Grandmaster Flash & The Furious Five waren eine wegweisende Hip-Hop-Gruppe, die sich in der South
Bronx in New York City formierte. Sie waren bekannt für innovative DJ-Techniken und sozialkritische Texte
und wurden 2007 in die Rock and Roll Hall of Fame aufgenommen.
Diese Compilation enthält mit „The Message“ eine der einflussreichsten Hip-Hop-Singles aller Zeiten sowie
„Scorpio“ – eine der großartigsten Electro-Aufnahmen, die je produziert wurden.
Ein ungeschöntes, direktes und bildgewaltiges Porträt des schwarzen Straßenlebens im New York der frühen
80er Jahre sowie eine faszinierende Zeitkapsel der ersten Versuche des Rap im Albumformat – dieses Album
erwarb sich aus eigener Kraft Respekt.
After a three-year hiatus, Downbeat returns with its 15th release, marking the very first Various Artists compilation in the label's history.
The A-side features the masterminds behind Tetrode, Damon Lamar and Specter, who deliver two tracks showcasing their signature sound. Machine house at a lower BPM, packed with repetitive Akai percussions and synth lines—gentler and warmer on Damon's track, and darker, more unhinged on Specter's side."
The B-side kicks off with label co-founder Jose Rico, who delivers "The Invaders," a track that transports us straight to the roots of the genre. This is textbook Chicago deep house—straightforward and infectious from the very first beat. Closing out the EP, Leonid makes his label debut with an emotional, Detroit-infused deep electronic gem, beautifully crafted with soft percussions, silky synths, and a subtle touch of epic grandeur. Absolutely stunning.
Nawak Gold, orchestré magnifiquement par Leeroy et KTR ! Pour cet EP, chacun des deux artistes nous offre deux morceaux, pour un voyage musical qui traverse plusieurs styles.
Sur la première face, place à la Techno, Hardtechno et Hardstyle, avec deux tracks aux grosses énergies. La deuxième face bascule ensuite vers le Hardcore, avec un morceau plus poussé et un autre plus lent.
Un EP riche et varié, qui passe d’un style à l’autre tout en gardant cette même envie de vous en mettre plein les oreilles !
Un grand merci encore une fois à Leeroy et KTR pour leur confiance et pour ce magnifique projet.
Après le Gobble SP 04, nous sommes fiers de vous présenter le Gobble SP 05 !
Pour ce nouvel opus, nous avons une nouvelle fois sélectionné des morceaux inédits de Tieum, produits à l’origine dans les années 90/2000. Des tracks choisies avec soin pour composer un EP à son image, rempli de cette énergie et de cette identité qui ont marqué toute une génération.
Un grand merci à Tieum pour sa confiance et pour nous permettre de ressortir de ses archives ces morceaux qui nous ont bercés tout au long de notre jeunesse !
Un véritable voyage dans le temps pour tous les amoureux du hardcore gabber oldschool.
Après le Gobble SP 04, nous sommes fiers de vous présenter le Gobble SP 05 !
Pour ce nouvel opus, nous avons une nouvelle fois sélectionné des morceaux inédits de Tieum, produits à l’origine dans les années 90/2000. Des tracks choisies avec soin pour composer un EP à son image, rempli de cette énergie et de cette identité qui ont marqué toute une génération.
Un grand merci à Tieum pour sa confiance et pour nous permettre de ressortir de ses archives ces morceaux qui nous ont bercés tout au long de notre jeunesse !
Un véritable voyage dans le temps pour tous les amoureux du hardcore gabber oldschool.
Phren, the first collaborative work by Marta Salogni and Stefano Pilia, emerges as a layered and articulated sound-hymn-dialogue between Stefano’s abstract guitar work and Marta’s manipulation of tape machines. Conceived alongside the imagined space created by Sarah Mazzetti for the Opale series, a project by Maple Death Records and Canicola edizioni, the album becomes a form-shifting composition where memory itself is continuously transformed through resonance, repetition and reconfiguration.
Here, sound is not preserved as an object of the past, but treated as a living material: something capable of carrying traces, absorbing new meanings and generating unfamiliar voices.
The album develops from a simple yet constantly shifting principle: a sound is set in motion and then passed through a series of interconnected systems where it is delayed, altered and returned in another form. Stefano Pilia’s guitar travels through a complex chain of modular processes, composed of different stages of preamplification and filtering, before entering a tape echo system that introduces further layers of repetition, resonance and spatial displacement. These signals are then absorbed into Marta Salogni’s Revox tape machines, where additional lines of delay, modulation and environmental transformation reshape the material once again.
The resulting music is not a dialogue between two instruments, but a shared system — a living architecture in which a single signal moves simultaneously through parallel and serial pathways, gathering traces of each passage. Sound becomes a material in constant motion: a gesture becomes an echo, the echo becomes a new gesture, and the distinction between origin and reflection gradually begins to dissolve.
The Bluesville Series from Craft Recordings and Acoustic Sounds!
Inspired by the original Prestige label imprint established in 1959
All-analogue mastering by Matthew Lutthans at The Mastering Lab
Highlighting trailblazing blues musicians from legendary labels
Studio recreation of an electrifying 1961 setlist from Carnegie Hall. This album includes the enduring classic, "Bright Lights, Big City," which was included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
Released in partnership with Acoustic Sounds, the album has been (AAA) remastered from the original tapes by Matthew Lutthans at The Mastering Lab and pressed on 180-gram vinyl. A replica tip-on jacket completes the package.
