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What does it mean to actually experience another City, one of such historical and cultural'd'asignificance as Detroit, A city that truly expands the capacity of Human love and resilience. Just to be there…?'d'aWhat sound do the birds make?…? What colour are the buses ? …?. What sounds do we hear in the streets'd'a?…? It's like one step beyond just experiencing a place but truly absorbing it as if it becomes a little piece of'd'aus. That's the only way you really get to understand the groove, the little everyday things that make the'd'apeople tick, their daily grievances and small moments of collective joy culminating over lifetimes. That is'd'awhere you get to the essence, the secret sauce and Lord knows this City is oozing with it.'d'aIn July 2025 Ziggy undertook a 6 week residency in the motor city with no concrete plan other than getting to'd'athe roots of a deeply layered and rich musical culture. One that has been a guiding light for many of us..'d'aWhether you are coming from the generation of Motown through the 1st generation of techno to hip hop'd'arevolutionaries, the city has left an undeniable mark on the history of American Music.'d'aAfter meeting at a weeknight vinyl session at a downtown bar, Ziggy and Malik realised they already knew'd'aeach other's work and immediately made plans to hook up in the studio. Malik being a Lifelong Detroiter with'd'aa background as a Gospel keyboardist and Singer turned House dancer, producer and DJ it was no wonder'd'ahe was a perfect addition to the Label Roster. To accommodate the sessions local turntablist and producer'd'aDJ Moppy kindly offered up his home studio and we shared many great records and vegan hot dogs in his'd'aleafy backyard.The music is primarily inspired by the enduring and charismatic folks we encountered in the city, their stories'd'aand personalities live on through the continued Musical Legacy of the city.'d'aSpecial thanks to Mike Banks, Cornelius, Crystal, John '?Jammin'? Collins (R.I.P) Rick Wilhite, Wajeed and all'd'aof the Underground Resistance family who hosted us. DJ Moppy, Meftah, Badriyyah, Raj Mahal all in the'd'abuilding!'d'aGospel and jazzy infused electro-funk and deep-house, a collaboration between one of Detroit'?s'd'aunderground dons Malik Alston and Ziggy Zeitgeist of EXREC. The result of a six week pilgrimage to Detroit'd'ain 2025, Zeitgeist set up shop in DJ Moppy'?s living room and the results are deep, dark and funky'd'a'd'a.

COUNTRY GREAZE is the 2nd independent album released by multi-Platinum-selling artists, Sigma - their 5th studio album overall. COUNTRY GREAZE is a bold, high-concept body of work that visually and sonically collides the raw, underground energy of Drum & Bass with the refined grandeur of a country manor backdrop. Sigma’s idea of blending high-octane basslines, heavyweight lyricism and tongue-in-cheek cultural contrasts flips expectations — pairing gritty rave culture with aristocratic imagery to create a striking, rebellious aesthetic. Its muddy boots on marble floors, signet rings next to gold chains. Sigma say, “The COUNTRY GREAZE concept was to create an exaggerated version of our lives in the countryside and then pull our guest vocalists into to it to see what happened. Obviously, we don’t live in grand manors, but for this we do! Its great having the creative freedom to bring an idea like this to life and we’ve had a lot of fun making it.”



The 12 tracks incorporate a variety of influences including the reggae-infused WATCHIN’ U, the hip-hop inspired NEED U NOW and BACK 2 LIFE featuring legends of UK Sound System culture, Soul II Soul. These influences, together with garage, jungle and grime, can be heard throughout the album. One of Sigma’s aims for this album was to celebrate the scenes and artists that have shaped their journey whilst pushing their sound firmly forward. COUNTRY GREAZE has certainly delivered on this with the project showcasing fresh sounds whilst bringing together a heavyweight cast of UK talent including Danny Byrd, Professor Green, Kurupt FM, Basslayerz, Dutch & Graft and many more. In addition to the 6 singles that Sigma have released in 2026, COUNTRY GREAZE unleashes another 6 bangers which have only been heard in their DJ sets this Summer and whose release has been highly anticipated by many fans of Drum and Bass. In addition to the 6 singles that Sigma have released in 2026, COUNTRY GREAZE unleashes another 6 bangers whose release has been highly anticipated by DnB fans since Sigma started playing them at their 45 gigs this Summer.



The first of these is the album’s focus track, THE DAYZ, featuring the spoken words of Jude Moore who hits the proverbial nail on the head with his nostalgic look back at life growing up in the UK around the turn of the millennium. It’s no surprise that he has a massive 670k TikTok followers as his words speak profoundly to an entire generation. With talk of house parties and care-free fun layered over space-disco synths, THE DAYZ exudes a nostalgic vibe before skilfully blending it with punchy drums and a chunky bassline bringing it straight to the here and now. This uplifting track is guaranteed to inspire any listener to think about the best nights of their lives and say, “Ah geez, those were the days!” Similarly, FABRIC, named after the club that helped shape the Sigma sound back in the 2000s, has the same ethos – classic sounds with cutting edge production. Its euphoric multi-layered synths and deep sub bass fully encapsulate the many late nights spent by Cam and Joe in Room 2.



Sigma also unleash the mighty ALLIGATOR. This much-hyped track has been killing dancefloors one snap at a time since the start of the Summer. The old movie samples and ominous synths in the intro give warning of the impending doom before attacking the listener with its enormous bassline and ferocious drums. Its 36ft long and weighs over 2000lb and its coming to a dancefloor near you.

Jotel’s new EP on Warning calls upon long-time family and scene staples for a masterclass in stripped-back, high-impact dancefloor mesmerism. Shifting between rough-edged modular electronics and deep, organic aesthetics, the EP transforms the finest raw machine funk and 2000s-era progressive into mind-bending club anthems.

Opening the A side ‘Udo Suppi’ sets the tone with a rolling, space-infused groove. Driven by a buzzing, high-voltage bassline and fluid synth work it’s nodding to that golden crossover era where progressive house, early trance, and dark, driving techno collided. Followed by non other than the legend S.O.N.S, for many years a regular fixture behind the Warning decks, takes the track into his own sonic vortex, re-imagining the original with his signature deep-psy precision and intricate percussive drive.

On the flip, ‘Absolvere’ pushes deeper into trippy territory. A long-form, evolving journey built on rolling stabs, fluid arrangements, and an electric undercurrent. A track designed for special hours, late-night car rides, and fog-filled rooms. Closing out proceedings, Düsseldorf’s Trancesetter of Westphalia return to the label to rework ‘Absolvere’, injecting their trademark tribal energy and acid-laced, peak-time madness into the fold.

More than just a genre exercise, whether you call it Retro Goa for the club, Dark Progressive, or simply pristine, full-flavored dance music. WAR1211 is a celebration of long-standing friendships, raw hardware exploration, and strictly unlimited dancefloor fuel.

