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Introducing the first release from Italy's Ellito's Bakery label, a fresh EP packed with four electrifying tracks by Elliot P, tailored for the dance floor. With a keen focus on stirring emotions, these club-ready tunes are crafted to immerse listeners in a sonic journey. —White Label Hand stamped 12"

Kings Elliot war schon immer fasziniert davon, was einen Song wirklich ausmacht und das bereits im Alter
von etwa sieben Jahren. Aufgewachsen in einer kleinen Schweizer Stadt mit ihrer britischen Mutter, wusste
sie immer, dass sie anders war: Sie kämpfte mit denselben Dämonen, die heute ihre Musik inspirieren. Ihre
Fans, liebevoll als „sick puppies” benannt, haben durch ihre Songs, ihre Tourneen, ihr Social Media und
ihre Twitch-Livestreams, in denen Gespräche über psychische Gesundheit, Geschichten hinter ihren Songs
und Heilung im Mittelpunkt stehen, eine enge Bindung zu ihr aufgebaut.
Jetzt beginnt für Kings Elliot ein aufregendes neues Kapitel:
Ihr lang erwartetes Debütalbum „Born Blue” ist ab dem 26. September digital, auf CD (mit blauer Unterseite) sowie in 2 verschiedenen Vinylvarianten erhältlich:
- schwarze LP
- coloured LP (deep ocean mit pearl Effekt) inkl. Poster
Diese Veröffentlichung folgt auf Kings Elliots jüngsten Erfolg bei den Swiss Music Awards, wo sie mit dem
Preis als „Best Breaking Act“ ausgezeichnet wurde. Mit neuer Musik und ihrer ersten Headliner-Tournee
durch Europa im Oktober ist sie bereit, ihre Welt mehr Fans als je zuvor näherzubringen.

Kings Elliot war schon immer fasziniert davon, was einen Song wirklich ausmacht und das bereits im Alter
von etwa sieben Jahren. Aufgewachsen in einer kleinen Schweizer Stadt mit ihrer britischen Mutter, wusste
sie immer, dass sie anders war: Sie kämpfte mit denselben Dämonen, die heute ihre Musik inspirieren. Ihre
Fans, liebevoll als „sick puppies” benannt, haben durch ihre Songs, ihre Tourneen, ihr Social Media und
ihre Twitch-Livestreams, in denen Gespräche über psychische Gesundheit, Geschichten hinter ihren Songs
und Heilung im Mittelpunkt stehen, eine enge Bindung zu ihr aufgebaut.
Jetzt beginnt für Kings Elliot ein aufregendes neues Kapitel:
Ihr lang erwartetes Debütalbum „Born Blue” ist ab dem 26. September digital, auf CD (mit blauer Unterseite) sowie in 2 verschiedenen Vinylvarianten erhältlich:
- schwarze LP
- coloured LP (deep ocean mit pearl Effekt) inkl. Poster
Diese Veröffentlichung folgt auf Kings Elliots jüngsten Erfolg bei den Swiss Music Awards, wo sie mit dem
Preis als „Best Breaking Act“ ausgezeichnet wurde. Mit neuer Musik und ihrer ersten Headliner-Tournee
durch Europa im Oktober ist sie bereit, ihre Welt mehr Fans als je zuvor näherzubringen.

[f] A6 Independence Day; Drum Programming [Drum Loop] – Tom Rothrock

[h] B1 Waltz #1; Vibraphone [Vibes], Keyboards [Chamberlain] – Jon Brion


[k] B4 Bottle Up And Explode!; Drums – Joey Waronker; Vibraphone [Vibes], Keyboards [Chamberlain] – Jon Brion

[m] B6 Everybody Cares, Everybody Understands; Vibraphone [Vibes], Keyboards [Chamberlain] – Jon Brion

Die in der Schweiz geborene Halb-Britin Kings Elliot ist ein offenes Buch für ihre Fans.
Bei ihr wurden eine Borderline-Persönlichkeitsstörung und Angstzustände diagnostiziert.
Mentale Gesundheit ist das Kernthema ihrer Musik, ihre Songs sprechen offen über ihren Kampf mit sich
selbst und ihre Social Media Profile sind ein sicherer Hafen und Ort für tiefen Austausch für ihre Fans
geworden.
Kings Elliot spielte bereits weltweit Festivals wie z.B. Barn on the farm oder das Montreux Jazz Festival, wurde unter anderem von Online- und Presseoutlets wie der Deutschen Vogue, Teen Vogue, Billboard,
Clash, Wonderland und zuletzt der Sunday Times gelobt und erhielt social Media Unterstützung von Reese
Witherspoon, Dixie D’Amelio, Lewis Capaldi, Milky Chance und Macklemore.
Sie tourte mit Imagine Dragons durch die größten US Stadien und supportete Sam Ryder (”Space Man”,
bekannt vom Eurovision Song Contest) auf dessen letzer EU Herbsttour, auch Stephen Sanchez nahm sie
als Support mit auf große US Tour.
Im Sommer 2023 supportete sie auch Lana Del Rey bei ihrer großen Hyde Park Show in London.
Mit ihrer EP ”I’m Not Always Sad, Sometimes I’m Angry” erscheint zum zweiten Mal ein physisches
Produkt in Form einer 10” Vinyl.

Das Album schuf die Atmosphäre des Hollywoods der 1930er Jahre mit einem wunderschönen Cover-Foto von George Hurrell. Die Musik bestand aus großartigen Songs, die von Judee Sill, Bobby Darin und Bruce Johnston von den Beach Boys geschrieben wurden. Sie bringen die erstaunliche Stimme von Cass Elliot perfekt zur Geltung. „Cass Elliot“ ist in einer limitierten Erstauflage von 1.000 einzeln nummerierten Exemplaren auf SILVER Vinyl in einem Gatefold-Cover erhältlich.

After her success with The Mamas & The Papas and two albums under the Mama Cass alias, the 1972 album Cass Elliot was her first record under her real name. After her success with The Mamas & The Papas and two albums under the Mama Cass alias, the 1972 album Cass Elliot was her first record under her real name. The album created the atmosphere of 1930’s Hollywood with a beautiful cover shot by George Hurrell. The music consisted of great songs written by Judee Sill, Bobby Darin, and Bruce Johnston of the Beach Boys. These perfectly showcase the amazing vocalist that Cass was.
Cass Elliot is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl, housed in a gatefold sleeve.

Der britische Pop-Noir-Künstler und Schauspieler (Exit, Wisting), Luke Elliot, glänzt auf seinem dritten Studioalbum mit einer eklektischen Mischung von Einflüssen, die von Jazzikonen (John Coltrane, Duke Ellington) über Outsiderlegenden (The Cramps, Gun Club, Mink DeVille) bis zu ebensolchen Kultfilmen (Badlands, Pulp Fiction, Natural Born Killers) reichen. Sein dunkler Crooning-Stil aus Tradition, Melancholie und Melodie lässt Vergleiche mit den größten Singer/Songwritern unserer Zeit zu, und das Mojo-Magazin nennt ihr 'einen Meister des zugänglichen, verdrehten Gothic Americana'. Ein Highlight auf 'Let 'Em All Talk' ist sicherlich sein Cover der zeitlosen Ballade 'I (Who have Nothing)'.

Der britische Pop-Noir-Künstler und Schauspieler (Exit, Wisting), Luke Elliot, glänzt auf seinem dritten Studioalbum mit einer eklektischen Mischung von Einflüssen, die von Jazzikonen (John Coltrane, Duke Ellington) über Outsiderlegenden (The Cramps, Gun Club, Mink DeVille) bis zu ebensolchen Kultfilmen (Badlands, Pulp Fiction, Natural Born Killers) reichen. Sein dunkler Crooning-Stil aus Tradition, Melancholie und Melodie lässt Vergleiche mit den größten Singer/Songwritern unserer Zeit zu, und das Mojo-Magazin nennt ihr 'einen Meister des zugänglichen, verdrehten Gothic Americana'. Ein Highlight auf 'Let 'Em All Talk' ist sicherlich sein Cover der zeitlosen Ballade 'I (Who have Nothing)'.

Um den Funk-Pionier James Brown zu feiern, hat sich UMe mit Sto Elliot für die Veröffentlichung von „Black & Loud: James Brown Reimagined by Stro Elliot“ zusammengetan. Stro Elliot, der als Produzent mit mehreren GRAMMY-Preisträgern zusammengearbeitet hat, verbrachte seine Kindheit damit, Jazz-, Funk- und Soul-Legenden zu spielen, zu studieren und zu hören, wobei er schon früh eine Beziehung zu der Musik von James Brown aufbaute.

Für „Black & Loud: James Brown Reimagined by Stro Elliot“ hatte Elliot die Möglichkeit, zehn klassische James-Brown-Hits auszuwählen und sie neu zu mischen, wobei er sich von verschiedenen Genres inspirieren ließ. Bei dem Song „She Made Me Popcorn” (Remix von „Mother Popcorn”) wird Browns Gesang im Hip-
Hop-Stil gesampelt, „Machine No Make Sex” (Remix von „Get Up (I Feel Like Being a) Sex Machine”) verwandelt das Original mit Afrobeat-Rhythmen und Bläsern.

Das Album ist ab dem 4. Februar als 1LP erhältlich.

Binker Golding (the sax in Binker and Moses) is “Coltranesque” according to John Fordham for The Guardian, and this record sees him forging a new partnership with Elliot Galvin, whose “technical brilliance is matched with a very British sense of eccentricity” (The Jazz Mann).

The first artist other than label head Patrick Topping to release on TRICK , his Geordie compatriot Adamson delivers an eclectic mix of tracks. The EP opener and title track, ‘Electric Acid Tater Tots’ is an acid-soaked techno slammer, strung together by Elliots own robotic vocals. Skream then steps up to deliver the labels first ever remix, a trippy, high-energy workout, before the Electric Acid Tater Vox offers a stripped-back vocal version which is available exclusively on the vinyl. Over on the B-side, ‘NYC Dada’ is an infectious disco-house edit destined to fill countless dancefloors, then ‘11am in Brisbane’ delves into melodic techno waters.
“I don't recall writing the lyrics, but I like to believe they appeared in the notes in my phone delivered by some divine spirit via the medium of an Apple iPhone XR - cheers Steve,” Adamson jokes. “About four instrumentals existed for about four weeks and I would often find myself standing on the table at parties singing out the lyrics excitedly trying to explain that 'this is my song.’” - Elliot Adamson The record is also accompanied by two exclusive bonus tracks. Lesgo Lesgo Lesgo is a true techno odyssey and bonus purely for digital copies of the EP. Then, there is the Electric Acid Tater Tots (Acid Mix) , a secret dubplate that has only been sent out to a select number of DJs. A true weapon for the warehouses.
“Elliot had to be the first artist, other than myself, to release on TRICK!” Topping enthuses. “ I’ve been championing his music for years and this release has been a long time coming. He’s now helping me A&R and is a resident at the label parties. His EP genre-hops and this is what TRICK is all about.” - Patrick Topping

Tracks to get lost deep inside of: That's Elliott Lion's aim when he hits the studio solo... And that's the vibe we're definitely experiencing with this brand new EP for Warm. 