The Bluesville Series from Craft Recordings and Acoustic Sounds!
Inspired by the original Prestige label imprint established in 1959
All-analogue mastering by Matthew Lutthans at The Mastering Lab
Highlighting trailblazing blues musicians from legendary labels
With his eerie, keening vocals and minor-tuned guitar, no other bluesman sounds quite like Skip James. This is perfectly encapsulated on his 1968 Vanguard Records solo release, Devil Got My Woman.
Released in partnership with Acoustic Sounds, the album has been (AAA) remastered from the original tapes by Matthew Lutthans at The Mastering Lab and pressed on 180-gram vinyl. A tip-on jacket completes the package.
Remastered using pure analogue components only, from the master tapes through to the cutting head.
Ranging from urban soul, via orchestral weightiness right up to bluesy ballads and appealing easy listening, Extension Of A Man is certainly Donny Hathaway’s most ambitious album and the crowning conclusion of his phenomenal career. This is hardly a surprise since the album comes from one of the most versatile personalities in the field of soul. Both his debut album Everything Is Everything (ATCO SD 33-332) and the studio album Donny Hathaway (ATCO SD 33-360), which was recorded before the present LP, treated soul purely as a starting point to express Hathaway’s manifold ideas with regard to music and arrangement, and song and performance.
On Extension Of A Man, this ambition began and culminated in the opening piece, a six-minute orchestral composition entitled I Love The Lord; He Heard My Cry, Pts. 1-2. Hathaway himself arranged and orchestrated the work for 45 musicians and he conveys the elation and optimism of Gershwin’s Rhapsody In Blue in a religious context before it passes seamlessly to the transcendental Someday We’ll All Be Free, one of Hathaway’s most popular songs. The next two pieces, Flying Easy and Valdez In The Country, are also original compositions that were first recorded at the end of the Sixties as part of Chess’s studio groups.
The first is a sugary pop soul number that stands out due to its excellent performance, while the second is a gentle jazz-fusion jam in which Hathaway demonstrates his highly accomplished improvisation skills. Love, Love, Love and Come Little Children were chart singles whereby the first number is a poetic love song which is greatly influenced by Marvin Gaye’s What’s Going On. Donny Hathaway’s musical talent was boundless in every sense, and this album confirms without a doubt that he was way ahead of his time. It certainly makes one wonder what he would have achieved had not succumbed to a cruel fate.
MUSICIANS: Donny Hathaway (keyb, voc, b); Gene Orloff (concert master); Marvin Stamm (tp); David Newman (ts); Phil Upchurch, Cornell Dupree, David Spinozza, Joseph Bishop (g), Willie Weeks, Stanley Clarke (b); Fred White, Ray Lucas, Grady Tate (dr); Ralph MacDonald (perc).
Part of the Acoustic Sounds 40 Series
Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds!
2x Grammy-winning album mastered from the original master tape
180-gram 45 RPM double LP pressed at Quality Record Pressings
Housed in a Stoughton Printing tip-on gatefold jacket
A landmark collaboration and one of the most celebrated albums in country music history, Trio brings together three transcendent voices — Dolly Parton, Emmylou Harris, and Linda Ronstadt — in a recording that's as emotionally rich as it is impeccably produced.
Originally released in 1987, Trio was both a critical and commercial triumph, selling more than 4 million copies worldwide, topping the Billboard U.S. Country Albums chart for five consecutive weeks, and earning the Grammy Award for Best Country Performance by a Duo or Group with Vocal. It was also nominated for Album of the Year. The album yielded four major country hits, highlighted by the haunting, harmony-driven remake of Phil Spector's classic "To Know Him Is to Love Him."
Produced by legendary engineer George Massenburg, Trio is a masterclass in clarity, balance, and vocal blend. Every track showcases the trio's distinct personalities while achieving a near-perfect harmonic unity-three iconic artists elevating one another through tasteful arrangements, pristine acoustics, and song-first performances.
Now, this classic shines brighter than ever. Mastered at 45 RPM and pressed on flat, ultra-quiet vinyl by Quality Record Pressings, this edition reveals rewarding insights for audiophiles, including greater nuance, texture and emotional depth with every listen.
The album that launched punk rock — raw, fast, loud, and utterly unstoppable!
Part of the Acoustic Sounds 40 Series
Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds!
180-gram 45 RPM double LP
Mastered from the original master tape
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jacket by Stoughton Printing
The Ramones ignited the punk-rock movement with their eponymous 1976 debut album, revitalizing rock and roll at one of it's lowest ebbs with attitude, energy and a loud, fast new sound. By cutting music down to it's bare essentials — four chords; a simple, catchy melody; a sped-up tempo and irresistibly inane lyrics, the Ramones blazed the trail for thousands of bands that followed, influencing everyone from The Clash and The Sex Pistols to Green Day and The Offspring.
Although The Ramones never achieved mainstream financial success, they released 21 live and studio albums, had a devoted fan base and were inducted into the Rock & Roll Hall of Fame in 2002. Other bands, such as the Stooges and the New York Dolls, came before them and set the stage and aesthetic for punk, and bands that immediately followed, such as the Sex Pistols, made the latent violence of the music more explicit, but the Ramones crystallized the musical ideals of the genre.