Allererste Vinyl-Pressung ihres Klassikers ,I Cry While You Sleep" veröffentlichen - eine limitierte grüne Auflage. Als wären sie direkt aus der Dämmerung gewoben, wirken Pearly Drops auf Anhieb vertraut und doch für immer unerreichbar. Vor dem Hintergrund wogender Trommeln und raffinierter Percussion-Motive vermitteln die beiden eine Atmosphäre erdverbundener Romantik - ein willkommener Kontrast zu unserem zunehmend digitalen Leben. Indem sie verwaschene Vocals mit knackigen Gitarrenriffs und ausgefeilten Synthesizer-Klängen verbinden, vermeiden sie jede Art von Pastiche und setzen stattdessen auf ein bewährtes Rezept. Pearly Drops, die von Helsinki aus agieren, sind für manche noch ein neuer Name, doch Tervonen und Malin sind ein eingespieltes Duo. Neben ihren eigenen Produktionen haben die Labelbetreiber und vielseitigen Künstler Kompositionen für Acts wie ALMA, Nightwave und Inga Copeland beigesteuert. Für ihre Zusammenarbeit mit anderen haben sie Gold- und Platin-Schallplatten erhalten und wurden mit dem Teosto-Preis ausgezeichnet - einer der renommiertesten Auszeichnungen der nordischen Länder.

Space Afrika, das in Manchester und Berlin ansässige Duo aus Joshua Tarelle Reid und Joshua Inyang, schafft rohe, detailreiche und eindringliche Musik mit Anklängen an Ambient, Trip-Hop, Techno und moderne Klassik, wobei es aus den Konturen seiner Stadt weitläufige urbane Dub-Landschaften entwirft. ,Quiet Storm" erweitert ihren Klang und ihre Bandbreite zu einer weitläufigen, kollaborativen Vision, die mit tiefer Geduld und Absicht geformt wurde und ihre eigene Coming-of-Age-Geschichte in eine bewegende Suite kathartischer Abstraktion einbettet. Die Songs spielen auf Spiritualität und die conditio humana an, auf die Spannung zwischen Kühnheit und Sanftheit, Ehrgeiz und hartnäckigen inneren Dämonen. ,Quiet Storm" ist eine Antwort auf den Werdegang des Duos seit der Veröffentlichung von ,Honest Labour" im Jahr 2021. ,Wir haben uns selbst und unsere eigenen Vorstellungen von Identität herausgefordert, insbesondere in Bezug auf Klasse und Diaspora, und wie dies in verschiedenen Musikgenres dargestellt wird. Wir wollten die Charakteristika unseres Projekts durch die Menschen zeigen, mit denen wir zusammenarbeiten wollten", sagt Reid. Inyang merkt an: ,Bei der Entstehung dieses Albums haben wir keine Kompromisse gemacht. Die Idee begann als eine Hommage an die Kunst der Schwarzen. Unsere Kooperationen waren sehr bewusst gewählt, als wir die Grundpfeiler der Geschichte entdeckten." Von der multidisziplinären Natur des Projekts zeugt die Beteiligung des gefeierten Künstlers Glenn Ligon, dessen Werk sich mit schwarzer Identität und Queerness befasst. Ligon, der zu Beginn der Aufnahmen eine zentrale Inspirationsquelle darstellte, stellte sein Werk ,Figure #30" (2009) für das Cover-Artwork zur Verfügung und erklärte sich nach Abschluss der Aufnahmen bereit, dem Projekt seinen Namen zu geben - eine beispiellose Geste dieses wegweisenden Künstlers. Beim Anhören der endgültigen Fassung dachte Ligon an ,Quiet Storm", das Radioformat der 1970er Jahre, das für seine sanfte Late-Night-Programmgestaltung mit Themen rund um Leben und Liebe bekannt war. ,Quiet Storm" führt den Hörer durch verschiedene Szenen, Zwischenspiele und Handlungsbögen, geprägt von dem Gefühl, dass seine Bewegung fließend und seine Figuren flüchtig sind. Monologe vor dem Spiegel setzen sich mit dem Existentiellen und dem Unmittelbaren auseinander: Überleben, Autonomie, Sinn. Das Album beginnt mit dem explosiven, von Streichern begleiteten ,Vanity", bei dem die Grammy-Preisträgerin Axelle Fanyo zu hören ist. Zunächst auf die Spalten eines stillen Raumes fixiert, entfaltet sich ,Vanity" unter Fanyos ausdrucksstarkem Sopran und durchläuft ein breites emotionales Spektrum von erhabener Kontemplation bis hin zu ergreifendem, herzzerreißendem Schmerz. Auf dem gesamten Album werden gesprochene und gesungene Worte sparsam eingesetzt, um eine kraftvolle Wirkung zu erzielen. Die Schönheit und Katharsis von ,MLN" ist ein kollektiver, langsamer Marsch, bei dem der britisch-nigerianische Künstler Tony Njoku mitwirkt, begleitet von Gabriel Evans an Gitarre und Lead-Bass, PIKE aus London am Schlagzeug und GB aus Kopenhagen an Keyboards und Streichern. Der letzte Satz verleiht ,Quiet Storm" seinen krönenden Höhepunkt. ,If This Is Hell" ist in einem einzigen Take als Bewusstseinsstrom des New Yorkers Deuén aufgenommen, dessen nachvollziehbare Spirale geistiger Aktivität von jazzigen, frenetischen Percussion-Klängen begleitet wird. Das Druckventil öffnet sich, als die phasenverschobenen Drums und die scharf beobachtenden, dialogartigen Phrasen abrupt nach der Zeile ,I wonder if that's what heaven's like?" abbrechen. Wir bleiben in der Behaglichkeit des Album-Closers ,Regards" zurück. Regentropfen treffen auf Orgel, Drone, Streicher und Keyboards, während das Nachladen von Waffen dem ruhigen Summen gegenübergestellt wird. Schwer und doch hoffnungsvoll erinnern Joshua Tarelle Reid und Joshua Inyang an ihre bisherige Reise. Als passend geheimnisvolles und mitreißendes Outro für ihr offenes Opus ist ,Quiet Storm" ein Meilenstein: selbst produziert, selbst finanziert und aus purer Tatkraft und Überzeugung entstanden. Durch verzerrte Zeit und schummrigen Dunst ist Space Afrika zweifellos angekommen

Following up the launch of his own Dustbin Digs label, Manchester local Rossiter piles four of his own atop the stack of goodtunes97 wax.
Side A lifts off into the clouds with Feels So Good. The rhythmic shuffle, hint of UKG, and a determined bassline get to the gate as spacey chords are cleared for takeoff. Go Straight carries the trajectory, pressurizing the cabin in breezy dubbed transit. Keys vaporize on the periphery as Rossiter mitigates turbulence with careful cadence, maneuvering high-altitude with grace.
With two stops still to go, the B-Side gets off and running upon arrival. Round & Round kicks up dust as the low end stomps out the homestretch, tenaciously hitching a ride to our final destination. P45 is the long awaited return to familiar territory – nostalgic chords carrying beats so blissed they stutter. Interview samples from legendary UK producer/DJ Grooverider give the track a cultural anchor, connecting its contemporary sound to the lineage of UK dance music and the culture that shaped it.
Each side balanced with equal parts heavy and light, Rossiter’s Round & Round EP firms up the fifth release for goodtunes97.
– Forrest Camire

