Cerca:ga 20

THE PARTY is a celebration that has existed for nearly 10 years in Paris. A private event, off the radar of social media, THE PARTY is inspired by the New York Loft, and gathers between 150 and 400 people twice a year, under a church.
It was created by Serge Papo and his wife Maryvonne Beaune. Serge Papo organized the first rave parties in Paris in the early 1990s; he has been a DJ and party organizer for over 30 years.
On January 31, 2026, THE PARTY will celebrate its 10th anniversary, will invite the DJ of the New York Loft, Douglas Sherman, and will launch its label, THE PARTY RECORDS, along with a debut release — the double single Crystal Clear / Zeva — the result of a collaboration between Serge and Etibar Asadli, an exceptional jazz pianist from Azerbaijan who now lives in Paris.

Across an extensive suite of enchanting miniatures, Matthias Kremsreiter and Christian Schoppik present the hypnagogic vision of Taghelle Nacht. Recording under their respective Roudi Vagou and Läuten der Seele aliases, Kremsreiter and Schoppik combine their distinct but equally accomplished instrumental practices into a new collaboration that weaves swooning samples amongst instrumental passages. They lead us through 16 vignettes that revel in the cognitive dissonance and seductive magic of moonlight at midnight.

Both artists have past form within the folds of contemporary experimental electronic music in Germany. Kremsreiter's work as alibikonkret has manifested on DIY tape releases created with a methodical, technically-minded approach. Debuting his Roudi Vagou pseudonym on Taghelle Nacht, he pivots to a more playful, instinctively felt method that allows the compositions to flow with a natural cadence. Schoppik has been a key figure in the celebrated dark-ambient-folk scene, not least as part of the group Brannten Schnüre. His work as Läuten der Seele includes the acclaimed 'water trilogy' of LPs between 2022 and 2024, with a greater emphasis on instrumental, atmospheric production, and a last, stunning collaborative album with Nový Sv?t's Jota Solo.

On Taghelle Nacht the precise ingredients of each piece soften at the edges as tape loops and swathes of reverb seal the joints between spellbinding melodic refrains. Opening track and lead single 'Gleisende Lichter' sets the tone with ghostly murmurs, spine-tingling string refrains and splashes of cymbal that cut through the gloom with stark clarity. A lilting romanticism stirs at the heart of the orchestral samples that populate the likes of "Grenzu?berschreitung" - old-world beauty sometimes buried in dust, elsewhere rendered with startling clarity. 'So Süß' lets buzzing, sustained drones and dissonant sweeps of extended technique glide in and out of each other. Granular processing subtly breaks apart the mellow swell on 'Komischer Anruf', and forlorn sax calls out into heavy-hearted space on 'Glaskopf Mit Watte'. At every turn a new scene is painted, distinct from the last and yet all bound up in the pervasive, pale blue light cast over the sleeping landscape Kremsreiter and Schoppik have sculpted.

Snatches of song drift by like dreamlike fragments, and achingly tender flourishes fleetingly appear and retreat - ideas and expressions momentarily caught in the light before retreating into the shadows once more. This is the evocative world of Taghelle Nacht - an unsettling depiction of the surreal blend of memories and imagination that merge into each other once the sun goes down.

To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.

This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.

SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.

‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.

SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.

The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.

‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.

A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).

The new album by the collective that for
over 25 years has been among the most
representative names of the Italian dance
and electronic scene worldwide.
“BLOOOM”, this is the title of the new release,
will be available in all traditional stores and
on digital platforms starting January 16.
Set against the soundscapes that have become
the Planet Funk trademark, the lyrics by Dan
Black attempt to give voice to a fragile and
contradictory condition of our time: an
intensified sensitivity that, instead of
turning into openness and connection, often
becomes emotional overload. A generation
constantly overwhelmed by excessive stimuli,
relentless information, anxieties, and fears,
called upon to find its way in a world thaoffers neither pauses nor silence. In this paradox, sensitivity is no longer just a natural gift, but
a daily effort: staying open and receptive without being overwhelmed, trying to preserve a human and
vulnerable gaze in order, despite everything, to fully appreciate life and the present moment.
The single’s artwork—like that of the album—curated by Nationhood, visually conveys this tension: the
distant sirens of a city that amplifies feelings of disorientation and loneliness even when we are
surrounded by thousands of people.
“BLOOOM”, preceded by the single “FEEL EVERYTHING”, arrives at the end of an intense, creative year
full of music, which saw Alex Neri (DJ, keyboards, synthesizers), Marco Baroni (keyboards, piano,
programming), Dan Black (vocals and guitar), and Alex Uhlmann (vocals and guitar) engaged between
studio work, collaborations, and live performances in Italy and abroad. A journey that today
transforms into new energy, into an even more open vision oriented toward the future.
Exactly one year ago, PLANET FUNK released “Nights in White Satin”, a single that reached the top
positions of the radio charts and launched a season rich in concerts and DJ sets in Italy and around
the world. The subsequent “I Get a Rush”, the collaboration with Alfa and Manu Chao on the remix of
their hit “A me mi piace”, and the track “È Naturale” together with Francesca Michielin, confirmed
Planet Funk’s ability to renew themselves and engage with different musical worlds while always
remaining true to their own identity.
Throughout this journey, music has inevitably intertwined with life. The memory of Sergio Della Monica
and Domenico “Gigi” Canu, pillars and founding souls of the PLANET FUNK project, is a living part of
this new chapter. Their vision, creative spirit, and way of understanding music continue to be a
constant guide, a deep root from which new ideas and new directions can grow.
“BLOOOM” is also this: a personal and artistic blossoming that, starting from the legacy left by
Sergio and Gigi, transforms into a living process of growth, metamorphosis, and discovery. An album
that does not look back with nostalgia, but forward with awareness, momentum, and a desire for
renewal.
Founded in 1999, for over 25 years PLANET FUNK have represented one of the most important, solid, and
influential realities in the international electronic music scene. Born from the meeting of Souled
Out! (Domenico “GG” Canu and Sergio Della Monica) and Kamasutra (Marco Baroni and Alex Neri), and
following their debut with “Non Zero Sumness” in 2002 (a gold record and a turning point for the
band), PLANET FUNK have managed to reinvent themselves over time while maintaining a unique sonic
identity. This has led them to collaborate with internationally renowned artists, deliver iconic
performances around the world, create soundtracks and international advertising campaigns, and
continue to demonstrate constant creative vitality

Efficient Space continues to bind its mind with Altered States Tapes, offering another service to How So?, Th Blisks' 2022 debut in home-cooked experimentation. A blurring of three vastly different heads into a single disjointed, but fluid organism, How So? finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. An Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney's pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.

Been waiting time to drop this full heavy cut 12" Version of the 1983 single 'Mind Games', from Gilles Peterson album of the 2024 and this is the BIG cut from that LP on 12 inch for the first time. 'Mind Games' is a total club destruction jazzy Disco Jazz masterpiece. On the flip we have 'The Essence of Jai' another downtempo beast. To top it off, we have a rather wonderful previously unreleased version of 'Song for my father' by Horace Silver, this being more a cover of the Leon Thomas version.

Based in Rennes and founder of the Vives label in 2020, Weever has been exploring the interplay of light and shadow for over 10 years, crafting abstract soundscapes and textured sonic tunnels of unparalleled musical breadth. He elegantly blends industrial and baroque sounds to construct sonic cathedrals. His music is both utterly raw and meticulously crafted.

L’âge de la Galère :

started this EP in 2020. At the time, I had just finished my studies, it was a pretty difficult period and I had made a track, or rather a melody, that I thought was amazing. I held onto it all these years without ever releasing it. 2020 was a tough year overall. The big question was: What am I going to do with my life? Hence the title L’âge de la Galère

The title really started to make sense when I began putting tracks together for Micheal. Around that time, I was reading Those of 1914 by Maurice Genevoix. For those who don’t know it: it’s written as a journal and tells the story of the author and his fellow soldiers in the trenches during World War I.

I’ve always been passionate about the two World Wars, I watch every film, old and new, I listen to the soundtracks, and so on. Same with period films, especially medieval ones. I love drawing inspiration from them.

So naturally, I imagine and create around that. It comes easily because it’s always been my universe. And when I make music, those kinds of images inevitably come out, even subconsciously.

So I created and told an audio story through my 6 tracks.

“It’s 1914. The story of many men who, upon hearing the sound of the bells, are met with the announcement of a war like no other. Most of them are young, some very young, and they are drafted into the French and German armies. They have no military experience, and the first battles are so violent that many won’t make it back. Very few will earn the glory they deserve.

The conditions are appalling, everything is in short supply, and the men are exhausted. Still, they must hold on.
Leaving carelessly from beneath their mothers’ skirts, too few returned. Many were left traumatized, and an entire generation was forever changed.”

Ausdrucksstarke Gesänge in freien Versen, begleitet von gleitenden Violinen, gehämmertem Santouri, Gitarre und Oud - die hybriden Klänge des Mittelmeerraums zu Beginn des 20. Jahrhunderts. ,Aman Aman" rufen die Sänger auf diesen Aufnahmen, deren Stimmen auf 78-U/min-Schallplatten aus den Jahren 1911 bis 1935 verewigt sind. Der Ausdruck bedeutet in etwa ,Gnade" und ist ein Ausdruck der Verzweiflung, aber auch der Freude und Bewunderung. Auf vielen dieser Platten wird die ganze Bandbreite dieser Emotionen auf einmal vermittelt. Einige dieser Künstler sind Legenden, andere sind in Vergessenheit geraten. Fast die Hälfte sind Sängerinnen, die einen großen Teil der Tradition des Cafe Aman ausmachen, aber in zeitgenössischen Veröffentlichungen nicht so stark vertreten sind. Alle waren von den Konflikten betroffen, die zur Kleinasiatischen Katastrophe von 1923 führten, sowie von den Zwangsmigrationen zwischen Griechenland und der Türkei davor und danach. Ihre Werke spiegeln diese Reisen wider - erschütternde Gedichte über den Verlust der Liebe und der Heimat, begleitet von einigen der besten Musiker der damaligen Zeit. Nach jahrelanger intensiver Recherche hören wir die präzisen, einfühlsamen und überwältigend kraftvollen Stimmen von Künstlern wie Antonis ,Dalgas" Diamantidis, Sofrouniou und Stellakis Perpiniadis, zusammen mit aufschlussreichen Aufnahmen von weitgehend unbekannten Musikern, deren Werke hier zum ersten Mal veröffentlicht werden. Die LP wurde von Jordan McLeod im Osiris Studio sorgfältig remastered und restauriert und enthält detaillierte historische und diskografische Anmerkungen von Stavros Kourousis sowie poetische Übersetzungen der Texte von Tony Klein. Gepresst auf hochwertigem Vinyl bei Smashed Plastic in Chicago und gemeinsam mit dem großartigen Label Olvido Records veröffentlicht.

Seit Mitte der Neunziger steht „Mexico“ unwiderruflich (mit einer kleinen Ausnahme 2002) als vorletzter Song am Ende unserer Shows fest und entfesselt nach 2,5 Stunden Pogogulasch bei euch alle Kraft- und Tanzreserven. Jetzt feiert die EP runden Geburtstag. Ganze 40 Jahre alt ist er geworden und einer unserer größten Hits, und das wollen wir mit euch feiern! Die Splatter Version in Weiss/Rot/Grün ist auf 180g schwerem Vinyl gepresst.

Als Dublins Gurriers 2024 ihr Debütalbum Come And See veröffentlichten, bewiesen sie eindrucksvoll, dass sie eine der drängendsten und unüberhörbaren neuen Stimmen der boomenden irischen Punk-Szene sind. Seitdem haben sie sich mit knochenerschütternden, moshpit-tauglichen Live-Shows einen stetig wachsenden Ruf erarbeitet. Come And See stellte dabei auch ihre lyrische Stärke und ihren neugierigen, gesellschaftskritischen Blick in den Vordergrund – mit Songs über digitale Verlorenheit und die ganz realen Schrecken der modernen Welt.
Das grandiose zweite Album des Quintetts heißt Nobody's Coming To Save You – könnte aber ebenso gut den Untertitel „härter, besser, schneller, stärker" tragen. Es wird am 25. September auf Play It Again Sam veröffentlicht.