Naya Beat is incredibly excited to announce the release of an astonishing lost “holy grail”, Mohinder Kaur Bhamra’s 1982 masterpiece ‘Punjabi Disco’. Unknown and inaccessible to even the deepest of diggers, it is the first British Asian electronic dance album recorded and a true lost relic. A chance find of the original multitrack masters during the Covid lockdown led to ‘Punjabi Disco’ being rediscovered. Lovingly mixed down and remastered from these very studio recordings, the reissue also includes remixes by Peaking Lights, Baalti, Mystic Jungle, Psychemagik, and Danger Boys, as well as a cover by Say She She’s Piya Malik and Turbotito & Ragz and a previously unreleased track. It is available for pre-order and out on x2LP vinyl and all digital platforms on October 31st, 2025.
Released the same year and into equal obscurity as ‘Ten Ragas To A Disco Beat’, Charanjit Singh’s acid house opus, the reissue of ‘Punjabi Disco’ is set to have similar reverberations in the world of dance music. Produced by Mohinder’s eldest son and legendary bhangra pioneer Kuljit Bhamra using a recently acquired Roland SH-1000 synthesizer and a CR-8000 CompuRhythm drum machine played by his then 11-year-old brother, the album was recorded at Roxy Music bass player Rick Kenton’s studio in London. The concept for a Punjabi disco album was subsequently stolen from the Bhamra’s by the very record label that had agreed to distribute the album. Eventually self-released with no label support, ‘Punjabi Disco’ vanished into complete obscurity.
A pivotal figure in British Asian music, West London-based vocalist and first-generation immigrant Mohinder Kaur Bhamra became the first woman to sing at Punjabi weddings and other community events in the UK. Her son, Kuljit, would accompany her, playing tabla at her events from the age of six. Wedding music was traditionally a tame, segregated affair: men and women seated and separated on opposite sides of the room. ‘Punjabi Disco’ was born out of a desire to create an unsegregated dancefloor and inspired by the sounds of disco from the era. A tapestry of electric drum rhythm, warbling bass, and psychedelic siren-like Roland synth melodies provide a vehicle for Mohinder’s powerful voice. Part disco, part funk, part acid house, and infused with Punjabi folk melodies, the sound of ‘Punjabi Disco’ is as mesmerising as it is undefinable.
Featuring an incredible gatefold package and exhaustive liner notes by the Guardian’s Global Music Critic, Ammar Kalia, the x2LP release has been cut to vinyl for the discerning listener and DJ by Grammy-nominated Frank Merritt from The Carvery, London.
This is Naya Beat’s ninth release in a series of reissues, remixes, and compilations dedicated to uncovering electronic and dance music from the subcontinent and South Asian diaspora.
Berlin EP by DJ TRIKE is one of those records that stays in the bag for years, serving stripped, functional techno that only really speaks on proper systems.youtubetrackhunterTracklist-credits-SYNCRO75-DJ-TRIKE.docx
SYNCRO 75 from Syncrophone keeps it low-key and uncompromising: an import-grade underground piece for late-night diggers and residents who play past sunrise.
“Carl layers willowy guitar arpeggios, foggy keyboards, and chimes over Windy’s murmured intonations and rippling basswork. Everything sounds fresh and unaffected in the careful hands of these two gentle souls. Pick it up, lie back, and allow it to lull you into an undisturbed reverie.” Big Takeover
At the time of original release it was written that the album "will transport the listener to other plains of reality.” (Acid Test). Meanwhile, Alternative Press called it “alluring and addictive.” and CMJ called it "expansive, daydream enhancing music.”
The pair have also recently released their collaborative album with Optigan Conservatory, which can be revisited here. A beautiful and hermetic energy larger than the sum of its parts was captured in the collaborative process of making this album. There are echoes of the earliest releases from Windy & Carl as well as refractions of the same opacity that surfaced in the early kranky catalog.
A fine time to be shining a light on these label stalwarts as the dark Autumn evenings roll in
Formed in Montreal, eight-piece funk band Cane and Abel melded Caribbean elements with soul, blues and psych, frontman Frenchie Thompson holding plenty of bite and the full horn section including former Dragonaires trumpeter Norris Ridguard. After early singles on GRT, the group signed to Epic and relocated to the US but made their biggest splash in France, where they cut two LPs in 1972; this self-titled rarity has Thompson’s ‘Girl You Move Me,’ percussionist Blinky Bostic’s ‘Who’s Gonna Take The Weight,’ and likeable takes of Wilson Picket’s ‘Don’t Knock My Love,’ ‘Green Grass’ and ‘Toe Hold.’ A lost funk classic!
* Dazed and Amazed Duo Color Vinyl * Fully printed inner sleeves * Liner notes by Larry Mizell Jr. // The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael "Butterfly" Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style," he has said. Like with 1993's debut _Reachin' (A New Refutation of Time and Space)_, 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics - and its original inner sleeve was modeled on the newspaper of the Black Panther movement.
Jonah Ellis came to the Drifters as a guitarist but was soon singing with the group and acting as their musical director.
This multitalented musician/ songwriter hailed from DC where he was born on 25 August 1947 and grew up to graduate from Springarn, Senior High in Washington.
He went on to study further at Morris Town Junior College in Morris Town, Tennessee.
Then he received a BA degree in Music from Knoxville College in Knoxville, Tennessee, and a Master of Arts in Music from Michigan State University in East Lansing, Michigan.
His first move into recording came with his group Jonah and the Whales and ‘Savannah Sun’ which sold well locally by didn’t chart nationally.
