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Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.

"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”

Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.

Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.

“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.

“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.

The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”

It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."

Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”

Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.

The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’

2026 Repress

If ever an album could transport you to the hazy sunshine and imagined halcyon paradise of Southern California in the mid-1980s, could capture the early evening warmth of hanging at an inclusive boogie jam as it approaches “magic hour” in Santa Ana or Anaheim, then it’s Vaughan Mason and Butch Dayo’s Feel My Love. A brilliantly produced deep slung, low rider funk classic originally released on Salsoul in 1983. It’s a masterpiece of “funk love music”.

Yes, this is indeed a perfectly formed five track “mini LP” of unparalleled heat, but there’s one song here that, above the rest, represents Orange County boogie-funk. A straight killer beloved by all that have had the pleasure of moving to it. A track that can fill up a dance floor within seconds of its starting. That song is the eternal title track, “Feel My Love”.

This is a work of art that made people fall in love with the funk. It transcends the limitations of genre. “Feel My Love”’s deceptive simplicity makes it perfect to drop during a house set, a classic funk party or at a west coast rap jam. It’s sexy, deeply emotional, melancholic, hopeful, passionate and just radiates so, so much raw energy. This is music.

The rest of the record is hardly filler though. Opener “Oh, Love” is a dizzying, emotional slow jam. With heaven-sent vocals riding gorgeous, sweeping keys that alternate between sweet twinkling lines and funk-fuelled stabbing. It’s sensational. A rollerskating jam named “Rollalong Songs” is an ultra-swish piece of dance floor dynamite. Its slick drums, staccato piano and neck snapping claps underscore Dayo’s buoyant vocals. It’s essentially “Bounce, Rock, Skate, Roll Part II”.

The flip begins with “Party On The Corner”. Smoother than silk vocals, day-glo synths, a bubbling bassline and guitar licks that surely received the Prince seal of approval. It’s another example of how Vaughan Mason and Butch Dayo flirt with perfection so routinely. The most majestic closer, the kaleidoscopic, cow-bell-assisted synth-funk heater “You Can Do It” is a proto-rap groover that truly smokes.

This prized LP is a stone cold jam and finding original copies on vinyl at affordable prices has been tough for years. Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

2026 Repress

The undisputed Godfather of Boogie, Leroy Burgess’s Logg project is his grand masterpiece.

The self-titled LP, originally released on Salsoul in August 1981, is one of the greatest albums of the post-disco era. It’s one of Be With’s favourite ever LPs and so it’s a complete honour to be giving it our reissue treatment. With all the touchstones of Burgess’s finest work - breezy grooves, undulating synths, funk-drenched bass and life-affirming lyrics - delivered with gospel-derived vocals and harmonies - it’s a record to uplift both body and spirit.

Already a cult soul figure as lead singer of seminal vocal group Black Ivory, Leroy Burgess cut his teeth as arranger, vocalist and songwriter with legendary producer Patrick Adams on essential late-70s projects like Phreek and Dazzle. He went on to define the essence of “boogie”: the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed - mid-90 to under 110 BPM - the cool boogie of Burgess has the disco bounce, just more laidback.

All six tracks here could have been stand alone 12" hits. Indeed, some of them were. But together they are also an incredibly cohesive album, where all the compositions are deeply relevant to each other. In short, it’s essential; a thrilling showcase for Burgess’s finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass.

Opener “(You’ve Got) That Something” is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of “Dancing Into The Stars” - married to percolating synth and airtight drums - showcases the chemistry between Burgess and the rhythm section.

The fusion of funk and gospel-influenced harmonies which propels “Something Else” is remarkable - deep, joyous and bouncy. Infamously mixed by Larry Levan, “I Know You Will” is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. “Lay It On The Line” radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer “Sweet To Me” is a chilled-out gem of profound soulful elegance.

Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, in the last decade, MCDE and Harvey Sutherland have routinely cited it as a huge influence. Accordingly, finding original copies on vinyl at affordable prices has been a thankless task. This fresh Be With reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves to.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, we think this is a reissue that does justice to this classic LP.

10 years after the original, The Devil Wears Prada 2 picks up in a new era of fashion, ambition, and shifting power—where old rivalries resurface and the runway is fiercer than ever. The soundtrack matches every moment with Lady Gaga, Doechii, Dua Lipa, Miley Cyrus, SZA, RAYE, Laufey, Olivia Dean, and more, delivering the perfect mix of glamour, edge, and reinvention

ABOUT THE FILM

20th Century Studios’ The Devil Wears Prada 2:

Twenty years after making their iconic turns as Miranda, Andy, Emily and Nigel—Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci return to the fashionable streets of New York City and the sleek offices of Runway Magazine in 20th Century Studios’ The Devil Wears Prada 2, the eagerly awaited sequel to the 2006 phenomenon that defined a generation. The film is directed by David Frankel, written by Aline Brosh McKenna, produced by Wendy Finerman, and executive produced by Michael Bederman, Karen Rosenfelt and Aline Brosh McKenna.

Mit The Drum "n" Bass Session erweitert Wagram die renommierte Electronic Music Anthology um ein weiteres zentrales Kapitel der elektronischen Musikgeschichte. Auch diese Ausgabe wurde von FG Radio, einer der wichtigsten Plattformen für elektronische Musik in Frankreich, kuratiert und widmet sich ganz den energiegeladenen, bassgetriebenen Facetten von Drum "n" Bass. Die Compilation vereint wegweisende Künstler wie Goldie, Roni Size, Calibre, Nookie, DC Breaks, Souljah und DJ Gilb"R - Namen, die das Genre von seinen frühen Jungle-Wurzeln über soulful, deepen Drum "n" Bass bis hin zu modernen, clubtauglichen Produktionen entscheidend geprägt haben. Rasende Breakbeats treffen auf massive Basslines, atmosphärische Flächen und eine unverwechselbare Mischung aus Präzision und Energie. The Drum "n" Bass Session richtet sich gleichermaßen an DJs, Sammler und Liebhaber elektronischer Subkultur. Eine sorgfältig kuratierte Anthologie, die den Stil nicht historisiert, sondern seine zeitlose Dynamik und Relevanz eindrucksvoll hervorhebt - kompromisslos, direkt und absolut dancefloor-erprobt.

Cindytalk has remained a majestic proposition over the decades, one marked by a continued process of disintegration and regeneration. Change has been a constant for Cindytalk, as has been the presence of the Scottish musician Cinder, who has fronted the project since the early '80s. The first Cindytalk albums embraced a dark theatricality of post-punk dissonance and abject rock deconstruction that coupled industrial dirges with Cinder's beatific vocals, these same vocals that were once plied to the earliest This Mortal Coil and Cocteau Twins recordings,forever binding Cinder to the 4AD lore. But even on those albums, Camouflage Heart and In This World, Cinder was pushing the band to embrace the studio as a tool for further abstraction of sodden drones, cobwebbed dark elegance, and decayed textures.

By the early aughts, Cinder had reimagined Cindytalk through the granular processes of digitalia with a handful of equally celebrated works of glitch-born expressionism for Editions Mego. Cinder explains that "those elements were growing roots under our sound and had started to organically change the shape of what we were doing. The fucked-up rock music was in retreat and the electro-acoustic abstractions were becoming apparent. Fast forward to the early part of the 21st Century and my first laptop. It seemed natural where I needed to begin that part of my new sonic journey. To further explore those and new territories. Sunset and Forever is intrinsically connected to what came before."

Sunset and Forever is a labyrinthine opus, one that returns to the themes of the sacred and profane that have rippled through all of Cindytalk's recordings, albeit in various guises. The opening track "Embers of Last Leaves" is a haunted piece of undulated, cyclical tones that entwine into a sorrowful chorale with Cinder's own voice. Thumps of electronic drum kicks and bass drops dot the apocalyptic menace of "Tower of the Sun" but serve not as a rhythmic grid, but as painterly noises that further disrupt and disturb the machined dissonance. A cinematic radioluminescence blooms from the tempered electronics within "For Those Eyes, Shadows Of Flowers." The finale "I See Her in Everywhere" bookends the opening number with a seemingly human chorus build from electronic tones cast in cathedral reverence. Sounds throughout may appear adjacent to those of Fennesz, Holly Herndon, or even Lovesliescrushing from time to time, but Sunset and Forever remains purely Cindytalk.

Cover designed by Chris Bigg, known for his iconic design work for 4AD. Mastered by James Plotkin.

Already in its title, Plume Girl’s debut thoroughly lets things go and takes them in – all at once. “In the End We Begin” is the first solo full-length from Sowmya Somanath, a Hindustani classical singer/composer and half of alt-pop duo Felt Out. Plume Girl’s music takes inspiration from the semi-regular musical form of the rāga (translated as ‘tinting’), invoking mood and atmosphere, each rāga thought to have its own distinct nature and personality, brought to life through improvisation. String swells and Somanath’s searching vocalisations envelop every track’s own blissful chamber. Exploring imagined binaries along the way — eastern vs. western, traditional vs. experimental, acoustic vs. electronic, Sowmya sees music as a curious dialogue between divine Self and an invisible reality. Beneath the illusion of a chromatic world, there remains a blissful oneness.

Plume Girl’s songs sit between ambient Hindustani music and emotionally-encumbered pop. In front of backdrops comprising sundrenched drones or glitches, sketched out beats, and criss-crossing glissandi or flutes, Somanath both murmurs intimately and spirals upwards into soaring choruses. The lyrics ponder innermost thoughts, never more literally than on the blissful emo folk closing track: ‘In my heart I know / what’s in my heart / I know what’s in my…’

“When I began writing this music, I was fresh off of an experience that completely twisted my reality,” explains Somanath. It was the end of a years-long relationship, and the blossoming of a long-buried love hidden in plain sight: “a best friend of a decade, my musical partner, someone who had always seen me completely…At once, I felt grief and loss. At once, excitement and love.”

Accepting the darkness can be a liberating experience. Realising, and struggling with just who we are and what world we live in requires it. By further complicating the fractured sense of beauty found on his droning 2022 release, ‘I dreamt we found a way’, Bristol-based composer, Rob Winstone creates a language that encapsulates the lifelong reach for our own personal heavens, along with the darkness and fear on which those foundations are built.