A complementary contrast to Elliott's other musical life as a member of a very well-known UK rock band, this three-track follow up to last year's 'Pearl' and 'Athens' probes even deeper into Elliott's psychedelic psyche than ever before. Total departure tracks: Timeless technoid expressions with tightly coiled narratives that unfold with sudden surprises and twists, each construction is a condensed trip. Time to buckle up...

RECORD STORE DAY EXCLUSIVE!

Late 70s Westcoast Yachtpop you can almost dance to!

Man nannte sie nicht umsonst die - Me Me Me Generation'. Die sehr von sich überzeugten bärtigen Musiker (und die Musikerinnen in wabernden Kleidern), die Mitte/Ende der 70er in L.A.'s Strassen rum hingen und sich selbst feierten. Der geschmackvolle Teil der Musik-Welt hätte diese Musikrichtung noch vor einigen Monaten nicht mit der Zange angefasst. Zu sanft, zu übertrieben, zu luxuriös, zu offen hedonistisch, zu ausladend. Zu unecht, zu gekünstelt, nicht authentisch, und dann noch diese unfassbaren Akkordwechsel...Aber ' Too Slow To Disco - vol. 1' hält sich nicht auf mit solchen alten Geschichten und Klischees. Wir alle wissen, sobald Musikgenres alt werden, scheinen die wichtigen, relevanten Teile auf einmal durch und diese Zusammenstellung versteht sich als Dokument eines fast vergessenen Teils der West Coast Musikwelt Mitte bis Ende der 70er Jahre.Es hat ein Jahr gedauert, die von uns ausgewählten, meist unbekannteren Songs aufzutreiben. Songs von Musikern, die damals gerade ihre ersten, oft wenig erfolgreichen Schritte unternahmen, bevor sie Jahre später mal eben eine Handvoll Welthits aus dem Ärmel schüttelten und die - grosse Welle' der Musik der kalifonischen Küste surften. Also, willkommen zu Volume 1 unseres sogenannten PRM (Personal Rediscovery Movement).

This almost unheard score holds some never before heard Budd gems. Dynamite Cuts release for the first time a 7' 45 with a selection of original cues and dialogue taken from the Film. How, James Coburn as Professor Robert Elliot creates a masterful plan to get four people, who know too much, to kill each other is a fine example of a classic British thriller with a superb twist at the finale. This 45 is a journey through the film that includes some never before heard tracks. A must have!

THE INTERNECINE PROJECT Musicians

Roy Budd - Piano, Clavinet, Rhodes, EMS AKS

Paul Fishman - ARP 2600 Electronic programmed and effects

Daryl Runswick - Double Bass and Bass

Tristian Fry - drums

Frank Riccotti - Percussion

Judd Proctor - Guitar

Ronnie Scott - Alto sax

Tubby Hays - Sax

Kenny Baker - Trumpet

String orchestral parts led by Sidney Sax: 1974 The National philharmonic

John Richards - Sound engineer

Roy Budd - Arranger

Recorded at CTS Wembley

This time it's an great Various Artists release, featuring DJ W.E.B, 95 Steps, Tolga Fidan & Elliot.

Worth to check! (Vinyl only)

In 2015, something magical happened. We met a couple of talented young Swedes named Artur Bra¨ndstro¨m and Egil Kahlbom who excelled at composing and producing these lighthearted, breezy disco-hued house tracks (or house- hued disco tracks, perhaps) that both fit the aesthetic and character of LPH and brought something new into the fold. The result of that first encounter was Marathons, a full-length album, their debut to the world, and now, two years later, we're back for the much-anticipated follow-up.

Rehearsal is a little briefer than its predecessor—it's five tracks—and has a markedly different tone, one that's less about dusty, sun-bleached samples and more about tightly-engineered and delicately-crafted songs. If the first effort was marked by its carefree naivete´, the sophomore effort is, well, something a bit more advanced or, perhaps, rehearsed.

What hasn't changed, though, is these guys' ability to home in on grooves and coax something trasncednetally hooky, memorable out of them. The five tracks contained here are low-key in attitude but powerful and punchy in approach. They're uniquely juicy, nourishing numbers for mellow hours and fearlessly fun ditties for party hours.Lots of love went into the lot of them, and we hope all's you feel when you let them wash over you is that. Love.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

'Double Seven, released by Trojan in late 1973, was the last album Lee 'Scratch' Perry would release on the label for some considerable time, and it was essentially the final album project he put together before establishing his own Black Ark studio. Opening track 'Kentucky Skank' sets the tone with a slow creeper whose frying sounds underscore its role as a praise song to the Colonel's KFC recipes; the cosmic Moog blips come courtesy of Ken Elliott at Camden's Chalk Farm studio, also prominently featured on U-Roy's double-tracked, stereo-panned gambling ode 'Double Six.' David Isaacs' 'Just Enough' was cut a few years prior, which makes it slightly out of phase with the rest of the set, though the enigmatic 'In The Iaah' sounds mightily fresh, with its uncredited chorus said to come courtesy of the Wailers. Perry's own 'Jungle Lion' has hilarious roars from the maestro at the start, strangely grafted atop a reggae re-make of Al Green's 'Love and Happiness.'

'Overall, Double Seven melds the soul, funk, reggae and dub elements that were constant in Perry's work during this phase. His enhanced audio spectrum and endless reference points would keep his music continually apart from that made by his peers.'
—David Katz (excerpt from the liner notes)

To celebrate the 10th anniversary of the iconically brutal-yet-stylish Hotline Miami, the head honchos at Devolver Digital, Dennaton Games and Laced Records picked up the phone and made the call to bring back two killer soundtracks to vinyl.

This Standard Edition of the Hotline Miami 1 & 2: The Complete Collection 8LP box set includes traditional black vinyl.

Every in-game track from Hotline Miami and Hotline Miami 2: Wrong Number is present and correct, including Castanets’ “You Are The Blood” (not previously available via the HM2 Steam soundtrack release.) 76 tracks remastered for vinyl will be pressed to heavyweight LPs that come in spined inner sleeves, contained in a rigid board lift-off lid box with spot UV highlight.

Also included in the box are two 12” art prints of the front and back cover pieces, and a 50 Blessings symbol felt slipmat and metallic sticker.

The box set features brand new eye-exploding artwork by long-time Dennaton collaborator Niklas Åkerblad — aka El Huervo aka Beard — alongside illustrator -IZMA-. El Huervo’s grisly covers depict contradictory accounts of a berserk face-off between Jacket and Biker, replete with entrails. -IZMA-’s disc sleeves explore scenes from the series’ lore, tapping into the violence, psychedelia and nihilism that pervade its characters and themes.

10 years on, neon-soaked indie hit Hotline Miami has become a cultural touchstone in a way that few video games ever achieve — and the electronic soundtracks for both series titles are held up as modern classics that have transcended gaming. At turns brutal and laid-back, pulsating and aimless, coked-up and checked-out, these two ultracool compilations were at the heart of the retro-’80s synthwave scene that swept the Internet over the 2010s.

Terrestrial Funk presents a piece of Detroit history. Born and raised in Motor City, Karl Fultz knew at the age of twelve that he wanted to be the most talented and successful DJ in the world. In 1999 he released on Juan Atkins’ Metroplex under the alias People Mover and in 2000 he released as Black Electric on Puzzlebox. Inspired by British synth-pop duo Eurythmics, Fultz says Black Electric was a way to get more women involved in the techno movement. Together alongside vocalists Tiffany Elliott, Kim Glover & Talena Fultz, Black Electric brought sex appeal to the scene. Their first and only release stays in demand and has become inaccessible until now. Terrestrial Funk’s reissue provides two fresh cuts on the new 12”. ‘Purple’ a chugging Detroit acid track describing soul modification to enhance intimacy and a proper bassed out club mix of the nasty electro sex song ‘Work That’, which was only featured as an acapella on the original release. Black Electric stands as a testament to turn of the century Detroit and the city’s undying devotion to expand our connection to music.

"Imagine a classic singer/songwriter record loaded with the intimacy and grit reminiscent of Alex Chilton or Nikki Sudden." Shindig

Los Angeles singer-songwriter Tracy Bryant returns with his new album The Well, which is his first release since 2019’s critically acclaimed Hush. His fourth solo album, The Well marks a striking new chapter, trading his signature guitar-driven sound for piano-led songwriting that took root during the pandemic. The album was born out of one of the most turbulent periods of his life, written in the wake of his father’s sudden passing and birth of his first child. It was produced by longtime friend and compatriot Joo-Joo Ashworth at Studio 22 in Cypress Park, CA, and mastered by Dave Cooley at Elysian Masters. The nine songs are filled with raw emotion and driving motorik rhythm, telling tales of loss and love, relationships beginning and ending.
 
When the pandemic upended Bryant’s promotion for Hush and brought his 2019 European tour to a halt, he found himself at home rediscovering his musical roots at the piano, listening to Vince Guaraldi and Arthur Russell to take inspiration for the song structures. Without a band around, Bryant used the instrument to create both rhythm and melody, which resulted in a repetitive and precise backbeat, which was elevated when he began working with drummer Carmeron Gartung to rehearse the new songs. This different approach would define the style of The Well, creating an amalgamation of sounds with classic songwriting structures blended with post-punk, 90s indie, krautrock and psychedelia.
 
To produce the record, Bryant turned to Joo-Joo Ashworth, who share a friendship stretching back to 2011 (when Joo Joo was only 18) when both of their bands, Corners and Froth, were at the forefront of the bourgeoning Los Angeles/Echo Park music scene of the time and embarked on their first national tours together. Ashworth, who has since become one of underground music’s most respected producers, recorded the album throughout 2024/2025 on half inch tape at Studio 22 in Cypress Park, California, giving The Well a warm, considered sound that matches the weight of its subject matter.
 
The album’s emotional core was forged by two significant life events arriving in close succession. In January 2022, Bryant’s father passed away unexpectedly at the age of 67. Just three months later, Tracy and his wife welcomed their first child. The Well is a direct result of those experiences, a songwriter processing grief and joy, endings and beginnings in real time. 
 