Aufgenommen in Donegals Attica Studios und den Holy Mountain Studios in London, produziert von Mark Bowen (Idles) und Loren Humphrey (Geese, Cameron Winter), engineered von Chris Fullard (Idles, Sunn O)))) und gemixt vom weltbekannten John Congleton (St. Vincent, Modest Mouse, Swans) – allein das Team, das sich für LP2 zusammengefunden hat, spricht Bände. Gurriers nehmen alles, was sie von Anfang an großartig gemacht hat – die musikalische Chemie, den klugen, analytischen Blick auf die Welt – und schrauben es konsequent auf das nächste Level.

Von der vibrierenden Spannung der ersten Takte des Titeltracks, die sich in einem kakophonischen, kathartischen Finale entlädt, bis zum Ende: Nobody's Coming To Save You überführt den Geist des schwitzenden Kellerclubs in Stadiondimensionen. Das Album ist nicht nur laut – es ist dynamisch. „Shades" schickt industrielle, kantige Gitarrensplitter in einen brachial-rohen Hardcore-Chorus; „Drones" ist ein druckvolles, langsames Aufbäumen mit einem Drop, der jeden Moshpit zum Kollabieren bringt. „Pins" zeigt eine lässigere, melodischere Seite – irgendwo zwischen Grunge und Trip-Hop –, während „Party Lines" pure, unersättliche Dance-Punk-Ekstase ist. Wer sich fragt, ob die Band ihr Ziel erreicht hat, das Album „wie eine Ohrfeige" wirken zu lassen: Ja, die sitzt.

Mit Nobody's Coming To Save You haben Gurriers ihre Ambitionen in neue Höhen getrieben – und liefern dabei auf ganzer Linie.

Als Dublins Gurriers 2024 ihr Debütalbum Come And See veröffentlichten, bewiesen sie eindrucksvoll, dass sie eine der drängendsten und unüberhörbaren neuen Stimmen der boomenden irischen Punk-Szene sind. Seitdem haben sie sich mit knochenerschütternden, moshpit-tauglichen Live-Shows einen stetig wachsenden Ruf erarbeitet. Come And See stellte dabei auch ihre lyrische Stärke und ihren neugierigen, gesellschaftskritischen Blick in den Vordergrund – mit Songs über digitale Verlorenheit und die ganz realen Schrecken der modernen Welt.
Das grandiose zweite Album des Quintetts heißt Nobody's Coming To Save You – könnte aber ebenso gut den Untertitel „härter, besser, schneller, stärker" tragen. Es wird am 25. September auf Play It Again Sam veröffentlicht.

Aufgenommen in Donegals Attica Studios und den Holy Mountain Studios in London, produziert von Mark Bowen (Idles) und Loren Humphrey (Geese, Cameron Winter), engineered von Chris Fullard (Idles, Sunn O)))) und gemixt vom weltbekannten John Congleton (St. Vincent, Modest Mouse, Swans) – allein das Team, das sich für LP2 zusammengefunden hat, spricht Bände. Gurriers nehmen alles, was sie von Anfang an großartig gemacht hat – die musikalische Chemie, den klugen, analytischen Blick auf die Welt – und schrauben es konsequent auf das nächste Level.

Von der vibrierenden Spannung der ersten Takte des Titeltracks, die sich in einem kakophonischen, kathartischen Finale entlädt, bis zum Ende: Nobody's Coming To Save You überführt den Geist des schwitzenden Kellerclubs in Stadiondimensionen. Das Album ist nicht nur laut – es ist dynamisch. „Shades" schickt industrielle, kantige Gitarrensplitter in einen brachial-rohen Hardcore-Chorus; „Drones" ist ein druckvolles, langsames Aufbäumen mit einem Drop, der jeden Moshpit zum Kollabieren bringt. „Pins" zeigt eine lässigere, melodischere Seite – irgendwo zwischen Grunge und Trip-Hop –, während „Party Lines" pure, unersättliche Dance-Punk-Ekstase ist. Wer sich fragt, ob die Band ihr Ziel erreicht hat, das Album „wie eine Ohrfeige" wirken zu lassen: Ja, die sitzt.

Mit Nobody's Coming To Save You haben Gurriers ihre Ambitionen in neue Höhen getrieben – und liefern dabei auf ganzer Linie.

WRWTFWW Records is proud to announce a super limited vinyl release of Christine Aufderhaar and City of Prague Philharmonic Orchestra's original soundtrack for the critically acclaimed, multiple award-winning 2022 animated-documentary film Aurora's Sunrise. The release comes as a 45rpm double LP in a heavyweight sleeve with inside out print.
Aurora's Sunrise is directed by Inna Sahakyan, and tells the extraordinary true story of Aurora Mardiganian, a survivor of the Armenian genocide who later became an actress in the United States. The film combines animated storytelling, archival footage, interviews, and rediscovered scenes from the 1919 silent film, and one of Hollywood's first blockbusters, Auction of Souls, in which Aurora starred. Aurora's Sunrise was Armenia's official submission for the 95th Academy Awards for best international feature film. It has won over 20 international prizes.
The composer, Christine Aufderhaar, is an accomplished German composer based in Berlin and Los Angeles, with over 20 years of experience and more than 50 films to her name. Her background spans classical, jazz, film scoring, and contemporary orchestral work, and she has been the recipient of numerous awards for her work.
The soundtrack performed by the City of Prague Philharmonic Orchestra is deeply emotional, blending intimate melodies and majestic orchestral work, and weaving together themes of memory, survival, loss, and hope. A perfect fit for collectors of film scores, contemporary classical music, and limited vinyl releases.

2026 REPRESS!

Limited edition, ultra clear vinyl version of RÜFÜS DU SOL's standout Innerbloom Remix EP. Calling on a who's who of modern electronic’s greats, they harness the unquestionable expertise of this all-star cast to adapt their dark, emotive and gargantuan single 'Innerbloom'.

The result is an array of dancefloor-destined destruction from the legendary UK superstar Sasha, melodic deep house wizard Lane 8, and Germany's very own H.O.S.H.

WOLF proudly welcomes the return of Tom Esselle to the label. Fresh from his latest release on Rhythm Section, Tom follows up his 2022 Praise Bes EP on WOLF with a new four-track collection of deep, dancefloor-ready cuts.

Opening track Livewire sets the tone immediately, pulling you in with a heads-down, UK garage influenced groove. A-side follow-up Don’t Have To is a strong contender for standout moment, pairing luscious keys with a sweet vocal for peak-time soulful impact.

On the flip, Small Talk delivers a quirky vocal sample over an undeniable groove, before EP closer Spaced Out dives deeper, unfolding beautiful, emotive chords. Another standout release that oozes quality from a producer hitting their stride and firmly establishing himself as one to watch.

Neue Grafik has steadily built a strong reputation in recent years with releases on esteemed labels such as Rhythm Section, 22a, CoOp Presents, and Wolf Music. His sound is a distinctive fusion of jazz, house, and hip hop, infused with his African heritage, Parisian background, and a deep appreciation for London genres like broken beat and grime.

Neue Grafik first made a lasting impression on the community at Total Refreshment Centre (TRC)—the heart of London’s thriving jazz scene—during a spontaneous after-hours jam. Since then, there has been collaborations with notable artists including Nubya Garcia, Emma-Jean Thackray, Brother Portrait, Lord Apex and Allysha Joy.

The new album, ”Rachael”, is set for release on January 30th 2026. It stands as Neue Grafik's most ambitious project to date. Developed over the past year, the album explores themes inspired by the character of Rachael from the movie Blade Runner, representing the journey of love in all means, intimate, raw, tough, organic and honest offering a rich, emotional journey that balances lightness with depth—an introspective dive into the artist's evolving musical identity.

Rekids begins 2016 with the launch of an exciting new talent. South Korea-born DJ and producer Peggy Gou has been honing her production skills since her days in London. Having moved to the UK capital at age 14, she began producing tracks at a prodigious rate while studying university, honing her sound and refining her skills with advice from some of the city's most renowned DJs and producers until she had crafted an initial selection that will form her debut EP, set for release Rekids in January 2016.

Now based in Berlin, Gou has drawn on her years of DJing to help shape a sound that draws on Detroit & NYC house, as well as the African rhythmic sensibility and boogie funk influences she shares with Early Sounds duo Nu Guinea, with whom she had piano lessons and sought production advice from as her music took shape. In addition to her work as a stylist and fashion producer, Gou has also drawn on her art & design abilities to create the EP artwork.

The Art of War 12" includes two original productions plus a remix from White Material's Galcher Lustwerk. The original mix of Troop centres on a funk bassline which propels its dream-like tropical groove, while Lustwerk's remix re-purposes the track as a Fred P-esque jazz-infused star-gazer. The EP's other original production, In Sum, again asserts Gou's talent for raw, propulsive rhythms and subtle melodies.

Ohio's O'Jays were a hugely popular part of Philadelphia's PIR stable throughout the 1970's and 80's.
They cut numerous sides for the label aided by the incredible production and arrangements of the infamous Gamble and Huff hit machine.

This special 4 track EP includes some of the absolute evergreen, stellar and downright soulful tracks they are most known for. It's all here. Influential, uplifting, inspiring and soulful music that will touch everyone. From the string laden and lush extended proto Disco joy of 1975's 'I Love Music', to the deep and soulful Philly stylings of 'Back Stabbers', 'Message In Our Music' & 'My Favourite Person', all of the music contained within this amazing collection is utterly essential if you dig Soul, Funk, Disco, Gospel and even House music. This is it. The real deal. These are some of the roots of contemporary dance music, the building blocks. On top of that, it's simply great music, a solid and essential addition to any record collection from one of the greatest vocal groups of the era, not to mention the world calls production, arrangement & execution from the legendary Gamble & Huff. A real no brainer this one.....

This is a fully legit reissue, made in conjunction with Above Board distribution and Sony music, sourced from their vaults using original source material and remastered and repressed to the highest standard for 2018 and featuring all original PIR label artwork.

Here's your chance to own yet another essential stone cold classic from the archives!

UK funk veterans McKenzie & Gardiner are best known for their 1983 boogie classic 'From Time' and the album Songs From Time - The Lost Demos. They returned in 2021 with a fresh recording of fan favourite 'Hold On Tight' featuring original vocalist Shelley Hicks and it now lands on vinyl for the first time. First, though, the A-side delivers the sultry boogie swagger of 'Completely' with its aching male vocal and humid, throbbing bass. Flip it over for the smooth, soulful 'OG Redux' version of 'Hold On Tight' produced by Clive Gardiner who says, "we used lockdown to get the gang back together, and we've never sounded better." Hard to argue with that.

Smith war ursprünglich Sänger bei Good Times in der Andy Williams Show im Jahr 1963.
Die Aufnahmen entstanden zwischen 1967 und 1972 und wurden vom Künstler selbst auf der Straße verkauft.
Die Neuauflage wurde von Smiths Bruder Gary und dem Autor Mike Stax zusammengestellt, der Herausgeber des Ugly Things Magazine und Verfasser des Buches „Swim Through the Darkness: My Search for Craig Smith and the Mystery of Maitreya Kali“ ist Smiths Geschichte von seinen bescheidenen Anfängen bis zu seinem tragischen Tod umfassend erzählt.

Seit einer einmaligen Pressung im Jahr 2019 vergriffen.

Für Fans von Rodriguez.

LP1 weiß mit schwarzem Marmor & LP 2 transparent orange mit schwarzem Marmor (Inca), plus Bonus-7„-Single in Schwarz

Laseech, a Croatian producer and Cosada label owner with releases on BBE, Lumberjacks In Hell, Red Ember Records, and Forbidden Dance, is continuing a string of excellent releases with Rising Soul. Known for his dedication to house music, Laseech has built an international reputation through collaborations and remixes with some of the genre's most respected architects, including Ron Trent, Patrice Scott, Javonntte, and Dego. "Rising Soul is actually one of the first tracks I did back in 2017 while I was heavily into sampling. I was jamming with my MPC1000, and Rising Soul came up. I never thought that it would become such an effective song that works on the dancefloor every time." Laseech explains. Kez YM, a highly respected Japanese producer and DJ, has been a key figure in the global house music scene for almost two decades. Originally from Chiba and now based in Berlin, his unique approach to house music has led to releases on esteemed labels such as City Fly, Faces Records, Yore, and 4Lux. When describing his version of the track, Kez simply stated: "VIBES." Well, no one will argue with that. The last version comes from Cycle Records' founder Jan Kincl, a prominent Croatian music producer and DJ with releases on labels like BBE, Far Out, Sonar Kollektiv, and Get Physical. "I've been playing Andrej's original for years. He undoubtedly made some good stuff recently, but this one remains among my firm favourites from him. Kez delivered a beautiful version that took it further towards jazz territory, so I decided to make a version that would bridge those two." Jan explains. "I knew we could build a very good record around Rising Soul, with versions that would give DJs different options for different moments during the party. I guess we did a good job because some of the early supporters include DJs from all over the place - Laurent Garnier, Alex Barck from Jazzanova, Marcel Dettmann, Alex Nut (Eglo), Sasse, Chicago's K' Alexi Shelby, Lakuti, Ian Friday and Truncate, among others.