Rich Oddie of Orphx and Alex Pi of Pi Electronics introduce Anaxia, a new project arriving on Veyl with the 7-track LP “Maska”.
Built from raw electronics, stripped-down drum machines and a stark post-punk pulse, the record sits somewhere between industrial pressure and the ghostly minimalism of Suicide. It is direct but shadowed, physical but restrained, with vocals from Oddie and Pi cutting through the machinery rather than sitting on
top of it. Oddie’s background in Canada’s industrial underground and Pi’s long-running connection to the Greek electronic scene meet in a sound that feels tense, reduced and fully intentional. KAOSMOS and Florian Engerling add additional vocals, while remixes from In Trance 95 and Veyl regulars Years of Denial extend
the material into darker, more hypnotic territory. With “Maska”, Anaxia deliver a debut that feels fully formed: nocturnal, focused and stripped to its essentials. A natural fit for Veyl, the record draws a line between post-punk, industrial electronics and body music without overexplaining itself.

Channeling his honed sample craft towards the ominous portent of modern times, Romare returns with his fifth album Oblivion, with the previous 3 out of 4 LP's appearing on Ninja Tune. Across a suite of downtempo, broken beat, bubbling grooves and brooding reveries Archie Fairhurst threads a narrative that wrestles with the big questions of the present moment — the tipping points of the planet and technology, the fight for social justice and the power structures that govern our existence. While his trademark source material continues to cast a long line back through recorded history, this is Romare at his most contextual.

Nothing is placed by accident. 'Machines' hums its throbbing 4/4 pulse along to a German language recital of Johann Wolfgang von Goethe's 'Blessed Longing' — an enduring reflection on the human condition that rings true from way back in the 19th Century when it was written. 'Computer Love' slinks into a sumptuous trip-hop lull laced with sci-fi flourishes sculpted from samples of old computer documentaries — a bittersweet romantic backdrop to our complicated situationship with the devices in our lives. 'Take Us' goes one step further on its hard-stepping boom-bap strut as a subtle tale of possession by screens unfolds around Romare's signature strain of technicolour mutant funk.

There is space for optimism in the message on Oblivion as well — the strength of the suffragettes as a benchmark for social justice and activism amidst the speakeasy slink of ‘Deeds, Not Words', and spring-loaded acid house joint 'Change' pointing to the need for positive action in the face of imminent calamity.

The artwork for the album follows Fairhurst's thought process, drawing on Edvard Munch's iconic 'The Scream' along with Philippe Halsman and Salvador Dali’s ‘Voluptuous Death’ to help render the ideas of the album visually.

The wild ride of Oblivion races towards a final beguiling opiate on 'The Last Lullaby' — the perfect sedative after the rush of information and emotion that comes with a full-length trip through Romare's vivid, uniquely creative world of sound.

Wow! Chapter 16 of this successful and influential series. This time compiled by Michael Rütten (Soulpatrol) and Michael Reinboth. After 30 years of sharing the love for music and a friendship it‘s about time for these two to get together for a musical trip around the world. Voted one of the best electronic music compilations by music magazines such as Groove, Mixmag, FAZE and DJ mag. With the launch of the series in 1995, it’s fair to say that Michael Reinboth or Compost essentially pioneered and established the future jazz genre. Further info about the artists upon request.

Grammy Award Nominated 'Solace' LP pressed on 180gram vinyl with a gatefold jacket.

It is through this seamless transcendence of styles that their own sonic realm has unfolded; a landscape painted with the club culture of yesteryear and a poignant yet infectious ability to be ever in the moment.

The Age newspaper called Solace "a triumphant record", writing that "Electronic music is often thought of as harsh and unlistenable, but Solace is delicate and incredibly sophisticated in its production. The lyrics hinge on one central theme of yearning, whether that be for change, company or space."

Vancouver r&b lover and multi-instrumentalist Kutcorners turns his attention to two classic cuts on his The Freshest Recordings label. He kicks off with a rework of Control-era favourite 'When I Think Of You ', which he reworks as a lithe and slippery bass-first bounce that is seductive and steamy. On the flip, it's 'Got Til It's Gone' that gets pulled apart and rebuilt as a gentle bumping but decidedly late-night slow jam with silky soft chords and the original vocals slightly smudged and pitched up amid some old-school scratching and hip-hop bars. It's persuasive and tasteful and sure to get r&b heads hot under the collar.

2025 repress

Repressing of Larry Heard's return into the spotlight with another classic release after all those years! A fantastic 12 presenting the gifted Memphis based vocalist Mr. White (aka Chad White). 'You Rock Me' is a soulful affair, created to be timeless, while 'The Sun Can't Compare' is a fun play with vocals over a typical Larry Heard acid track. Must have for all fans of good house music!!

In August 2022, Australia-based, French born fourth-world music legend Ariel Kalma was invited to participate in BBC Radio 3"s Late Junction series of special collaborations. The program pairs artists that have not previously collaborated to create new music together. Kalma was quick to suggest working together with two musicians whom he has never met - the International Anthem recording artists Jeremiah Chiu & Marta Sofia Honer, whose critically-acclaimed duo debut Recordings from the Âland Islands had been released just a few months earlier. Kalma sent an invitation to Chiu and Honer, which was received with great enthusiasm. Chiu had been a fan of Kalma"s work for a long time, even citing him as a major influence on his approach to electronic music composition. After meeting their goal of 20 minutes worth of music for the program (which was four pieces total), the three musicians were satisfied in what they would present, and sent along their work to the producers of Late Junction; but simultaneously they felt like there was much more to be said, more work to be done. There were several pieces that they had nearly completed that weren"t sent for inclusion in the radio program, and there were many ideas for refining those that had. The three musicians collectively agreed that they would continue work together and try to push the music further. The Closest Thing to Silence is the result of their efforts to take the collaboration further.

Three years on from the release of his critically acclaimed second album as Tambores En Benirras, Graham Newby returns with album number two, a glorious celebration of the mystical, magical and life-affirming musical meditation on stretched-out sunrises and the breathtaking beauty of dawn.

Newby has more reason that most to cherish picturesque and soul-enriching sun-up moments. During the process of making second set Onda Horizontales, the long-serving Cumbrian DJ, crate-digger, beat-maker and producer’s sight deteriorated to such a degree that he was certified ‘registered blind’. As a result, new working methods were found, with Newby delivering widescreen Balearic visions as much from muscle memory and feel as the visual environmental cues that once fired his imagination.

Third album Alba Amba – ‘amber dawn’ in English – finds Newby in dawn-ready mode, serving up music to soundtrack stunning sunrises and those clear early morning moments where anything seems possible. It’s a simple idea, beautifully executed, with the artist once known as Gripper conjuring up a meditative and mesmerising mix of slow-burn aural colours, tactile textures, gradually unfurling chords, and heady melodic motifs.