Jonah’s second single ‘I Get Hot/ Popcorn Cellar’ on Viking Records in 1970 had similar results but he was writing great songs and creating a lot of interest. In addition to penning Yarbrough and Peoples big hit ‘Don’t Stop The Music’ in 1980 which hit platinum.
Jonah was writer/ producer at Total Experience Records where he found time to cut a single under his own name ‘Christmas Won’t Be Christmas Without My Baby’ and also wrote hits for the Gap Band the biggest hit being ‘Desire’. Jonah only stayed a Drifter for about a year between 1986-87.
A short time later he joined the Temptations as their lead guitarist but didn’t stop writing songs for other artists (sometimes in his pen name Lonnie Simmons) like Alicia Keys ‘Gangsta Lovin’, Puff Daddy ‘Soul Food’, Evelyn ‘Champagne’ King ‘Shame’, Billy Paul ‘Fire In Her Love’and so many more including Aretha and sister Carolyn Franklin, Esther Phillips, Rose Royce and Burt Bacharach.
Jonah continued to write and perform internationally until his untimely death from a stroke on 22 February 2010.
Space Ghost returns with Back From Reality, his first solo album since 2022. Blending ambient, downtempo and house, the LP explores themes of escapism, introspection and the search for moments of calm in an increasingly overwhelming world. Out October 9th, 2026 via Space Ghost’s own Peace World Records.
Drawing influence from late '90s and early 2000s ambient and electronic music, the record channels the nostalgic atmosphere of PS2-era video game soundtracks, console startup screens, and save menus. “I used to play games like Spyro, Crash, Ape Escape, Gran Turismo. It's fun for me to reimagine songs that could have lived in games from that era. ” The project reveals Space Ghost's interest in writing music for video games, with tracks such as "System Reset" reimagining an alternate PS2 startup screen or “VGM” visualizing a stage selection screen for an imaginary game.
Visually, the project emulates the minimalist design trends of album artwork from the same era: sparse industrial landscapes paired with minimal type. Space Ghost took the cover photo himself while driving around the quiet, empty Oakland ports at night. Tracks like “Sugar Cube” and “Back From Reality” mimic these late night environments and create a downtempo zone for listeners to get lost in. “One of my favorite things to do after writing songs, is to drive around Oakland listening to them. It's almost like the final test for the songs, to see if their emotion holds up.
”
Written over the course of five years, Back From Reality reflects Space Ghost’s experience of balancing everyday life with the desire to be creative. “This album is me coming home from my day job and returning back to the place where I feel the joy and freedom in making my music. If I could, I would work on my music full time, but for now it's part time and often a form of escapism. ” Beneath its calming surface, the LP quietly wrestles with larger questions. Against the backdrop of global conflict, environmental decline, and economic uncertainty, the album searches for small moments of optimism through creativity and introspection. Back From Reality holds a moment of space away from these overwhelming times, allowing listeners to pause and recharge.
Back From Reality releases on Peace World Records October 9th, 2026
In collaborating with iconic vocalists Matthew K. Heafy (Trivium), Josh Middleton (Sylosis) and Anthony Lucero (Cult Leader), Burner take a striking step forward to claim new territory while consolidating their extreme and unique sound into the heaviest and bleakest incarnation of their craft yet. Vocalist Harry Nott elaborates on the themes behind the new album: "If It All Returns To Nothing looked outwards to the world's chaos throughout history, No One Is Coming To Save Us instead looks inwards at its proposed cause; humanity's violent, animalistic nature, begging us for change. This is an album about human behaviour: that people create endless cycles of violence by repeating the mistakes of the past, forging a brutal history that we fail to learn from. But, at the same time, the album is about questioning whether we can ever get past those sins and repetitions. This is a record that is mournful as much as it is angry and engaged. It longs to bitterly recall the moments of greatness and sacrifice in our shared history that created the better world we currently destroy. It longs to look back at these moments for inspiration and optimism, at a time where it feels like hope is running thin. The album is also a struggle for hope, not just that humanity can overcome hatred and violence, but that we can look back on our greatest moments and take courage to build a better world. No One Is Coming To Save Us reflects this duality in its title: that no one will come to save us from the violence and tragedy we create as part of our humanity. But it also proposes that it's up to us to change - to overcome a violent human nature and usher in a better tomorrow."
La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.
2026 Repress
Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!
The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.
GRAMMY® Award-winning reggae icon Buju Banton returns to familiar ground with renewed purpose, setting the tone for a bold new era. Officially reunited with longtime partner VP Records, this full-circle moment reconnects one of Jamaica’s most influential voices with the label that helped define a pivotal chapter of his career. “Butterflies” serves as the first offering from his upcoming al bum, arriving Summer 2026. Produced by internationally acclaimed hitmaker Supa Dups (Rihanna, Drake, Bruno Mars), the track delivers a vibrant, feel-good sound anchored on a re-lick of the ‘Answer rhythm.’ Buju’s unmistakable cadence glides effortlessly across the track, blending classic dancehall energy with a modern sonic edge. The single exemplifies a confident return, one that bridges legacy with evolution while reintroducing the essence of dancehall to a new generation!
Easily one of the strangest, most quietly influential archives to surface in years. Padesip is bedroom-built electronics that still sounds like the future we were promised but quietly cancelled, rewiring decades of DIY history and daring you to keep up.