Two decades into his winding voyage through music, culture and creativity, Tom Trago has become part of the densely woven fabric of the Dutch electronic scene - a producer, DJ, label owner, collaborator, remixer, radio host and DJ's DJ who is renowned not only for his impressive productivity, but also the genuine depth and variety of his work. While it was Trago's distinctive DJ sets that once grabbed headlines - he famously held residencies at renowned Amsterdam institutions Trouw and De School, and for a decade spent much of his time jetting between some of the most renowned clubs in Europe - in recent years Tom has cut down on appearances. Today, he chooses to be far more selective about where (and when) he DJs or performs live, often working with a handful of cherished venues and festivals while ensuring that his travels are sustainable and inspiring. Instead of the grind of touring and hedonistic night-time activity, Trago has chosen to focus on music-making, alongside semi-regular forays into radio broadcasting (NTS, Radio Radio, BBC Radio and EchoBox). He now spends most of his days producing and remixing at his new SR-3 studio in Alkmaar and his seaside home-come-studio in Bergen aan Zee. As part of these lifestyle and career changes, Trago took time to look deeper, not only inside himself, but also for musical inspiration. Tom has always loved, and devoted time to, digging into a wide variety of production styles, using this inspiration to develop a trademark personal production style, but in recent years he has taken it even further. Fuelled by a desire to challenge himself, Tom consistently tries new things in the studio while channeling all he's learned during a career that has moved forwards at breakneck speed. Since making his debut in 2006, Trago has released six critically acclaimed albums (two of which, the eclectic, beat-focused, career-spanning, Patta-released archive dive, 18, and the dancefloor excursion, Trembala, appeared in 2022); extensively worked with Dutch electronic music institutions Rush Hour and Dekmantel; collaborated with countless friends and contemporaries (Charlie Soul Clap, Awanto 3, Maxi Mill, Steffi, San Proper, Seth Troxler, and BokBok included); remixed artists including New Order, Carl Craig, Cassius, Tiga and Erol Alkan, and championed a swathe of fellow Dutch producers via the Voyage Direct label he founded in 2009. In 2025 Tom returns to legendary Dutch label Magnetron Music, home to Fatima Yamaha, DMX Krew, Legowelt, Staygold and many other, to release his Magnus Opus; Ignorance.

Following the last blend of four timeless cuts compiled into TRIX002 (2023), Party Tricks returns with a new VA that maps the outer edges of UK breaks and garage on the A-side, and a US-tinged psychedelic journey on the B-side.

Stitched with fleeting lines from The Usual Suspects (“The greatest trick the devil ever pulled…”), A1 Trick or Treat - Trip To The Dark Side dives into the darker shades of the UKG spectrum, setting the opening tone with a mysterious heavy stepper.Continuing down this road, Sheethanger – Discostep flips the energy with a dubby, and irresistibly groovy breakbeat workout, complete with spicy vocoders and a kinetic drive engineered to lift every dancer off the floor.

On the B-side, the focus shifts toward the psychedelic zone of the US niche. A Terran Collective - Mercury Uno rolls out in low gear under acidic, foggy tension, gradually accelerating as it climbs toward a hazy, hypnotic eruption.Finally, Earth Trance Interlude - Moonshine delivers an after-hours breaks masterpiece - the right anthem to close the record on a bright and uplifting-melodic-tribal note.

Tom Joyce’s sought after Sounds Benefit label marks their milestone tenth release with “7 Years Of Sounds Benefit”, a carefully curated selection of essential artists and rising talents presented as a double vinyl LP. The two slabs of wax manoeuvre between innovative electro and refined flavours of house and techno for trained ears.

First up is a reissue from S-Max, New Delhi Projects, previously released on Below back in ‘99. A chugging display of sounds that were way ahead of their time. After featuring on SND002, Ben Cohen makes his comeback on the label with Short Night, a breakbeat journey which boasts beautiful and emotive chord progressions. The B side features somewhat of a rarity as Etienne shares a track, Gateway Experience, futuristic energy from the accomplished producer, layered with subtle yet effective acid tones. Label head Tom Joyce delivers 7:15pm, a dreamy quest through melt in your mind synths and punchy electro drum patterns.

As we approach the second vinyl, we uncover further gems from the archive as Lowtec kindly shares his unreleased La Java 2014, which was created circa. 2000. Javier Carballo and Aniano have been making positive movements with their Hdz moniker in recent times, and Moog is another stamp of approval, a warm bass line converses with the crisp drums and spaced out elements. On the flip, Berlin based Englishman Rob Amboule turns out a killer elasticated groove which takes you for a late night shuffle in Scrap It. Huge fun for the hazy hours on the dance floor. Nuversion, formerly known as Juliano, showcases his debut track under this name with Crepuscule, addressing further pensive moods with his classy production. Ending the fantastic release in a meditative state of mind, cruising on sweet melodies.

Two figures of quasi-human form whose contours are in the process of dissolving. Like curtains of varying opacity, realities slide close together without ever laying claim to validity. The essence is clouded, nature its imitation. What sounds like the dripping of a viscous acid from porous aluminum casings could also be a sequential noise. The rhythm is an aid, a barb in the flesh. Voices fleeting like gases that have never surrendered to the dictates of gravity. It is the year 2024 of a calendar resembling an Abrahamic apparatus. Angels carry guns.

This record comes with a download code for the digital release!

This edition is limited to 150 hand stamped and numbered records including 150 individual and unique drawings and photographs.

Naibu is a well respected artist with 6 critically acclaimed solo albums and releases on prominent labels like
Creative Source, Soul:R, Hospital and Paradox Music

The album takes influences from dnb's greatests (Photek, Paradox…) blending them with flavours of electronica and experimental music. A unique combination of sounds that will please home listeners and DJs alike, with cuts like 'Martial' shaking dancefloors worldwide.

Record comes with fully printed inner sleeve featuring original artwork by Japanese artist Hitomi Ito
⁃ Only 200 copies worldwide

Following up on the success of 'Sans Soleil' on Minato Music, Naibu brings out 'Abandon', a new and intimate album that showcases his talent not only as producer but also as singer / songwriter.

Probably his most personal release to date, this is a project that brings opposites together and champions
experimentation. From classic d’n’b stylistic references in tracks like 'Concave' and 'Convex', to the soft minimal tones of 'Belong', the album steps into uncharted territory with 'Martial' and its military paced drums, a track that will leave a mark on any dancefloor.

Naibu’s music is supported by a wide range of DJs, from Fabio to Loxy, and is regularly featured on Laurent
Garnier's radio show

Forthcoming on our home label Prospektiva, PRZ11eleven marks the first VRSION release in nearly a decade.
The alias made its debut on Craig Richards’ The Nothing Special in 2015, with a remix from the late, great Trevino, before resurfacing in 2016 on Constant Sound, accompanied by a remix from Jesper Dahlbäck under his much-coveted moniker, The Persuader.

This release follows a long hiatus for VRSION, aka Irish producer Gavin Herlihy, a once-prolific fixture of the late 2000s whose work spanned a who’s who of leading techno labels before he retired his work under his own name in 2014. In 2024, Herlihy re-emerged with Between The Lines, a collaborative EP with debut artist Nikol under the name Body Copy, released via Barcelona's respected label O.C.D.

PRZ11eleven picks up where VRSION left off, delivering four tracks of timeless, acid-laced house and breakbeat techno with an ear to the future as well as the past.

With Stronger, her third EP, Mira Ló continues her rapid ascent within the French electronic scene. A cathartic project born from a period of personal upheaval, this EP is both a cry of resilience and a celebration of club culture as a space for healing. The Paris-based queer producer and DJ turns pain into creative force, and the dancefloor into refuge, release, and rebirth. Across four emotionally charged tracks, Stronger traces the contours of a club where one rises through the energy of the beat, the warmth of a caring community, and the affirmation of self through sound and movement. “This EP is my response to a very dark period in my life. I chose to turn pain into strength, to stand back up through music, and to reconnect with joy, intensity, and the collective. Each track follows a movement, of a body rising, a heart beating stronger, a soul regaining its light. Stronger is also a tribute to those who carried me when I could no longer stand on my own. It's proof that even in chaos, we can rebuild together.” Mira Ló The first chapter of this inner journey, “Riser” is a house track filled with enveloping melodies, ethereal pads, and organic chords that create a suspended sonic space. Its steady pulse and warm basslines evoke a rising from within. “I wanted this track to feel like a build-up, like breathing again. It's about that moment when you feel you're ready to rise once more, even after a fall, like a gentle but powerful wave,” says Mira Ló. With its R&B textures, pop-infused touches, and radiant production, “Brighter” glows with warmth. It captures the return of inner clarity, the rediscovery of joy and ease. Made to bring people together, it’s Instagram | Youtube | TikTok | SoundCloudboth immediate and heartfelt. “It’s a song about shining again, after the dark. I wanted something full of light and simplicity, a track that speaks to the heart and makes you want to dance without thinking.” A personal and introspective nod to the French Touch, “Higher” is driven by filtered basslines and hypnotic grooves. It channels a sense of euphoria that builds gradually, almost meditatively, like a joyful vertigo. “This track is about finding euphoria again, that moment when music lifts you beyond yourself. I grew up with the French Touch, and this is my way of coming back to it with my own voice.” Closing the journey, “Louder” is the most assertive track on the EP. Inspired by the UK bassline and garage scene, it bursts with percussive, punchy energy. This is where everything comes into full light, bold, unapologetic, and free. “I wrote Louder as a statement: I’m here, I exist, and I won’t stay silent anymore. It’s about partying as self-affirmation, as a joyful, powerful scream of identity. Meant to be played loud. Very loud.” Mira Ló, born Ana Lopez, is a queer producer and DJ based in Paris. Drawing from the full spectrum of club music, her sets and productions blend melancholic emotion with a unique, high-energy, euphoric touch - inspired by artists like Disclosure, salute, and Sammy Virji. From her early days playing in Parisian bars and intimate clubs, she quickly rose to the lineups of top French venues and festivals such as Peacock Society, Marvellous Island, and Lollapalooza - extending her reach across Europe and even to Chicago. She’s carved out a strong place for herself within the new wave of the French electronic scene, leaving a lasting impression with every appearance. In 2023, she released her debut EP Memories and was featured in Apple Music’s “Women In Electronic” series. That same year, she became a resident at Sacré in Paris, before unveiling her second EP Tribute To Chicago in 2024. She returns in 2025 with her third release, Stronger - once again proving she’s one of the most promising artists shaping the future of electronic music.

On his debut album “Scattered Memories”, the composer, musician and true master on the Iranian spike fiddle kamancheh SABA ALIZADEH blends his instrumental virtuosity with spherical electronics, samples of Persian music instruments and field recordings from his hometown Tehran.

Born in Tehran in 1983 as son of the world renowned Tar and Setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH studied the Iranian spike fiddle with SAEED FARAJPOURY and KEYHAN KALHOR plus photography and later experimental sound art with MARK TRAYLE at the California Institute of the Arts, Los Angeles. His musical activities that lead him all around the globe for performances (a.o. at Carnegie Hall) branch into 2 different areas: on the one side ALIZADEH is a highly reputated virtuoso on his traditional instrument, on the other he likes to approach music from a more experimental / technological aspect in his electronic / electro-acoustic pieces. This not being enough, he founded Noise Works in 2014, a platform and label for organizing experimental concerts and for the transfer of knowledge of music technologies among young Iranian musicians which makes him a central figure at the forefront of the current, very vivid Persian music scene that gained a lot of attention through artists like SIAVASH AMINI, PORYA HATAMI and of course SOTE who included a track by ALIZADEH on the compilation “Girih: Iranian Sound Artists” that he had curated.

In 2018, ALIZADEH self-released his debut “Scattered Memories” on CD in Iran which now, in a reworked version, sees its deserved world-wide release as LP and DL. Over the course of 10 tracks ALIZADEH melts his 2 musical worlds into 1: tradition meets modernism, eastern sounds meet western production, folklore meets contemporary electronics. An album that will appeal to an open-minded “world music” audience as well as fans of current streams like ambient or drone in its most subtle forms.