Newby sets his stall out with the smouldering, pre-dawn bliss of the jaw-dropping title track, where reverb-laden female vocalisations and twinkling electronics usher in a golden dawn, before reaching for shimmering, sun-bright melodies, heart-stirring chords and undulating TB-303 lines on the ambient acid chug of ‘Bucanero Acido’.

Newby’s instinctive grasp of mood and texture comes to the fore on the drifting, soft-focus ambient dub head-nod of ‘No Se Me Pasa’, where strummed acoustic guitars, echoing vocal samples and weighty low-end warmth catch the ear, while his history of dusty downtempo beat-making – originally explored on his early 2000s releases for Grand Central Records – informed the dancehall-meets-trip-hop fusion of ‘Batalla De Etiquettas’.


With its epic, head-turning ambient intro, raw electronic bass, effects-laden hand percussion and slow, restless build, this triumphant closing cut signals the moment the sun has well and truly arrived above the horizon. It’s a genuinely stunning conclusion to a soul-stirring set.

A two-way Italian/Mexican stand-off here, as Saint Wax founder Gledd (real name Eduardo Barbi) and Kaninchenbau label chief The Funk District (Fernando Mendoza) deliver their first joint EP since 2022. The latter steps up first with two solo workouts- the Clavinet-splashed nu-disco-goes-bluesy deep house shuffle of 'The River Bends Back' and the Rhodes rich deep house disco of 'Got To Be Alright' - before the duo combine on two collaborative cuts. 'I Said' is a gospel-powered slab of ever-building disco-house hedonism, while 'Down The Middle' is deeper, more bass-heavy and topped off with classic soul vocal samples. Gledd then takes over, following the infectious piano house bounce of 'I Said' with the colourful, acid-flecked excellence of 'Blessin'.

Those who’ve followed the career of Aussie disco don Dr Packer should be familiar with the Surgery Edits name – it was the series of mostly self-released re-edit EPs with which he launched his career back in the 2010s. Wax Digits boss Fingerman has not confirmed that this double 12-inch is the Australian’s work, but since he has released previous instalments in the series, it is likely to be. Either way, there’s plenty to set the pulse racing throughout, from a lolloping and loopy disco-house style rub of Chewy Rubs ‘Future Freak’ and a similarly chunky, house-style rush through V’s ‘Muzik Got Me’ (itself a take on an early 80s NYC classic), to the chugging, organ-rich disco-goes-deep house re-tweak of BO’s ‘Nites’ and a peak-time-ready bounce through the disco-funk edit excellence that is BC’s ‘Shake’.

Over 10 years ago, Leon Michels released his first full length record, Sounding Out The City. It was Michels' first full length record under the moniker El Michels Affair. At the time, the budding retro soul scene consisted of mostly organ quartets a la The Meters and of course, Sharon Jones & The Dap Kings were in the early days of their ascent to world domination. Leon Michels, who was 18 when recording Sounding Out The City began, had just released Thunder Chicken, the first record by his high school band The Mighty Imperials. At the time of SOTC, Michels was just discovering early rocksteady, afrobeat, and 60's garage rock, which inevitably crept its way into the songwriting. He purchased a Tascam 388, an 80's 1/4" reel to reel 8 track intended for home recordings, and began recording music in a 10x10 box with no windows that also doubled as his childhood bedroom. Along with fellow Mighty Imperials Nick Movshon, Homer Steinweiss, and Sean Solomon, and Michael Leonhart, Thomas Brenneck, and some of the musicians from The Dap Kings, Michels recorded the LP over a two year period. Upon it's release, it received some rave reviews and the small deep funk community ate it up, but due to the lack luster promotion and distribution the rest of the world was slow to catch on to the instrumental gems featured on SOTC, which Michels appropriately labelled as "cinematic soul". However, in 2005 it found it's way into the hands of the people who were organizing a series of concerts for Scion that paired bands with MC's. El Michels Affair was contacted about playing one show with Raekwon The Chef of Wu Tang Clan fame. The show was such a success it led to a tour, and then to another set of concerts that featured multiple members of the Wu-Tang Clan. This eventually led to the release of El Michels Affair's second record, "Enter the 37th Chamber" which introduced them to a much larger audience and has been their most successful release to date. Michels has since gone on to produce and co-produce numerous records for powerhouse soul artists like Lee Fields. He shares songwriting credits with Adele, Jay-Z, Ghostface Killah, Aloe Blacc, and has played on records by Ray LaMontagne, Lana Del Rey, The Black Keys and Dr. John.

Matthias Reim ist zweifellos ein großfühlender Mensch. Ein beneidenswert produktiver Zeitgenosse ist er sowieso. Vor bald 35 Jahren hinterließ der Vollblutmusiker und Songwriter einen Aphorismus von bleibendem Wert: "Verdammt, ich lieb' dich". Liedzeilen, die aus einer Laune heraus entstanden, formte der damals 32 Jahre junge Mann zu einem Mammut-Refrain, der zu einem Millionenseller gelangte. Er hat rund zwei Dutzend Studioeinspielungen veröffentlicht, etliche davon brachen in Gold- und Platin gegossen Verkaufsrekorde. Auf dem neuen Longplayer "Zeppelin" präsentiert Reim seine 16 neuen Songs so frühlingsfrisch und auf den Punkt gebracht wie ein tatendrängender Newcomer. Einer, der sich gleichzeitig eines enormen Musikmacher- und Lebenserfahrungsschatzes ermächtigen kann. Anders lässt sich die gesteigerte Wahrhaftigkeit in "Zeppelin" nicht erklären. Reims Rock klingt heute handgemacht-rockiger als je zuvor, die Refrains sind größer geworden und die Balladen balladesker. "Zeppelin" ist kurzum der beste Reim aller Zeiten.

Gavin Belton's move back to the UK after years in New Zealand brought him back into the fold with old Littlemen cohort Steve Lee. They played a few gigs together then got back in the studio for the first time in 15 years. Belton's use of the Korg Opsix is what gives these deft deep house cuts their character while Lee adds the vocal lines to 'People Are You Ready' for a ghostly, shadowy, low-lit sound. LA-based DJ, producer and HAWT promoter Mikey V steps up on the flip for the lithe dub house of 'Smooth' while Giom pulls it into darker territory that echoes the old Murk sound. Lee rounds things out with a remix of the A-side that has a persuasive late night bump.

On 24th May, 2024, the exact day of its Golden Jubilee, Diamond Dogs will be issued as a limited edition 50th anniversary half-speed mastered LP. The first single from the album, ‘Rebel Rebel’, reached number 5 in the UK and the album would also reach similar heights on both sides of the Atlantic reaching number 1 in the UK and number 5 in the USA.