Limpe Fuchs performs a live improvised score to an almost-lost silent western action film in a darkened Brussels theatre, continuing the tradition of the silent film pianist. Intimate and poetic: moonlight, projected images reflecting on the audience's faces, and a family connection (her grandfather once played violin for silent films) make this a uniquely personal recording.
2026 Repress
Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!
The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.
Tooloop Records celebrates its tenth release with "Orbis EP", a four-tracker from label affiliate Stab9. The record captures a moment of evolution in both Stab9’s sound and the label’s sonic identity, reflecting a broader vision of the Tooloop universe through expanded arrangements, deeper exploration and a more immersive presentation.
Opening the EP, ‘Source’ establishes its atmosphere through a constantly evolving arrangement, moving through several distinct phases while maintaining a sense of fluid progression. Carefully shifting textures, unexpected bass changes and subtle variations in dynamics reveal new details with each turn. Title track ‘Orbis’ shifts the EP towards warmer tones, built around classic house-inspired sounds, melancholic pads and polyrhythmic bass movement. Its rolling low-end and intricate percussion subtly tilt the track towards techno territory, reflecting the circular motion suggested by the track’s title. ‘Beastro’ gradually ascends through a restrained growling bassline and fractured hi-hats, dropping into an engine-cut moment in the middle of the track - a brief suspension before the groove returns, pulling the track back into motion. ‘True Story’ unfolds through a walking bassline, intricate hi-hats and smeared percussion, creating a sense of movement through a world of morphing textures and atmospheres. Its restrained melody embraces the idea of “less is more”, closing the EP with the bittersweet beauty of mono no aware.
With "Orbis EP", Stab9 presents a deeply personal approach to electronic music, where detailed studio craftsmanship meets the physical energy of the dancefloor - the label completing one full turn, and opening the next.
YARN welcomes René Audiard for its tenth release with "Makes Me Feel", a four-track EP from one of underground electronic music’s most singular voices.
Across years of dub techno, minimal and leftfield electronic experimentation, René has developed an approach to stripped-down music that feels anything but limited. Where minimalism can often become an exercise in taking things away, his work finds possibility in what remains. "Makes Me Feel" is a particularly fitting example: immersive, at times strange, but always full of feeling.
‘Lovin’ opens the EP in familiar Audiard territory: murky low-end, locomotive groove, reduced rhythmic compositions and an understated framework swimming in a pool of detail. 'Possession' lets in more light. Vocal echoes, persistent rhythms and occasional string phrases give it a cinematic quality, while a groove that seems to circle endlessly takes on an almost shamanistic pull. The EP’s 11-minute behemoth, 'Flesh', fills most of the release’s B-side while making a convincing case for patience and sophistication. There are echoes of minimal’s golden age here, but Audiard never mistakes repetition for standing still. Tiny rhythmic fragments sit alongside expansive orchestral gestures, with samples working at every scale of the arrangement. Warmth and cinematic drama run through the track, but it's the playful programming underneath that keeps it moving. 'Night' closes the record on a different note, recalling Audiard’s work with Ali Çakır in Düve. Percussive samples, accordion and Middle Eastern guitar phrases bring a more acoustic character to his reduced 808-infused broken beats, making for a playful, occasionally melancholic ending with a distinctly microtonal feel.
What makes René Audiard’s music so rewarding is how readily you recognize his hand in it. There is a particular grain to the sounds, a way of placing details within a groove, and a willingness to follow an idea wherever it leads. Across “Makes Me Feel”, those instincts give four quite different tracks a shared identity. Even when working within familiar forms, Audiard makes them sound entirely his own. It’s the holy grail of music production: a personal sound signature. And a thoughtful addition to YARN’s growing repertoire of reduced, sophisticated dancefloor music.
XKatedral ist stolz darauf, ein neues Album in voller Länge von Label-Mitbegründerin Maria W. Horn zu präsentieren. ,Melting Pillars of Snow" ist eine Sammlung neuer Kompositionen der renommierten schwedischen Komponistin, geschrieben für Kontrabassblockflöte, Sho, Percussion, E-Gitarre, Gesang und Elektronik, gespielt von Horn zusammen mit einem Kammerensemble bestehend aus Anna Petrini, Mattias Hallsten, Magdalena Meitzner und Mats Erlandsson. Das Album enthält außerdem eine Erzählung von Horn sowie einen Gastauftritt von Michael Gira auf der ersten Single ,Scythe of Saturn". Für ,Melting Pillars of Snow" ließ sich Maria von W. G. Sebalds Roman ,Die Ringe des Saturn" inspirieren, einer poetischen Reflexion, die einem namenlosen Erzähler folgt, der an der Küste von Suffolk in England umherwandert. Während sich die Landschaft allmählich verändert, thematisiert der Text auf vielfältige Weise den Lauf der Zeit und die Distanz zwischen Vergangenheit, Gegenwart und Zukunft und spiegelt dabei sowohl weitreichende zeitliche Maßstäbe wie die Zyklen der Jahreszeiten und die tiefe historische Zeit als auch mikroskopisch kleine Momente und Fragmente wider. Mit den Kompositionen auf dieser Veröffentlichung beschwört Maria ein ähnliches Gefühl der Stille herauf - eine Umgebung, in der die Bewegung der Zeit selbst beleuchtet und beobachtet werden kann. Das Instrumentarium auf diesem Album ist Horns bislang ambitioniertestes: Sie ergänzt ihre gewohnte Palette aus maßgeschneiderter algorithmischer Synthese und elektronischer Bearbeitung um eine komplexe Auswahl an Perkussionsinstrumenten, Blasinstrumente, die an beiden Enden des musikalischen Spektrums spielen, sowie E-Gitarre, um so einen spiralförmigen, spektralen Klangteppich durch den gesamten Frequenzbereich zu weben. Die Perkussionistin Magdalena Meizner spielt spezielle Techniken auf dem Obertondreieck, dem Dubachi, den Pauken und dem Tam-Tam sowie auf gestimmten Weingläsern und gestrichenen Crotales. Die von Anna Petrini gespielte tieftönige Kontrabassblockflöte und das von Mattias Hallsten gespielte hochfrequente Sho fügen kontrastierende Akkordarrangements hinzu, die in strengen metrischen Strukturen eingebettet sind. Das Ensemble wird durch Mats Erlandsson vervollständigt, der auf E- und Akustikgitarren spielt und dabei von sanften Arpeggio-Figuren zu düsteren Drones und Feedback-Heulern wechselt.