Childish Gambino is (and isn't) Donald Glover, a recording artist, writer, actor, director, producer and comic who was gifted his alias by an online Wu Tang-Clan name-generator. Originally hailing from Stone Mountain, Georgia - his Mum was a daycare provider and his Dad a postal worker, where TV was banned in the house - Glover first entered the spotlight as a member of sketch-troupe Derrick Comedy, via a stint working on The Daily Show and the invitation to join the '30 Rock' writing staff by Tina Fey before he'd even graduated from NYU. A succession of mini-albums and mixtapes surrounded all of this, parallel to acting roles ranging from The Muppets to NBC's cult hit comedy 'Community'. It was 2011's debut album 'Camp' - his first since signing to Glassnote Records - which marked a breakthrough for Childish Gambino, whose music explores everything from identity, race, and technology to hip-hop culture, class, and family. Follow-up 'because the internet' went top 10 on the Billboard chart, was nominated for 2 Grammy Awards and further assimilated Gambino's multiple disciplines (it was accompanied, for instance, by two films and a standalone 72-page screenplay). Around this time - and between roles in HBO's 'Girls' and movies like 'The Martian' - Glover also announced that he was working on his own TV show: a comedy-drama which he would star in, write and direct, 'Atlanta' premiered on FX this autumn to significant critical acclaim (it's already been described as "Twin Peaks with rappers"). The show was launched alongside the third Childish Gambino, 'Awaken, My Love!', this summer at 'Pharos', a series of secretive, audio-visual live performances which took place in a custom-designed dome in the middle of the desert in Joshua Tree. A second series of 'Atlanta' has already been commissioned, whilst Glover has recently been cast in the forthcoming Spider Man movie and has also been confirmed to play the iconic role of Lando Calrissian in the next Star Wars film (a Han Solo spin-off). His most vital artistic statement to date, Childish Gambino is expected to unveil further music from 'Awaken, My Love!' in the coming weeks. 

Epicentre was an R&B/funk group formed in Seattle, Washington by keyboardist Ric Ulsky. The band developed a loyal following, playing the extensive NW club, concert and dance venues throughout the mid-to-late 1970s. Their sound was a blend of melodic R&B and powerhouse funk that dependably filled music venues throughout the Western US. Bernadette Bascom was the lead vocalist, who captivated audiences with her powerful yet velvet-smooth voice and commanding, magnetic stage presence.

In 1978, Epicentre worked with Seattle producer Don McKinney to record their music in Seattle's now legendary Kaye-Smith studios. The result was seven strong, fully -produced R&B songs, with occasional horn and string orchestrations tastefully added to the final versions.

Their music quite literally sat on a shelf for decades until McKinney decided that all the hard work and talent should no longer remain undiscovered and it needed to find its audience. He restored and digitized his copies of the master tapes and looked for an opportunity. A chance call to the former leader of the group, Kell Houston, led to a serendipitous introduction to UK boutique/funk/R&B label founder Russell Paine. The result was an agreement to release their music, starting with two songs, "When You Were In Love With Me", and "Magic Carpet."

Footnotes: Lead singer Bernadette Bascom became a protegé of Stevie Wonder, and was the first artist to be signed to his label Black Bull , starting a period of collaboration between the two. Bermadette is the daughter of Reverend Dr. Marion C. Bascomb (1925-2012), one of Baltimore's major civil rights voices and pastor emeritus of Baltimore's Douglas Memorial Community Church. Ric Ulsky eventually left the group to play keyboards and tour extensively with The Association. You can also find Epicentre's music on the compilation album "Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987." In addition to Bernadette, the musicians on the 1978 sessions are Kell Houston, keyboards, Michael Cox, bass, John Carmondy, guitar, and Ricky Lynn Johnson, drums and vocals. While their recorded material is primarily original, Stacy Christensen from Seattle's Gabriel contributed two of his compositions. Label credits: Epicentre featuring Bernadette Bascom. Recorded at Kaye-Smith Studios, Seattle, Washington, August 1978"When You Were in Love With Me" and "Magic Carpet" written by Bernadette Bascom. Produced for Epicentre by Don McKinney

DGM & Panegyric proudly present…

One of the highlights of the King Crimson 50th anniversary CD/Blu-ray editions to date has been King Crimson producer David Singleton’s series of Elemental Mixes as he utilises the full spectrum of available studio sessions for each album to produce very different takes on the familiar songs and pieces.

This is especially true of Lizard where the ambition of the material, the much-expanded line-up of musicians - the background of many of them in the jazz rather than the rock world - and the number of takes recorded, resulted in a large amount of material to be considered for this album.

There was enough material for David to be able to mix and produce alternate takes for every piece from the original album.

As well as giving great insight into the recordings, the nature of Elemental Mixes allows for different takes from individual musicians to be included – sometimes alongside one another - in a way that would never be considered in the formulation of the original album.

David comments that “When I was working on the Elemental mixes, I jokingly described them as ‘Lizard for those who don’t like Lizard’. They were a complete revelation. Lizard is the one album which, in its initial incarnation, never quite convinced me. And yet these Elemental mixes, with their opportunity to look ‘under the hood’ of the album, revealed something fresh, wonderful and astonishing. So, if you are a King Crimson fan, who like me, has never quite taken Lizard to your heart, then these are essential listening. And hopefully equally fascinating to those who already love the album”.

Presented as a single 200gram LP and including the complete album in Elemental Mixes form, running in the same sequence as the original album, this release showcases Lizard in a very different manner to how it’s previously been heard.

Lizard’s reputation has grown, deservedly so, in recent years as old and new audiences alike rediscovered the album, initially when it was first remixed for new Stereo and 5.1 Surround Sound editions in 2009 by Steven Wilson and then as much of it was performed live for the first time in concerts by the most recent King Crimson line-up between 2016 and 2018.

Between 2023 and 2025, L.F.T. split his time between Hamburg and Berlin, slowly piecing together what would become his most ambitious work to date. The result is Hell Was Boring - a double album that plays like a fever dream, unfolding as a dark, mythical tale about life, death, and the strange spaces in between.


L.F.T. - the alias of German producer and multi-instrumentalist Johannes Haas - has always thrived on tension: between punk urgency and electronic precision, between raw emotion and mechanical repetition. On Hell Was Boring, those tensions are amplified. Drawing on the spectral drama of Bauhaus, the melancholic minimalism of Linear Movement, the futuristic romanticism of Gary Numan, and even the sly swagger of Falco, the album feels at once deeply personal and part of a much older musical lineage.


The sound is stripped down to its bones: drums snap and rattle from a Roland TR-808, TR-707 and Korg KR-55; basslines growl from a Roland SH-101 and Korg MS-20; shards of guitar cut through clouds of tape hiss. Everything was tracked to a Teac Tascam 80-8 reel-to-reel, giving each track a lived-in, imperfect warmth. Nothing is overpolished - L.F.T. wanted the listener to hear the edges, the grit, the moments when the music almost comes apart.


Along the way, he invited friends and long-time collaborators into the fold - Das Kinn, Rosaceae, Felix Kubin, Children Of Leir, and Konstantin Unwohl - each leaving their own fingerprints on the record’s world of shadows and static.


Hell Was Boring isn’t a mere collection of songs; it’s a narrative that drags you into its orbit and doesn’t quite let go. It’s music for the late hours when reality feels porous, and for those moments when you’re not sure if you’re waking up or still dreaming.

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

Few producers have had the same seismic impact on techno and rave music as Joey Beltram. Hailing from Queens, New York, Beltram was a key architect of the early '90s rave explosion and responsible for some of the most influential electronic records of the era - and it was Belgium’s R&S Records that gave many of these tracks their first home.

Originally compiled and released by R&S in 1996, Classics brings together the core of Beltram’s groundbreaking early output - namely the Beltram Vol. 1 (1990) and Beltram Vol. 2 (1991) EPs, alongside the legendary Second Phase productions ‘Mentasm’ and ‘Mind To Mind’ (1991), plus a selection of aliases and collaborative work from the same period, including tracks under Mental Mayhem, Open Mind, and Disorder.

Now remastered and reissued as a 2LP set for 2025, Classics is available on vinyl for the first time since 2006, offering a long overdue opportunity to own these timeless cuts in their purest form. Across the 13 tracks, you'll hear the sheer force and innovation that made Beltram a household name in underground techno.

Integral to this collection are ‘Jazz 303’ and ‘Psycho Bass,’ co-produced with Norwegian techno innovator Per Martinsen (aka The Alien), which stand out for their experimental, forward-facing sound - highlighting a futuristic edge even within Beltram’s already pioneering catalogue. Elsewhere, his Second Phase project with Mundo Muzique delivers the seminal ‘Mentasm’ and ‘Mind To Mind,’ two foundational tracks that introduced the infamous “hoover” sound to dancefloors worldwide. Rounding out the set are deeper cuts under his aliases Mental Mayhem, Disorder, and Open Mind, capturing the breadth of Beltram’s restless creativity and technical command during his peak R&S years.
Classics’ by Joey Beltram is available on R&S Records from 25th July 2025.

The Return of 'The Nightstalker', a Childhood Intelligence endeavor written/produced by Dan Piu & Gary Rich (2022). The second album «Genetic Constitution» is the sequel of «The Tragedies Of A High-Tech World» (2020), in which the Nightstalker continues to manifest its mystic dystopian electronic prophecies. Full of haunted melodies, cinematic compositions and passages of hope and despair.

«In a damned world
dystopian and mad
we create our own sound
of the positive apocalypse

with bizarre characters
we feel connected
with the outsiders,
strangers and forgotten

in the darkest hour
the crazy sounds arise
standing on the edge
a delight for the senses

when all are gone
we have stayed
in the endless desert
good and evil at the same time

for us it is true
always to nail down
when everyone can have it
we do not want it»

The catalog of Discomagic’s sublabel Sensation Records is a true treasure chest of surprises. Rare gems sought after by collectors, whose prices on the secondary market often exceed €100, €200, and sometimes even €500. Once again, Vintage Pleasure Boutique reaches into this vault of highly coveted obscurities. This time, the focus is on SNS 8017.

It is one of the cult productions by Raffaele Fiume, revered, cherished and long admired mainly thanks to the distinctive vocal presence of Giusy Ravizza. Upon its original release in 1984, the record did not achieve major commercial success. However, with the resurgence of Italo disco, the rise of the internet, discussion forums, collector communities, online marketplaces and web radio stations, places where fans and collectors gathered to rediscover forgotten tracks, “Light” gradually emerged as a highly desirable, much-loved and increasingly hard-to-find title.

Once again, Vintage Pleasure Boutique steps in to meet the expectations of all those who wish to own a vinyl copy of Giusy Ravizza – “Light.” This is not the original Italian pressing with the SIAE stamp on the label, but it sounds absolutely excellent.

When Brazilian producer, songwriter, and multi-instrumentalist Diogo Strausz arrived in France, he already carried an impressive legacy. Known for his collaborations with the New York label Razor-N-Tape and for producing Brazilian legends such as Gal Costa and Marília Mendonça—whose tracks have gathered millions of streams worldwide—Strausz quickly made a name for himself among an international audience. His productions have also been remixed by acclaimed artists like Yuksek and Ron Trent, further cementing his global reach.

After two critically acclaimed releases on the French label Goutte d’Or Records (Flight of Sagittarius, 2022, and Samba From Outer Space, 2024), Diogo Strausz now naturally joins Favorite Recordings for a new chapter in his musical journey.

On this new album, Strausz pays tribute to the golden era of Brazilian Disco-Funk from the late 1970s and early 1980s, drawing inspiration from visionary producers Robson Jorge and Lincoln Olivetti. The result is an organic, ambitious, and deeply groovy record that celebrates both the vibrant dance culture and the rich musical heritage of Brazil.

Faithful to Favorite Recordings’ analog spirit, the album was crafted using vintage studio gear, capturing the warmth and depth of classic recordings reminiscent of the legendary Estúdios da Sigla sessions in Rio de Janeiro.

The explosive track “Ele é Artista”, featuring Bruno “Patchworks” Hovart (Voilaaa, Mr. President, João Selva, Uptown Funk Empire), is a standout moment—a dancefloor-ready bomb that channels the joyful energy and irresistible funk of modern tropical productions.

With its sun-drenched grooves, jazz-funk sophistication, and boogie flair, this album confirms Diogo Strausz as a master at blending timeless Brazilian soul with contemporary elegance.