This new pressing of Diamond Dogs was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original master tapes, with no additional processing on transfer. The half-speed was cut by John Webber at AIR Studios



The writing of the album was influenced by Bowie not being able to secure the rights for a theatrical production of George Orwell’s 1984 and the work of William S. Burroughs, whom Bowie had interviewed for Rolling Stone in November 1973. The songs on the album created an urban apocalyptic scenario with Bowie appearing on the cover as a controversial half-man, half-dog hybrid painted by the Belgian artist Guy Peellaert from photos by the world-renowned photographer Terry O’Neill. Since its release, tracks from Diamond Dogs have been covered by artists such as Beck, Tina Turner, Duran Duran, Def Leppard, Joan As Police Woman, Dead Or Alive and The Struts.

Det Gode Selskab continue their quest as they call on Berlin-based Italian artist Busso. An artist who continues to express himself through a multitude of vibes and sounds, fitting perfectly with the free-flowing DGS ethos. ‘Anna In The Jelly’ wanders between four different cuts, teasing animated deep house energy combined with stripped-back minimal flavours. A reflection of Busso’s versatile taste, he encapsulates four sure shots for your summertime record bag. A tale for the sun worshipping dreamers, soundtracking the warmer months.

Diving straight in with ‘Sexual Desire’, Busso delivers perky and playful peak-time action, with a clean-cut, feel-good energy from the word go. A vintage feel emerges through the vocals and crisp drums, working in sweet harmony. Slick hi-hats lead the way in ‘Don’t Be Afraid’ before you are confronted with a killer elasticated groove synonymous with the Italian’s sound. Beautiful chords appear at the midway point, spiralling into paradise.
The B-side kicks off with the title track, constructed in a distinct chunky manner. Squelchy mechanical tones manoeuvre around the mysterious drive of the track. Moody as it moves, it’s one for the darker nights on the road. Last but not least is ‘Red Print’, tightly packaged and incredibly detailed, with quirky obscurities flashing throughout. A steady motion perfectly sets the tone as you start to build the floor.
This record cements an exciting future for the label, as they look to continue elaborating on their catalogue, ever-evolving and expanding their width of sounds with one of the most exciting prospects currently in the German capital.

Reissue of this italo classic with Flemming Dalum remix!

‘Some records are simply timeless. Some are pure magic. And some represent the very essence of what makes Italo Disco so extraordinary. Originally released in 1983, Harry ‘O by Noa-Noa is one of those truly unique Italo treasures.

Written by Guido Ranzani and Luigi Piergiovanni, this outstanding production combines a hauntingly beautiful melody with exceptional electronic arrangements, capturing the unmistakable spirit of the golden age of Italian electronic dance music.

It is both a huge honour and a personal pleasure for me to present my own interpretation of this extraordinary masterpiece.

The Flemming Dalum Remix stays faithful to the original vintage Italo atmosphere, while injecting fresh energy, more power and a contemporary electronic edge – without losing the magic that made the original so special.

And then there’s the Flemming Dalum Dub Version – taking things even deeper into Flemming’s dark signature underground sound. A powerful journey into hypnotic sequences, driving electronics and pure ELECTRO ITALO territory! This release is something truly special to me. Not simply another remix, but a celebration of the incredible creativity and musical vision that defined the original Italo Disco era.

And above all, a heartfelt tribute to the late Luigi Piergiovanni, whose musical legacy will continue to inspire generations of Italo Disco lovers.

Respect to the original. Passion for the sound. Keeping the Italo spirit alive.

Extremely proud and honoured to be part of this extraordinary release.
ITALO FOREVER!’

Flemming Dalum

A seasoned DJ and producer with a long-standing presence in New York’s underground dance community, Olive T has steadily built a reputation through her genre-fluid sets, productions and affiliations with key institutions like The Lot Radio and Nowadays. With past releases on labels like Nervous Records, 2MR and Permanent Vacation, her sound is deeply rooted in classic house traditions while consistently pushing forward with contemporary flair.

Following her contribution to Creaked’s 20th Anniversary compilation in 2024 with the hypnotic track "Salt Reflection", New York-born, Geneva-relocated artist Olive T makes a full return to the label with a proper debut release, Light On. This 4-track EP encapsulates her deep understanding of house music’s rich lineage while illuminating fresh sonic perspectives, complete with a standout remix from Swiss luminary producer Deetron.

Bassist, composer and arranger Bill Lee (who is the father of celebrated Director Spike Lee) helmed numerous Strata-East projects, but this is the one that most stands apart. The Descendants of Mike and Phoebe is a one-off 1974 album uniting Lee with his siblings Cliff Lee, Grace Lee Mims and Consuela Lee Moorhead under a name that pays honour to their enslaved ancestors. Elements of jazz, gospel, soul and blues are threaded into a work of complexity but spirituality, with nimble, dancing grooves next to more pensive explorations. It's a sought-after rarity from the label's catalogue that has been freshly remastered for this reissue. Essential Strata-East history.

Children of Zeus return with their third studio album ‘As The World Burns…’

Five years on from their highly-acclaimed sophomore album ‘Balance’, Manchester’s kings of hip hop soul, Tyler Daley and Konny Kon, bring us a brand new 16-track opus.

Sonically the duo continue their story where they left off; crafting an amalgamation of street soul, alternative r&b and boom bap hip hop, with a sprinkle of flavours taken from their original multi-genre pirate radio influences, and a dash of forward-thinking new sounds, ensuring all tracks are destined to become future classics.

The features are sparing but powerful, enlisting the talents of revered UK rapper Knucks (‘Before We Drown’), Colorado-native Young Old Soul (‘Dopamine’), MCR family K S R (‘Do You Want To Get High’, & Australian/Mauritian up & comer Anieszka (‘Water & Vibes’).

As with previous projects, this album is largely produced by the duo themselves, though there are guest productions from previous collaborators too, including Grammy Award-winner Beat Butcha, Grammy-nominated Teo, and broken beat pioneer K15, along with an assortment of new players making moves in the underground neo-soul & beats circuit.

Conceptually, this project continues on with the story to date. An eternal search for sunsets and soulfood, as a respite to the anxieties of the modern world; personally, professionally and globally. Assertive swagger is matched with brutal but sincere candidity. As ever, it encapsulates the rough with the smooth, with reflections on where they’ve been, where they’re at and where they’re headed. There’s no preaching to be found here; just an acceptance of things as they are, an embrace of the environment and people they were nurtured by, and a celebration of some of the finer things in life; slow jams, weed & rum, water & vibes. Raps for listeners, blunt heads, fly ladies and prisoners. All packaged together as another perfect sonic love letter to sound system culture. 50 minutes of big people music.

Since the release of their anthemic debut single ‘Still Standing’ a decade ago, to the subsequent EP ‘The Story So Far’, and their critically-lauded debut album ‘Travel Light’, the duo have received numerous accolades, including nominations for AIM Awards & Worldwide Awards both, along with tons of ‘Album of the Year’ nods care of Clash Magazine, Bandcamp, Complex, Wordplay and many more. This along with huge swathes of support from DJs, radio stations, press outlets, tastemakers, luminaries & fellow artists across the globe.