Winstone’s instrumental palette continues to reach out far from behind his keyboards, however the sound of ‘sifting through heaven’ is stripped back and pared down, putting melody front and centre. 'postcards and loose tea', a love song written for Winstone’s partner during a period coming to terms with health difficulties had previously self-released with heavy spectral and granular manipulation from the artist. Here Winstone re-presents the original: “the stripped back recording I made in my old damp and cold studio that was in a building that has since been demolished”. It reflects the composer’s own journey, doing away with veils and histrionics, and embracing emotional bliss wherever it can be found, warts and all. Even the rumbling dark ambience of ’hospital corridor’ - where distant chimings, groans, and droplets synthesized from field recordings made nervously in a hospital waiting for test results coalesce - harbours a sacred-seeming beauty and aseptic warmth within its very bleak sense of dread.

There’s no better way to describe Winstone’s method than ‘sifting through heaven’. The hymnal organ chords, sketched out acoustic guitar phrases, scattering drum thuds, and meditative field recordings may flit between tenebrous to incandescent, but his focus is always on the embrace of love; “a view of life that embraces positive growth, yet doesn't deny immense suffering,” as he puts it. The album is bookended by two of Winstone’s most outright peaceful moments, summarising his core message: 'in spite of it all...' '...love finds a way'.

Above The Clouds I Finally Found Peace, the latest work from French artist Quelza (Leo Naït Aïssa) on Ostgut Ton, feels like a homecoming.

A testament to introspection and self-awareness.
Rather than adhering strictly to a club-focused approach, the EP marks a step forward in freedom of expression, breaking away from a purely club-based format and instead leading into a broader listening territory. It unfolds as a personal musical journal shaped by perception, memory, and emotion.

As its title suggests, the record carries a spiritual undercurrent. It stands as a sincere sonic statement from a young artist, driven by a clear intention: to express vulnerability and honesty through sound.

The EP invites the listener to let go of expectations formed by previous releases, while preserving the emotional intensity and distinctive sonic identity that have come to define this work in recent years.

„Above The Clouds I Finally Found Peace“, das neueste Werk des französischen Künstlers Quelza (Leo Naït Aïssa) auf Ostgut Ton, fühlt sich wie eine Heimkehr an.

Ein Zeugnis der Selbstreflexion und Selbstwahrnehmung. Anstatt sich strikt an einen cluborientierten Ansatz zu halten, markiert die EP einen Schritt vorwärts in Richtung Ausdrucksfreiheit, bricht mit einem rein clubbasierten Format und führt stattdessen in ein breiteres Hörgebiet. Sie entfaltet sich wie ein persönliches musikalisches Tagebuch, geprägt von Wahrnehmung, Erinnerung und Emotion.

Wie der Titel schon andeutet, hat die Platte eine spirituelle Unterströmung. Sie ist ein aufrichtiges klangliches Statement eines jungen Künstlers, der von einer klaren Absicht getrieben ist: Verletzlichkeit und Ehrlichkeit durch Klang auszudrücken.

Die EP lädt den Hörer dazu ein, die Erwartungen, die durch frühere Veröffentlichungen entstanden sind, loszulassen, während sie gleichzeitig die emotionale Intensität und die unverwechselbare klangliche Identität bewahrt, die dieses Werk in den letzten Jahren geprägt haben.“

For the 23rd entry in our ICONYC catalogue, we welcome rising Swedish star Fahlberg and his collaborative single with German maestro Paul Brenning, ‘Show Me’. Amped by reworks and edits by Hunter/Game, BAILE, and KEVSKI, our latest delivery is a monumental EP that is bound to awe and inspire in equal measure.

Hinting at something emotionally gripping from the onset, the original version of ‘Show Me’ unfurls over a tight frame as a synthetic bed surges to the front before Fahlberg deploys a thundering bassline. Slowly, we start to sway, making our way to a break in the cloud while Brenning’s ever-alluring vocals glide over the piece in a spectral presence, immersing us deeper into the narrative, as crisp arpeggios make their way through brass swells and backing chords. Blissful, yet exciting at every turn, ‘Show Me’ is a dazzling collaboration that invites us to revel in the possibility of a new, warmer dawn.

Taking ‘Show Me’ in a slightly darker direction, Hunter/Game presents us with their own interpretation, an introspective juggernaut that is constantly evolving as it walks the tightrope between light and shadows like only this acclaimed duo can.

Adding a new layer of depth to this package, BAILE gifts us a wondrous remix that fragments ‘Show Me’ in a different light. Employing broken beats and lush, evocative moments, this softer twist is a mesmerizing creation bound to wash the pain away.

Completing this aural gem that is ‘Show Me’, avant-garde electronic-classical duo KEVSKI unveils an exquisite masterpiece, deconstructing the original skyscraper into a sublime menagerie of textures and melodic flourishes that blossom somewhere between melancholy and hope.

We couldn’t start the new year in a better way than sharing with you our upcoming release.

We are glad and proud to have on board Mr. Pauli. Ingmar needs no introduction, his unique style has been an inspiration for a long time with remarkable releases on Clone, Viewlexx and Bordello A Parigi just to name a few.
After 9 years from his last vinyl appearance, Mr. Pauli is back with a 3 tracker EP showcasing his melodic and emotional side. A release devoted to the Italo-Disco and Synth Pop sound, with an electro touch here and there, that will bring you to another deep dimension towards your inner self.

Ideologic Organ freut sich, die brandneuen Aufnahmen von The Necks zu präsentieren, dem legendären australischen Trio, das sich durch die Umgehung musikalischer Klischees auszeichnet und gleichzeitig die Praktiken der Improvisation, des Jazz, des Post-Rock, des Ambient, des Minimal und der texturierten, ,klangbasierten" Musik erforscht und erweitert. Das neueste Werk dieses langjährigen Ensembles, Unfold, präsentiert sich als Doppel-LP mit vier seitenlangen Tracks. Das bewusste Fehlen von nummerierten Seiten gibt dem Hörer viel Raum, sich einzubringen, und lässt ihn seinen eigenen Weg durch die Klanglandschaft finden. Die kürzere Länge des Vinylformats ist für die Mitglieder des Ensembles kein Hindernis, sondern bietet ihnen einen kompakteren Horizont zum Nachdenken, in dem die zurückgelegte Strecke auf unmittelbarere und dynamischere texturale Aspekte neu ausgerichtet wird. Die Unmittelbarkeit von ,Rise" bestätigt diesen neuen Weg, während die traurigen Töne von Lloyd Swantons Bass um Chris Abrahams' kristallklares Klaviermotiv wirbeln und Tony Bucks Percussion den Prozess in erleuchtende Free-Jazz-Gefilde lenkt. ,Blue Mountain" bahnt sich einen Weg durch das klangliche Unterholz, wobei Soul-Orgel, rasselnde Percussion, Pfeifen und hüpfende Schallwellen um den Vordergrund wetteifern. ,Overheard" behält eine erhabene melancholische Aura, während Percussion und Keyboards sich gleichzeitig umarmen und auseinanderfallen, während ,Timepiece" als sanfte Geste weiterer Möglichkeiten dahinspringt. Wie genau The Necks ihre besondere Magie entfalten - so einfach es auch scheinen mag -, während sie sich immer weiterentwickeln, kann nur vermutet werden, aber ,Unfold" beweist einmal mehr, dass Regeln und Schulen gebrochen und zu Mustern und Rahmenwerken umgestaltet werden müssen, die sich von denen unterscheiden, die wir kennen.

Night Prologue POW001
Panthers on Wax kicks off its catalogue with Night Prologue, a VA that dives head-first into the night from the dark pulse of the club to its most intimate afterglow.
Bringing together four defining voices of the contemporary French underground, the release unfolds like a nocturnal tale in two acts.

Side A hits with two floor-focused weapons:
P.O ignites LA VOITURE DE LA POLICE, a raw mechanical surge « It doesn't matter who did it as long as it burns. »
N2O pushes deeper with DISTO PIA, where distortion fractures, breathes, and rebuilds « Darkness dances, the heart cracks, and the night puts its pieces back together. »

Side B shifts into emotional territory:
PAGENTY delivers LE VENT CHUCHOTE TON NOM, a nostalgic synth drift « The nights are endless oceans in which I search for you. »
LORYN wraps the record with GINI, a glowing synthwave shimmer « More than a soda, Gini holds a forever echo »
From new beat and electro to techno and synthwave, Night Prologue carves out the Panthers on Wax identity, nocturnal, hybrid, and driven by narrative.

The glimmer in our eyes gallops as a wild stallion toward infinity, in a screaming silence, wears the cape of innocent understanding. Our love is a grave danger, which doesn't shy away from its fate. There is nothing to be afraid of tonight. Love is the bastard child of the Heavens and the pits of hell, it encompasses the entirety of human suffering.
What if we isolate it to a singular moment? Quick and wonderful moment, without trying to hold on to it and wanting it to stay forever?
Between the concrete to the woods to the sea We will be quiet until we understand That this, this is momentary and unfathomable We will take this in, with a deep breath
Until we plunge in and scatter For out of particles wast thou taken and unto particles shalt thou return Walking the line drawn exactly between chaos and symbiotic harmony.

Die legendäre Trance-Hymne „Traumwelten“ kehrt zurück – kraftvoll neu interpretiert von Talla 2XLC und Das Licht (aka DJ Dean). Diese farbige Maxi-Vinyl liefert zwei kompromisslose Club-Versionen eines absoluten Kulttracks.

Side A – Traumwelten (Recreate Mix): Mit einem pulsierenden Tempo von 140 BPM entfacht der Recreate Mix ein wahres Feuerwerk aus tiefen Basslines, treibenden Drums und schimmernden Melodien. Die gewagten Breakdowns steigern die Spannung und treiben die Energie bis zum Höhepunkt. Eine hypnotische, gesprochene weibliche Stimme sorgt für mystische Vibes, bevor er in einen euphorischen Rausch aus aufsteigenden, mitreißenden Melodien übergeht.