The nine songs take the listener on a meticulously crafted journey through the nooks and crannies of Bryant’s mind. Spanning 37 minutes, the album is an exploration of classic songwriting elements moving fluidly between driving beat punk, like “Weight” and “Widow”, and more melancholic tracks like “Halfway” and “Danny”. Album opener “Cold Floor” sets the tone immediately, Bryant’s lyrics confronting the day of his father’s death with unflinching directness – the breezy California piano sound is in direct contrast to the heavy theme. The Bowie-esque title track is perhaps the album’s most expansive moment – a fully realised epic composed with a dynamic flare. 
 
 The Well feels like an arrival. Dramatic and expansive, it is a true, visceral reflection of the life changing events that altered the course of Bryant’s life. Fans will be surprised by the heavy focus on piano but they will welcome the change as a bold turning point for an artist who has lived long enough to know exactly what he wants to say. 

Some previous press:

"feels like a slice of California, down to its ringing post-surf guitars and bright melodies, but cross-cut with a folk sensibility more aligned to the work of Elliot Smith or, on occasions, Conor Oberst." Uncut - lead album review

"…sees the Los Angeles rocker confront both the finer and uglier aspects of love and life, combining classic rock with psychedelic tinges and catchy melodies." Evening Standard 4*s

In the late 2000s a sprawling catalog of what is now genre-defining music was emanating from an unlikely place. Cleveland, Ohio has a broad reputation for many things, but in the aughts, psyche-expanding Kosmische wasn’t necessarily Cleveland’s calling card… until Emeralds. The trio of John Elliott, Steve Hauschildt, and Mark McGuire had released a profusion of limited-run cassettes, CD-Rs, and vinyl titles that had been passed around basement shows and then migrated to niche music communities online, creating a unique kind of murmur, even in the height of the DIY blog era. Three kids from the rust belt were crafting a distinctive and truly far-out strain of music on their own terms in the Midwest. They were flipping lids in wood-paneled basements and circulating around the underground with soaring sounds stylistically indebted to deep German electronic music pioneers and released with the ethos and twisted fervor of renegade Midwestern noise freaks. After several releases garnered a die-hard fandom in niche circles of internet/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I’m Here? was it.

mp3s of this album; they can finally get a fresh copy on vinyl. Does It Look Like I’m Here? became a hallmark that would carve a path for an entire scene. Ghostly International is thrilled to reissue the album, remastered by Heba Kadry, including 7 bonus tracks exclusive to the digital album and CD. The limited edition 2xLP includes extensive liner notes by Chris Madak (Bee Mask).

London-based DJ, producer, singer, and Fine Human Records owner Dino Lenny returns to vinyl releases on his own label.

Two fast-paced tracks that meander through waves of dark electronica and diabolical synths.

These tracks were created to capture the inner workings of Lenny's mind, transforming them into hypnotic works.

With releases on R&S, Diynamic, Innervisions, Rekids, Crosstown Rebels, Strictly Rhythm, Cocoon, and his own Fine Human Records label,

has remixed and collaborated with Underworld, Missy Elliott, Wu-Tang Clan, and Madonna,

Lenny has long held a firm foothold in both the underground and mainstream electronic music scene.

Consistently supported by Laurent Garnier, Carl Cox, Sven Vath, he maintains a presence that spans multiple scenes without being defined by just one.

Since 2021, he has hosted Tomorrowland's CORE radio show, featuring artists such as Nina Kraviz, Ellen Allien, Ame and Sven Vath

XPRESS Singles Vol.2 is here, and its a certified dance floor weapon. Here at TDE we're stoked to welcome back mystery London duo Dirty Supercar with a brand new cut, Nothing But The Music.

Powered by the deep, soulful vocal of Elliot Chapman, it’s a direct call to the floor. Lush, emotive strings glide over choppy 70s guitar licks, all driven by a throbbing house kick and bouncing bassline combination that hits with precision. It’s a confident, fully-formed house record that speaks to both classic and contemporary sensibilities.

On remix duties, Italian house music heavyweight Angelo Ferreri steps in with a fresh rework that’s already slamming our worldwide parties. A consistent force in the global house scene for over a decade, Ferreri’s catalogue spans chart-topping releases, millions of streams, and support from the scene’s most respected selectors. Regularly ranking among Beatport’s top-selling artists, his signature blend of groove-led, feel-good house is unmistakable. Here he delivers a version that’s primed for peak-time impact. Tested, refined, and truly defined house heat.

Fesh off strong support from Purple Disco Machine, DE SOFFER returns to TDE in fine form. The nu-disco specialist delivers two standout remixes, reworking 20 Buck Funk by Bustin’ Loose and Hot by La Felix. The latter was one of our label’s biggest records of 2025 and gets a slick extended treatment. Meanwhile, 20 Buck Funk is reimagined with a sharp, modern nu-disco edge. Both featuring West Coast's Relaye on the rap, these're both tight, energetic, and fiery Nu Disco bangers ready to cause club carnage.

A seriously strong vinyl package from front to back. Pressed on a limited run of 300, this is one for the collectors and the selectors alike.

Nach ihrem Debütalbum ,I" im Jahr 2023, das ihnen nationale Radiopräsenz, Auftritte bei großen Festivals und Europatourneen einbrachte, erweitert das Montrealer Art-Pop-Trio Bye Parula mit seinem zweiten Album ,Something Out of Nothing" seinen ästhetischen Horizont und widmet sich einem eher introspektiven Songwriting. Wie sein Vorgänger wurde ,Something Out of Nothing" von Robbie Kuster von Patrick Watson produziert und von Warren Spicer von Plants and Animals gemischt, aber das neue Album präsentiert auch ein Team von Mitwirkenden - darunter die Inuk-Sängerin und Songwriterin Elisapie, Adèle Trottier-Rivard von Bibi Club, Morgan Moore und Karkwa-Keyboarder François Lafontaine -, das von der wachsenden Bedeutung von Bye Parula in der kanadischen Indie-Szene zeugt. Das Ergebnis ist eine vielseitige Mischung, die sich aus dem orchestralen Funk von Serge Gainsbourg, den melancholischen Melodien von Elliott Smith, den weltlichen Rhythmen von Talking Heads und dem bodenständigen R&B von Dijon speist, allesamt durchdrungen von einer cineastischen Sensibilität der 70er Jahre, die die Grenze zwischen sonnendurchfluteter, weichgezeichneter Fantasie und urbaner Raffinesse verwischt. Doch die vergnügungssüchtigen Klänge von ,Something Out of Nothing" können die unter der Oberfläche lauernde Not nicht verdecken - dies ist ein Album, das Ihre Schultern musikalisch massiert, während es Ihnen textlich in die Magengrube schlägt.

The Mamas & The Papas were formed by husband and wife John and Michelle Phillips, formerly of The New Journeymen, and Denny Doherty, formerly of The Mugwumps. The last member to join was Cass Elliot, Doherty's bandmate in The Mugwumps. The group considered calling itself The Magic Cyrcle before switching to The Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".

They released a total of five studio albums and seventeen singles over a four-year period, six of which made the Billboard top ten, and sold close to 40 million records worldwide. The band was inducted into the Rock and Roll Hall of Fame in 1998 for their contributions to the music industry.

The band’s first single, “Go Where You Wanna Go”, was released in 1965. The second single, “California Dreamin’”, was released later in 1965 and quickly peaked in the charts. The band’s album, If You Can Believe Your Eyes And Ears, was released in March 1966 and became the band’s only number 1 album on the Billboard 200. The third and final single from their debut was “Monday, Monday”, which became the band’s only US number 1 hit. The song brought the band international success.

Collected is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

Music On Vinyl proudly presents a special edition of The Mamas & The Papas Collected compilation, which is available as a limited edition of 5.000 individually numbered copies on blue vinyl, and includes a booklet with liner notes.

Comes in a plain disco sleeve.

The long awaited first time reissue of the this NYC Boogie bomb. Originally released in 1983, now a hugely sort after piece.
Produced by the highly acclaimed, Elliot Rosoff & John Gomez,.

Remastered by the grammy award winning studio The Carvery's Frank Merritt.

Metalheadz and Quartz present Interloper, a body of work years in the making that captures the evolution and persistence of a truly singular producer. Sparked by an invitation from Goldie in 2018, the project developed organically into a statement piece, shaped by shifting environments and a relentless drive to refine his craft. Quartz, also known as Elliot Garvey, has long stood apart from the noise. A Welsh producer with little interest in visibility or self-promotion, he has built a reputation on substance alone. Interloper reflects that focus: textured, brooding, and meticulously detailed, balancing grit and clarity while maintaining the looming tension that defines his sound. The album’s title hints at Garvey’s place within the culture - present but never fully belonging - and the music carries that same sense of quiet defiance. Intense without theatrics and deeply personal without pretence, Interloper is a record that doesn’t ask to be seen, only to be felt.

Metalheadz and Quartz present Interloper, a body of work years in the making that captures the evolution and persistence of a truly singular producer. Sparked by an invitation from Goldie in 2018, the project developed organically into a statement piece, shaped by shifting environments and a relentless drive to refine his craft. Quartz, also known as Elliot Garvey, has long stood apart from the noise. A Welsh producer with little interest in visibility or self-promotion, he has built a reputation on substance alone. Interloper reflects that focus: textured, brooding, and meticulously detailed, balancing grit and clarity while maintaining the looming tension that defines his sound. The album’s title hints at Garvey’s place within the culture - present but never fully belonging - and the music carries that same sense of quiet defiance. Intense without theatrics and deeply personal without pretence, Interloper is a record that doesn’t ask to be seen, only to be felt.





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[ft. Selena Jones] (Posthumous) [Outro]





[ft. Selena Jones] (Posthumous) [Outro]

An album like a film, a childhood like a journey.



With Rêves, Senbeï unveils the most intimate and ambitious work of his career. Known for his unique blend of electronic music, hip-hop, and Asian sounds, the beatmaker reinvents himself here in an orchestral and cinematic universe, a far cry from his previous albums.


Inspired by the great soundtracks of children's adventure films—The Goonies, The Neverending Story, Charlie and the Chocolate Factory—Rêves is a sonic immersion where childhood nostalgia meets the emotional power of an orchestra.



A unique symphonic production.



For the first time, Senbeï has called upon a 15-piece orchestra, recorded in conditions close to those of film music. Strings, wind instruments, and electronic textures echo each other to create a rich, evocative universe, filled with luminous melodies and magical tension. This album is not just a collection of tracks: it is an adventure to be listened to like reading a story or watching a film.