UFC is proud to present its tenth release, “Music For A Dreaming Generation”, by R.I.P. Bestia, featuring remixes by Rabbit In The Moon, a mini-album produced between 2022 and 2024, where Analog Hardware and Sampling collide to form “Everything.”

'E.X.P.A.N.S.I.V.E (Ancestral Technologies Mix)' a fusion of Electro and Nu-Skool Breaks under a choral mantle of shamanic psychedelia. 'Music For A Dreaming Generation (Dub Botanical Reaction Mix)' the original version is brutalized and reactivated with the acids of the beloved TD-3, a colliding immersion of frequencies, dreamy pads, and hypnotic melodies filtered through the cherished JP-8080. 'Law 7/2023, of March 28' a humble, reivindicative sonic tribute to animal rights, compressed breaks and charming vocals are guided by a psychedelic melody up to a “Drop” where a monstrous Bassline takes the helm, steering you into an emotionally gravitational State of Dance.

About the remixes, Rabbit in the Moon delivers this legendary Techno-Trance gem 'Music For A Dreaming Generation (Nightowl Mix)' a remix we envision as “a crushing technoid mass” that lifts you up to an epic drop before bringing you back down to the earthly realm.'(Daydream Mix)' in this version, Rabbit in the Moon reimagines the original into a “2-Step Garage” interpretation, a pure Braindance journey, with graceful arrangements fused with epic vocals and mysterious Basslines.

Another DINTE tape curated by cult WFMU show and blogger Bodega Pop; Gary Sullivan's long-running project rooted in a passion for digging for music in bodegas and cell-phone stores across NYC's boroughs. This edition focuses in on late 1990s and early 00s hip-hop & rnb from across Southeastern Asia.

"While on a work trip to Chicago in the mid-2000s, I was craving a bowl of pho. A bit of sleuthing led me to hop on the red line "L" up to Argyle Street, ground zero of Chicago's Little Saigon. In the 1960s, Chicago restaurateur Jimmy Wong invested in property on Argyle Street with a vision to build the city's new Chinatown, a kind of mall with pagodas, trees, and reflecting pools. In 1971, the Hip Sing Association, a labor/criminal organization, established itself in the area, and along with Wong, they bought up 80% of the buildings on a three-block stretch of the street. Wong reportedly broke both hips in an accident, leaving his dream to wither; in 1979, Charlie Soo of the Asian American Small Business Association brought it back to life.

Soo expanded the area into a vibrant mix of Chinese, Vietnamese, and other Southeast Asian businesses, pushing for renovations, including an Argyle station facelift and the Taste of Argyle festival. At the time I exited the station and crossed the street to get a better look at a shop with a poster for A Vertical Ray of the Sun in the window, the area was home to some 37,000 Vietnamese residents.

Opening the door, I was gobsmacked by a cavernous Southeast Asian media store, bigger than any I'd been to in Dallas, Montreal, New York, or Seattle. I spent some time at the bins, pulling out collections by some of my then-favorite singers — Giao Linh, Khánh Ly, Phương Dung — before approaching the register to ask the young woman behind the counter if the they carried any Vietnamese rap. It was a longshot, I knew, but if such a thing existed on physical media and anyone carried it, it would be this place.

'Have you heard Vietnamese rap?' she replied, her tone of voice and facial expression betraying a comically exaggerated level of distaste. I admitted my ignorance but assured her that I had long cultivated a high threshold for cheesy pop music of all kinds and genuinely tended to like hip hop from around the world.

She rolled her eyes and pointed to an area I had missed. I walked toward a far corner of the store and knelt over a small box on the floor sparsely populated with CDs, VCDs, and cassettes. I pulled out half a dozen Vietnamese hip hop compilations and a strange-looking CD with a cavalcade of odd typefaces in a queasy multitude of colors: THAILAND RAP HIT, it boasted, with 泰國 "燒香" 勁歌金曲 below it. The information on the back provided an address in Kuala Lumpur and the titles in Thai and English translation. The first track included three simplified Chinese characters after the English-language version of the title, "The Chinese Association": 自己人.

WTF was going on here? Walking back to the register, I waved the CD, asking "What's up with this one?" She gave me a look. I placed it on the counter so she could bask in the cover's full glory. She shrugged. "I'm guessing it's Thai rap?" She looked disappointed in me when I said I'd take it.

It turned out to be a Malaysian pressing of half-Chinese Thai hip hop artist Joey Boy's third album, Fun Fun Fun from 1996, and it completely changed my sense what the genre could sound like. The rapper's self-assured, effortless, silly-but-cool rapid-fire delivery weaved in and out of the most bizarre, antic beats I'd ever heard. The six Vietnamese hip hop CDs were a mixed bag, mostly "serious" sounding mimicry of US rapping over predictable production, but the highs were very high. When I got home and listened to it all, I made a point to find as much hip hop from this part of the world as I could.

The tracks collected here provide a limited but potent reflection of the two-decade ascendency
and ultimate world-takeover of hip hop, as it displaced rock and its endless variants for millions of listeners. This not a fair and balanced overview of regional production: I've only included tracks from Cambodia, Indonesia, Myanmar, Philippines, Thailand, and Vietnam. Nor is this a biggest or most important artists collection; instead, I've tried to recapture the pure visceral thrill of that first time I heard Joey Boy, choosing bangers that sound like nothing else, from nowhere else."

—Gary Sullivan

Repressed !

Absolutely flawless Boogie sounds on NYC's SAM Records from 1982, Greg Henderson's "Dreamin" was licensed from the tiny Rain Records label and no doubt gained some invaluable exposure to the early 80's post Disco club scene that was in full swing at that time. Breezy, soulful, sweet and most importantly of all - funky, "Dreamin" is an absolute pleasure to the ears.

Greg Henderson only released a handful of records during his career (including the incredible Henderson & Whitfield - "Dancing to the beat") and was also involved in the production of some other classic Boogie rarities (Masterforce - "Don't Fight The Feeling" , Rome Jeffries - "Good Love"). "Dreamin" has always been a sought after record, often fetching collectors prices of £100 - £200 a time. A sublime cut for all lovers of Disco, Boogie, Funk and Modern Soul. Now made available again, legitimately licensed, remastered and reissued in conjunction with SAM Records New York City.

Real Lies’ new album ‘WE WILL ANNIHILATE OUR ENEMIES’ will arrive on April 16th 2025 via Tonal. The album is about taking the hand of someone you love intensely and running headlong into the chaos and noise and grinding forces that dominate modern life. It follows gilded 2024 collaborations with Mall Grab, Kettama and Drain Gang’s YEAR0001 label. Lyricist Kevin Lee Kharas and producer Patrick King created the record in their studio, hidden away under a railway bridge somewhere in London’s Zone 3. Three pictures stared down at them from the walls throughout, including an image of a young Sasha Shulgin in the relief print style of Che Guevara t-shirts sold at Camden Market, and a photo of an orbiter fairground ride in flight, taken sometime in the early 2000s. Kharas’ lyrical inspiration comes when he steps away from the tsunami of data flooding his consciousness and paces London’s rain-soaked streets late at night. “I wanted the songs on WWAOE to confront modern reality head-on, unflinching,” he explains. “I didn’t want to whine about a lost past. I didn’t want nostalgia. I wanted to learn to love the modern world, with all its horrors and futility.” After a teenhood spent playing in hardcore bands, the duo found ecstasy at a squat party for the first time, and moved to London. Since then, they’ve made music about finding romance and fun when the moon is up, becoming a cult act in the process.

Die Welt wird immer verrückter. Gut, dass es Musik gibt, die uns in eine positive, optimistische Welt gleiten lässt. SCHILLER präsentiert mit dem neuen Studioalbum "Euphoria" ein kraftvolles musikalisches Gegengewicht zur Unberechenbarkeit unserer Zeit: voller Energie, positiver Schwingungen und cineastischer Klangwelten. Musik zum Abschalten, Auftanken - und zum Eintauchen in eine hypnotische Atmosphäre.
Die limitierte Color Vinyl im Gatefold beinhaltet das "Euphoria"-Album auf 2 audiophilen 180g Vinyls in den Farben Neonpink und Carouso - jeweils in einer gepolsterten Innentasche verpackt
"Euphoria" ist ein mitreißendes Klangabenteuer - episch, bildgewaltig und berührend.

About SCHILLER
Hinter SCHILLER steht der deutsche Elektronik-Künstler Christopher von Deylen, der seit über zwei Jahrzehnten internationale Maßstäbe in der elektronischen Musik setzt. Seine Werke verbinden elektronische Sounds mit orchestralen Elementen, packenden Rhythmen und atmosphärischer Tiefe. SCHILLER ist weltweit bekannt für ausverkaufte Live-Tourneen, hohe Chartplatzierungen und musikalische Kooperationen mit internationalen Top-Künstlern.
Mit zahlreichen Gold- und Platinauszeichnungen sowie unzähligen Nummer-1-Erfolgen gilt SCHILLER als einer der erfolgreichsten deutschen Elektronik-Acts - und als musikalischer Grenzgänger zwischen Pop, Ambient, Klassik und Klangkunst.

2026 Repress

Limited Edition Transparent Black Vinyl Version - 500 Units Only

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s The House Music Anthem (Move Your Body) featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

DJ Support - Alan Fitzpatrick, Ben Sims, Colin Dale, Dave Clarke, DJ Bone, Doc Scott, Dustin Zahn, Ellen Allien, Fear-E, Fixon, Gary Beck, James Ruskin, Laurent Garnier, Luke Slater, Misstress Barbara, Radio Slave, Rebecca Delle Piane, Remy Unger, Rodhad, Scuba, The Advent & Truncate

Hardgroove returns with three powerful new remixes from rising Greek talent ANNE, who twists label boss Sim’s Snapshot ‘99 into a trio of peak-time weapons. Marking her third release on the legendary label, ANNE builds on acclaimed work for Out Of Place, Soma, and Hardgroove sister label Symbolism, seeing her in heavy demand with a packed 2025 touring schedule across the EU and beyond.

Yup, more Jungle, D 'n B and breakbeats on GAMM...yay!

The MIR guys from Stockholm have been spreading rapid beats and dark b-lines since 2006 and are well established on the D'n B/Jungle scene for their productions, DJ sets and club nights.

For their GAMM debut, we get an eclectic cocktail of dark basement sounds and high-speed rhythms.
Starting off with a dancehall/jungle ting (War Edit), continuing with a classic hip hop/jungle mash up (Passin' Me By Edit), a deep breakbeat / Detroit version of a classic Kenny Larkin jam (Q Edit), and finishing off the EP with another hip hop / d&b roller.

All killers, no chillers!

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

2026 Repress

Soma500 is a very special release that sees label heads Slam visit two memorable tracks for them over this past anniversary year. The duo of Stuart McMillan & Orde Meikle rework Robert Hoods, The Bond We Formed - taken exclusively from the Soma25 compilation and a track that has featured highly in countless sets, a unique Slam rework of Carl Craig s interpretation of Delia Gonzalez & Gavin Russom s, Relevee.


B A2 | Robert Hood - The Bond We Formed (Slam S25 Retro Fit)

- 2026 repress -

Mord is from Rotterdam.
Mord is short for Morderstwo.
Mord is a label project by Bas Mooy.
Mord is here.
Mord!

Early support by Surgeon, Adam Beyer, Shifted, Speedy J, Black Asteroid, Chris Liebing, Len Faki, Gary Beck, DVS1, Svreca, Perc, Ben Klock, Truss, Dustin Zahn, Paul Mac, Paula Temple, Xhin, Samuli Kemmpi, Tommy Four Seven, Rebekah, Developer,Pfirter, Jonas Kopp and more...

Fra Lippo Lippi released six studio albums between 1981 and 1992, two of them on Virgin Records, namely "Songs" in 1986 and "Light And Shade" in 1987. All the original releases were deleted many years ago. There are two previous The Best Of Fra Lippo Lippi releases on CD (1995 and 2003), but this is the first on vinyl. With the limited playing time of vinyl, we had to make some tough decisions, but in the end the song selection very much gave itself. The dark horse here is "Stitches and Burns", an overlooked gem from the final studio album "Dreams" (1992) that didn't make the previous 15 track collection, but in mysterious ways gained new life through organic streaming, with over 70 million streams on Spotify at the time of writing. Included is also the international hit "Shouldn't Have To Be Like That" and "Angel", featuring the late, great Walter Becker on guitar and production duties. The duo is still very popular in various parts of the world and now has 1,2 mill monthly listeners on Spotify. This 2025 reissue is pressed on clear vinyl (500 ww copies).