Side B – Traumwelten (RRAW! Mix): Dunkler, härter, kompromisslos: Der RRAW! Mix startet als druckvolle TechnoTrance-Fusion, die mit massiven Basslines und satten Techno-Kicks beginnt. Dunkle, deutschsprachige Vocals und atmosphärische Effekte fügen dem Track eine immersive, mystische Tiefe hinzu. Der zweite Drop überrascht mit einer euphorischen Melodie, die von technoiden Rhythmen in ekstatische Trance-Elemente übergeht. Dieser Mix glänzt durchseine Vielseitigkeit und eignet sich sowohl für Techno-DJs als auch für Trance-Crowds.

Ein starkes Comeback eines Klassikers – zeitgemäß, druckvoll und ein Must-Have für alle Vinyl-Liebhaber.

With Dark Matter EP, Rambal Cochet continues his exploration of the fringes of electronic music, where ritual, cosmic and hypnotic sounds create a soundscape between mysticism and science fiction. The EP moves naturally between rhythms, atmospheres and synthetic lines from a lost rave futurism.

Each track has its own journey in a single narrative, with deep bass, percussive patterns oscillating between trance, downtempo and global influences, and a melodic sensibility that is both distinctive and accessible.

Dark Matter EP is a work that celebrates the visionary and cinematic side of Rambal Cochet, mixing mystery, spirituality and club pulsation for the dance floor and listener.
Perfect for seeking emotional intensity and imagination, or for an immersive, timeless listening experience.

With "Let There Be Light", Sina XX delivers a fiercely contemporary techno album rooted in heritage, futurism, and pure club energy. From the opening collaboration with Hebi Snake - merging Caribbean bele rhythms with razor-sharp sound design - to the cinematic closing moment of "I Can See Through Clouds" and its emotional depth, this record is engineered for both body and mind.


There are echoes of Detroit's activist ethos, early Berlin minimalism, and the global tribal lineage that has always driven dance culture forward. Designed for selectors who appreciate detail, tension, and grooves that evolve with purpose.

Kerri Chandler follows up Downtown EP Pt. 1 with Downtown EP Pt. 2

This release also includes four tracks reconnecting with the spirit of Kerri’s iconic Downtown Records era while offering something fresh for the next generation of listeners. 3 of the tracks come straight from that timeless catalogue and firm favourites among Kerri’s community, now beautifully presented on vinyl once again.

Part 2 also features one brand-new, exclusive track, giving fans something truly special: a glimpse of Kerri’s sound, and an invitation to join him on a journey through his remarkable catalogue. This release continues the celebration of Kerri’s music, his evolution, and the sound that continues to inspire house music lovers around the world. Every detail, from the sleek new sleeve design to the thoughtful presentation, reflects Kerri’s care and respect for his music and the people who’ve supported it.

Downtown EP Pt. 2 captures everything Kerri Chandler represents, soulful, honest, and made with nothing but heart.

2026 Repress

Following on from the super-fast stock sell-outs of the 2LP of joyous Alfredo selections, Rebirth follow up with the second of the sample EPs of rare, cherished and formerly unreleased gems.

Kicking off with Dubtribe (Sound System) - Sunshine’s Theme which goes for big money on discogs if you can find a copy, next up Max Berlin – Elle Et Moi Really simple, minimal disco à la Giorgio Moroder or Cerrone, actually Max Berlin (Jean-Pierre Cerrone) IS Cerrone’s brother!

On the Flip we have The Woodleigh Research Facility – Borderland (Andrew Weatherall Mix) Borderland is a beautiful collaboration between Woodleigh Research Facility’s Nina Walsh and viola virtuoso, Sarah Sarhandi. Andrew Weatherall set Sarah’s strings to an energetic electro glam stomp. A cracking kosmische, motorik “Pomp & Circumstance” march, with something of the Depeche Modes / New Orders about it. Finishing off the EP with some 90s UK deep house bliss from Acupressure – We Are the Future (Instrumental Mix) again this goes for big money on the Cogs.

Rebirth deliver another fantastic selection.
Limited Press, act fast.

Luca Olivotto is back on Small Great Things sub-label At A Glance with new four-track EP, ‘Acquafun’.

Berlin-based DJ, producer, and label head Luca Olivotto continues to shape the underground house scene through his acclaimed imprint Small Great Things and its signature Small Great House events. Known for his warm, soulful House sound and meticulous curation, Luca now recently expanded his creative universe with the launch of At A Glance, a new sublabel under his direction.

Leading the charge is ‘I Got Nothing’ setting the mood with a buoyant bassline, bright piano lines, west coast funk style synth licks and jazzy undertones floating amongst a crisp, swinging drum groove. ‘Prosciutto’ follows in style a delectable sonic treat layered with organic percussion, airy chords, dubbed-out vocals, smooth strings, and a deep, rolling low-end that oozes warmth and character.

On ‘Half A Ever,’ hip-house vocal snippets and chanting hooks intertwine with sharp stabs and a driving rhythm section, showcasing a vibrant, club-ready energy. Concluding the EP, ‘Equalizer’ ties it all together with jazzy keys, soulful organ lines, marimba touches, choppy bass, and saturated drums, a masterful nod to the timeless essence of House.

Joyce und Tutty Moreno, die legendäre Sängerin/Gitarristin und der Schlagzeuger, die maßgeblich den Klang der brasilianischen Popmusik geprägt haben, haben sich mit Adrian Younge zusammengetan, um JID027 zu erschaffen.Das Ergebnis ist ein Album, das die ätherische Schönheit kollektiver Improvisation, die Schwere der Saudade und die unzerstörbare Verbindung zwischen zwei der angesehensten Musiker Brasiliens einfängt.Das Album bewegt sich in einem feinen Gleichgewicht zwischen Vorausplanung und Improvisation. Joyce' Kompositionen - ,Mandala", ,Uaná Eté", ,Is This Love?", ,Fingers" und ,Janeiro" - stehen neben instrumentalen Stücken von Younge, in denen Joyce' Stimme selbst zum Instrument wird: mal wie ein Horn, mal wie eine Flöte, ein wortloser Strom aus Melodie.Den Abschluss bildet ,Círculo Vicioso", eine Vertonung eines ikonischen Gedichts von Machado de Assis, Brasiliens bedeutendstem Schriftsteller. Joyce' gesprochene Worte, vorgetragen in ihrer Muttersprache Portugiesisch, verwandeln das Stück in eine Meditation über Leben, Tod und die zyklische Natur der Kunst.

Joyce und Tutty Moreno, die legendäre Sängerin/Gitarristin und der Schlagzeuger, die maßgeblich den Klang der brasilianischen Popmusik geprägt haben, haben sich mit Adrian Younge zusammengetan, um JID027 zu erschaffen. Das Ergebnis ist ein Album, das die ätherische Schönheit kollektiver Improvisation, die Schwere der Saudade und die unzerstörbare Verbindung zwischen zwei der angesehensten Musiker Brasiliens einfängt.Das Album bewegt sich in einem feinen Gleichgewicht zwischen Vorausplanung und Improvisation. Joyce' Kompositionen - ,Mandala", ,Uaná Eté", ,Is This Love?", ,Fingers" und ,Janeiro" - stehen neben instrumentalen Stücken von Younge, in denen Joyce' Stimme selbst zum Instrument wird: mal wie ein Horn, mal wie eine Flöte, ein wortloser Strom aus Melodie. Den Abschluss bildet ,Círculo Vicioso", eine Vertonung eines ikonischen Gedichts von Machado de Assis, Brasiliens bedeutendstem Schriftsteller. Joyce' gesprochene Worte, vorgetragen in ihrer Muttersprache Portugiesisch, verwandeln das Stück in eine Meditation über Leben, Tod und die zyklische Natur der Kunst.

CINTH’s new installment, Kinzua‘s 5-track EP Never Fret, Never Fail, presents a focused examination of UK-inflected memory, immersing the listener in dissolving traces of IDM, Breakbeat, Jungle and Trance. While the archival recollection of 90s Britain provides an almost hauntological emotional frame of reference, each track maintains its autonomy, allowing Kinzua’s particular approach to sonic and rhythmic detail to emerge clearly.
The meditative thread that marked their earlier releases runs through the EP once again, counterbalanced by a nearly industrial rhythmic energy, that keeps it suitable for the more attentive and considered dancefloors. Never Fret, Never Fail will be released on February 13th and includes a collaboration with Peryl. The release will be celebrated with an in-store session at Sound Metaphors on the same day.

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

DiscoGram rolls out another tasteful EP on their own self-title label and it's all about global disco with a Brazilian touch. 'Amigo' marries lush strings and loose percussion with call and reposes vocals and MPB vocals in Portuguese that lend a natural flair. 'Disco Samba' picks up the energy and is just that - a clap-laced and speedy groove with elegant strings and expressive vocals. 'Do Grito' means more into funk with its low slung grooves but is packed with vocals, chanting, steel drum hits and horns for a fully vivacious sound. 'Queixume' with a little more light and feathery female spirit, sunny vocals and jazzy horns. Tasty stuff.

The Reflex is a disco don with a fine ear for tweaking a classic and bringing the same sensibilities to his own originals. This new one on Flex7 is a marriage of funk, soul and disco that is going to bring joy to any party. 'Without Ur Luv' has big and silky vocals and loved-up call and response with funky lines and glittery synths. On the flipside is a 'Xpress Urselves', a rework of a funky classic with all the guttural vocal cries, big horns, percolating drums and killer bass. It retains the original's charm, though with a new school edge. Two highly effective jams.

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

nagoyaka na kaze / 和やかな風 (quiet wind): a collection of forward-thinking electronic experiments sourced from central Japan - co-curated by Nagoya artist abentis for Facta & K-LONE’s Wisdom Teeth imprint.

The project profiles a close-knit community of music makers operating in and around the Japanese city of Nagoya: one of the country’s most populous and industrial cities, but one all too often overlooked in terms of its cultural significance.