Children of Zeus have performed sessions for COLORS, Soulection (Apple Music), DJ AG, Boiler Room, BBC 6 Music and at the infamous Maida Vale studios for BBC 1Xtra as well as touring across Europe, Australia and South Africa. This is in addition to collaborating & touring with Mercury Award Winner’s Ezra Collective, including a Wembley Arena show. Other collaborations over the years have included Shy FX, Juls, Goldie, Black Milk, Kofi Stone and the late great Lenzman.

From the Broke ’n’ English / Hoodman-era, to the present day, Children of Zeus have been omnipresent in the fabric of British black music. Proud ambassadors of Manchester music, and of UK soul, it really is “Zeus to the world”.

Children of Zeus have been adorned with plenty of flowers over their career. The unbridled quality and poignance of the music and the message on display throughout this project will see the algorithmic needle move some more. It’s undoubtedly set to be a Zeus Summer. As the world burns…

Available on all digital platforms and physical formats, Friday September 4th 2026.







t 07: Do You Want To Get High? (feat. K S R ) - Children of Zeus03:26







t 07: Do You Want To Get High? (feat. K S R ) - Children of Zeus03:26







[t] 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[t] 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[g] B3 | Do You Want To Get High? (feat [ K S R ]) - Children of Zeus03:26

Antivenom is the fourth album from Portland melancholic dark alternative trio Darkswoon, refining their blend of darkwave, post-punk, and shoegaze into a focused and emotionally charged statement.

Built on a hardware-driven electronic foundation, the album pairs cold mechanical textures with an intimate human core, carrying Jana Cushman’s ethereally soaring vocals as they con-front themes of loss, anxiety, fear, and inequality with unflinching honesty. Norah Lynn’s melodic, gritty bass lines weave through Rachel Ellis’ propulsive rhythms, while Cushman’s guitar creates a dense sonic web that occasionally drifts into more expansive shoegaze territory.

Cohesive yet urgent, Antivenom unfolds as an atmospheric whole filled with cautionary messages and the weight of words left unsaid, capturing a band confident in its evo-lution and singular voice within the dark alternative landscape

Still Music & Jerome Derradji Present - Chip E – The Architect Of House: Chicago 1984–88 (Volume 1)


Still Music, under the guidance of Jerome Derradji, proudly announces a landmark archival release celebrating one of house music’s true originators: Chip E.
Titled The Architect Of House – Chicago 1984–88, this definitive series spans three double LP volumes, documenting the raw foundations and forward-thinking vision that helped shape an entire genre.

HVS is truly pleased to welcome Cash Kru and Tweeleaf to the label. Two of the hardest working kids in Jungle/Hardcore IMO. With a ton of quality releases under their belts, they just had to get pressed up, because these tunes are absolutely phat!

Cash Kru runs the Asionyta label out of Belgium along with Expo, F.T.C Project & Tweeleaf. Super wicked label putting out digital releases as well as lathe cuts, disks and cassettes. She has loads of top tunes on there, and not strictly Jungle either! She also runs the Devil Dubs label putting out very very quality Jungle. I highly recommend checking both out if you want some gritty, ruthless Drum & Bass.

Tweeleaf out of Pennsylvania (funny enough the same small town the rest of my family is from) also has releases out on both labels as well as his own, Interim Records, focusing on digi singles from him, all currently being sold at “Name Your Own Price” which is insane considering every release is excellent.

These tracks were made with a combo of DAW and emulated Amiga (more info on the center label) and all four are just Heavy as hell. I've been playing them out live a ton and every track crushes the dance floor. Someone always demands the rewind on “Militant Jazz” which is funny because the buildup is so long, but by the time it drops everyone loses it!

A1. starts off the EP on a more mellow tip with a vibey Soul Pride, Think & Amen mashup from CK. The switch up into the 2nd half phased out Amen is so seamless, it's a great way to get the EP going.

A2. goes straight into the ruffness with a relentless amen tune mixed up with some mysterious/jazzy chords/vox all summed together in PT2.

B1. is a remix of a tune of mine that never came out, but CK asked for the stems and did an amazing job with it. I love her choppage on this! Super tight and snappy and hits all the right notes for a destructive tune.

B2. ends the EP with one of the nastiest tunes to come out anywhere this year if I may say so. That Lemon D amen is just crazy, and that S950 time stretch stutter is chef's kiss. But you be the judge!!

Cult Argentinian darkwave act Euroshima’s Gala sees a vinyl reissue courtesy of Dark Entries. Euroshima was formed in 1986 by Fabián Iribarne, José Wyszogrod, Ricardo Parrabere, and vocalist Wanda. Originally released in 1987 on Polygram, Gala was a success throughout South America. But to the band’s dismay, they received minimal support from the record label, which meant the album would linger in obscurity outside of the region. A CD issue via Twilight Records surfaced in 2020, but this is the album’s first reissue on vinyl.
Gala’s legendary status among cognoscenti is warranted. The album’s nine tracks display all the hallmarks of the best darkwave: spiky guitars, analog synth basslines, and wailing vocals. But Euroshima make their mark on the genre with impeccable songcraft and a honed sense of the uncanny. While the band themselves rejected the label of “gothic”, it’s hard to resist busting out the black eyeliner when listening to gems like the uptempo “Como Los Otro” or the churning album-closer “Mejor Callarlo”. Highly recommended for fans of Xmal Deutschland, Lebanon Hanover, pummeling TR-707’s, and doom-laden synths.

This reissue is co-presented with Twilight Records, responsible for the 2020 CD reissue of Gala. It has been remastered by George Horn at Fantasy Studios. Also included is a double sided insert with lyrics and photos, as well as a postcard featuring a photo of the band.

In 2001, Shin’ichi Ogawa of Sugar Plant was working for the SAL Disc record label and came up with the idea of doing an E2-E4 tribute album with his friends. This album would come off the back of a Neil Young tribute album which might have seemed odd but these two artists, Neil Young and Ashra (Manuel Göttsching), would be played regularly as equals at after-parties that Shini’ichi would throw at his house. Longtime friend and collaborator, Taro Yoda, noted that the eclecticism of these after-parties were influenced by the variety of parties they were attending at the time, from the legendary Japanese open-air rave party Life Force to Cream at Amnesia in Ibiza. Taro was obsessed with European trance and left-field downtempo while the two members of Sugar Plant were into ’70s soul—especially Marvin Gaye and William DeVaughn and at the same time, they were listening to Phish and the Grateful Dead too. All three of them were of course inspired by the DJ’ing and selections of Larry Levan.

A- Side – Sugar Plant – “Just Be There” – Production began in my home studio. Since I was frequently attending a house party called “Life Force” (with DJ Nick the Record as the resident DJ) at the time, I thought deep house would be the perfect style for a Sugar Plant cover.
I looped a two-chord electric piano track and applied filters using plugins and outboard gear to create a “sound I could listen to forever.” I recorded the bass on guitar and converted it to an analog synth (Doepfer MS-404).