Call Sender is the collaborative brainchild that unites the talents of Paul Elliott, a versatile multi-instrumentalist, composer, producer, and recording engineer from Suffolk/UK and Michael Reed, a multi-talented instrumentalist, recording engineer, and drummer residing in the Bay Area/USA. Despite working together for the past four years, the pair are yet to meet in person!

After connecting on social media over their love of drum breaks and vintage reverbs Elliott and Reed fostered their creative partnership by bouncing recordings back and forth via email and this virtual collaboration resulted in their first album, the jazz-funk inspired “Lost To The Storm” (Tru Thoughts, 2023). With four singles from the album gaining radio play and becoming a favourite for tastemakers and DJs, the pair began work on the follow up “Golden Langur”. With this new record, the aim was to retain their signature Call Sender sound, a heady mix of B-movie soundtracks, classic library music and psychedelic funk and soul, but also introduce elements of lo-fi soul as well as collaborating with some of their talented friends as featured artists.

These features include fantastic instrumental contributions from the incomparable funkmaster Shawn Lee (Ping Pong Orchestra/Young Gun Silver Fox) on “Brainforests” and the legendary JJ Whitefield (Poets Of Rhythm/Whitefield Brothers) who kicks ass in two tempos on “Two Tails”. Not to mention the silky-smooth vocals from the Bay Area’s Andre Cruz, vocal duet from Lucid Paradise that is reminiscent of Gil Scott Heron and Paul Elliott’s seven year old son Buddy drops a vocal on the future B-boy classic “Rainbow”. Together Call Sender has an old-school vintage foundation with a modern perspective. Influenced by iconic acts such as Klaus Weiss, Miles Davis and Nino Nardini and with a hip and funky sonic aesthetic, Call Sender’s music is nostalgic without being pastiche, has a sense of travelling at its core, having been recorded in different parts of the globe, while never hesitating on the direction of the music.

Quiet Village collaborate with Vanessa Daou on 'Naked Hunger’ Legendary New York artist and The Daou front-woman Vanessa Daou lends vocals to Matt 'Radio Slave' Edwards and Joel Martin's second release on the ‘The Quiet Village’ imprint.

Matt ‘Radio Slave' Edwards and Joel Martin's critically acclaimed Quiet Village project follow-up, 2024's 'Reunion' with the Vanessa Daou collaboration, 'Naked Hunger' on September 5th, '25. 'Naked Hunger', which comes in 'Vocal Mix' and 'Spoken Word Mix' versions, sees Quiet Village employ their hypnotic sensibilities to one of house music's most tantalising vocal talents in Daou, resulting in a mid-tempo house cut that completely envelops.

While the vocal mix of 'Naked Hunger' leans into the interplay between Vanessa Daou's cosseting song voice and spoken vocals, with the rest of the track embracing a subtly dubby ethereal musicality, Quiet Village ramp up the instrumentation on the' Spoken Vocal' version with bass guitar and piano flourishes accompanying her sultry poetic delivery.

'Naked Hunger', Daou's first collaboration with Quiet Village, marks her first release since 2019's 'Little Black Dress'. Throughout her illustrious career, the acclaimed three-time #1 Billboard Dance Chart topper has collaborated with Danny Tenaglia, David Morales, Mood II Swing, Ralphi Rosario, Terry Farley (Farley & Heller), Charles Webster, Horse Meat Disco's Severino Panzetta, Hifi Sean, and Eli Escobar.

Friends since meeting at Goldie's legendary MetalHeadz sessions at London's Blue Note in the '90s, Quiet Village, aka Matt Edwards and Joel Martin, began releasing their brand of dubbed-out, balearic-and-beyond tracks in 2005 via NYC's Whatever We Want Records. The duo's 2008 'Silent Movie' LP was a critical smash hit that resulted in remix commissions for the likes of Bryan Ferry, The Gorillas, Leftfi eld, Francois K, Massive Attack and many more. After a few years in the wilderness, unable to use their nom de plume due to contractual restrictions, the pair launched The Quiet Village label in 2024 with 'Reunion', a stunning 6/8-time urban jazz odyssey, a favourite of the likes of Luke Una, Gilles Peterson and Ryan Elliott.

Release #50 celebrates the digging, care & musical curiosity that’s made the GSC series essential for DJs, collectors & break seekers alike.

For years GSC has built a catalog that earns immediate “cop-on-sight” status. Thoughtful edits. Deep respect for the OG recordings. Breaks that knock w/out feeling heavy-handed. The kind of taste that reminds you these are real heads behind the decks.

Side A pulls from Jerry Butler’s “I’m Your Mechanical Man,” released in ’74 on the Sweet Sixteen LP. The track contains a raw drum break hip-hop producers recognized instantly. Most famously it powers Method Man’s “Bring The Pain,” 1 of the defining solo joints from the Wu-Tang Clan era. The break later resurfaced in Missy Elliott & Method Man’s 2002 version & Snoop Dogg’s “I Miss That Bitch.”

On the flip, GSC draws the source into pure DJ tooling: a sample break edit, a full drum break edit & the “Mechanical Wu” mix — built for selectors who know the power of letting a break breathe.

Then they deliver a beautiful surprise. Instead of leaving empty wax, GSC slides in Les McCann’s “Vallarta,” from the 1977 album Music Lets Me Be. Jazz-funk heads know it instantly — the hypnotic groove behind Biggie’s “Ten Crack Commandments.”

This is why Galaxy Sound Co. matters. They’re not just pressing edits — they’re curating moments. Unearthing grooves DJs need back in rotation. Some originals now cost serious money on Discogs. Others simply faded from memory. GSC dusts them off & hands them back to the community.

50 releases in & the curiosity still runs deep.

J.E. Movement's groundbreaking ‘Ma Dea Luv’,

Toward the end of the 1980s South Africa's recording industry was booming. Searching for a sound that could cross over to all in the country's segregated society while also eyeing international success, a new duo emerged that quickly rendered its 'bubblegum' predecessors obsolete. Drawing on international trends and crafting lyrics for local ears, J.E. MOVEMENT — a duo made up of James Nyingwa and Elliot Faku — exploded onto the local scene with their debut album, 'Ma Dea Luv'. The future had arrived.

A talented bassist and composer, Nyingwa was at the time employed as an in-house producer at TRS Studios in Plein Street in downtown Johannesburg, run by two Greek immigrants, George Vardas and Chris Ghelakis. Together they formed a close bond as friends and musical partners at what would become CSR Records, recording original hits with acts like the NEW AGE KIDS and SIDNEY, while also cashing in on cover versions as BLACK BOX.

The six tracks on J.E. Movement’s 1988 debut give firm nods to UK Street Soul, New Jack Swing and Stock Aitken Waterman's 'Hit Factory' sound and infuse them with an African rhythmic flair and homegrown lyrical sentiment. Though not expressly political, the title track was received by many as a play on words referencing then-jailed and banned Nelson Mandela (coming after the similarly styled 'I'm Winning My Dear Love' by Yvonne Chaka Chaka in 1986 and 'We Miss You Manelow' by Chicco in 1987), giving it an added potency for those in the know. 'Jack I'm Sorry' was an underground hit in the townships, while 'Marco', 'Friends', 'Funkytown' and the eponymous closer are similarly bass and drum-driven, with hiphop-styled vocals.

Find Your Own Records recently launched with a sold out first release; Ceri's 'Life Holstee E.P.' which included a timeless Fred P Reshape. Fusing the sounds of Berlin, Detroit, Chicago and London, the release was supported by everyone from Midland, Move D, Ben UFO and Fumiya Tanaka, to Steve O'Sullivan.

The second release, the 'I Need You To Make Me Sweat' E.P. also draws inspiration from the classic sounds of Chicago and Detroit, and features none other than a remix from bona fide Dance Music Legend, Mr. G.

The title track 'Need You' is a Juno bassline driven, classic sounding 'proper' deep house track, raising in energy as it peaks, with vocal snippets and modulated analogue drums building throughout.

Mr. G has taken Ceri's title track, 'Need You', and twisted it into a harder, faster 'Jaded Dub', capturing a dark and driving energy, tantalising and adding to the drum grooves with his trademark swinging rides and industrial synths, adding his infamous MPC swing to the vocal snippets, and building the tension throughout, as the one and only G can.

The B side 'Sweat', draws inspiration from 80's and 90's house with a modern dark twist, mixing variating funky drum machine rhythms, classic house vocal samples and pulsing sub-bass to.

The first release was quickly repressed, but there will be no repress on 002, so grab it now before it sells out...

Early support comes from K-HAND, Ryan Elliot, Paranoid London and many more.

Two fabulous jazzy rhythm'n'blues/popcorn tunes back to back on one 45!

Limited to 200 copies.

Heavy, mind-warping techno built for the late-night sessions. Kosh delivers deep, rolling basslines and spaced-out textures with pure underground energy. A must-have for selectors who like it deep and driving.

Radio Slave (Rekids) : Feeling "Whiplash"...
Laurent Garnier : cool EP
Ben Sims : Now downloading. Will check asap!
Marcel Dettmann : thx
Enzo Siragusa (FUSE) : Really nice EP!
Raresh (ar:pi:ar) : thanks
Archie Hamilton (Microhertz / FUSE) : Lovely stuff
Dorian Paic (Raum Musik) : No Exit is the one for me. Thx for the promo.
Truncate : Nice cuts
KT (Space Dust / Sisu) : Belter EP
Jerome Sydenham (Ibadan) : Downloaded for Jerome Sydenham
Domenic Cappello (Subclub) : nice release
Chloé Caillet (Smile Records) : love this!
Italojohnson (Italojohnson) : No exit for me
Darko Esser / Tripeo (Balans / Clone) : Kosh always delivers. Straight in the bag!
Mystic Bill (Classic / Trax / Relief) : Great release here, thanks!
Fred Everything (Lazy Days Music / 20:20 Vision) : Enjoying the dubby Whiplash, thanks!
Ame (Innervisions) : thanks
Ryan Elliott (Faith Beat) : Whiplash!!
Bill Brewster (NTS) : Lost in change is v good.
Harri (Sub Club) : nice, will play and support
Tal Fussman (Survival Tactics / Innervisions / Cod3QR / Drumpoet / Rekids) : nice one!!
Greg Gow (Restructured / Transmat / KMS) : great vibes will play out
Bake (All Caps/Rinse FM) : sick. thank you!
Enrica Falqui (ERIS, Plexus 4) : Love it!