Curated in close collaboration with local scene organiser Yuya Abe - aka abentis - the record seeks to capture the creative energy of a community of artists making hard-to-define, future-facing electronic music away from the clamour of the bigger cities. “In Nagoya, there’s a strong culture of supporting artists. Even if you pursue music in your own way, as long as it’s good, you’re encouraged to keep doing what you want”, explains abentis. “Within that environment, my generation has been able to freely bring in elements we like from all kinds of genres, combine them in our own way, and express ourselves individually. If you go to Tokyo or Osaka, that kind of freedom isn’t something you can take for granted.” Spiritually, Nagoya fits the mould of cultural hotbeds like Bristol, Detroit or Melbourne, showing that some of the most innovative creative communities form away from the glare of the capital cities. Like Detroit, Nagoya is principally known for being a major auto manufacturing hub, famous for being the home of Toyota Motors - but behind the scenes, it is quietly harbouring one of Japan’s most vibrant and forward-thinking electronic music scenes. “In a good way, Nagoya is a bit removed from the cutting edge, so you find people making all kinds of music”, explains Karnage. “If you’re making music, you feel like part of the crew, and people of different ages mix together without much hierarchy.” The city’s music scene is characterised by a freedom to mix genres and an open-door approach to creatives of all disciplines. The artists featured come from a diverse set of backgrounds, ranging from hip-hop to noise music, but have found a common collective identity in their omnivorous approach to genre. As such, the record moves fluidly between shimmering ambient and new age (Am Shhara, DHYAN, daiki hayakawa), psychedelic minimal house (Methodd, abentis), abstract, low-slung downtempo (baptisma, Nasty Soupman) and spaceage steppas (Karnage). “I’d say the way ambient, new age and that kind of sound design are blending nicely with dance music feels somewhat new”, says baptisma, the crew’s eldest member and de-facto scene leader. Responsible for bringing artists like Basic Channel, Mala and Jan Jelinek to the city, baptisma has been crucial in establishing underground electronic music in Nagoya since the 90s, and now helps cultivate the next generation of local talent. “Artists and DJs are seamlessly mixing ambient and new age with techno, house and bass music. I think that’s a really interesting development.” nagoyaka na kaze has its roots in a one-off event held in October 2024 as part of the 10 Years of Wisdom Teeth Japan tour. Curated by abentis in collaboration with Facta & K-LONE, the showcase featured live sets from eight artists based in and around Nagoya at one of the city’s key dance music hubs, Club JB’s. Each of the artists features again here, on record, presenting an original commission produced especially for the project. The record’s art direction was led by Yudai Osawa - in-house designer for Kankyō Records, the much-loved Tokyo record shop run by H. Takahashi - and features original photos by Hayato Watanabe.

Burnski's Instinct label kicks on with more filthy low-end wobblers, this time with Killjoy the man behind the buttons. He opens up with 'Proud' (feat Kwam) which has a dirty low-end sleaze and blasts of busted bass topped with grimy bars and razor sharp percussion. It's pure filth for lip-curling disgust. Then 'Fever' drops into punchy speed garage energy with hustling drums and more warped bass and 'Allstars' gets lose on a glitchy two-stepper. The flip side shows yet another look with 'Lovestruck ' packed with pitched up vocal hooks and slamming drums and 'Shout' rounds out with icy cool.

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.

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.”

Frits Wentink’s Bobby Donny returns for the fifth various artist 12” vinyl release in the Ace Series. Welcoming new additions, Glenn & Derrick for some peak time dancefloor business as well as Leigh Hunt who joins forces with label favourite Rico Scott. On the flip Dominic Oswald returns with two soulful and deep cuts. Six heavy heaters for house fans of the deeper persuasion. Another essential release from Bobby Donny!

Grace & Raffaella is the first collaborative release by ML and Vittoria Totale. Over nine tracks, the album strikes a deceptively minimalist tone, taking in a ton of musical as well as literary references. An elegy on a journey back to the present, with all the hushed intensity of an informed fever dream, Grace & Raffaella has a magic-realist feel. Its vocal parts serve as loopy self-fulfilling prophecies. Cut off from the sun, the gorge grows darker. Using an electroacoustic sense of spacing, as well as abstracted current-day club influences, with scraps of background noise fading in and out, this album's use and treatment of a snippet-like narrative is its core aesthetic. A digital gleam drenches the spoken bits into instances of subtle surrealism. Like a kitchen sink drama stripped of all deadweight. We are on the edge of relinquishing all control here. Rip up your diary and let go of the language of the old ones. Grace & Raffaella is a seductive slice of modern hyper-pop that defines its own intentions over and over again.

Stripped of its branches and reduced to the bare trunk, Evigt Morker 6 stands at the threshold where fire becomes voice and light devours the sky. Across six tracks, the music moves through hushed revelation, listening for a call that cannot be refused. Salvation and damnation burn side by side on the horizon, as everything else is consumed by flame. ''Kapa grenarna. Lat stammen sta ren infor slutet. Nar riket oppnas ska rosten tala i lagor, bara for dig. Lyssna, och se hur ljuset ater himlen tills oandligheten skymtar. Kliv in i den negativa elden dar intet vander sig om och blir till.''

BRIAN ELLIS' "IN THE DARK" back in print for the first time in over a decade, contains 8 synthesizer manifestos that offer a glimpse through ELLIS' imagination. This repress celebrates the infinite throwdown post- sundown and is truly a classic in the modern funk world.

Analog house tracks and raw production styles come together on New Jersey's MANNY STEELO's 6 track debut. The newcomer is a bubbling entity of the underground and looks like a good fit for STAR CREATURE's GLOBAL CARRESS imprint with it's no frills, raw house tracks output thus far

Remixes by Blazej Malinowski, Claudio PRC, RCHTR & Invalid Request and a revisit by Re:Axis himself.
As the Derailed Records x Planet Rhythm vinyl saga continues, a new force materializes: the remix EP of Re:Axis's Ancient Ways. Reverent yet fearless, it transforms the original into something darker, deeper, and undeniably compelling.
Wrapped in a soft silver glow, this vinyl edition mirrors the legacy of its marbled-gold predecessor. The contrast is intentional, the pairing essential. Don't miss the chance to complete the set.




d B2 Back To The Now Revisited

HAVEN are back with their vinyl operation with a fresh plate of grubby Techno heat from Irish heavyweights Faetch & Sunil Sharpe on the Grotteca EP. Featuring 4 original rippers and a remix from Italian legend DJ Plant Texture of upfront club pressure, the NZ-based label are proud to transmit some of the finest in creeping electronics from across the globe.

The A-side kicks off with 'Bleed In' with its tough drum-work and hypnotising atmospheres eventually descending in to an all-out stomp with one of the filthiest synth-lines in the label's history hitting half-way through. This is followed up with 'Test Breaks' - a broken-beat slammer with a ton of gritty synth design and rear-shaking rhythms. The first side is closed with DJ Plant Texture's remix of 'Bleed In', where driving 909 hits combine with the original synth line for a club-ready weapon ready to get those feet moving.

On the B-side 'Vapornation' keeps the energy rolling with its rolling congas, heavy kick, and eerie atmospheres tailor-made for a concrete basement. Finally, 'Shinplant' closes the record with full-steam-ahead drums and squalid synth rhythms to end yet another plate of dance-floor ammunition from the HAVEN camp.

Data Music proudly presents Various Artists "Levitate EP" - the label's first-ever vinyl release!

Staying true to the core vision, we've carefully selected four deep and atmospheric drum & bass cuts from the label's key artists and close friends.

"Levitate EP" embodies the diverse identity of Data Music - a perfect soundtrack for home listening, long journeys, and dark, smoky dancefloors alike.

Following on from his globe trotting album Noches Sephardies, Coco Bryce keeps it hella international on this here 3 tracker, reworking a Greek rebetiko song about a love that wasn't meant to be, a klezmer party jam and some 80s German synth wizardry respectively.

Following on from the November release of the Material Things / Pike album Rain & Cymbals, 12th Isle enter the new year with a limited vinyl edition of Through Global Frequency, a prescient work of ambient synth, electro-acoustic music and voice recordings by long-standing Dutch multimedia artist Michel Banabila (b. Amsterdam, 1961). Structured around a poem largely composed of titles from recordings he has made over the years, and written during a period marked by new Dutch migration policies, the genocide in Gaza, and the rise of the far right across Europe, Banabila enlists the voices of friends and family, each reciting the poem back to him in their native language. These voice recordings are set within a unique composition that works with the tonality, cadence and rhythm of the vocals, encompassing languages such as Arabic, Spanish, isiZulu, German, French, English, Japanese, Turkish, Ukrainian, and Dutch. Contributions come from Scanner (Robin Rimbaud), Ines Kooli, Sebastian Lee Philipp (Die Wilde Jagd), Yuko Kobayashi, Simone Eleveld, Cengiz Arslanpay and more.

“I felt the need to create something warm, something that embraced diversity. Every voice here is uniquely recognisable and reflects how I know them. I truly enjoyed working with these recordings, focusing on their personalities and the distinctive sound of their languages. For me, making music has always been a way to stay sane, and I have always loved working with voice recordings.”

Music, mix and poem by Michel Banabila,
track 3 featuring Robin Schaeverbeke,
track 8 featuring Cengiz Arslanpay,
track 10 featuring Machinefabriek.
Cello on track 9 by Peter Hollo.

Isa Gordon and Tony Morris were first brought together through their individual releases on Optimo Music, which established mutual respect within the label’s community. While they had not previously performed live together, they were invited to take part in a fundraiser hosted by Queen’s Park Arena in support of Glasgow NW Foodbank and later for JD Twitch’s end-of-life care. Tony asked Isa to contribute guitar and backing vocals to his set, including a track then called Last Night I Had a Dream. That performance became the seed for their collaboration.

The first phase of fleshing it out, recalls Tony: “Somebody said Isa sang like Shania Twain. That got me thinking about country music and call and response, prompting me to come up with alternative lyrics.” Isa remembers: “I cycled over to Tony’s house with my guitar, and we spoke about what the tune meant. It was about him being wrapped up in dreamland, luxuriating in his subconscious, while my character — impatient and trapped in her own routines — barely had time to remember her own dreams.” Tony continues: “Brilliantly I realised that I could never collaborate with anyone in situ and so I sat in the garden for two hours watching my wife tend to plants. Every now and again I would creep up the stairs and put my ear to the door. I could hear Isa warbling away and so would resume my garden watch. After two hours I went back upstairs to see how she was getting on, only to find that she had written one of the greatest songs I’d ever heard. I still think that.” Tony adds: “My overwhelming sentiment about Wake Up Baby is pride. I can honestly say that I’m more proud of it than anything else I have done. It ticks a whole load of boxes. Isa’s singing in various Scottish modes is unique. The way her electric guitar adorns the dance beat makes it a rock song as well as a dance and a C&W song — truly multi-genre.”