From there, I layered synths improvisationally, listening to the track over and over again to make fine adjustments. I think I worked on it for days, mostly late at night.
I recorded the guitar at the very end of the track. After playing it a few times ad lib without any set plan, I suddenly had the idea to add vocals during the bridge, so I set up a mic in my hallway and recorded them.

I think this track is packed with the emotions I felt when listening to “E2-E4” back then, as well as the vibe I experienced at that party. – Shin’ichi Ogawa

zake and bvdub are towering figures in the world of ambient - and prolific ones at that. The pair now return to zake's hugely influential Past Inside the Present label with the four-track long player Erasure. Each piece goes typically long and builds slowly but surely into an all-consuming soundscape despite the fact each one is crafted simply from textured synth drift. There's distortion brewing under 'Effacing The Ephemeral' that nods to the likes of Stephen O'Malley while 'Eclipsing Your Earth' is a much more luminous and celestial mood that empties your mind of everything. 'Erasing Empires' then builds to an intense crescendo before falling away to sultry strings. A hugely dramatic work.

Fuglen flyr godt (“The bird flies well”) is the second solo album by Norwegian multidisciplinary artist Espen Friberg, following 2022’s Sun soon (Hubro). Recorded in the coastal town of Hvitsten, Norway, through the winter and spring of 2025–26, the album consists of eleven pieces made entirely on the Serge Modular synthesizer. Through improvisation and experimentation, Friberg treats the Serge as a shifting network of relationships, developing a vocabulary of idiosyncratic melodies and textures by turns warm, fluid, woody, and curiously animate.

This is music developed in close proximity to Friberg’s surroundings in Hvitsten—pine forests, smooth seaside rocks, and changing winter light. Rather than translating these things into anything explicitly programmatic, Fuglen flyr godt absorbs their scale and ephemerality. Friberg follows his instrument into unexpected places: patterns cohere and slip apart, rough textures give way to passages of peculiar delicacy, and the open-ended architecture of the Serge yields a broad range of gestures and environments.

Mixed and produced by Friberg’s longtime collaborator Jenny Berger Myhre (Flutter Ridder) and mastered by Eivind Opsvik, Fuglen flyr godt finds Friberg bringing his characteristic lightness of touch to the Serge ecosystem, coaxing organic, playful music from its unruly circuitry—music that feels of a piece with the landscape around him.

Balaise was the original title of Vers le Nord’s debut album. In French slang, balaise means something in between badass and flamboyant. The word keeps popping up throughout the record, like a teenager’s graffiti scrawled on a bus shelter after a few drinks. Balaise robots. Balaise ghosts lurking in the shadows. Balaise is the barfly who fantasies about becoming a street vigilante. In many ways, Matthieu Pellerin's new solo project is entirely contained within that word: a gigantic piece one man against the world cobbled together, a monument shaped by hand using layers of synthesizers sounding like cathedral organs cast in concrete.


Stitching this type of freak together took time. Five years, or what sounds like forever in an age obsessed with career trajectories and content strategies. But for Matthieu Pellerin, it was never about career plans or taking the easy road. Or he would have dug up the rotting corpse of Oi Boys, his now-defunct band, whose brief existence and explosive popularity once united sullen skinheads, gothic street punks, and old school punks alike. Or he would have fully embraced the Metz scene, now that the Great International Triple Alliance of the East (Noir Boy George, The Dreams, The Feeling Of Love...) and rising solo acts like Tune Zitoune, Josy Bazar, Fantôme Josepha, and Tony Gerrano have somehow transformed this sprawling open-air heroin camp into an unlikely capital of cool. But Vers le Nord doesn't point East, and it is as a lone rider that Matthieu Pellerin can fully reveal his songwriting scope.


With Le Seul Élément, his first solo project, the Lorraine native had already shown a rare gift for crafting worlds. Picture vast sonic masses stretching like industrial zones, noise-filled fog pierced by pale neon lights and landscapes caught somewhere between the gnarliest dive bar and a doomsday bunker. And slipping through the soul-crushing slowness and fractured blackened atmospheres, one could perceive a throwback to his years plotting in black metal-tinged Loth and Bishop.

Vers le Nord populates those landscapes that once were rough sketches. Damaged characters reign supreme, with a plethora of exquisite mutts brought to life, rather than outcasts committed to the cause. Where Nuits Blanches —his new supergroup featuring members of Rixe, Lion's Law, Headbussa and La Femme— pulls no punches with raw confessions, Pellerin switches gear for tales of robot apocalypses, vagrants and fam-seeking school shooters, delivered with William Sheller-esque rhymes and striking images. Yet even within fiction, he manages to create something deeply intimate, almost defining, showing very little effort: he is a natural. All in all, à l’aise (at ease). Songs resonate deeply with the listener, perhaps because of Pellerin’s odd way or always addressing someone without ever really naming them, a floating, obsessive and inescapable “you” calling us out.


Despite all of the darkness, Vers le Nord stirs deep emotions. There is something of Type O Negative or Anna von Hausswolff in its constant collision of the ludicrous and the epic gothic, its bleak romanticism that never tells a sordid tale. While the vocals remain rooted in a distinctly French punk lineage—think No Class, La Souris Déglinguée and OG Bérurier Noir—the reactor core is hidden somewhere else. Oneohtrix Point Never feels like a closer relative with his ultra-emotional music made of cold synths and disembodied anthems, swallowing and regurgitating forty years of icy, contemplative new wave across ten songs. It comes as no surprise that Lila Ehjä and Aimable, two rising specialists in lowering the temperature below seasonal norms, appear on “Enterrez-moi bordel” (“Bury Me, for fuck's sake”), a grandiose, spectral and magnificently arrogant finale. And in the end, Vers le Nord starts where the original idea was hiding all along: somewhere amid the ruins, definitely balaise and yet somehow, completely à l'aise.

22, A Million is a record of dualities. First released in 2016, Bon Iver's third album found Justin Vernon reckoning with pain and love, suffering and redemption, omens and happenstance. Such ambiguity is the core of how Justin composes words: there are always two ways to see something. Inside a fragmented language of symbols and numbers is a sonic distillation of past years of turbulence and how to recover. Across ten songs, 22, A Million shattered expectations of what a Bon Iver record could be. Through different groups of friends—close, passing, new, old—he began to assemble proto-melodies, vague textures and specific moods from hundreds of hours of recorded improvisations. Songs like “22 (OVER S--N),” “33 ‘GOD’,” “715 - CRΣΣKS” and “8 (circle)” traded familiar structures for fractured electronics, pitch-shifted vocals and dense layers of sound. What initially felt like a radical departure has since become one of the most influential and enduring works in Bon Iver’s catalog. 2026 marks the ten-year anniversary of 22, A Million. To celebrate,


Bon Iver and Jagjaguwar will release a deluxe anniversary edition pressed on Frosted Silver vinyl, featuring new alternative artwork with soft-touch finish and spot UV gloss detailing. The package will include the original 28-page lyric booklet, represented here in 3x silver inks, with an additional 12-page full-color inlay booklet documenting the album’s creative process through previously unseen artwork and an essay penned by Eric Timothy Carlson. The Brooklyn-based artist’s visual work has shaped the Bon Iver world since 22, A Million and his visual language has become inseparable from the album itself. A custom 12-panel ‘inverted cross’ CD edition will also be available.