Because of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping "Deathrow Tull." Well, it's not a joke anymore. While Clipping's last few projects have been record-long concepts like classic prog rock, their cyberpunk-infused new album Dead Channel Sky is mixtape-like, a carefully curated collection in which every track is a love letter to a possible present. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it's a reminder of how slipshod our present moment truly is. Juxtaposing high-tech, corporate command-and-control systems (the "cyber") with the lo-fi, D.I.Y. underground (the "punk"), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. Concurrently, hip-hop matured, went through its Golden Era, then melted into further forms: it went from from Fab 5 Freddy to Public Enemy to Missy Elliott. While other genres flirted with it, hip-hop was fickle and fey. Rap and rock birthed mutant offspring maligned by most, and hip-hop's relations with electronica rarely fared any better. What if someone explicitly merged hip-hop and cyberpunk - those twin suns of the '80s and '90s - into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that's long since moved on. On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat-the detritus of a different timeline, the survivors of armed audio warfare. Clipping are no strangers to sci-fi: two of their records were nominated for Hugo Awards (one of science fiction's top literary prizes), and a novella spun-off from their music was nominated for a third. On Dead Channel Sky, Clipping's co-conspirators include everyone from the guitarist Nels Cline, to their labelmates Cartel Madras, rapper/actor Tia Nomore, and wordsmith Aesop Rock. Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture. Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it'll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting "Change the Channel": Everything is very important!

2025 Repress

Running Back’s Double Copy subsidiary for house music history returns with four musical masterpieces from Chicago, London and an international cast from Italy on its first various artist sampler.
Originally released on Roy Davis Jr.’s Undaground Therapy outlet, Destination Heaven by the enigmatic Earth Boys project delivers a piece of cloud-nine-deep-house that was a staple at Frankfurt’s Wild Pitch Club and during the early days of its successor Robert Johnson. Produced by Cloudy Eyes and Cole Brooks, we unfortunately have never heard from the duo again. Luckily, Family of Few have been a little bit more productive. Also known as Mind Readers, Kevin Elliot and Billy ‚Jack“ Williams produced some of the more tender moments on Detroits 430 West label. Intervoles is amongst the most peculiar and catchy tracks that slow-burning dance floors can hope for.
The flip side turns the attention to the conclusions that Europe drew from its US-role-models. Released in 1992 on Rena Records with the involvement of New York’s JoVonn (a distinct genius of deep grooves himself), the keyboard skills of Pierre Audetat and the production work of I. Betti, M. Clemente and W. Brown, Dummy Head is one of a kind. Swirly echoes, dubby textures and a heavy bass line mate on the Edit Mix of I Have Been Wanting You to create one of the very first examples of fully formed dub-house.
Similar pioneering properties can be ascribed to the work of Rob Mello. We don’t have enough room here to list all his merits, but rest assured that the UK’s house scene wouldn’t be the same without him (Luxury Service Records, Classic et al). Under the Karim guise, Mello delivered a unique stroke of genius. Distilling the essence of deep house, while looking far into the future, In My Mind is many things at once: broken beat, electro, house with embracing chords, and – if you will – a warm-up banger. and does, what all the tracks in here do: turning heads then, turning heads now. Hardcore Deep House!

Santos’ first release for Matt Edwards’ Rekids imprint, the four-track ‘We Were All Kids Once’ EP, is a continuation of the experienced producer’s output on his own Let Me Understand Records, which has seen a staggering amount of support from DJs since it’s launch in 2018.

Traversing rugged, tracky, Relief-influenced House/Techno (‘One Day’), drummy grooves (‘Don’t Touch’ and ‘Rollercoaster’) and cosseting beat-down Deep House (‘Someone’), ‘We Were All Kids Once’ is one of those genuinely essential EPs that provides exceptionally consistent dancefloor ammunition across it’s breadth.

With the likes of Ryan Elliott, Honey Dijon, Ame, Raresh, Luke Slater, Enzo Siragusa, Ben Sims and more supporting his output over the past few years, Santos is in the form of his career. While releases like the breakthrough ‘Camels’ and the anthem ‘Hold Home’ mark Santos as a producer of note at the turn of the century, his four solo albums and, most recently, his Let Me Understand Records EPs have proved he’s an artist that is constantly pushing forward.

Santos’ EPs regularly fall into the ‘if you know, you know’ category of various tastemakers across Disco, House and Techno and ‘We Were All Kids Once’ neatly displays why.

Roberto Musci, born in Milan in 1956, studied guitar, music and electronic instruments. From 1974 to 1985 he traveled the world studying African, Indian, Arabic and Oriental music, recording ethnic music “in the field,” studying and collecting ethnic musical instruments from all over the world. His self-produced debut album, “The Loa of Music,” is a seminal work of staggering originality and extraordinary beauty in which field recordings, musique concrète, electronics, synthesis and instrumentation are interwoven, drawing on the countless musics from around the world that he has recorded. The subsequent “Water messages on desert sand,” composed with Giovanni Venosta, was nominated for a Grammy in the UK in 1987. In the 1980s and 1990s he broadcast ethnic and electronic-experimental music from Rai and Radio Popolare radio stations. He has also composed and played music for videos, commercials, dance, poetry, theater, composed soundtracks and accompanied silent films live. From 1980 to the present, he has played with many Italian and European musicians: Giovanni Venosta, Claudio Gabbiani, Walter Prati, Giorgio Magnanensi, Massimo Cavallaro, Massimo Mariani, Moni Ovadia, Roberto Zorzi, Chris Cutler, Jon Rose David Moss, Steve Piccolo, Elliott Sharp, Keith Tippett and the Third Ear Band.

The theme of travel, ethnicities and mysticism are a pivotal point in this new album of his as well, demonstrating once again how music needs absolutely no sharp lines of demarcation. The music is one.

It goes from the search for deep meanings in a time spent in a Hindu monastery (Ashram) listening to mantras and studying Buddhist philosophy (The Principle Of Things) to space explorations and human settlements on the Moon or Mars wondering how man will live and what he will bring to the new worlds imagining that Sufism, an Islamic mystical religion, will accompany him in the discovery of new worlds (Derviches On Mars). In Goodbye Monsters, harmony and peace are sought. Memories Of A Piano Player is a tribute to Keith Tippett, a great pianist (King Crimson , Centipede, Mujician) with whom he played in several concerts and with whom I spent evenings talking about music, food and Italian wine. Quantum State focuses on how quantum mechanics is creating a revolution in the way of thinking and dividing reality into infinite Parallel Worlds. Panthalassa is the vast ocean that surrounded Pangea and blends South American marimba music and traditional Chinese music. Burn The Shadows is a tribute to the fascinating Indonesian shadow theater, from the stories told and the atmosphere created during the long plays told in the sacred Indian texts of Ramayana or Mahabharata. Shadows are also more or less pleasant memories to which one is attached, and to burn them is still to move on with one's life.

Torajan Funeral Chant: The Toraja are a people living in Sulawesi (Indonesia) who have a special worship of the dead. Funerals are festivals that last several days, the corpses are protected by Tau-Tau (small dolls that watch over cemeteries), and over the years, they exhume the corpses of their relatives and keep them in their homes with them for a time to remember them.

The experimentation goes all the way to modern Artificial Intelligence that 'interrogated' to create something new by inserting conflicting inputs joins them together but nonsensically creating interesting insights; hence A.I. In Confusion. Pangea, named after the continent that contained all the land that emerged between 540 and 200 million years ago, in the Paleozoic and Mesozoic periods, imagined as inhabited by man without divisions created by borders, wars, religions or ethnic groups, is also a tribute to Steve Reich, one of the fathers and a great musician of minimal music. Prophecies, a reading of sacred texts and religious songs from evangelical sects in the United States filtered into granular synthesis with percussion music from South India, closes.

For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.

A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.

In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.

Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.

Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.

2025 Repress!

Remastered and, for the first time, back to back on vinyl, two of Greg Wilson's best-loved edits/mash-ups (plus a bonus track never previously available).

'Two Sides Of Sympathy' combines a pair of P.T.A. mash-ups built around Amerie, Massive Attack and the Rolling Stones. A signature GW edit, originally pressed in 2007, that would feature in his classic 2009 Essential Mix.

'Gotta Keep Workin' It was a GW mash-up pressed back in 2005, its main elements being PM Dawn (sampling Imagination) and Missy Elliot. It would also find it's way into the Essential Mix. A later version, 'Working The Illusion', this time going straight to source with Imagination, whilst retaining Missy Elliot's rap, is made available here for the first time as a bonus addition.

Gary Martin has a history of creating something new by combining a couple things old. This time around the concept is what happens if we mix techno with burlesque to make the cake and then add some Berlin for the icing. A sexy 4 tracker indeed with the titles “Berlisque”, “Black Boa”, ‘More Sex Magic Voodoo”, and “Berlisque Ryan Elliott Remix”. The title track features a stomping bassline with some real drums, classic Detroit style keyboard chord hits and gentle guitar sounds. Black Boa has kind of a glam style synth riff and cheers. M.S.M.V. gets distorted and a bit Caribbean. The Ryan Elliott mix is shiny and silky smooth

ᴛʀᴀᴄᴋs ᴍᴀᴅᴇ ғᴏʀ ᴛʜᴇ ʀᴀᴠᴇʀs ᴡʜᴏ ᴀʀʀɪᴠᴇ ᴇᴀʀʟʏ ᴀɴᴅ sᴛᴀʏ ʟᴀᴛᴇ, ғᴏʀ ᴛʜᴏsᴇ ᴡʜᴏ ʙᴜʀɴ ᴛʜᴇ ᴄᴀɴᴅʟᴇ ᴀᴛ ʙᴏᴛʜ ᴇɴᴅs.

Early support from Cleric, Setaoc Mass, Reflec, Laurent Garnier, Regal, Tensal, P.Leone, Alfredo Mazzilli, Clouds, Gary Beck, Slam, Keith Carnal, Surit (NX1), Silent-One, Kmyle, Yant, Marron, Felicie, JC Laurent, Lawrence Kurt, Fundamental Interaction & Gareth Wild.

All tracks written and produced by Habgud // Art, Photography and Design by Jake Clewis & Elliott Habgood

Nurtured on 90s alternative indie, lucky break's music melds the emotional directness of Fiona Apple, the wide-eyed warmth of Bedouine and the Americana-leaning alt rock of Lucinda Williams. Fans of Alvvays, Hole, Phoebe Bridgers and The Breeders will find familiar touchstones here. lucky break is a hand-drawn cartoon character and a girl with a guitar, an ever-expanding container for the feelings that come with making art. She can be very sad and very joyful, living somewhere between worlds. On her debut for Fire Records, made it!, lucky break builds a new world for her character to inhabit. made it! collects songs written between the ages of 19 and 23, documenting the uncertainty of early adulthood, the end of a first major relationship and the process of learning to stand up for yourself. Tracks like "Crush" pair sharp lyrical insight with big drums and crisp bass, while "Head Down" uses bright, dreamy guitars to explore themes of politics, consumer culture and moral complacency. Confessional, direct and emotionally precise, lucky break's songwriting is matched by a versatile and expressive vocal performance that shifts across moods and styles throughout the record. Produced with Elliott Woodbridge in Burbank, made it! is a playful, self-assured debut from a young artist who has already found her voice and is stepping confidently into a bright future. Digisleeve-CD and coloured Vinyl-LP w/ dlc available!