The B-side of the 12” release, Syringe Moustache, is a surreal, darkly playful counterpart to Wake Up Baby. The track was inspired by a dream Tony had: “I was in a shopping mall, in a two-level shoe shop, and my attention was taken by a little girl with a syringe taped beneath her nose like a moustache. She went about her business trying on shoes, confident and wise beyond her years. In the dream, I imagined her as the daughter of cultured, intelligent parents determined to raise her independently. I was struck by my own feelings of inadequacy — I knew I could never have coped with such a contraption myself.” Isa’s take on the meaning of this song somewhat differs: “Tony sent me the tune over Instagram months before I met him, and I was spooked — as far as I knew, he didn’t know anything about me, but the story felt like it was written about me as a little girl, growing up around heroin addiction. The syringe beneath the girl’s nose became a symbol of the inescapable constraints of that environment, literally written on her face, yet something you just have to carry on through. On a buzz from the serendipity, I added a full instrumental backing to this most bizarre of works.”

The result is absurd, unsettling, and strangely empowering, staking out its own surreal, cinematic space. The 12” dance single is a format Tony had long wanted to explore — a tangible artefact to leave for family, a medium that celebrates the physicality of sound and the ritual of listening. It allowed the artists to maximise the format’s potential: a strong, multi-genre A-side, a surreal B-side, and remixes that expanded the record’s sonic world. Glasgow music staples Auntie Flo and 100% Positive Feedback were invited to reinterpret the tracks, bringing their distinctive touch — Auntie Flo transforming the A-side into a luscious, dancefloor-ready meditation, and 100% Positive Feedback twisting Syringe Moustache into absurd, playful shapes with false-start drops and over-the-top vocal editing.

The cover photograph, taken at the University Café by Harrison Reid, captures Isa and Tony embodying the characters they brought to life in the songs — a visual reflection of the record’s narrative and emotional stakes. The Café also holds personal significance: it’s where all of Isa’s meetings with Keith McIvor took place, where she first remembers visiting Glasgow as a child, and a place Tony fondly likes to go to drip egg yolk down his tie and watch the world go by. Together, the 12” format, the remixes, and the artwork create a cohesive, tactile experience, amplifying the duality, theatricality, and emotional breadth of the collaboration.

2026 Repress


DJ Koze's 2013 album opus Amygdala has continued to bewitch all who encounter it since its release. Tipped as his own personal Sgt. Pepper, the sublime long-player revealed a fully-realised and personal body of work, complete with a classic songwriting at its core, House in its heart, and veins coursing with psychedelic color. La Duquesa' was the album's dreamy single standout, a journey into deep, tropical ecstasy. XTC' begins in the same spirit, and captures the all the blissful allusions of its name, but its initial gentility belies the deep intensity to come. Floating pads glow with celestial ambience as a kick drum is gradually coaxed into solid form, and the introduction of spoken text begins the second act. Many people are experimenting with the drug Ecstasy,' it says, ...is the drug like the lie and meditation the truth Or am I missing something that could really help me". XTC' then transforms: sweetly imploring tones become demanding, gentle gradients between chords turn hard-edged, and sharp hi-hats cut through the haze. Complete with Koze's signature percussive quirks, it drives towards the track's final pay off: an undeniable, all-consuming, irresistible high. Knee On Belly' recalls Koze at his most tongue-in-cheek and overt, it is bright, bold and literally brassy, using cut-up horns of all shapes and sizes to patchwork together his own unique arrangement. With the highs and mid ranges accounted for, Koze adds in a swollen, thrumming bass line to mix to bring this floor-filler to life. Knee on Belly' recalls a raw, filtered and funky approach to groove, with a nod to disco house and the art of artful sampling, as it orbits between its own neon highs and simmering lows.

In early 2025 Oakland-based Jerod S. Rivera released his second full length Dot-Dash, featuring a collaboration with CST co-founder Cat Lauigan and Jonathan James Carr. From the beginning we were mesmerized with the result, a perfect melding of Cat's processed spoken-word and Jerod's Buchla experimentations.

The thought of remixes presented immediately, the material extra ripe for interpolation. Enlisting friends from geographically and sonically disparate locations to present an ideal remix 12". Something for everyone, something for every setting, a tool with multiple functions...

The mysterious dub/techno/leftfield mastermind behind False Aralia dives further into territory explored on iri.gram, uptempo and dancefloor-ready in a more maximal Perlon-ish way while still embracing a half-time dub feel. Philipp Otterbach (Music from Memory, Offen, RIO) goes deeper into the guitar zone he’s been exploring, channeling Earth 2, Boris, and the like for some heavy drone. Oakland duo DJ ML and Wonja adopt their Motoko & Myers moniker (Future Times, Soda Gong), zeroing in on some choice vocal snippets that mesh perfectly with a live drum break and bassline for a Seefeel-esque version that could have come from a 90’s UK studio. Finally, Slowfoam embraces the more experimental elements of the original with a remix that starts sparse and minimal but builds into a glitchy rhythmic climax.

The 12” includes a 2-sided riso insert and a download code with access to an additional remix by close collaborator Jon Carr that twists the vocals into a throbbing industrial caucaphony.

The Womack Sisters – Kucha, Zeimani und BG Womack – sangen schon, bevor sie laufen konnten. Ihr gleichnamiges Debütalbum „The Womack Sisters“ aus dem Jahr 2026 ist der musikalische Höhepunkt der langen und kurvenreichen Reise der drei Schwestern auf der Suche nach sich selbst. In einer Sammlung von Stücken voller intensiver Soul-Power, die an eine Zeit erinnert, als Popmusik noch Substanz, Atmosphäre und Sinn hatte, kommt jede ihrer unverwechselbaren Stimmen im Rampenlicht zur Geltung.
Die Schwestern wuchsen auf der Straße auf. Ihre Schulen waren Bühnen und Studios auf der ganzen Welt, wo sie hinter ihren Eltern, Zekkariyas & Zeriiya (ehemals Womack & Womack), zusammen mit ihren vier Geschwistern sangen. Nirgendwo waren sie lange zu Hause. Egal, wo sie lebten – London, Thailand, Amsterdam, Kenia, Paris, Sydney, Zürich, Wien, Tansania, New York, Miami, West Virginia, die Bahamas – sie waren immer von Musik und Familie umgeben.
Als Enkelinnen des legendären Sam Cooke und Nichten von Bobby Womack stammen die Schwestern aus einer Soul-Dynastie, die tief in ihrem musikalischen Wesen verwurzelt ist. Das Album „The Womack Sisters“, das am 14. August bei Daptone Records erscheint, blickt nach vorne, indem es zurückblickt: Es ist eine Hommage an die Tradition ihrer Familie und schafft gleichzeitig einen Sound, der ganz und gar ihr eigener ist.

The Womack Sisters – Kucha, Zeimani und BG Womack – sangen schon, bevor sie laufen konnten. Ihr gleichnamiges Debütalbum „The Womack Sisters“ aus dem Jahr 2026 ist der musikalische Höhepunkt der langen und kurvenreichen Reise der drei Schwestern auf der Suche nach sich selbst. In einer Sammlung von Stücken voller intensiver Soul-Power, die an eine Zeit erinnert, als Popmusik noch Substanz, Atmosphäre und Sinn hatte, kommt jede ihrer unverwechselbaren Stimmen im Rampenlicht zur Geltung.
Die Schwestern wuchsen auf der Straße auf. Ihre Schulen waren Bühnen und Studios auf der ganzen Welt, wo sie hinter ihren Eltern, Zekkariyas & Zeriiya (ehemals Womack & Womack), zusammen mit ihren vier Geschwistern sangen. Nirgendwo waren sie lange zu Hause. Egal, wo sie lebten – London, Thailand, Amsterdam, Kenia, Paris, Sydney, Zürich, Wien, Tansania, New York, Miami, West Virginia, die Bahamas – sie waren immer von Musik und Familie umgeben.
Als Enkelinnen des legendären Sam Cooke und Nichten von Bobby Womack stammen die Schwestern aus einer Soul-Dynastie, die tief in ihrem musikalischen Wesen verwurzelt ist. Das Album „The Womack Sisters“, das am 14. August bei Daptone Records erscheint, blickt nach vorne, indem es zurückblickt: Es ist eine Hommage an die Tradition ihrer Familie und schafft gleichzeitig einen Sound, der ganz und gar ihr eigener ist.

Glade brings Ramiro’s atmospheric touch into sharper focus, presenting a fluid collection built around momentum and understated detail. Across the three tracks, he shapes a patient narrative that rises gradually, guided by crisp percussion and warm tonal shifts that open each track into expansive, late night territory. The result is a cohesive journey that reflects his instinct for movement, letting the melodies and rhythms unfold naturally.

“This EP is made up of three tracks, all designed to resonate on the dancefloor. ‘Glade’, ‘Jebel’, and ‘Norte’ each contain organic nuances, but together with their synthesizers they achieve a main-set feel that works very well at key moments in a set. The drums and percussion play a major role in making this happen, as they ensure the groove never fades or if it does, that its drop is striking.” – Ramiro Drisdale

Repress!

4 To The Floor are committed to delivering seminal house music to wax, making sought after heritage tracks readily available on vinyl for crate diggers to add to their collections. On Volume 1’s A-Side you’ll find a track with one of the most famous lyrics from house music history MD X-Spress’ ‘God Made Me Phunky’, the record has inspired countless producers to sample and remix it, but this 90’s gem still sounds amazing in its original glory. On the flip are two mixes of a Three Kings classic, ‘Shake Dat Booty’. The A Pal Joey Interpretation matches looped vocals with harmonious keys that perfectly complement each other, while the Wahoo Main Mix utilises energetic drums and techy synths to up the ante.

2LP Repress!