Carl Cox drags Renegade Soundwave’s “The Phantom” back onto the dancefloor with a fierce, high-pressure rewire built for peak-time systems. Running at 130BPM, the mix combines pounding techno kicks, snapping breakbeats and metallic percussion with dark, rolling bass and flashes of rave-era synth energy. Chopped vocal chants and distorted samples cut through the rhythm, steadily increasing the tension before the track erupts into a relentless, warehouse-sized groove. Raw, physical and deliberately uncompromising, it preserves the original’s rebellious industrial spirit while giving it the weight, momentum and modern production power of a full-blooded Carl Cox club weapon.
Mr C breaks into Renegade Soundwave’s “Probably a Robbery” and escapes with a hypnotic, acid-soaked rewire designed for the darker reaches of the dancefloor. Opening with clipped percussion and shadowy vocal fragments, the track gradually locks into a muscular groove as a snarling 303 line twists, bubbles and mutates across the mix. Layers of machine-funk rhythm, metallic drums and psychedelic electronics steadily intensify, creating a raw tension that rarely lets up. Spacious enough to draw DJs deep into the journey but relentlessly physical when it hits full force, this is classic British electronic mischief rebuilt as a tripped-out, late-night acid workout.
For ONO006 we welcome born ‘n’ based Palermo producer, DJ, record shop owner and label head Riccardo Schirò to the ever evolving ONO roster. The Sicilian madman plates a killer exxxtended single, Raga Della Sera, complete with a royal remix treatment from downright hero DJ Sotofett.
Riccardo’s Raga Della Sera is a ritualistic summoning of the 303s and 808s of the past, calling on the sounds of old to conjure up a thrilling 11-minute freakout. Signor Schirò combines an acid-inflected proto-trance and a certain Gregorian Giallo flavour to bring forth one truly unique piece of music. Bellissimo!
On the flip, DJ Sotofett reshapes Raga Della Sera with a signature 909 dub, tried and tested at his preferred romping grounds, Globus. The maestro contorts, unravels and reassembles the mystical original into a club demon – ferociously dance-direct and itching to possess heads around the world.
Riccardo has been producing and releasing music on his excellent Gravity Graffiti imprint since 2019, with more than 20 records under his belt he is a hard working and brilliant musician and label curator in our humble opinion. We are proud to be welcoming him to the family and have this brilliant record as a part of the ONO arsenal.
We are beyond excited to unleash this disc upon the world, with both versions coming to a dancefloor near you very, very soon! Let it rip and turn it up!
HUMAN is a vinyl-only electronic music label based in Manchester, focused on music, art, fashion, and culture. We press records we believe in with no shortcuts.
HUM001 is the label's debut release, featuring E-Funk / Twisty by Scarper.
Scarper is a London-based producer and DJ known for blending melodic electronica, broken rhythms and left-field club ideas into a sound that’s entirely his own. Over the past decade, a deep catalogue of albums, EPs and remixes has taken shape, alongside work in advertising, gaming, TV and short film.
‘E-Funk’ is a hybrid club weapon - part 2-step, part house, part breaks, all energy. A certified floor starter that lives in the bag and lands every time, especially when the room hits its stride.
‘Twisty’ is probably the most dancefloor-ready cut, but the solid broken grooves dancing around acid bass lines and bleeps on each of these nine thumping tracks could work any room at the right moment.
TECH043 brings A.B.E.L. and Eluna Vex together through a shared sense of rhythm and purpose.
Both authors have already developed a clear and confident approach, even if wider recognition has yet to catch up. Their music is ready to reach beyond the circles that already know their work.
Across both sides of the record, firm drums, driving percussion and deep atmosphere keep the motion steady. Each track has its own shape and detail, while the shared weight and mood allow the four tracks to be heard as one complete work. DJs get four reliable cuts that can build tension, hold the groove or move a set forward without a break in tone.
The difference between the artists is clear, but never disruptive. Eluna Vex and A.B.E.L. bring separate ideas to the record, yet their tracks feel closely related in character, depth and attitude. This balance gives TECH043 range without losing focus: two artists and one consistent physical drive.
A1. “Unsafe Road” opens the record by setting its rules: full pressure, forward drive and several lines developing at once. It tests the listener’s attention, offering a choice between following the whole structure or focusing on one thread within it.
A2. “Getting Away” works like a spell that pulls the dancefloor together. It follows one clear narrative and a direct sequence of events, building towards a climax where every element lands as one shared impulse.