2025 Repress

Chris Stussy makes his long-awaited FUSE debut as he drops the heavily-requested ‘Midtown Playground’, with Huerta joining on remix duties.

It’s rare for an artist to command such intrigue and interest across every single release they line up. Yet, the captivating global gaze around Chris Stussy seems to be snowballing with every unreleased production teased in his ever-impressing sets. Now undeniably one of the scene’s most in-demand names, the humble and hardworking Dutchman has been letting the music do the talking over recent years, with his Up The Stuss project welcoming a new musical focus and providing a platform for him to grow and evolve into an artist at the very top of his game. Not letting up, the surging DJ/producer and label boss now adds another label debut to his catalogue as Enzo Siragusa invites him to his iconic FUSE imprint for the very first time, bringing the release of one of his most requested tracks to date, ‘Midtown Playground’ - with LA-born, Berlin-based DJ, producer and Leisure boss Huerta also making his first appearance on the remix.

From the instantly recognisable synths and lead melody to the skipping percussion and rumbling core bassline, ‘Midtown Playground’ perfectly showcases the sound that Stussy is quickly making his own. The same can be said for ‘From The Delicate Mist Of Morning’, a more subtle but hypnotic offering, while ‘Blueprint’, another unreleased stand-out, offers that commanding yet playful groove he’s become so known and loved for. Delivering his flip of ‘From The Delicate Mist Of Morning’, Huerta dives into a deep, colourful and breezy journey through cosmic spheres, while digital purchasers can enjoy a bonus cut in ‘Mythical Power’ - a warping, jacking and menacing effort built for bustling late hours dancefloors.

DJ Minx, Boogie Vice & N-You-Up, The People in Fog, and Jabes remix Radio Slave & Kameelah Waheed’s ‘All Rize’ on Rekids

Radio Slave presents the second remix EP for ‘All Rize’, releasing 19th December 2025, a follow-up to his May collaboration with Kameelah Waheed, enlisting DJ Minx, Boogie Vice & N-You-Up, DJ Sodeyama’s The People in Fog alias, and Jabes to reimagine the track. It follows the first remix package, featuring Harry Romero and Samaran in October, which won support from Laurent Garnier, Chloé Caillet, Saoirse, Honey Dijon, and many more.

Detroit’s First Lady of Wax, DJ Minx, follows her appearance at Rekids’ Panorama Bar takeover in August and steps up first. Her remix is a raw, club-ready workout built around a relentless groove and Kameelah Waheed’s commanding vocal mantra, as bleeps and whistles dance across the mix. Linking Cape Town and Southern France, Boogie Vice & N-You-Up follow their 2025 EP on REK’D and deliver a deep cut that slowly builds tension, its organic percussion and warm bassline leading toward a strobe-lit, tripped-out drop.

On the flip of the second ‘All Rize’ remix EP, Japan’s DJ Sodeyama, under his The People in Fog alias, drifts into more hypnotic territory. Lush pads wash over a low-slung beat and bassline, trading the club for the walk to the after-hours by carrying Waheed’s vocal into something surreal and dreamlike. Completing this left-of-centre B-side, Timedance and Kindergarten’s Jabes twists the original into a warped, textural trip with scratching layers and distorted vocal fragments that pierce through a dense atmosphere. If Sodeyama’s version is the dream, Jabes’ is the chaotic counterpart that follows.

Four years after first playing for Motive Hunter, and coming off his contribution to our ‘Friends Of The Label VA’ in 2024… DJ Hybrid returns with three red-hot Junglist weapons. Closing out the B-side, UKG maestro ODF flips the title track into a slick, complimentary vibe-switch for the garage crew.





d b2. All Over ODF Remix




[d] b2. All Over [ODF Remix]

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

Shoegaze slow dance where distortion and desire merge into a single narcotic pulse. Each track feels like a transmission from a beautiful but broken future, numbing the senses before consuming them completely. Much like the most immersive works of Tropic of Cancer or Death in Vegas, the album drifts beneath a flickering sodium sky, lost in reverb and ritual. This is not just another new release—it’s an unforgettable sonic hallucination, a cinematic comedown carved in echo and melancholy, where time and thought dissolve in waves of velvet static. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl, including printed innersleeve with lyrics.

The label say "Fresh from impressing with the pulsating techno of Boris Werner and the fuzzy live house jams of San Proper, Tom Trago's Voyage Direct label turns to a man who needs little introduction: Dutch legend and man of many pseudonyms Danny Wolfers.
Best known under his Legowelt alias, Wolfers has spent the last two decades flitting between strobe light acid house, 808 electro, fluorescent techno and shimmering space disco. Throughout, he's kept his productions pleasingly analogue-heavy, making great use of classic drum machines and vintage synthesizers. While his music may be steeped in the past, Wolfers' productions always sound like the future.

For this first outing on Voyage Direct, Wolfers resurrects the House of Jezebel alias - a pseudonym previously only used for the twinkling deep house warmth of 2010's 'Love & Happiness' - and delivers two tracks of synth-laden analogue house goodness.

'Back In Dogtown USA' sets the tone, as Wolfers layers rising chords, darting electronics and wide-eyed synthesizer melodies over a clattering analogue house groove. As with much of the legendary Dutch producer's work, the track ripples with rush-inducing melodic intent. It's the soundtrack to a party on Jupiter, and we're all invited.

Wolfers' ups the tempo dramatically on 'I Took A Train In 1979', transplanting us to the far reaches of our galaxy via jackin' techno drums, picturesque organ melodies, drifting chords and intoxicating pads. There are echoes of classic Detroit techno, surging Rotterdam electro and vintage cosmic disco, yet it doesn't really sound like any of these things. Like 'Back In Dogtown USA', 'I Took A Train In 1979' sounds like the past, reconfigured and rearranged for the consumption of future generations. In other words, it's a classic Wolfers production."

Follow up to last years 12" on Voyage Direct from this active Amsterdam DJ/Producer. TIP!
.
" Back in December 2014, Elias Mazian debuted on Voyage Direct with a 12' that perfectly encapsulated his open-minded but interconnected approach to electronic music. He'd already showcased this ability to blend sounds and styles by becoming one of the most talked-about DJs on the Amsterdam scene. With Future Times' (and its superb flipside, They Don't Know'), Mazian gave notice of his undeniable production credentials.

Fast forward to the summer of 2017, and Mazian is ready to drop an EP that not only confirms his status as a rising star of Dutch dance music, but also showcases a newfound ability to combine a finely-tuned sense of what works on the dancefloor with the kind of compositional skills that can take a lifetime to perfect.

The Duplicate EP is an altogether more mature proposition than his debut 12', but retains many of the sounds and influences that marked out his first appearance on Voyage Direct - not least his love of spacey electronics, mood-enhancing chord progressions and sparkling synthesizer motifs.

This can be heard in particular on the title track, an ear-catching club jam that wraps chiming melodies, Mazian's own rapped vocal refrains and electro-era synths around a gently jacking, Chicago style house groove. It's deep, poignant and attractive, with subtle nods to the dreamy Windy City deep house of Larry Heard, the retro-futurist boogie business of Moon B and Dam Funk, and the kaleidoscopic electronic funk of Parliament.

Further proof of Mazian's increased musical maturity can be heard in the breathtaking Dream Mix' of Duplicate'. Featuring a yearning, almost melancholic vocal from the producer himself, the remix offers an analogue style deep house interpretation bristling with cascading melody lines, classic Chicago house bass and bubbly, deep space electronics.

The EP closes with superb bonus cut Ride That Shit Baby', an expansive chunk of mind-altering analogue deep house full of restless ride cymbals, crunchy drum machine hits, starburst electronics, delay-laden organ lines and swirling chord progressions. It's as intricately programmed and produced as anything Mazian has released to date, and twice as emotion-rich. In some ways, it's the perfect end to an EP in which Mazian brilliantly showcases the depth and breadth of his emerging talent."

Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Enrico Sangiuliano)

Pioneering, avant garde yet chart-storming sound designer/producer/live performer Enrico Sangiuliano drops EP ‘Order In Chaos’ as release #1 in his self-destructing countdown imprint ‘NINETOZERO’, out 20th November. The EP’s three tracks respectively represent a triptych of sound exploring tension, release, and dissolution, with violinist and composer Vito Gatto joining Italian techno/melodic maestro Sangiuliano for tracks 1 and 3. The EP blends electronic, classical and electro-acoustic genres, resulting in a fresh, unique product that defies typical techno expectation, as Sangiuliano and Gatto explore the concept of disorder as a creative playground.

‘With this chapter, we dive into chaos – something that can be uncomfortable, but is the place in which you can find unexpected or new ideas. Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Sangiuliano)

The ‘Order In Chaos’ EP continues a momentous year for Enrico Sangiuliano, and heralds his upcoming all-night-long SOLO show at Nitsa in Barcelona (Nov 28th, tickets here). His highly acclaimed NINETOZERO label has also previously featured Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX, Zimmz, Secret Cinema and About Sofiya.

Vito Gatto is a Milan-based violinist, composer and sound explorer. He is the founder of label/collective NeMu (‘Neutral Mutation’) producing Italian projects at the interface of electronic and organic sound. His self-description as ‘Making sounds, looking for silence’ makes him the perfect collab partner for ‘Order In Chaos’, which ‘embraces the paradox: chaos births order, and order dissolves back into chaos.’

‘Whilst classically trained, I have always been fascinated by the world of electronic music, in all its expressive forms’ Gatto says. ‘I use real instruments and natural sound sources processing them through electronics to enhance their unpredictability, always remembering that the core of music - whether classical or electronic - is communication and storytelling. This philosophy guided our creative synthesis on this release.’

The collaborative workflow combined remote and in-person studio work over roughly a year, culminating in these three key tracks reflecting different musical and conceptual layers.

‘Order In Chaos’ EP tracks:
Enrico Sangiuliano & Vito Gatto ‘Adaptation for Strings and 909’: A cinematic overture built from the raw intimacy of Vito Gatto’s violin, processed and layered with unquantized 909 drums. Out of grid, out of rules. Drama and turbulence surge until thunderous kicks strike like sudden storms. ‘This track symbolises both of us. Vito sent the strings, I added the iconic Roland 909. It has no structure and no grid, the arrangement is not precise, it’s a very pure track and a great example of disorder and freedom.’
Enrico Sangiuliano ‘Order in Chaos’: The title track is a pure techno weapon and dancefloor igniter: rolling, stripped, euphoric. A shape-shifting lead synth constantly mutates, flirting with disorder until the kick restores gravity. Chaos becomes dancefloor order.
Enrico Sangiuliano & Vito Gatto ‘Dissolution’: The closing moment. Strings and drums dissolve into a weightless drone. Beatless and infinite, it invites surrender into space. ‘This cinematic track slowly melts ‘Order in Chaos’, adding processed organic sounds and field recordings from the mountains.. coming back to nature, and silence.’ (Gatto).

Still #0 to go in the NINETOZERO countdown… And then what? With Sangiuliano, it’ll be something unexpected and brilliantly innovative.

The 12-track record is the first album on SHDW's influential label and explores the past, present, and future of techno.

Planet X label head and 20-year scene veteran Exos, hailing from Iceland, draws on his native country's influences in his work, which explores the interplay between light and dark, warmth and cold. His high-octane sounds over the last 20 years have appeared on vital imprints like Tresor, X/OZ, and, of course, Mutual Rytm, with his releases for
the label having been extremely well received, garnering support from the scene's key DJs. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s style. This new album follows Exos's inaugural X-Release, the Infrared 10", the Icebreaker 12" from last year, and his track on the latest Federation of Rytm IV compilation. It's a real journey through all facets of his sound, including a trip back to his dub techno roots, ambient
explorations, and emotional vocal pieces with lifelong memories fused into sounds that reflect the artist's decades spent in Iceland.

'Sweet Dreams' opens with an atmospheric intro in the form of a 28-year-old collaboration with his father. This full-bodied analogue ambient piece is rich with the mysterious tones of the Nord Modular and was recorded during their shared studio days at D17 in Reykjavik. The title track is a hypnotic, linear groove with icy synth modulations and glistening melodies. 'Hinn Vioforli' then brings dub warmth while 'State of Mind' recalls the spirit of the legendary Reykjavik club 'Thomsen', a cornerstone of Iceland's late 90s underground scene. 'Glaour Og Reifur' and
'Fogur Er Hlioin'pay homage to the echoes of ancient Viking heritage, 'North of January' conveys the cold of Exos's homeland, and 'Hvarvetna' brings textured percussion and darker undertones before '101 After Dark' slows to a bass-heavy broken beat exploration of texture and post-dubstep pressure.