The legendary partnership of NYC's Disco godfather Tom Moulton and Philadelphia International Records has long been documented.
A truly explosive collaboration that yielded endless classic tracks for dancers and deep listeners alike, Moulton seemed to be totally in tune with the labels output and the direction it should go in. Luckily we've been enjoying the fruits of this labour for the last 30+ years with a lot of these PIR classics becoming ingrained in the psyche of the modern day music fan as the building blocks of House music.

Another stellar volume of what is an essential purchase for any Disco lover. Featuring a host of legends from the height of the Philly era and beyond - Archie Bell & The Drells, People's Choice, Lou Rawls & Teddy Pendergrass are all graced by Tom Moulton's supreme ear on this special PIR reissue 2 x 12" that see's some all-time classics from the aforementioned artists in their full, unabridged, unedited Disco glory. The selections on this EP are absolutely top-shelf, flawless in fact. One could argue that these are the 'definitive' versions of these anthems. Pure Disco gold essentials. Anyone with even a passing interest in Disco will most certainly need this record in their possession, the 2012 pressing of this EP is super in demand among those in the know and it can change hands for big money in the used record world, time, undoubtedly, for a repress.

These tracks are fully licensed and reissued in conjunction with Tom Moulton and PIR and all relevant rights holders. Remastered from original source materials to the highest spec and pressed onto top quality vinyl, courtesy of Above Board distribution for 2019.

There’s a rare tenderness to the way Byron The Aquarius makes house music. Across every release, the Alabama-born producer brings a deep sense of humanity - chords that breathe, basslines that sway, and melodies that seem to remember. On 'One of a Kind (Love Affair)', his debut for Hard Times, that emotional clarity shines through once again.

A master of the keys with a discography that spans Eglo, Signature, Apron, Axis, and more recently Skylax and Star Creature, Byron has long blurred the boundaries between jazz, soul, and machine groove. Here, he builds four tracks that each glow with feeling and finesse.

‘A New Life' opens with uplift and propulsion - crisp kicks and fluid sax lines circling around tender vocal refrains. 'The Last Mile of the Way' drifts inward, its spoken-word cadence and pulsing rhythm turning reflection into hypnosis. On the flip, 'I Be Like Dat' pushes forward with a tougher, more percussive edge. A laser-guided club moment that still hums with soul. Finally, '4 Mike Huckaby' closes the record as both elegy and celebration: shakers, muted horns, and shimmering keys floating in quiet reverence for a lost friend and inspiration.

As its title suggests, One of a Kind (Love Affair) is less about romance and more about devotion.

MELODIES” is the first album released on the MOON label. The album was the first album released on the MOON label, and it marked a drastic change
in sound direction from the RCA/AIR era, as a result, the range of their work expanded, and the Christmas classic “Christmas Eve” was born from their work.
The result is a monumental masterpiece that will remain in the history of pop music. Includes “Christmas Eve” “High Air Pressure Girl,” “Merry Go Round”
and more. Includes detailed liner notes by Tatsuro Yamashita himself!

Damian Lazarus reveals the eighth chapter of Crosstown Rebels acclaimed annual ‘SPIRITS’ VA compilation series.

The latest instalment sees the label founder once again curating a carefully balanced lineup of emerging voices and established names, with the eight-track collection set for release on 30th January 2026.

Since its inception in 2017, Damian Lazarus’ SPIRITS series has become a trusted barometer for the year ahead, spotlighting forward-thinking artists and cutting-edge club music from across the global electronic landscape. With ‘SPIRITS VIII’, Crosstown Rebels continues this tradition, delivering a refi ned yet adventurous selection that moves seamlessly between hypnotic house, melodic depth, and late-night energy - building on the momentum of previous volumes and capturing the label’s unmistakable essence.

Opening the release, Raz Alon sets the tone with ‘Hey It’s Me’, a warm and immersive opener that draws listeners in with emotive touches and fluid groove work. Lost Desert follows with ‘Ultima’, leaning into trippy, melodic-tinged sensibilities as tumbling rhythms meet expansive atmospheres and subtly evolving motifs. On the flip, TIMANTI ventures into a captivating voyage with ‘Warrior Spirit’, pairing swirling synths with hazy melodies, before STEB delivers ‘House Of STEB’, a groove-led cut packed with personality, swing, and club-ready flair.
The journey continues with Yuvèe’s ‘Set The Fire’, featuring FADO, a hypnotic and vocal-led track that balances emotional weight with understated rhythmic pressure. Ekoboy then ups the intensity on ‘Lose Control’, combining crisp percussion with infectious momentum designed for peak-time moments. On the final stretch, MADI brings a reflective buy playful touch with ‘Around Me’, weaving lush textures and subtle dynamics into a deeply absorbing listen, before JUAAN closes the compilation with ‘Bass Cliente’, a punchy and bass-forward finale that rounds things out with raw club energy.

With its continued ability to champion new talent while welcoming respected artists into its orbit, Crosstown Rebels remains a vital force within electronic music. SPIRITS VIII stands as another clear statement of the label’s vision, reaffirming its role in shaping the sound of contemporary house and techno.

For two decades, Hudd Traxx has stood as a pillar of underground house music – a label defined by longevity, taste, and its ability to bridge the old school with the new. To mark its twentieth anniversary, the revered UK imprint presents ‘20 Traxx From The Hudd’, a specially curated, all-new twenty-track compilation handpicked by label founder Eddie Leader.

The compilation brings together a global, star-studded lineup of artists who embody the Hudd Traxx ethos: soulful, inventive, and uncompromisingly underground. Contributions come from Groove Armada, Seven Davis Jr., Chez Damier, Cinthie, Jovonn, Oliver Dollar and others, offering a snapshot of the label’s wide-ranging influence. From the silky deep house depths of Black Loops’ opener ‘Soul to Soul Communication’, to the unmistakable analog warmth across Cinthie’s ‘Hudd House’, to the raw, stripped-back energy of Seven Davis Jr.’s ‘Infrasound’, the collection captures the many deeper shades of house Hudd Traxx has championed for twenty years.

Founded in 2005, Hudd Traxx has served as a trusted home for pioneering artists such as Nightmares On Wax and Matthew Herbert, guided by Eddie Leader’s consistent curatorial vision and unwavering commitment to craft. As a producer, his releases on Classic, Robsoul, and Balance Alliance have been supported by Laurent Garnier, Josh Wink, Disclosure, and many more. ‘20 Traxx From The Hudd’ isn’t just a celebration of the past; it’s a fervent reminder that Hudd Traxx remains as relevant and vital as ever.

A great, self-contained, soul music collective that never got their just due because of a spurious tax scam that was prevalent in the record industry in the early to mid 1970”s - the group known as Spice, and their 1976 LP ‘Let Their Be Pice”, remained in obscurity without members of the band even knowing that it was ever released until nearly 30 years after the fact. Now, thanks to the sharp ears of his internet savvy aging motherland subsequent interviews with Spice”s leader Richard Brown Jr. - the full story of who this almost forgotten band was, and what happened to them and why, is finally revealed. Whatever transpired business wise should not obscure the quality of the music that resulted in the recording of this album. The performances are impeccable, the musicianship is top-notch, and the original songs in retrospect, were way ahead of their time. As a special treat for rare soul music lovers, this long-lost LP has been newly remastered for this exclusive release.

Von Augustus Pablos bahnbrechendem „Java” bis zu Carl Malcolms UK-Pop-Crossover-Hit „Fattie Bum Bum” präsentiert Chapter Two einen Klassiker nach dem anderen von einer All-Star-Besetzung der Reggae-Größen der 70er Jahre, darunter Black Uhuru, Horace Andy, Dennis Brown, Gregory Isaacs, The Heptones und Big Youth. Wunderschön verpackt mit Innenhüllen mit seltenen Fotos und Liner Notes des Reggae-Historikers David Katz.

Beginnend mit dem fröhlichen Ska von Lord Creators Unabhängigkeitshymne 'Independent Jamaica' zeigt das Chapter One Album den wahren Verlauf der jamaikanischen Musik in den 1960er Jahren mit einer virtuellen Who's Who der Reggae-Musik, darunter Bob Marley, Peter Tosh, Toots & The Maytals, Rico, Skatalites, John Holt & Alton Ellis. Wunderschön verpackt mit Innenhüllen mit seltenen Fotos und Liner Notes von Steve Barrow von Blood & Fire.

We’re proud to present the first-ever official reissue of Rold Lebo - "Dansez Otiere" — a folk-jazz treasure from 1986, originally released in the Republic of Congo on vinyl and cassette (self-released on small quantities). This vinyl gem revives the energy and elegance of a rare record, now brought back into the light — a timeless work, finally restored to its full glory.

This album alternates between the call to celebrate the ancestral homeland and cultural identity and poignant ballads about love, exile and homesickness. It is a work that is both intimate and cosmic. Finally restored to its full glory, it returns on vinyl for the first time since its initial release.

This is an essential restoration — a sophisticated synthesis of Congolese Folk-Jazz, subtle soul, and deeply introspective rhythms. Recorded in the 80s, the album channels a timeless spirit, exploring multilingual themes of ancestral identity, the melancholy of exile and the delicate games of love.

Rold Lebo’s music is a profound emotional capsule — once overlooked, now revived for a new generation of listeners eager to explore the sophisticated sounds and resonant stories of the Republic of Congo.

An incising snare marks the return of Luxus Varta to Shipwrec. Since his last appearance, Aquamarine Puzzle in 2017, the Frenchman has been honing his craft with releases on a spread of stellar imprints. Noise Figure is the culmination of that refining process, his sound and style being forged and framed within the parameters of electro. And these parameters are immediately tested. From the warbling bass and tight percussion of The Resetter, crystalline chords cascade before a shimmering string of wintery warmth. Terse beats introduce Building Peaks, wraith-like rinses offering space for playful forms to take hold. Fudgey basslines are unsettled by sci-fi synths, a touch of the otherworldly balancing this unique cut. The warm current of Lizardous penetrates the frostier funk of the EP, delicate and fragile notes thawing the cold rhythms and glacial undertones. Silver Girl contrasts autumnal shades with brittle harmonies, angles and lines curved by sheer musical craftsmanship. Shifting into electronica, the close is a complex composition that demonstrates Luxus Varta's breadth of ability. Gentle melodic ebbs are countered by echoes of the factory floor, the human touch coming to the surface with understated radiance.

