plus soulful originals.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal

DJ Support: Louie Vega, Kenny Dope, Dave Lee, Dj Spen, Terry Hunter, Jimpster, Kevin Yost, Brian Tappert and more.

For the true listeners who still value the art of the record.

This project pays homage to the funk-disco aesthetic that defined the 70s and 80s crime-thriller genre. Paolo Fedreghini’s personal, cinematic journey through the American cityscape: an atmospheric landscape of high-speed chases, corrupt lawmen, and V8-powered escapes. The narrative weaves through gritty criminal underworlds and shady dealings, always balanced by the allure of the disco era. Rather than a mere imitation, the album distills the essential Blaxploitation sound for a modern audience, blending jazz-funk and disco with subtle, sophisticated electronic layers.

Timeless and built by one of the legends who helped define the language of house music. Huge support by Ricardo Villalobos. KBMV001 is not just a debut catalogue number on Shelby own label, it is a foundation stone. Authentic, timeless and built by one of the legends who helped define the language of house music. Klassik Blueprint Muzic opens its catalogue with a statement. Widely regarded as one of the pioneers of the Chicago house sound, Shelby?s history reaches back to the formative years of the culture, with early milestones including ?Essence Of A Dream? under his Risqué III alias in 1987 and ?All For Lee-Sah? on Derrick May?s Transmat in 1989.

That legacy is exactly what gives ?OMG (Oh My God)? / ?Who Wants It DEEP?? its force. This is not nostalgia packaged as heritage, it is a living connection to the raw machinery, groove science and emotional depth that made Chicago house a global language in the first place. Shelby has long been associated not only with classic Chicago house, but also with the tougher edges where acid, techno and Detroit-inspired futurism meet, a cross-current reflected throughout his discography and in the way later reissue culture continues to treat his catalogue as foundational. Pressed on 180g vinyl and coming straight from Chicago, USA, this is a release that connects past, present and future in one gesture: authentic house music from a genuine architect, still speaking with authority.

For two decades, Gun Outfit has been a band defined less by genre than by continuity, patience, and a commitment to making music that reflects their lived experience.
Formed in Olympia, Washington in 2006 but long since rooted in Los Angeles, the group has evolved from a raw duo into a quietly formidable five-piece, their sound growing from scrappy post-punk beginnings into something spacious yet intimate, and always underpinned by an experimental edge.
On Process & Reality, Gun Outfit return with their most ambitious and immersive work to-date, a sprawling 80-minute double album shaped by time, environment, and philosophy. Recorded over the course of a single month in the late summer of 2020, on an 80-acre ranch in Pine Flat, California, while a massive forest fire burned less than ten miles away, the seeds of these songs were stark and strange.
Its title, Process & Reality, draws from the central work of philosopher Alfred North Whitehead, whose philosophy places intuition, experience, creativity, and relationality at the center of existence.
The band’s current lineup reflects both longevity and openness. Sharp and Keith remain the band’s primary architects, joined by longtime drummer Daniel Swire, multi-instrumentalist Henry Barnes, and bassist Kayla Cohen. Additional collaborators include Chris Cohen, Warren Lee, and Danny Sasaki all of whom add further depth, leaving subtle fingerprints across the album.
Musically, the album expands the band’s palette without abandoning its core sensibility. Dulcimer, autoharp, sitar, melodica, keyboards, homemade electronics, and a wide range of acoustic and electric textures appear throughout. The sound is mellow yet expansive, songs move between fragility and hefty atmospheric passages.
Influences surface obliquely rather than overtly. Elements of reggae and dub inform the production’s spatial sensibility. Echoes of long-form European jam bands coexist with sharp post-punk. British folk traditions, American country, and classic West Coast songwriting drift in and out of focus; the band is never afraid to lead or follow.

Following the critical success of last year’s ‘Cold Feet’ LP, producer, DJ, and multi-instrumentalist Alek Lee returns to Isle of Jura with his most introspective work to date, the ‘Blue Bird’ album. Across eight tracks, the Athens-based artist explores what he describes as a "Peculiar state of minds & Dub Orientated Feelings," blending his signature guerrilla style production with deep, organic soul.

The album’s centerpiece and title track, ‘Blue Bird’ features the haunting vocals of singer-songwriter Keren Ilan. It is a raw, heartfelt exploration of the aftermath of a breakup. The lyrics speak of a "desert heart" and a "loss that grows tall and loud," eventually finding a path toward healing as the "blue bird sings the dawn." Musically, the track is anchored by hazy, sun drenched guitars, a central instrument that weaves a consistent Balearic thread throughout the LP.

The journey through ‘Blue Bird’ is one of shifting shadows and unexpected textures. ‘Treasures’ is a standout instrumental, leaning into a grit-flecked, bluesy "twang" reminiscent of Duane Eddy, while ‘The Beach Road’ sees long time collaborator and ‘Shame On Us’ bandmate, Yovav, lending his magical bass and guitar work to a track that feels like a slow drive toward the horizon.

Side B shifts the energy toward the dancefloor and the sophisticated leftfield pop of the 80s. ‘First Rain’ is a subtle house leaning gem underpinned by a kick drum and lush, synth heavy emotive chord progression. ‘Thanks to Sade’ is a seductive downtempo groove with epic guitar lines shifting through, while ‘Remember the Good’ brings a subtle reggae skank and a French-influenced organ sound into the mix. The LP comes full circle with a smoked out Dub version of the title track ‘Blue Bird’.

A 180 gram pressing in a 3mm spine full colour sleeve and sticker designed by Bradley Pinkerton.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."