2026 Repress
Gockel steps out with Otorongo - a 4-track EP of deep, dub-infused techno touched with Detroit spirit. Heavy low-ends, driving rhythms, and atmospheric layers make this one built for heads and dancefloors alike. Each track carries its own depth and character, yet together they form a powerful and immersive journey. Released as the second chapter on Patent, this record showcases the label's evolving sonic identity.

Celebrating 30 years of ‘Filthy Lucre’ Live, the incendiary 1996 recording that captured the Sex Pistols’ explosive reunion tour of the same name, this landmark live album returns for the first time as a 2LP, set on red vinyl. The album documents Johnny Rotten, Steve Jones, Paul Cook and Glen Matlock reuniting nearly two decades after their original implosion, revisiting the songs that transformed punk and the world we live in today. Recorded at the band’s Finsbury Park performance, the release delivers a raw and uncompromising snapshot of the Sex Pistols at full volume, reaffirming their enduring influence and confrontational spirit.

Drawing heavily from ‘Never Mind The Bollocks, Here’s The Sex Pistols’, the setlist features defining tracks including “Bodies”, “No Feelings”, “New York”, “God Save The Queen” and “Pretty Vacant”. Performed with the same abrasive energy that established the band as one of the most influential acts in British music history. This special edition also includes the Japanese bonus tracks for the first time, making it the definitive version of this iconic live recording for fans and collectors alike.

Die Band ,The Holy Kiss" aus San Francisco erhebt sich aus dem Grab, um ihre letzte Aufnahme erstmals auf Vinyl zu veröffentlichen. Aufgenommen im Jahr 2009 von Skot Brown (The Phantom Limbs, Altar de Fey) und zuvor auf 50 handgefertigten CD-Rs veröffentlicht, ist ,Gunslinger" ein raues Meisterwerk aus der Blütezeit von The Holy Kiss mit vier Songs, die feurigen Blues mit Blut, Schweiß und einer kräftigen Prise The Birthday Party vermischen. Der Titeltrack der 12", ,Gunslinger", ist ein Cover eines Bo-Diddley-Songs, den die Band so arrangiert hat, dass er ihrem Hang zur melodischen Kakophonie entspricht. Frontmann Matty Rue Morgue singt mit dunkler Sonnenbrille aus tiefster Seele, während ,Schlagzeuger Nick Ott wie ein Riese über einem elfenhaften Schlagzeug thront und die Felle so fieberhaft bearbeitet, dass er eine Selbstentzündung riskiert" (Tatiana Simonian, L.A. Weekly). Das im Jahr 2000 offiziell gegründete, von schwarzem Humor geprägte, altmodische und gut gekleidete Quartett ,erzeugt einen dunklen und auf süße Weise dissonanten Krach, der an Mordballaden erinnert und perfekt dazu geeignet ist, die im Limbus schwebenden Geister der Betrüger, Verrückten, Säufer und anderer gesellschaftlicher Ausgestoßener heraufzubeschwören, über die die Band gerne in ihren schattenhaften, Dickens'schen Liedchen" (Bill Picture, San Francisco Chronicle). Die Veröffentlichung von The Gunslinger enthält außerdem eine Bonus-7"-Single mit Solo-Aufnahmen, die Matty Rue Morgue 2009 gemacht hat - nur wenige Jahre vor seinem viel zu frühen Tod im Jahr 2015. Darauf sind zwei Songs von Matty und ein Song von The Holy Kiss (,Go Head N Count `Em"), die für Solo-Akustikgitarre neu arrangiert wurden. In seiner Version von ,Go Head N Count `Em", gespielt mit Liebe und tiefem Respekt vor der Blues-Tradition, lässt sich Matty gleichermaßen von Lightnin' Hopkins und Lux Interior inspirieren.

Stix Records, a sub-label of Favorite Recordings, is back with Disco Reggae Vol. 7, continuing a series that goes back more than 20 years, to the success of The Dynamics’ acclaimed album Version Excursions.

Born in Jamaica, reggae has always shared deep roots with Soul, Funk, R&B and Pop. Over the decades, Jamaican musicians have mastered the art of reinterpreting iconic songs through their own unique musical language. With the Disco Reggae series, Stix Records celebrates this rich tradition, bringing together fresh reggae interpretations of timeless classics from across the musical spectrum.

For this seventh volume, Charles Maurice has once again carefully curated a selection packed with gems, featuring reinterpretations of tracks by Hall & Oates, Gloria Estefan, Crystal Waters, Patrice Rushen, Cameo, Joe Smooth, and many more.

Behind the controls, the usual crew of friends is back: Taggy Matcher, Mystic Jungle, Soul Sugar aka Booker Gee, and Mato. This time, they are joined by Dub Shepherds and Slowly from Japan, who each bring their own flavour to the collection with two killer covers.

The result is another feel-good journey through Disco, Funk and Reggae, made for dancing under the stars, cruising with the windows down, or simply vibing with friends.

Disco Reggae Vol. 7 is another chapter in Stix Records’ ongoing celebration of the timeless connection between Jamaican music, classic songs and the dancefloor.

Reportage is the duo of Peter Olof Fransson and Svante Sjöstedt from Gothenburg, Sweden. They met in the late 1980s while working as postal workers in the district of Majorna. Since then, they have repeatedly worked together on music in various projects.

The recordings for "Reportage 1" began in late 2022 and were a natural development in the aftermath of a project called The Owl Report. But while The Owl Report mainly focused on English lyrics, the lyrics in Reportage are instead written and sung in Swedish.

Most of the Reportage material has been recorded in Svante’s family country house near Ulricehamn, and further edited and mixed in Gothenburg by Peter. The pieces mainly emerge from long evening improvisations, which then developed the melodic content and structures. Initially created on either guitar, mandolin, or ukulele, alongside bass guitar and simpler electronic rhythms as a base, the compositions were then further shaped with additional acoustic and electric string instruments, vocals, organs, field recordings, and electronically shaped fragments.

The music remains open, reduced, and without any visible intention to assert itself.

Peter Olof Fransson also releases music under the name Retep Folo, including on the UK labels Clay Pipe Music and Buried Treasure Records. His album "The Afterlife", on which Svante also participated, was created in collaboration with Dorothy Moskowitz, former singer of the American experimental and psychedelic band The United States of America, which was active in the late 1960s.

On "Reportage 1", images of a present out of balance emerge: overstimulated communication, social patterns of inclusion and exclusion, and repeating political and media loops. Figures move between withdrawal and overwhelm, between observation and participation. Again and again, it also touches on perception itself, and on how reality is filtered and shifted.

It is the duo's first album for Karaoke Kalk.