Nurtured on 90s alternative indie, lucky break's music melds the emotional directness of Fiona Apple, the wide-eyed warmth of Bedouine and the Americana-leaning alt rock of Lucinda Williams. Fans of Alvvays, Hole, Phoebe Bridgers and The Breeders will find familiar touchstones here. lucky break is a hand-drawn cartoon character and a girl with a guitar, an ever-expanding container for the feelings that come with making art. She can be very sad and very joyful, living somewhere between worlds. On her debut for Fire Records, made it!, lucky break builds a new world for her character to inhabit. made it! collects songs written between the ages of 19 and 23, documenting the uncertainty of early adulthood, the end of a first major relationship and the process of learning to stand up for yourself. Tracks like "Crush" pair sharp lyrical insight with big drums and crisp bass, while "Head Down" uses bright, dreamy guitars to explore themes of politics, consumer culture and moral complacency. Confessional, direct and emotionally precise, lucky break's songwriting is matched by a versatile and expressive vocal performance that shifts across moods and styles throughout the record. Produced with Elliott Woodbridge in Burbank, made it! is a playful, self-assured debut from a young artist who has already found her voice and is stepping confidently into a bright future. Digisleeve-CD and coloured Vinyl-LP w/ dlc available!

Dino Lenny returns to Rekids with the ‘Piano Lessons at Eight’ EP, complete with a Tal Fussman remix. It follows Lenny’s ‘Not About The Volume’ EP, released in December 2025.

London-based DJ, producer, vocalist, and Fine Human Records label owner Dino Lenny returns to Radio Slave’s Rekids with the ‘Piano Lessons at Eight’ EP 24th April 2026, alongside a remix from label regular Tal Fussman. The EP follows Lenny’s ‘Not About The Volume’ EP, which released late 2025, and won support from Laurent Garnier, Chloé Caillet, Catz ‘n Dogz, and more.

‘Piano Lessons at Eight’ centres Lenny’s own vocals over a dark, chugging rhythm that develops steadily, tracing a personal journey from formal piano training to the discovery of electronic music. The biographical thread running through the record gives it an identity that sits apart from purely functional dance music. Rekids regular and Survival Tactics boss Tal Fussman then provides the accompanying remix, a crunchy, percussive rework that brings his characteristic blend of deep house and raw techno to bear, adding melancholic piano stabs that add texture without crowding the arrangement. The outcome is focused, atmospheric, and built for extended play.

With releases on R&S, Diynamic, Innervisions, Crosstown Rebels, Strictly Rhythm, Bedrock, and his own Fine Human Records label, and collaborative work alongside Underworld, Missy Elliott, Wu-Tang Clan, and Madonna, Lenny holds a long-established position within both underground and mainstream electronic contexts. Consistently supported by Pete Tong, Solomun, Carl Cox, and Groove Armada, he maintains a presence that spans scenes without being defi ned by any single one. Since 2021, he has hosted Tomorrowland’s CORE radio show, platforming artists including Nina Kraviz, Ellen Allien, and DJ Tennis.

Renowned producer Elliot Garvey, also recognised as Quartz, has unveiled a 4-track EP for us at System Music. This exceptional collection of unconventional yet functional 140 tracks solidifies Quartz's position as a boundary-pushing artist, showcasing his versatility beyond his renowned Drum & Bass repertoire.

Entitled "Apparitions," this EP showcases Quartz's ability to craft mesmerising compositions while staying true to his signature sound, which is both acoustically dense and hyper-futuristic, typically defying traditional structures.

Elliot's mission to fashion music with absolute integrity and sincerity yields an authentic and credible experience yet again. The rugged and gritty essence of this 4-tracker serves a purpose, with its distorted and offbeat character making Quartz one of the most inventive mavericks of recent years.

Celebrating the 30th Anniversary of Jennifer Warnes' Pop Classic on Crystal Clear Green Vinyl!
All-Tube Mastering by Chris Bellman at Bernie Grundman Mastering from the Original Master Analog Tapes on 180 Gram Vinyl!
One-Time Pressing of 3,000 Individually Numbered Copies!
New Inner Sleeve and LP Labels!
Pressed at RTI!

Impex Records is celebrating the 30th Anniversary of The Hunter with a one-time, individually-numbered pressing of 3,000 in crystal clear green vinyl! Jennifer Warnes’ acclaimed follow-up to Famous Blue Raincoat features a Grammy-nominated recording by Elliot Scheiner and all-tube mastering by Chris Bellman at Bernie Grundman Mastering using Jennifer’s personal original analogue master tapes.

‘The Hunter’ was released five years after her breakthrough with ‘Famous Blue Raincoat’. A TOP 100 LP when first released in 1992, The Hunter’s audiophile credibility is best summed up by Elliot Scheiner’s Grammy-nominated recording and mix. It contains the charting single “Rock You Gently,” a sonically dense yet expansive cover of The Waterboy’s classic “The Whole of the Moon,” a soulful Jennifer Warnes/Leonard Cohen composition “Way Down Deep,” Todd Rundgren’s “Pretending to Care” and even a Donald Fagen tune (“Big Noise, New York”). She owns every tune here, backed by a-list session players who ground the songs with solid and unobtrusive authority, letting Jennifer’s peerless interpretive skills bring the soul of every lyric to the forefront. Ms. Warnes uses her voice to serve the lyrics, allowing the song to return the favour.

“The follow-up to Warnes’ FBR offers crisp percussion cues, solid bass throughout – but especially during “Way Down Deep” – and a surprise chamber quartet on the title track” – Neil Gader, TAS Guide to Audiophile Demo Disc

Arista (now Sony/BMG) never released The Hunter on vinyl in the U.S. A regular-weight LP floated around Europe for a while but is not noted for exceptional sound or quiet vinyl.

“Remastered by Chris Bellman at Bernie Grundman Mastering, the sonics are luscious. Warnes has always had an audiophile’s ear and was hands-on with this effort–one of the last from now-defunct Cisco Records. It soars effortlessly, restoring warmth and delicacy and easily besting the earth-bound but otherwise excellent CD. It’s an example of both an artist in full charge of her powers, and analogue art its very best.” – Greg Cahill, The Absolute Sound

But, in the summer of 2024, a personal tragedy changed everything. Michael and Lou lost their six-year-old granddaughter, Bebe, in the Southport attacks in July that year, and, as much as they tried to carry on and make a My Darling Clementine album, with the weight of so much sadness and grief bearing down on them, it just didn't feel the right thing to do. The tragic events of summer 2024 not only changed the music they were making and the songs they were writing, it also altered their outlook on life. Recognising that everyone's grief is individual even that of a husband and wife Michael and Lou needed to channel their suffering via their own individual creativity and in their own way, rather than in collaboration, so they worked on two solo albums. Michael's "Nothing Can Hurt Me Anymore" is the first of the two to be released.

An album the defies genre, it is simply his instinctive musical reaction to the events of summer 2024. Michael writes "To be honest, it was impossible to write about anything else. It overwhelmed everything. I hope I am now creatively exhausted on the subject, but I think it will affect my writing forever, just as indeed, the loss of Bebe will". It features eleven brand new MWK songs Partly recorded in rural Wales and partly in not so rural Sheffield, "Nothing Can Hurt Me Anymore"was produced by Michael, along with wunderkind Clovis Phillips, and the brilliant Colin Elliot, who also mixed the album.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling critically acclaimed album Eye In The Sky (1982) is re-issued in a variety of formats, including including this 2LP heavyweight, 45 RPM Audiophile edition. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling critically acclaimed album Eye In The Sky (1982) is re-issued in a variety of formats, including including this 2LP heavyweight, 45 RPM Audiophile edition. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling album The Turn of a Friendly Card (1980), their celebrated prog pop tour de force, is reissued in a variety of formats, including this 2LP heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios on a customised Neumann VMS 80 lathe at half speed using high-resolution archive transfers taken from Eric Woolfson"s rarely played, mint condition duplicate masters run at the time of the original sessions in 1980. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

Limited Edition 180gm heavyweight Clear Vinyl LP, Half-speed remaster by Miles Showell at Abbey Road Studios, Insert contains a sleevenote featuring quotes from Alan Parsons and Eric Woolfson. The Alan Parsons Project"s multi-million selling album The Turn of a Friendly Card (1980), their celebrated prog pop tour de force, is reissued in a variety of formatsincluding a Limited Edition Clear Vinyl LP, half-speed remastered by Miles Showell at Abbey Road Studios. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s million selling album Ammonia Avenue (1984), is re-issued in a variety of formats including this 2LP heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios on a customised Neumann VMS 80 lathe at half speed using a 1:1 archive transfer from the original SONY 1610 format digital mastertape recorded in 1984. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

Limited Edition 180gm heavyweight clear vinyl, Half-speed remaster by Miles Showell at Abbey Road Studios, Insert contains a sleevenote featuring quotes from Alan Parsons and Eric Woolfson The Alan Parsons Project"s million selling album Ammonia Avenue (1984), is re-issued in a variety of formats including a Limited Edition Clear vinyl LP, half-speed remastered by Miles Showell at Abbey Road studios. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