B1. “Test And Run” opens a more exploratory side of the record. It moves through changing forms and gradually reveals its language, without showing the full picture at once. Structurally complete on its own, the track invites the listener into less predictable territory.
B2. “Subconscious” is built on balance, giving equal weight to every part of the sound without allowing one element to take control. It makes no loud statement, but closes the record with a complete and carefully held form.
Dich lieb ich, Erde! trauerst du doch mit mir! Und unsre Trauer wandelt wie Kinderschmerz In Schlummer sich und wie die Winde Flattern und flüstern im Saitenspiele
The third stanza of Friedrich Hölderlin’s poem ‘Dem sonnengott’ evokes a narrator who is tortured by Spleen until slumber makes his childlike gloom disappear with music. Although today’s readers might judge these nineteenth century musings of the Imagination as mere stylistic platitudes, they also still speak beyond the grave as universal truths. A mere two hundred years later similar anxieties and hopes are still channeled through various art forms, with changing success and reverberation. Brannten Schnüre are one of those neo-romantic music experimentalists who add to a long tradition of celebrating folk tale and exoticism. Their meticulously crafted loops, hesitant melodies and heavily nostalgic lyricism could easily be translated to what the late philosopher and music critic Mark Fisher called ‘hauntology’, a postmodern longing for a lost future. To describe the beauty of ‘Geträumt hab’ ich vom Martinszug’, however, the term seems somewhat dissatisfying. Romanticism is a hard nut to crack in the Anthropocene, and Brannten Schnüre’s realms of the cerebral are too deeply ingrained in a German tradition of story telling to define them within popular paradigm.
‘Geträumt hab’ ich vom Martinszug’ was recorded in 2014 in Würzburg and functions as the autumn part of the band’s seasonal cycle quadrilogy (the other segments being ‘Aprilnacht’ (SicSic), ‘Sommer im Pfirsichhain’ (Aguirre) and ‘Durch unser zugedecktes Tal’ (Youdonthavetocallitmusic)). It deals with the Saint Martin’s parade, a mostly European tradition to celebrate the medieval spirit of Saint Martin of Tours, friend of children and patron of the poor. Around 11 November children come out on the streets with lanterns and sing ancient songs in exchange for sweets. It’s a period of snugness and expectation, of yearning and dreaming, and therefore a consummate subject for the duo to scrutinize.
To the adult’s ear the dream of the Saint Martin’s parade isn’t all that consolatory. The dark and slow loops of Christian Schoppik rather sound like motifs for a welcome paralysis. Sometimes as a gentle backdrop for vocals by Katie Rich and Schoppik himself, the repetitive structures serve as tricksters that trade innocence for the uncanny. The dream becomes a fever dream which quickly absorbs the listener into a vacuum, an eternal post-panic attack semi-relief. Maybe that’s the amazing paradox of Brannten Schnüre. The space they occupy is never comforting – as if being locked up inside a Carl Grossberg painting – but it’s also a subliminal aural zone you do not want to leave. It’s music as being, as a stream, devoid of climax or catharsis. And because it is flux and being, and exists to be taken, it speaks in art’s purest form. ‘In place of a hermeneutics we need an erotics of art’ Susan Sontag famously concluded her essay ‘Against Interpretation’ with. Well, look no further …
Somehow it feels fitting that 1+1 equals not only 11, but also the two slabs of vinyl carrying Henry Hodson’s music here. A small inside joke, perhaps, but also a sign of how naturally this record came together: instinctive and shaped with intention. Hodson — who first appeared on Limousine Dream and later with a subtle and beautifully controlled EP via Silky Beats — continues his trajectory between deep house warmth and minimal clarity. These six tracks are drawn with the sort of fine-grained rhythmic detail that rewards attention without ever demanding it. Light-footed percussion, elegant restraint, grooves that breathe. The double 12’’ format isn’t a gimmick; it’s a commitment. Each track gets the physical space and sonic depth it needs.
Quiet, from the Latin quies, evokes a state of being still. In its verb form, quiet means to clear so that something can gradually come into focus. Kind Stranger by Amedeo Cappelletti is where quiet materializes in a more transient, even foreign, way. Each track takes a step back from noise, borne out of a slow return to music, a different pace, and a familiar place left behind for years.
Kind Stranger, released on Aurora Edition on July 24th, is about the strangeness of a return. Cappelletti's melodic scores work their way between faint noise and disquiet, and sonically muse upon the familiar. That is, when given enough time and distance, the familiar can become unrecognizable, demanding stillness to resituate oneself within it.
The album began taking shape when Cappelletti performed at Aurora Edition at Silent Green, just after he had returned to music following a three-year hiatus. In one month, he wrote forty-five minutes of new material from scratch. Then Cappelletti left Berlin after eight years and returned to the Tuscan countryside where he had grown up, back into slowness.
The album develops as an atmosphere in the truest sense. Resampled voices, found sound, and years of sound design practice converge as compositions form by overlapping texture with spatial depth. Kind Stranger cultivates a quietude that envelops the listener.
Vocal recordings made with Matthew Walsh and Sarah McInerney, collaborators Cappelletti met by chance in a Berlin ice cream shop, appear throughout the album like a current, shaped during a residency at MONOM, Berlin's spatial sound institute. Thematically, the record moves through digital addiction, fragmented attention, and the grief of work done in the darkness.