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 Lisbon mainstays from contiguous generations join forces as Scam Dust for the new Paraiso record: Tiago, Lux Fragil resident, world-renowned DJ's DJ and all-round music whizz plus Shcuro, Paraiso's co-founder, scene documenter and impeccable selector & producer. Funnily enough they also live in contiguous beach towns in the outskirts of the capital, Parede and Carcavelos. That's where they zig-zagged amid home-studios and, four hands in various machines, concocted this refreshingly to-the-bone record. Like a non-local entanglement between Lisbon, Sheffield, The Hague and somewhere in the American Midwest, 'Gastric Pulse' EP opens with a saturated, modulated acid line over a tight, industrial-tinged techno beat, peppered with sonic dirt of the highest order. It sounds like music projects like Downwards and Mathematics would put out. 'Enzyme Breaks' follows suit with a comparably raw spirit, adding some mysterious atmospheric scintillation and drum variations. A certain recluse techno (is that a thing?) comes to mind (and heart), Unit Moebius style. Toms abound in 'Pepsin Drive' - always a promising sign in our book - and the playfulness continues in the cheeky bassline and the intricate clap work. Soulful stabs give the tune extra magic via the mantra-like structuring power of repetition. The final track in the record comes from Pacific North-West transplant Doc Sleep and her collaborator Elias FS step in for remix responsibilities and flip the B1 into a hypnotic, dubby - and yes, jazzy - piece complete with a dive into glitchy, sonic sculpture territories towards the end of the arrangement. Quite the brilliant take. Music still counts (and always will), after all is said and done - and nothing like two hard-working music-makers to remind us of that.

From Germany to Montreal, a cross-continental dialogue takes form as Oovation and Jares unite for The Shift, a sweeping coalition of emotion and rhythm marking both artists’ debut on W. Anchored in cinematic depth and driven by kinetic pulse, The Shift stands as a powerful first statement, further expanded through stunning reinterpretations by Coeus, ACNØR, and Turker.

The original take of “The Shift” finds Oovation & Jares constructing a restrained groove before thumping kicks and meandering blips send us off on a highly narcotic affair. With the foundations in place, a swaying bassline takes control of the piece, infusing it with an irresistible sense of movement. As we venture deeper inside the rabbit hole, a lush arpeggio rummages across the piece, taking us closer to an airy break where echoes osurrender to a new directive.

For the first reimagining, Coeus drives “The Shift” into more dangerous, sensual territory. Built on a thunderous rhythmic foundation, the Serbian producer laces the mix with ghostly vocal traces and a relentless synthetic tension. The result feels cinematic in scope: an after-hours odyssey pulsing with urgency and redemption, where desire and danger move in lockstep.

Next, ACNØR transforms The Shift into a perpetual motion device where tension breathes and recedes like a living organism, shimmering under dim light. Reflective and transportive, this version feels like moving through mirrored corridors. Each twist refracts a new emotion, a new identity, culminating in a tantalizing entropy.

Finally, Turker closes the circle with a radiant reconstruction that leans toward transcendence. Textured percussion, raspy stabs, and a gleaming lead line spiral upward, pushing “The Shift” toward a horizon bathed in gold as vocal phrases drift in and out of focus, painting the mirage in full technicolor for a finale that feels both cathartic and luminous.

Repress!

The legendary partnership of NYC's Disco godfather Tom Moulton and Philadelphia International Records has long been documented. A truly explosive collaboration that yielded endless classic tracks for dancers and deep listeners alike, Moulton seemed to be totally in tune with the labels output and the direction it should go in. Luckily we've been enjoying the fruits of this labour for the last 30+ years with a lot of these PIR classics becoming ingrained in the psyche of the modern day music fan as the building blocks of House music.

The names alone fill one with awe, The O'Jays, Harold Melvin & The Bluenotes, Archie Bell & The Drells and Lou Rawls. All of these artists were, and still are, huge stars. Turning in classic after classic, and with Moulton's supreme ear assisting, this special PIR reissue 12" see's some all-time classics from the aforementioned artists in their full, unabridged, unedited Disco glory. The selections on this EP are absolutely top-shelf, flawless in fact. One could argue that these are the 'definitive' versions of these anthems. Pure Disco gold essentials. Anyone with even a passing interest in Disco will most certainly need this record in their possession, the 2012 pressing of this EP changes hands for £100+ second hand, so a repress was desperately needed.

These tracks are fully licensed and reissued in conjunction with Tom Moulton and PIR and all relevant rights holders. Remastered from original source materials to the highest spec and pressed onto top quality vinyl, courtesy of Above Board distribution for 2019.

Now universally recognized as one the great ambassadors of House Music around the globe, Todd Edwards first built his reputation in the early 90’s with a string of 12" releases from some of New York’s more prominent independent labels. This was an era when on any given week you would have up to 100 new 12" releases from New York based producers, all vying for space on the 12" shop walls. In this hypercompetitive environment it was not easy for a new producer to garner a reputation. But Todd’s releases did not sound like anything else. Using an innovative blend of rhythmic, cut-and-paste vocal samples, rubbery basslines, and slapping percussion, he created a 4 track EP for Nervous in 1994 under the production acronym The Sample Choir. This 12" created such a massive buzz in the UK that it is now considered instrumental in helping to propel Britain’s Sunday clubscene into the genuine cultural phenomenon of speed garage.

Uncompromising 2 tracker from the duo FLML, recorded live in their studio through the use of analog synthesizers and drum machine. Both tracks draw influences from early Detroit techno and Chicago acid, moving towards wild trippy and gloomy sonic palette. Vinyl is recommended for the powerful 12″ 45rpm experience. Limited to 150 copies.

Julius Rennert returns with a warm, soulful House release that channels the timeless spirit of Jack while bringing his own modern sensitivity to the floor. Blending smooth and deep-driven grooves with a partly unmistakable French House touch, the EP radiates a comforting glow - lush chords, shimmering samples, and subtly swinging drums that wrap the listener in a sense of effortless uplift.

Despite arriving in the colder months, this record feels like a beam of mid-summer light: nostalgic yet forward-thinking, deep yet wonderfully accessible. Its refined production and heartfelt energy make it equally suited for intimate late-night sets, cozy living-room listening sessions, and dancefloors craving a touch of emotion.

Warm, groovy, and irresistibly soulful - Julius Rennert's new release is set to brighten the season and warm hearts long after the last note fades.

Italian DJ/producer Gledd delivers an EP of fiery afro edits for his first outing on Razor-N-Tape. Taking a deep dive into his crates of African Boogie, Highlife and Zouk fodder, the Saint Wax Records boss presents a driving and hypnotic 4-tracker primed for the floor with just the right amount of studio polish.

Introduced by a discrete message online, at the beginning of 2024, SNR007’s opening track Gliadin snuck its way through the web and first tickled my eardrums. It immediately lightened the mood and caused a little living room dance after a boring and grey day.
K’s musical ingredients may be called sparse, or certainly peculiar. All elements have their purpose though, even if they won’t tell you exactly what that is. The resulting experience is rich, enveloping and darkly funny.

2026 Repress

Written and produced by Kieran Hebden. Photography by Jason Evans. Design by Jason Evans and Matthew Cooper.

Mikkel Metal makes a welcome return to Echocord with his new ‘Rebuild’ EP, accompanying remixes from Luke Hess and Frenk Dublin.
Copenhagen’s Mikkel Metal is a pioneering figure in dub-techno and minimal house, known for his atmospheric soundscapes and textured production. With acclaimed releases on Kompakt and Echocord, including Close Selections, Victimizer, and Peaks and Troughs he’s cemented his place as one of Denmark’s most distinctive electronic artists. Here he continues to dispay this further diving into new sonic realms with a new EP for Echocord.
Title-track ‘Rebuild’ opens, a hazy excursion through metallic, reverberations, expansive atmospherics and crisp drums before Detroit’s own Luke Hess steps in to offer his interpretation, delivering his signature groove-driven style, extracting the essence of the original and stirring it in amongst robust drums and spiralling dub echoes. ‘Bend’ is up next and displaying Mikkel’s production prowess as he blends murky bass flutters and analogue rhythms with psychedelic guitar melodies and dynamic space echoes, resulting in something that sounds uniquely his own. ‘Steam’ continues this theme with further psychedelia infused guitar tones flowing alongside breathy vocal stylings and fluttering atmospherics tucked into the depths. Rotterdam, Netherlands based artist Frenk Dublin delivers his ‘Deep Space Rework’ of ‘Stream next, reshaping the original into something entirely different with a dropped-tempo roots dub aesthetic, weaving fragments of the original into the composition alongside swaying dub drums and heavy doses of sub. ‘Midnite’ then concludes the release, another experimental sonic foray into unique effect processing, glitched out percussion, haunting vocals, plucked bass notes and expansive atmospherics

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. 

Belgian techno tastemaker Charlotte de Witte is back with the brand new Sanctum EP containing vocals of Marion Di Napoli. The release arrives the week after this year's Amsterdam Dance Event from October 16th - 20th and just ahead of her return to LA on November 2nd, where she will play a much anticipated all night long set at City Market.

Thanks to her truly distinct sound, de Witte sits at the frontline of the global electronic music scene. She is a DJ, producer and label head who has reshaped the underground with her blend of hard, dark and driving beats and trance tinged synths. Because of this, she is in demand on all the world's biggest stages, has picked up millions of global streams, established her label and its events art as a leading source of cutting edge sounds, and hosted her own KNTXT Turbo Club during Amsterdam Dance Event this year having already played across Europe, the US, UK all summer long.

Her own productions continue to stand out with fresh ideas and spectacular sun designs defining each one. She proves that once more with this new EP which features the alluring vocals of French singer, DJ and producer Marion Di Napoli. "I fell in love with Marion's voice years ago”, Charlotte explains. “She adds a very mystical touch to all her productions that have the power to bring you in a certain trance on the dance floor. I'm beyond excited about this release, on which every track her angelic voice is present.”

Sanctum kicks off with hard and heavy drums that will rattle warehouse walls as the searching synths add a futuristic feel next to twisted acid lines and the spell bound vocals of the angelic Marion. Fourth Dimension is a moody and driving techno roller with the vocals worked into hypnotic, soulful loops that add human warmth to the hypnotic drums and icy hi-hats. It's a warm and mystical world of sound then Fugato is an evocative ambient piece with soothing and exotic vocal coos and great cinematic tension.