On her new album, Two Whole Summers, Half A Life, Lisa Bassenge is once again accompanied by her trusted fellow musicians, pianist Jacob Karlzon and bassist Andreas Lang, with whom she has already realised numerous projects. Typical of Bassenge, the repertoire comprises a seemingly wild yet harmoniously connected mix of pop, singer-songwriter and jazz elements. The spectrum ranges from Elliott Smith to Duran Duran, from Billie Holiday to Björk. ‘It's always about the expressiveness of the songs – that's the common thread for us,’ emphasises the Berlin-based artist. The album features a track by Hank Williams as well as Madonna's ‘Frozen’ and “Catch” by The Cure. Two original compositions are also part of the recording: the title track ‘Two Whole Summers, Half a Life,’ a tribute to the power of friendship and youth, and the neo-folk ballad ‘I'm Getting Old.’ Both works impressively underline Lisa Bassenge's own artistic signature. For over two decades, Lisa Bassenge has stood for stylistic openness and a characteristic voice that lends new nuances to every song. Despite all the diversity, jazz remains the tonal basis. The Scandinavian-style relaxed sound of Karlzon and Lang lends the interpretations a soft, atmospheric depth.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling album The Turn of a Friendly Card (1980), their celebrated prog pop tour de force, is reissued in a variety of formats, including this 2LP heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios on a customised Neumann VMS 80 lathe at half speed using high-resolution archive transfers taken from Eric Woolfson"s rarely played, mint condition duplicate masters run at the time of the original sessions in 1980. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s million selling album Ammonia Avenue (1984), is re-issued in a variety of formats including this 2LP heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios on a customised Neumann VMS 80 lathe at half speed using a 1:1 archive transfer from the original SONY 1610 format digital mastertape recorded in 1984. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling critically acclaimed album Eye In The Sky (1982) is re-issued in a variety of formats, including including this 2LP heavyweight, 45 RPM Audiophile edition. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

Transmitter ist Max Clarkes viertes Album als Cut Worms. Produziert von Jeff Tweedy im Loft Studio von Wilco, zeigt Transmitter, wie Clarke seine Fähigkeiten weiterentwickelt hat und wie zwei Künstler zusammenkommen, die in ihrer Arbeit nach Anmut inmitten von Entwurzelung suchen. Es sind Orte, die vom Mythos der Selbstständigkeit geprägt sind, an denen Menschen, die die Idee der Verbindung durch Technologie verkauft haben, zu stillen Sendern reduziert wurden - Datenpunkte, die gekauft und verkauft, manipuliert und gemessen werden und deren Leben durch genau die Netzwerke verzerrt wird, die sie eigentlich verbinden sollten. Die ersten Anzeichen für Transmitter gab es, als Cut Worms im Sommer 2024 als Vorgruppe von Wilco unterwegs waren. Am Ende der Tour lud Tweedy die Band ein, im legendären Loft in Chicago aufzunehmen, und schon bald wurden Pläne geschmiedet, im Herbst damit zu beginnen. In der gemütlichen Unordnung aus Gitarren, Verstärkern und Büchern im Loft fanden Clarke und Tweedy schnell eine gemeinsame musikalische Basis und eine gemeinsame Vorliebe für komplexe Songs. Während Clarkes Stimme und Texte den Rahmen bildeten, skizzierten Tweedys Gitarren- und Basslinien die Räume, in denen die Songs leben. Tweedys Präsenz als Produzent zeigte sich nicht in hartnäckigen Entscheidungen, sondern darin, wie er Räume kolorierte und immer wieder neue Texturen anbot. Zwischen ihnen überbrückte ihre gleichgesinnte Sensibilität eine Generationskluft, um etwas zu schaffen, das nuancierter war, als es jeder von ihnen allein hätte schaffen können. Wenn frühere Veröffentlichungen von Cut Worms von der Dekadenz des Brill Building und verrückter Americana geprägt waren, wirkt der Sound auf Transmitter dunkler, reichhaltiger und gesättigter mit der Angst des modernen Lebens. ,Long Weekend" beschleunigt die Zeit und hat die melodische Dringlichkeit von Big Star oder Dwight Twilley. ,Evil Twin" kämpft mit bitterer Enttäuschung, seine gesprächigen Gitarren erinnern an den klirrenden Herzschmerz von The Replacements und The Go-Betweens, und ,Windows on the World" neigt sich mit einer Melancholie, die irgendwo zwischen Elliott Smith und Miracle Legion schwebt, der Sonne der Zukunft zu. Der letzte Titel ,Dream" bringt uns zurück auf eine vertraute Ebene: Clarke allein am Klavier, zart und unentschlossen, grübelt er über das Schicksal von Träumen und das Risiko, zu kurz zu kommen oder sich auf dem Weg zu verlieren. Transmitter zeigt Clarke in voller Fahrt, der mit der Überzeugung eines Menschen schreibt, der seinen Frieden mit der Ungewissheit gemacht hat. Diese Songs setzen sich mit den Kosten des Komforts auseinander und kehren zu der Idee zurück, dass Schönheit, Verbundenheit und Liebe keine Luxusgüter sind, sondern Überlebensnotwendigkeiten. Clarke fühlt sich zu Paradoxien hingezogen - der Reibung zwischen Intimität und Flucht, Glauben und Zweifel, Schatten und Licht. Seine Vergebung kommt, wie die des abgeschnittenen Wurms, durch Übertragung zustande: durch den Akt, etwas Zerbrechliches in den Lärm zu entlassen und darauf zu vertrauen, dass es noch immer spürbar ist.

Transmitter ist Max Clarkes viertes Album als Cut Worms. Produziert von Jeff Tweedy im Loft Studio von Wilco, zeigt Transmitter, wie Clarke seine Fähigkeiten weiterentwickelt hat und wie zwei Künstler zusammenkommen, die in ihrer Arbeit nach Anmut inmitten von Entwurzelung suchen. Es sind Orte, die vom Mythos der Selbstständigkeit geprägt sind, an denen Menschen, die die Idee der Verbindung durch Technologie verkauft haben, zu stillen Sendern reduziert wurden - Datenpunkte, die gekauft und verkauft, manipuliert und gemessen werden und deren Leben durch genau die Netzwerke verzerrt wird, die sie eigentlich verbinden sollten. Die ersten Anzeichen für Transmitter gab es, als Cut Worms im Sommer 2024 als Vorgruppe von Wilco unterwegs waren. Am Ende der Tour lud Tweedy die Band ein, im legendären Loft in Chicago aufzunehmen, und schon bald wurden Pläne geschmiedet, im Herbst damit zu beginnen. In der gemütlichen Unordnung aus Gitarren, Verstärkern und Büchern im Loft fanden Clarke und Tweedy schnell eine gemeinsame musikalische Basis und eine gemeinsame Vorliebe für komplexe Songs. Während Clarkes Stimme und Texte den Rahmen bildeten, skizzierten Tweedys Gitarren- und Basslinien die Räume, in denen die Songs leben. Tweedys Präsenz als Produzent zeigte sich nicht in hartnäckigen Entscheidungen, sondern darin, wie er Räume kolorierte und immer wieder neue Texturen anbot. Zwischen ihnen überbrückte ihre gleichgesinnte Sensibilität eine Generationskluft, um etwas zu schaffen, das nuancierter war, als es jeder von ihnen allein hätte schaffen können. Wenn frühere Veröffentlichungen von Cut Worms von der Dekadenz des Brill Building und verrückter Americana geprägt waren, wirkt der Sound auf Transmitter dunkler, reichhaltiger und gesättigter mit der Angst des modernen Lebens. ,Long Weekend" beschleunigt die Zeit und hat die melodische Dringlichkeit von Big Star oder Dwight Twilley. ,Evil Twin" kämpft mit bitterer Enttäuschung, seine gesprächigen Gitarren erinnern an den klirrenden Herzschmerz von The Replacements und The Go-Betweens, und ,Windows on the World" neigt sich mit einer Melancholie, die irgendwo zwischen Elliott Smith und Miracle Legion schwebt, der Sonne der Zukunft zu. Der letzte Titel ,Dream" bringt uns zurück auf eine vertraute Ebene: Clarke allein am Klavier, zart und unentschlossen, grübelt er über das Schicksal von Träumen und das Risiko, zu kurz zu kommen oder sich auf dem Weg zu verlieren. Transmitter zeigt Clarke in voller Fahrt, der mit der Überzeugung eines Menschen schreibt, der seinen Frieden mit der Ungewissheit gemacht hat. Diese Songs setzen sich mit den Kosten des Komforts auseinander und kehren zu der Idee zurück, dass Schönheit, Verbundenheit und Liebe keine Luxusgüter sind, sondern Überlebensnotwendigkeiten. Clarke fühlt sich zu Paradoxien hingezogen - der Reibung zwischen Intimität und Flucht, Glauben und Zweifel, Schatten und Licht. Seine Vergebung kommt, wie die des abgeschnittenen Wurms, durch Übertragung zustande: durch den Akt, etwas Zerbrechliches in den Lärm zu entlassen und darauf zu vertrauen, dass es noch immer spürbar ist.

Somewhere between the sophisticated songwriting of Leonard Cohen and Jacques Brel, the rugged folk of Bob Dylan and Neil Young, the acoustic pop of Simon & Garfunkel, and the haunting melancholy of Nick Drake and Elliott Smith, there is Philippe B, who reminds us of the depth that can be conveyed with nothing more than a guitar and a few words.

Elliott Smith's 'Division Day' is not only one of the late artist's most beloved fan favorite songs, it's also one of Smith's first departures away from the soft-spoken melancholy of his first two albums and into the more sophisticated pop that led to his breakout success. B-side 'No Name #6' is a classic in its own right, encapsulating the humble brilliance of one of our generation's greatest singer-songwriters.

'Pretty (Ugly Before)' b/w 'A Distorted Reality Is Now A Necessity To Be Free' holds the distinction of being the last recording by Elliott Smith to be released while he was still alive. Originally released as a single in August 2003, the songs were a part of the recording sessions that would ultimately yield the acclaimed posthumous album From A Basement On The Hill. The two songs serve as a powerful reminder of why Smith became the voice for a dejected generation.

DJ Support: Laurent Garnier, Dennis Cruz, Girls Of The Internet, Horse Meat Disco, Stacey Pullen, Elliot Schooling, Solomun,Marco Carola, Joseph Capriati, The Martinez Brothers, Dam Swindle, Soul Clap, Luke Solomon, Riva Starr, Franky Rizardo, Archie Hamilton, Silvie Loto, Fouk, Austin Ato, Salomé Le Chat, Blackchild, Jean Pierre, Black Loops, Kassian, Seamus Haji, Melvo Baptiste, Rimarkable, Sophie Lloyd

In-demand Amsterdam-based duo Makèz step into new ground with the release of their album ‘Arriving Home Elsewhere’, via ANOTR’s No Art label. A kaleidoscopic project that moves between deep house, cosmic jazz, R&B, broken beat, and club-ready energy, the record is both a declaration of identity and a dissolution of boundaries - proof of the duo’s rare ability to merge worlds without diluting or compromising their true essence.