After the heady and atmospheric sound of 'The Dolphin Oracle', another key collaboration comes with 'Freefall', an emotional breakbeat piece featuring vocalist Amelia Rodriguez,' who also lends her voice to 'Shock', a magnificent track that channels Exos's modern techno energy. The album closes with a haunting paradox, 'Paradise Lost,' questioning whether our sweet dreams are truly moments of bliss or simply reflections of what we've already left behind. The three bonus digital cuts offer sleek minimalism, punchy deep techno, and suspenseful ambient.

FUNKTHEPOPULATION is the debut record by Yablochko Zelenoe, released in July this year on the California-based label Dionysian Mysteries.

The visual aspect of the release was brought to life by AI-artist and designer Alyona Pustobaeva. Old-school breakbeat and big beat rooted in the British sound of the '90s. The release is soaked in disdain for the surrounding world, serving ideologically as an ode to independence and carefree rebellion - a truly mischievous, streetwise sound.

Kid Katana Records teamed up with Dotemu, The Game Kitchen and KOEI TECMO GAMES, to bring you the highly anticipated NINJA GAIDEN: Ragebound OST on vinyl.



The physical edition is a 2LP designed in close relationship with the game's creative team:
- 2 colored vinyls: transparent blue & magenta, matching the cover art & the color-code of the two protagonists
- exclusive poster with extended credits & liner notes giving insights from the game’s creative team and featured artists


This album illustrates the incredible return to the saga's origins, embodied by Ryu Hayabusa's disciple Kenji Mozu and The Black Spider Clan Kunoichi Kumori, both united to repel the sudden onslaught of demons. It takes players back to its roots: a side-scrolling, brutally precise action-platformer set between the events of the first three episodes of the NINJA GAIDEN 8-bit era. The game’s OST blends different genres: rock, retro tunes and action-packed arcade music that respect the IP music legacy while modernizing it.

The first act signed to The Neptunes' newly formed Star Trak label was a Virginia based duo known as the Clipse. The first single “Grindin’” impacted the streets with its bare boned but infectious drum beat in the same way that “Sucker MC’s” did almost 20 years earlier. These brothers - Pusha T and Malice combined with The Neptunes groundbreaking production sent a clear message to the rap world – “we are not the same” (as rapped by Malice on his opening verse on “Cot’ Dam”). Clipse brings an authentic Virginia sound into the game and created a movement, with not only their darkly layered raps but The Neptunes as well. Pharrell Williams and Chad Hugo were able to combine their cyberpunk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z, and Mobb Deep, the Clipse offer the Virginia hustler's viewpoint with clever, hard-hitting lyrics that is sprinkled throughout the entire album. With so many standout tracks on Lord Willin’ the album starts pulling no punches. On Track 1 simply (or maybe not) titled “Intro” you get a very personal and deep testament of crack and the drug game, a theme that is throughout this album…HEAVY. Songs like “Virginia” or “I’m Not You” (featuring Jadakiss, Styles P and Roscoe P Coldchain), have lyrics that play as a musical notes alongside The Neptunes tailored beats. “Young Boy”, “Comedy Central”… all fit perfectly alongside “When the Last Time” and “Cot Dam” as each song plays its part as chapters to the Lord Wilin’ masterpiece. “Gangsta Lean” (another one of the albums standout tracks) features a slightly lighter feel while paired with Pharrell's trademark falsetto hook. The truth of it is, it’s hard to just pick one track, or point out which is the albums star. Each song on Lord Willin’ is essential to making it the classic that it is. The Neptunes (who were busy turning out every other Pop hit on the radio) crafted an album that was deemed an instant classic, and cemented Clipse as Rap’s newest superstars.

The soundtrack for the animated film Arco (directed by Ugo Bienvenu, winner of the Annecy 2025 Crystal Award for Best Feature Film, also presented at the Cannes Film Festival) was composed by Arnaud Toulon. Between orchestral flourishes and delicate electronic touches, he composes immersive, sensitive, and luminous music that evokes the great scores of Joe Hisaishi while asserting a resolutely contemporary identity.



Conceived as a true sonic journey, the soundtrack accompanies Arco's temporal wanderings with rare cinematic intensity. Each piece oscillates between poetry and dramatic tension, making this work an experience in its own right, to be discovered far beyond the images.



Awarded the Sacem Prize for original music for feature films in Annecy, this soundtrack is already establishing itself as a landmark piece of contemporary animated cinema.

Limited Algae Sea Vinyl. CocoRosie is Bianca and Sierra Casady. Sierra sings and plays guitar and flute. Bianca sings and does percussion (rattles things, makes things squeak, shakes a gold chain belt). They write all the music together. La Maison de Mon Réve was written and recorded in a tiny apartment in the 18th district of Paris during the spring of 2003. La Maison de Mon Réve was released by Touch and Go Records in March 2004. La Maison de Mon Réve is deceptively innocent; enchanting and sweet yet eerie and twisted. An acoustic guitar paints melody through a haze of cryptic sounds and perversely angelic voices. A broken radio transmits a music box orchestra. Tiny field mice sing opera. This 20th anniversary edition of CocoRosie's debut album La Maison de Mon Réve is pressed on transparent algae sea vinyl and limited to 1500 copies worldwide. Packaged in a gatefold jacket with neverbefore-seen photos, the vinyl includes the full album along with a previously unreleased bonus track, "Hairnet Paradise."

We start off our vinyl series with a very special release. An original 1997 Speed Garage tune by the legend - Paul Rayner has been reworked 4 times. Originally under his Knights Of Illusion alias, the samples of his ‘Sexuality’ track were dug out of the attic off of an old floppy disk and put into the hands of 4 exciting producers, all heavily inspired by underground 90s dance music.

Soul Mass Transit System deliver their signature Speed Garage sound, topped up with classic M1 organs. Conspiracy Dubz plays homage to the legend Paul Rayner, putting together a bass heavy rework, much in style of the original track itself. Jordan puts a tribal house spin on the track and Square One pushes the track into the realms of Hardcore.

Ambroos De Schepper and Pepijn Gyssels became roommates when PiP moved to Brussels in 2021. Both paid close attention to each other’s musical approach and interests. One year later, Ambroos moved out. When he swung by to pick up some boxes, they decided to record something for the fun of it. Between May '23 and November '24 they continued experimenting with textures and improvisations. This collaboration has become the deepening of a friendship and a way to maintain it at the same time.

PiP: “We would have coffee or the occasional beer and everything we recorded came very organically. Ambroos would just bring his saxophone, a clarinet, some FX pedals or a weird flute. Whatever he felt like on that particular day. A few hours later he would usually be on his way again, leaving me with the recordings. I could treat them as I pleased.”

Ambroos: “I liked the idea of working with someone focussing on the physical side of music. Not so much on chords and tonality, but on texture and atmosphere. This gave me a framework with less concrete references, using words like “dark” or “busy”. I could improvise freely and we would try and catch a particular moment."

“l’Esprit de l’Escalier” is meant to be a musical meditation, opening up a continuous and detailed sound palette, aimed for the right mental state to listen with. Ambroos came up with the melody in COVID times and later in PiP’s studio, they recorded it on clarinet.
“Sans Loup” is the first jam the duo did together, after Ambroos and Lou moved out of the apartment they shared. Lou Wéry eventually found her way back to the album, as she can be heard playing the wing piano in this track.

PiP: “We recorded in the apartment we used to rent together. Since the title track and the entire album are named after Lou being absent in this dynamic, it seemed only natural to invite her in a later stage.”

“Spring Whistle” was an attempt to embed Ambroos’ musicality in dreamy textures and “Bring Back Bones” was built around an endlessly evolving krakeb recording that PiP took home from on a trip to Morocco. Both tracks are not aimed to end or evolve drastically, they just make the clock tick slower.

To conclude this release, “Velours de Tendre” is built out of a deconstructed groove and a field recording of the “Ronde van Vlaanderen”, a small reference to the countryside where PiP grew up. The reverberating chords you hear are the echoes Tijn Driessen squeezed out of an old harmonium, in a staircase of De Grote Post in Ostend.

PiP: “During a residency in De Grote Post we recorded in a staircase with a spaced pair of omni microphones. And you can take ‘spaced’ quite serious; one was positioned 5 stories higher and the other 3 stories lower.”

Sans Loup is the first vinyl to release on PiP’s label. They look alike, but none will be identical. The cover is screen printed in various combinations + a risograph insert. A highly personalized object.


credits

Released on Zitstill Records
Recorded in Brussels, Horebeke, Morocco and elsewhere, between September 2021 - November 2024

Music, mixing and production by Pepijn Gyssels
Saxophone, flute and clarinet by Ambroos De Schepper
Grand piano on “Sans Loup” by Lou Wéry
Harmonium on “Velours de Tendre” by Tijn Driessen
Mastering and lacquer cut by Anne Taegert at Dubplates & Mastering
Pressing by Objects Manufacturing
Layout and graphic design by Liselotte Van Daele & Otis Verhoeve
Photography by Willem Mevis

Special thanks to: Stijn Cools, Victor De Greef, De Grote Post

Opsin- the new collaborative alias of longtime friends and producers Keydell and Kincaid - announce their debut LP on wax, Through The Wall, from London-based record label Hypnic Jerks.

Artist Info:

Opsin is the debut project between artists Keydell (Liam Keydell Myers-Cook) and Kincaid (Joe Arthur). The Pair have previously released on the following labels: Well Street Records, Banoffee Pies, Redstone Press & Bliss Print.

Both have extensive work in sound design and collaborated on the soundtrack for Mithridate at London Fashion Week 2024. Kincaid also produced the soundtrack for Alexander Whitley's Anti-Body Ballet.

Release Info:

The album is named after the birthplace of its creation. Sharing files between bedroom walls during COVID-19. Keydell's meticulous Ableton-based resampling of found audio and modular synth racks, and Kincaid's Reaktor-driven synthesis in Logic.

Draws on a wide spectrum of electronic influences the album infuses elements of rave, techno, industrial and ambient sounds, whilst never quite landing in any specific genre.

Second release from London label Hypnic Jerks on 4 sides of 180 gram vinyl, in a gatefold sleeve designed by Jacob Wise and mastered by Rashad Becker.

A followup from their first release - Toumba's debut physical release 'Rosefinch', which saw later releases from Hessle Audio and Nervous Horizon.

Lost Gospel Gem - Exitiment "Rap For Jesus" by Columbus Native Kenneth Jordan Rediscovered Nearly 40 Years Later

Columbus, GA — In the late 1980s, Columbus native Kenneth Jordan was such a powerhouse on the local music scene that talent shows had to rewrite their rules. His voice was so captivating (and his wins so frequent) that some claimed the competitions were rigged.

Jordan, deeply rooted in the city's thriving R&B circuit, eventually turned his creative energy toward faith-based music. Teaming up with several local musicians, he recorded "Excitement (Rap For Jesus)", a gospel-infused rap track that aimed to connect with a younger audience enthralled by the sound of hip-hop. His goal was simple: to give youth something uplifting to rap about and listen to.

In 1985, following a personal health scare and a period of reflection, Jordan transitioned from R&B to gospel music. "I took it as a sign from above that it was time to make a change," he later shared. Though his lyrics found new purpose, his signature soulful style remained unchanged.

Fast forward to December 2022 in Little Rock, Arkansas, where record collector and producer Brian Sears stumbled upon a well-loved copy of "Excitement (Rap For Jesus)" while purchasing over a thousand vinyl records from the trunk of an SUV in a Lowe's parking lot. Struck by the track's energy and message, Sears went into "detective mode" to uncover the story behind the voice—and the man—on the record.

Today, Kenneth Jordan continues to share his gift with his community, leading spirited performances every Sunday at his local church in Columbus. Nearly four decades later, his music and message still resonate with the same joy and conviction that first made him a hometown legend.