This is another innovative EP from the one and only Charlotte de Witte.

The second release from the Époque label is a major one, featuring Niels Van Gogh’s 1998 hit single "Pulverturm”, which earned gold certifications in Belgium and South Africa and climbed into the Top 10 in the charts of many European and worldwide countries. The esteemed Brazilian techno artist ANNA delivers a rework, adding her signature touch to this iconic track.

"In 2023, while preparing for my Tomorrowland set, I was exploring iconic tracks that resonated in Belgium and could be perfect for an edit. I chose 'Pulverturm' for its powerful vocals and strong melody”, says ANNA. “What started as a quick edit turned into a labour of love, and I was so happy with the outcome that I wanted to try to release it as an official rework. We were in conversation with Niels Van Gogh when I sent the track to Charlotte de Witte, who loved it. She introduced me to Époque, and we decided to release the rework together. It's been a year since I crafted this rework, and I've never had so many artists from various genres, Techno, House, Melodic Techno, Tech House, Hard Techno, requesting a track like they did with my rework of 'Pulverturm.' It's incredibly exciting to finally share it with the world!"

Charlotte de Witte adds: “I fell in love with ANNA's masterfully crafted touch on ‘Pulverturm’ the moment she sent it to me. Being a bit of a sucker for legendary tracks that have left a deep mark on the history of electronic music myself, this one just hits all the right spots. It's been a long and challenging road to make it happen but I'm incredibly proud and honoured to have Niels Van Gogh's timeless classic ‘Pulverturm’, seen through ANNA's eyes, for the second release of Époque. A label we founded earlier this year to honour nightlife, club culture and dancefloor legacies.”

The original “Pulverturm” is a twitchy and hypnotic cut with trance infused synths over the top of the rumbling drums. There is progressive energy in the melodies and plenty of emotion in the vocals. ANNA’s version is driving and emotive with sensual vocals and bright, trance infused chords over rolling drums that bring the power.

About Époque:

Époque is a Belgian label and nightlife archive created by KNTXT and run by KNTXT and Charlotte de Witte. In collaboration with clubs and labels, past and present, Époque captures the spirit and lifestyle of our bygone discotheque culture. The Époque label reworks iconic tracks, brings back dance classics and uses club memories and aesthetics to translate these legendary compositions into unique new releases produced by today’s leading electronic music talent. Époque also designs high quality merch and party gear as an homage to the global club scene.

Paranoid London with Water Machine - Decimated Driver Tested over the summer on the stages of our favourite festivals & hot on the heels of the Nu Groove release & the Medlar remix.
Side A is a proper throbber with a vocal chant from Glasgow band Water Machine.
Side B is dubbier, clubbier & bloodier. More speaker testers from people that should know better by now.

‘Let’s take a trip’ – with major names on the psytrance scene Avalon and GMS releasing on KNTXT for the first time, combining forces for a full-on attack, 4-track EP ‘The Underground’, out December 11th. Their joint mission? ‘Combining two worlds where psytrance meets techno, a fusion which will take you on a mind-expanding journey! Welcome to The Underground…you have arrived!

London DJ/Producer Avalon was recently awarded the number 1 top-selling psytrance artist on Beatport with over 30+ psytrance chart #1s and 5 top-selling LPs to his name, and performs at the likes of Tomorrowland, Boom, EDC Las Vegas, Glastonbury, Exit, Burning Man, Ultra, ASOT, Ministry Of Sound,... GMS (Growling Mad Scientists) was founded by Dutch Ibiza-based DJ/Producer Riktam with the sadly late Bansi, to establish pioneering psytrance label Spun Records and to have director Tony Scott no less, using GMS tracks on three of his films. A prolific producer with over 300K album copies sold, GMS holds the most psytrance records released overall.

‘I'm beyond honoured to release this stunning four tracker from psytrance legends Avalon and GMS. With this release, friendships were formed and worlds truly started colliding. I have massive respect for both these artists and their long standing impact on electronic music. This release feels like a bridge between generations and genres. It carries an energy that deserves to be heard, experienced, and felt on dancefloors around the world.’ Charlotte de Witte

Title track ‘The Underground’: hyperspeed trance beats support a wild variety of acid-dripping pulsations, spacey arps, otherworldly swoops, mind-teasing stabs, it’s like a lightshow in sound. That transports its listeners into another dimension. On ‘Horizen’, psytrance thrives, while ethereal vocals call, with intricate sound design painting a mythical soundscape. On ‘Machines’, it’s driven by hypnotic acid lines, pulsating Kick & Bass with sprinkles of techno infused percussion! Its choral notes and alien-like spoken lyrics, both gripping and disorientating as builds & breaks come thick and fast. ‘Rave to the Grave’: constant pulsing high synth and vocals with twanging acid together with frantic percussion create a sustained, agonizing build, build, build – until ‘On the 7th day, the Lord said ‘Let the beat drop!’’ Phew!

‘We are very excited about our debut release on KNTXT ‘The Underground’ and can’t wait to share this 4 track EP with you all. We hope you enjoy it as much as we did creating it. This fusion of techno/psytrance is brought together by all of our mutual love for acid & driving hypnotic dance music! Enjoy… Play it loud! Welcome to The Underground… You have arrived!’- Avalon & GMS

A mind-bending EP, with racing beats that give the ‘trance’ in psytrance a huge adrenalin shot. This is high energy reaching new altitudes; hold on to your brain cells, they’re going for a ride!

Lapalux (Stuart Howard) is a UK-based experimental electronic music producer known for his emotionally charged sound design, intricate textures, and immersive sonic storytelling. With releases on Brainfeeder and widespread critical acclaim, Lapalux has built a loyal global following and earned consistent airplay on BBC Radio 1, BBC 6 Music, and NTS. His work has been championed by DJs including Mary Anne Hobbs, Benji B, and Tom Ravenscroft, and praised by outlets such as The Guardian, Resident Advisor, XLR8R, and Clash. Lapalux's music occupies a unique space between IDM, ambient, and leftfield electronica — rich in atmosphere, detail, and feeling.

On the Grid is Lapalux's latest EP — a deeply intricate, hardware-driven exploration of rhythm and emotion that fuses fragmented IDM with warm analogue tones and deep dynamics. The EP showcases Lapalux's continued evolution as a producer, balancing intricate sound design with powerful melodic undercurrents. It follows years of refinement in the studio, drawing on his signature use of modular synthesis, Digital and analogue hardware and organic imperfections. With a limited vinyl pressing and strong fan demand, On the Grid stands as a key release in Lapalux's catalogue and a compelling addition to any store's forward-thinking electronic selection.

On Xiu Xiu’s new covers album, Xiu Mutha Fuckin’ Xiu Vol. 1 , Jamie Stewart and Angela Seo pay homage to songs that have profoundly influenced them as music lovers and songwriters. This collection taken from the band’s ongoing Bandcamp subscription series, Xiu Mutha Fuckin’ Xiu, features tracks previously exclusive to Bandcamp, now available on vinyl and streaming for the first time. The album showcases Xiu Xiu's unique interpretations of iconic songs such as "Psycho Killer” (Talking Heads), “In Dreams” (Roy Orbison), “Some Things Last A Long Time” (Daniel Johnston), “I Put a Spell on You” (Screamin’ Jay Hawkins) and many more. These renditions are a heartfelt "thank you" to the original compositions, while simultaneously serving as a deep dive into the musicality and greatness of these influential works.

Silvil proudly unveils its fourth vinyl installment, once again showcasing the distinct sonic fingerprint of Brizman. The new EP delivers three original cuts and a masterfully crafted remix from the revered Romanian talent Crihan, solidifying Silvil’s commitment to forward-thinking minimal and dub-infused house.

Opening the record is “Those Nights”, a delicate yet powerful collaboration with vocalist Nina Noy. Brizman’s signature hypnotic grooves intertwine with Nina’s emotive voice, creating a warm and introspective atmosphere that glows with late-night energy. It’s a track that lingers long after the final note, blending intimate storytelling with dancefloor tension.

On “Akiza”, Brizman dives deeper into his dub-oriented palette. Rolling percussion, textured echoes, and evolving bass patterns guide the listener through a rhythmic journey built for heads-down moments and extended sessions. Minimalist in structure yet rich in detail, it captures the essence of Brizman’s immersive production style.

The B-side ignites with Crihan’s remix of “Roll Thah Deep”, where the Romanian artist reshapes the original into a beautifully restrained, gliding groove. Sleek modular elements, subtle shifts, and refined rhythmic nuance highlight Crihan’s unmistakable touch—a remix that bridges meditative flow with undeniable dancefloor momentum.

Closing the EP is “For The Ones You Know”, a contemplative and emotive piece that resonates beyond the club. Deep bass swells, atmospheric layers, and a stripped-back arrangement showcase Brizman’s ability to craft tracks that connect personally, balancing warmth and precision.

Silvil 004 stands as another milestone for the label—an EP that celebrates refined minimalism, dub aesthetics, and the artistry of two producers operating at the height of their craft.

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.

Rotes Vinyl, limitiert auf 1000 Exemplare. 4x A6-Postkarten mit Bandfotos Exklusives Interview auf den Innersleeves. Wir feiern das 30-jährige Jubiläum des legendären Albums ,The Bridge" von Ace of Base - jetzt als limitierte Auflage auf rotem Vinyl, in einem Gatefold-Sleeve und mit 4 exklusiven Postkarten mit Bandfotos. Das ursprünglich 1995 veröffentlichte Album markierte einen neuen Abschnitt für das schwedische Pop-Phänomen und verband unwiderstehliche Melodien mit einem reiferen und introspektiveren Sound. Mit Hits wie ,Beautiful Life", ,Lucky Love" und ,Never Gonna Say I'm Sorry" fing ,The Bridge" den Geist der 90er Jahre ein und bewies gleichzeitig die zeitlose Anziehungskraft der Band. Remastered und auf exklusivem rotem Vinyl gepresst - eine unverzichtbare Sammleredition für jeden Ace-of-Base-Fan.