Where most albums that span electronic realms lean on functionality, ‘Arriving Home Elsewhere’ reaches for something much more expansive. The project is a true hybrid: half shaped for the intimacy of a headphone listen, half designed for the electricity of the dancefloor. together forming a seamless continuum between reflection and release. Tracks like ‘REARRANGE YOURSELF’, ‘BE REAL’, and ‘LOOKS LIKE IT (SPACE TALK)’ are stripped to the core of house music’s driving pulse, made for bigger systems and peak-time release. In contrast, ‘Dreams’, ‘Fruits of the Universe’ (with douniah), and ‘Without The Sun’ (with Oliver Night) explore lush, textured arrangements where live instrumentation and improvisation carry equal weight to rhythm and groove.

Collaboration is at the heart of the LP, with Makèz inviting a constellation of voices who each expand the project’s palette. Ben Westbeech, Liv East, and SANITY bring soulful intensity; 30/70 and dreamcastmoe connect Amsterdam to Melbourne and DC; Cor.Ece and Oliver Night weave delicate threads of emotion; Goya Gumbani and Javonntte guide the production with their vibey, groove-led performances; while Life on Planets reprises his role as a core creative partner, appearing across the album on tracks including the standout ‘BE REAL’ and the previously released ‘ILLUSIONS’ alongside rising Amsterdam talent AVA LAVÁ. Together, these contributions shape an album that feels less like a singular statement and more like a living, breathing ecosystem.

For Makèz, ‘Arriving Home Elsewhere’ is as much about philosophy as it is about music. The title encapsulates a tension central to their art: the feeling of belonging to multiple worlds without ever being confined to one. Jazz, house, soul, and experimental club sounds are not separate influences but parallel languages, and in merging them, the duo has created a record that mirrors the fluidity of contemporary identity and expression. And while it may speak in many voices, the LP tells one clear story - that of Makèz, arriving, again and again, home elsewhere.

Formed in Southend in the late 90’s, Beatglider’s tale is a familiar one taking in early acclaim only for momentum and promise to be dashed by major label statis and indifference.

After the release of the debut long-player, ‘40 Days Of Summer’, in 1999 the band signed to Sony subsidiary Lakota and decamped to LA to record its follow-up, ‘Dreaming Of Roads’, an album that was never to see the light of day.

And now, over 20 years later, ‘Dreaming Of Roads’ eventually gets a deserved release on 28th February via the Arlen label. A beautiful 11-track understated delight which musically falls somewhere between the likes of Elliott Smith, Grandaddy, Yo La Tengo and Sparklehorse, the album has not only stood the test of time, but arguably sounds as fresh as ever in 2026.
The tracklisting of the album - recorded in Los Angeles at the famed Sound City studios - is as follows:

SACRED COWBOYS are a moody hard rock band with a dry sense of humor. They started playing in murky Melbourne dive bars in 1982 attracting a rabid following. With the release of their iconic first single, Nothing Grows in Texas, they were catapulted to national TV notoriety on Countdown, Australia's version of Top of the Pops. 2025 saw founders Garry Gray and Mark Ferrie enlist Timothy Deane, Anthony Paine, and Damian Fitzgerald. You will soon be holding in your hands the new album, 'In the Manifesto.' 'In the Manifesto' was mastered by Mikey Young, who worked on the last six Mark Lanegan records and plays in Eddie Current Suppression Ring. All new songs are written by Garry and the band. 'In the Manifesto' shows the Sacred Cowboys do not indulge in one musical style. It's a complex, atmospheric soundtrack with Gray's uber cool delivery over sometimes sparse, sometimes weaving guitars and rich harmonies. Channeling a Sonic Youth ethos and grinding the gears in the engine room of the Cosmos Factory, 'In the Manifesto' is as wide and expansive as the Australian desert skies. Radio 3CR's Paul 'Dr Gonzo' Elliott got a sneak preview and says. "Garry Gray returns with Sacred Cowboys and a brand-new album . a 12-track tour de force titled, 'In the Manifesto'. The Sacred Cowboys have performed intense live shows and transported that energy and mood onto this new album, 'In the Manifesto.' It is all killer and a tour de force. Garnering the attention of Andrew McGee at Torn & Frayed Records, Australia and combining with French allies Seb Blanchais and Romain Michon at BEAST Records, France, the rest is about to become history.

Es ist durchaus eine kleine Sensation, dass dieser Tage ein weiteres MORBID SAINT-Album erscheint, also mehr als 30 Jahre, nachdem ihre zweite LP „Destruction System“ aufgenommen, aber bis zu ihrer offiziellen Veröffentlichung vor kurzem nicht fertiggestellt worden war. Allerdings war die Aussicht, neue Musik in ihrem einzigartigen Death/Thrash-Metal-Stil zu schreiben, einer der Hauptgründe dafür, dass sich die Kernmitglieder 2010 überhaupt wieder vereinten. Während ihrer ersten aktiven Phase von 1984 bis ’94 konnte die Band ihr Potenzial längst nicht ausschöpfen, insbesondere im Hinblick auf ihre bahnbrechende erste Platte „Spectrum of Death“ (1990). Das neue Werk entstand im kreativen Fernaustausch, wobei sich alle Mitglieder gegenseitig Ideen zuspielten, um ein Breitseite aus zehn Extrem-Metal-Tracks abzufeuern, wie man sie heute kaum mehr hört – absolut verheerend und doch musikalisch anspruchsvoll, Grenzen überschreitend, aber nicht auf Teufel komm raus, und abgerundet von einem Artwork des legendären Ed Repka (Death, Megadeth). „Swallowed By Hell“ wurde von Chris Djuricic (Num Skull, Disinter) im The Belle City Sound Company aufgenommen und erhielt den letzten Schliff von Scott Elliott in den Chernobyl Studios. Es riecht nach alter Schule, steht aber mit beiden Beinen im Hier und Jetzt.

In his own time, in his own tone and in his own company.

‘Win and lose without losing oneself’’ This line from French rapper Oxmo Puccino greatly accompanied David Walters while composing his fourth studio album. Over the eleven tracks on ‘Ti Love’, David took his time to find the right tone and in turn, tell his truth.

‘Ti Love’, is a French-Creole abbreviation for “petite love”, meaning ‘little love’, evoking that sweet fondness found in those small gestures and little acts of kindness.

Think of things like young kids' brotherly love or a stranger lending you a helping hand, while expecting nothing in return. It’s these motions that allow this album to feel full of real life, carried by beating drums that also pull at our heart strings.

Basing himself in a small village in Martinique, where David had not long since scattered the ashes of his late mother, the multi-instrumentalist decided to remain there and let the writing of Ti Love pour out from deep inside him. Taking influence from around the island, the energy from his makeshift studio set up in Fort de France, allowing a resilient yet grieving man to recount, let go and come to terms with his recent loss.

So embracing these new circumstances, on the rugged coastal Caribbean island of Martinique, David took up an artist’s residency in the island’s capital Fort de France, located near the town’s port is the ‘Manoir des Artistes’, a bustling recording studio space. A place where the walls shake as the latest sounds being created are blasted by locals and visitors alike. Most studio doors are wide open; as music here is a huge part of everyday life, feedback from encouraging neighbouring musicians is on hand and welcomed. A contrast to the isolation often assumed with working in more traditional music studios.

It was here in this stimulating environment that David recorded Ti Love’s initial demos.

With his first collaborator onboard, Neeweed, a 25-year-old producer and gospel expert who David met at the Martinique Jazz Festival.

Of the album’s initial versions of the record David recollects: ‘It took me three years to write it, then I rewrote it, reworked it. In the end I'm really glad I stepped back and listened to myself.’ I found a great ally in GUTS, who ended up being the artistic director of the record”

David surrounded himself with the right people who helped him express himself in the best possible way. He called on other friends and musical comrades; album opener and title track, ‘Ti Love’ features the incomparable Fatoumata Diawara (World Circuit Records / Africa Express) and further along additional production came in from; Izem, Art Of Tones, and GUTS himself, who all added just the right amount of ‘little love’ to this

project. Further helping hands came from Californian producer and DJ Captain Planet, who David was introduced to a few years ago. Closer to home, here in Europe, the German producer Bluestaeb appears on two tracks: the very catchy disco funk ‘Mr Maraboo’ and ‘Kite Koule’, the latter being the first single lifted from the album, where David invited Nigerian guitarist Keziah Jones.

Elsewhere on the album, fellow Heavenly Sweetness recording artist Blundetto contributed two tracks; the reggae ‘Voodoo Love’, which is David's tribute to Studio One, and the very sweet and resilient ‘Bon Voyage’, which closes the album... "It's gold, it doesn't need anything changing.” remarked David - ‘Bon Voyage’ is a goodbye to his mother, whose voice called him from the bottom of the sea one night while he was surfing during the full Moon.

Released almost 20 years after his debut album ‘AWA’ released on French imprint Ya Basta, home to Gotan Project and many others, David boasts a long list of radio supporters including; Gilles Peterson, Cerys Matthews and Don Letts at the BBC, while further field Cosmo Radio in Germany, and KCRW in Los Angeles.

On this new record, David has shown sincerity and vulnerability, while still honouring the infectious groove that he is known for the world over. Despite the upsets, a little love can indeed go a long way.

CREDITS:
Produced by Bluestaeb / Blundetto / Captain Planet / Izem / Art of Tones
A&R : Guts
Mixed by Mr Gib @ Onetwopassit
Except "Bon Voyage” and "Voodoo Love" mixed by Jerome “Blackjoy” Carron
Mastered by Benjamin Joubert @ Biduloscope
Art by Elliott Walters

The Helsinki-based Bowman Trio return with their second LP on We Jazz Records on October 18. "Persistence" is a strong effort, showcasing the young trio's knack at creating dynamic, sparse and memorable music which carries well the term "loft jazz" occasionally attached to it. Here, drummer Sami Nummela, trumpeter Tomi Nikku and bassist Joonas Tuuri present 9 strong originals, 8 of which are penned by Nummela and one by Nikku.

On the course of the new album, Bowman Trio moves from the introspective, calm moments of "Badwater", "Mac Elliot" and "Mä en jaksa" to the full swing of "The Chase" and the solid grind of "Persistence". The album closing track "Sista sommardagen" ("The last day of summer" in Swedish) is a hauntingly beautiful, delicately breezy ballad. Two years in the making, the album is a testament to the album title and a fine example of a band taking time in developing their sound to perfection.

Bowman Trio debuted in 2016 with the group's first LP also being the first release on Helsinki's We Jazz Records, and since then their reputation has grown in Finland and beyond. The trio is known for making music which invites the listener in and takes it sweet time in unraveling its secrets. Their sound is somewhat dry, naturally relaxed and there's a lot of room for manoeuvre within it for all of the players. That being said, each of the musicians in the trio know how to play for their team, and the compositions move forward constantly and effortlessly. Bowman Trio makes music which always feels close to you, like you're right there in the room with the band. That's "loft jazz".