Trenchcoat-beige Vinyl | Gatefold | 180g | limitiert auf 200 Stück weltweit Die legendären TV-Soundtracks zu Derrick und Der Alte erscheinen erstmals in einer exklusiven Vinyl-Edition - stilecht in "Trenchcoat-beige". Peter Thomas" ikonische Musik zwischen Suspense, Lounge und Funk prägt bis heute das Klangbild deutscher Krimikultur. Enthalten sind Originaltitel aus den frühen Folgen beider Serien, darunter zwei bisher unveröffentlichte Tracks aus dem Jahr 1974. Verpackt im hochwertigen Gatefold-Cover mit Artwork von Jörg Schöpf und Adrian Keindorf. Ein Muss für Sammler und Fans von Retro-Sound und TV-Geschichte.

Lantern in the Woods is the new album from musician and multi-instrumentalist Misha Sultan – a project that marks an important milestone for the artist. It is his first work conceived and realized as a coherent, unified statement, from the earliest ideas and sounds to the final mastering.

The story of the album began back in 2021 in Saint Petersburg, during studio jam sessions with Anton (Mårble), Vova Luchanskiy, and Nikita (Minereed). These live
improvisations eventually led to the formation of the collective Sri Primat and left a significant imprint on Misha Sultan’s solo sound. Some of the instrumental parts on the album were recorded during this period, preserving the spirit of spontaneity and open dialogue between the musicians.

Later, after moving to Thailand, Misha recorded the second half of the material. These tracks absorbed the atmosphere of southern nights, tranquility, and comfort – bringing a distinct “bedroom jazzy vibe”, a touch of sentimentality and gentle melancholy into the music.

The album offers a beautiful blend of jazz and various other influences. At its heart, it’s a search for balance between memories and the present moment, between nature and the city, between the light of the lantern and the darkness of the woods.

“It was especially important to me that my friends and close people were involved in this album. Their presence gave the music that warmth and personal feeling I value so much. My brother Zhenya (Dyad), Anton (Mårble), Vova Luchanskiy — they all contributed a part of themselves to these tracks, as did Nina Livanova, who recorded vocal parts for several songs,” says Misha.

Lantern in the Woods is a soft and sincere work, where all things intertwine naturally.

To celebrate two decades of passion, innovation, and dedication to underground music, Playbeatz Labels Network proudly launches "Tribe", a new compilation project that pays tribute to the artists and sounds that have shaped its journey.
For over 20 years, Playbeatz has been a platform for creative freedom and genre-crossing experimentation—championing independent voices and uncovering unique talents from across the electronic music spectrum. "Tribe Vol. 1" is the first chapter in a special series of releases that reflect the label family’s diversity and forward-thinking spirit.
Kicking off with a limited edition vinyl, Vol. 1 features four carefully curated tracks by long-time Playbeatz affiliates —each bringing their unique sonic identity, from house to melodic textures, tech tools to soulful grooves.

A1. Erly Tepshi – Dreamer Emotionally charged and atmospheric, a deep dive into the melodic house realm, “Dreamer” wraps a haunting male vocal around lush synth lines and hypnotic rhythms.

A2. DJ Simi & Antonio Grassia – Nuestro Fuego With its driving groove and minimal yet powerful arrangement “Nuestro Fuego” is crafted as a peak-time tech and house tool. The track is all about raw energy and club efficiency.

B1. Mind The Gap DJs – Eclipse Of The Soul This old-school house jam delivers uplifting piano riffs, classic drum programming, and a timeless sense of groove. A heartfelt homage to the golden era of house, reimagined for today’s floors.

B2. Giomini & Marcus Raute – Tape Sweat A fresh and summery house cut with shimmering grooves and playful percussion. The track recalls the clean, infectious style of Deetron, blending crisp drums with melodic finesse. A pure dancefloor delight for the warmer seasons.

In 1995 The Roots burst onto the scene with their seminal debut album, Do You Want More?!!!??! that garnered critical acclaim and cemented them as a powerhouse group fusing elements of various genres with their signature live instrumentation. Thirty years later in March of 2025, The Roots played a three day, six show residency at the legendary Blue Note Jazz club in New York City where they celebrated their debut by playing it in full – performing many tracks that hadn’t been performed live in decades. The performance also brought out special guest appearances from long-time collaborators, Ursula Rucker, Dice Raw and Rahzel, Godfather of Noise.

To cap off the 30 Year Anniversary, The Roots will release the full performance on vinyl. The 2xLP, gatefold package is pressed Black vinyl, and features 21 tracks. ?uestlove spent tireless hours perfecting the mixing and mastering with Glen Forrest and Colin Mohnacs to ensure all elements of the performance were represented on the vinyl.

Hailed as "one of the finest ambient and dub techno albums around," Deep Ground earned Purl a place in the hearts of many lovers of the deeper side of electronica. Enthusiasts on Discogs describe it as "one of the best dubtech albums ever - hypnotic, mesmerizing & deep" - and compare it to luminaries like Biosphere and bvdub for its "warm deep calming sounds and atmospheres." Reminiscent of Wolfgang Voigt's GAS project, the seminal 2011 album by Purl (Ludvig Cimbrelius) is finally reborn in a remastered 3xLP vinyl reissue on LILA ART. Originally released on the revered Silent Season label based in British Columbia, this ambient techno masterpiece has continued to captivate listeners year after year. In many ways like a darker sister to 154's ethereal techno epic "Strike", Deep Ground echoes the misty forests and quiet expanses of Cimbrelius' youth in Sweden. As the artist reflects in a poem accompanying the release: "We are consciousness, rooted in the deep ground of being. The deep ground of being is where all things begin and end. The deep ground of being is eternal." This ethos permeates every layer of Purl's expression; crafting sonic sanctuaries that remain intimate while evoking the infinite.

Delicately remastered for vinyl by Giuseppe Tillieci (Neel) in collaboration with Purl. Limited to 300 copies worldwide.

Welcome to the first release on Acid Lamour
A sub label for Lamour Records started in 2018 with a focus on techno and acid dedicated DJs. Releases are limited to 303 vinyls, no re-press.
Anders Ilar and John H are no newcomers to the electronic music scene.
Born in 1973, Anders Ilar began his explorations of electronic music in the mid 80s. Growing up in the small town of Ludvika in Sweden, Ilar spent all of his spare time playing with synthesizers, drum machines, keyboards and sequencers, learning the ins and outs of analogue and digital sound and music creation. Inspired by the early industrial and EBM wave he formed several bands with friends, started playing live shows
at smaller local parties, and released several demo tapes in very limited quantities. In the 90's he gradually shifted his creative influences towards ambient techno and acid and also started to DJ. He started using computer software to produce his music around 1999 and his first vinyl EP was released in 2001 on the german label Plong!, soon to be followed by
many more releases on labels such as Shitkatapult, Audio.nl and Echocord.
Developing his own flavor of deep minimal dub techno and ambient he gained critical acclaim with his album Nightwidth (2006) for Narita Records in the USA. Followed by highly appraised album Sworn on the german label Level Records in 2008. Ilar has also made remixes for celebrated artists such as Apparat, Mikkel Metal and Ripperton and has
appeared on numerous compilations and DJ-mixes. He's performed live on stage through-out most European countries and Japan, as well as doing a small tour with Notch Festival in China in 2008.
Up to 2018 Anders Ilar has produced 13 albums and 25 vinyl EP's and performed in over 15 countries.
Born in 1984 and based in Gothenburg. John H has been DJing, as well as producing tracks, since the late 90s, with Anders as his mentor and teacher, giving John early musical influences spanning across a wide range of genres, from Swedish techno to IDM, Cologne acid craziness and
the sound of Chicago house tracks. The musical output of his DJ-sets usually varies between techno, house, acid, electro and everything in between, depending on the time and location. John has performed on several locations all around Sweden, but also done appreciated gigs in other European countries at clubs like Tresor and Culture Box, and his music has been featured in sets by DJs such as Sven Väth, Adam Beyer,
Joris Voorn, Dense & Pika, Cari Lekebusch, Alan Fitzpatrick, Karotte,
Gregor Tresher, The Hacker and many more.
Coming For Your Tongue EP is Anders and John's 4th collab release, after
acclaimed releases on Flight Recorder and New York Haunted, recorded
during a jam session at John's studio in Bergsjön outside of Gothenburg,
Sweden, using a small setup of analogue synths and drum machines such as
the Roland TR-606, TR-808, a Devil Fish modified TB-303, Minimoog Voyager
and the Arturia Microbrute. After recording Anders spiced things up by
cutting and puzzling loops as well as adding extra effects and drums.

Limited edition of 303, no repress. Vinyl exklusive for 3 months

Since 2004, This Will Destroy You has been forging some of the world's most brutal, dynamic, and precariously visceral instrumental rock. In addition to a vigorous tour schedule, their celebrated discography and critically renowned soundtrack work for feature films and documentaries have earned them a sizable and fervent international following. Another Language, TWDY's fourth full length LP, marks their euphonious return from a prolonged vacuous dark period that threatened to break both the band and the members themselves. Rather than be stifled by their experience TWDY were atomized and subsequently made anew, emerging with a revived energy and reinforced sense of solidarity. As a result, Another Language captures the band at its most potent, honed, and utterly powerful form yet, displaying an edified unity and graduated sense of song-writing, tonal complexity, and studio prowess.Wallet CD printed on uncoated stock w/ copper foil and printed inner sleeve. 2xLP Gatefold jacket printed on uncoated stock w/ copper foil and printed inner sleeves. The 2xLP is available in a limited second pressing of 1,000 copies on 180g black vinyl and includes a download card for MP3s.

“The swaggering love song that launched new wave” The Wall Street Journal

Named as one of the 500 Songs That Shaped Rock and Roll by the Rock & Roll Hall of Fame.

Celebrating it’s 50th anniversary in 2025 this 50th anniversary edition is the first full 12” vinyl release for this iconic Roxy Music track that originally reached #2 on the UK Singles Chart in 1975 and is one of their top 3 most streamed tracks.

This 12” features the original and two of the most sought-after remixes, Greg Wilson’s extended edit and Todd Terje’s Disco Dub, as well as the original 7” b-side Sultanesque.


Driven by a seductive, iconic bassline and Bryan Ferry’s confident croon, Love Is the Drug helped redefine the sound of rock‑pop in the mid‑70s—heralded by critics as provocative, stylish, and proto‑new‑wave gold.


The track is one of the 70’s most identifiable tracks – a global chart hit that was an influence on bands such as Gang of Four, PiL, Simple Minds and the Human League, as well as Nile Rodgers of Chic, who acknowledged that its bass riff was a major influence on Chic’s Good Times.

On 9th December Modern Obscure Music presents Cascades, the new album from Pedro Vian & Mana, which premiered during their immersive live set at the most recent Sonar Festival in Barcelona.
Cascades was recorded over a three-day studio session in Turin during the winter months, which is reflected in the musical narrative, as the eleven tracks flow gently like an icy river, filled with a mixture
of hazy melancholy, uncanny dream-states and euphoria.
Various recording techniques and instrumentation was utilised, including the Lyra-8 organismic analogue synthesiser, which takes principles from living organisms to produce sounds resembling a
conversation between nature and technology. The result is a spellbinding ambient odyssey that features a luminous synthesis of neo-classical strings and orchestral drones, together with strange
voices, and abstract passages designed to evoke Dante’s Inferno, which represent the soul’s journey.
Pedro Vian is a renowned Catalan artist who has released three solo albums (Beautiful Things You Left Us For Memories, Pedro Vian and Ibillorca) and a collection of singles on his Modern Obscure
Music imprint – a multi-disciplinary platform based on deep listening and music research. The ‘PRSNT’ compilation, which Pedro curated in 2021 and featured Laurie Spiegel, Ryuichi Sakamoto, and Visible Cloaks, received support from Pitchfork, Crack, Brooklyn Vegan, The Quietus, The Wire and Metal. Pedro has been remixed by Inga Copeland and Pye Corner Audio, and has recorded mixes for of Bleep, Self-Titled and Juno Daily.
As part of a new generation of Italian electronic music artists, Piedmont born composer and producer Mana has released two full length albums (Seven Steps Behind and Asa Nisi Masa) on Kode 9's
Hyperdub imprint, plus an EP on Nicolas Jaar's Other People label under his Vaghe Stelle alias.
Earlier in his musical journey, Mana supported Laurent Garnier, James Holden and Skream across the Torino club scene, and in 2011 teamed up with Italian friends Lorenzo Senni and A:RA to form
the experimental group One Circle.
Pedro Vian & Mana’s previous work as solo producers has pushed the limits of electronic music, and together they’ve garnered critical acclaim from the likes of Pitchfork, The Quietus, The Vinyl
Factory, Resident Advisor and more. They now join forces to traverse new sonic territories between electronica, ambient, drone, and trance-inducing soundscapes.