Kind Stranger is an offering to whoever finds themselves here within the quiet, in this particular quality of sound between return and lingering.
Enlazando el número de referencia (el vol8) con la caja de ritmos mítica y clásica de Roland la Tr808,.. qué puede salir mal? 6 Cortes, 6 Artistas, 6 ideas, 6 visiones de este nuestro amado estilo que llamamos Electro.
Vema-Diodes_ Victory lap:
Contundencia y elegancia, ritmos rápidos, pads ambientales que cuentan una historia futurista. Resumiendo, un rompe pistas como ya nos tiene acostumbrado nuestro macarra favorito del Llobregat.
Dark Vektor_ Haciendo el Robot:
Pues esta vez el tito Vektor se ha puesto el chándal de 1984 (de Emilio tutsy ya que es un vanidoso) y nos trae una muy buena producción al estilo old school homenajeando a los mismísimos Dynamik Bass System y EPG.
Univac_Artic Defender:
Qué decir de uno de los mas grandes del electro de nuestro país, oscuridad, contundencia y sonidaco…electro rozando lo industrial rozando lo hipnótico rozando lo mas profundo de nuestro ser.
Multiplexors_Kill Circuitcenter:
Un Honor poder editar su primera referencia de este dúo formado por Sentex y AM/ALF dos friks de las máquinas y del bass, nos traen un corte muy purista super sintético con alma analógica, vocoders y 808 y lo mas importante: intención.
Calagad13_Cosmic Sailor:
Un honor tener a un grande del electro, un pionero del bass en nuestra tierra, temarrako al mas puro estilo Miami bass con una producción exquisita… un revienta pistas.
Negocius Man_Flying on Vega:
El gran Nego, que decir el Man Machine de Madroit, nos entrega un corte contundente, de culto, sonido oscuro y mental donde entras en su mundo percusivo te atrapa y ya no te deja salir hasta que el quiera.
Every coastline develops its own rhythm. The Adriatic is no exception.
For decades, Italy’s eastern coast has been shaped by funk, Cosmic Disco, Balearic sounds, Italo Disco, House, Latin rhythms, Brazilian music and countless other influences. Rather than blending into a single style, these musical worlds have lived side by side, constantly inspiring new generations of DJs, musicians and dancers. For more than fifteen years, Soul Fingers and Funk Rimini have explored that landscape from different perspectives. Founded by Claudio Cavallaro in 2013, Soul Fingers grew into a vinyl-driven community where groove matters more than genre. Its philosophy has always been simple: if the groove is right, genres stop mattering. Brothers Ricky and Francesco Cardelli developed Funk Rimini into a project rooted in funk, disco, live performance and electronic production. Anima Adriatica is where these two journeys meet.
The project didn’t begin with the ambition of making an album. It began behind the turntables. As DJs, Claudio Cavallaro and Ricky Cardelli found themselves constantly searching for records capable of connecting distant musical worlds inside their sets; from Afrobeat into disco, from hip hop into Latin, from Brazilian grooves into boogie, from cosmic electronics into deep funk. Sometimes those records existed. More often, they didn’t. So they stopped searching and started writing them. Not records designed to belong to one genre, but records designed to travel between genres. That space between musical worlds became Anima Adriatica.
The music grew through spontaneous jam sessions with Ricky and Francesco Cardelli, drummer Enrico Mao Bocchini and, gradually, a wider circle of musicians, singers and longtime friends, making Anima Adriatica less a traditional band than the beginning of an open collective. Recorded at SynthPosio Studio, founded by Ricky and Francesco Cardelli inside Rimini’s iconic skyscraper, the project also carries a symbolic connection to the building itself, where many Italo Disco classics (including records by Betty Miranda, The Creatures and many others) were recorded decades earlier.
Betty Miranda returns not as a nostalgic guest, but as a bridge between generations. On the title track she performs a spoken-word text written by Claudio Cavallaro, reflecting on the invisible thread connecting the Adriatic dancefloor across time. From Baia degli Angeli to Cocoricò, from the legendary clubs of Riccione to today’s independent communities gathered around projects such as Soul Fingers and Funk Rimini, the places have changed, but the dancefloor continues to tell the same story. Much like Pier Vittorio Tondelli’s Rimini captured the Adriatic through literature, Anima Adriatica imagines its soundtrack.
Brazilian musician Daniel Plentz (Selton) expands that vision on Açúcar and Alegria, bringing another coastline into the story. Across its four tracks, the EP moves naturally between analogue funk, boogie, Brazilian music, underground disco, cosmic textures and the wider Black musical tradition, with All Down The Line paying tribute to the Paradise Garage era.
Released by Bordello A Parigi, the project found its natural home through a shared love of adventurous dance music, records and club culture. More than the title of an EP, Anima Adriatica marks the beginning of an open collective; a meeting point where musicians, DJs, producers and friends continue building bridges between genres, generations and communities.
Because Anima Adriatica doesn’t live inside a genre. It lives between genres. If soul music has always reflected the places where it was born, Anima Adriatica is simply our own Adriatic Soul.
»Memorial« grew out of Nate Wooley’s work alongside Annea Lockwood recording the Columbia River, and in particular from a visit to Kettle Falls in northern Washington, once one of the river’s great salmon fishing and meeting grounds and a place of enormous importance to the Sinixt and other Indigenous peoples of the Upper Columbia. The falls disappeared from view following the construction of the Grand Coulee Dam in 1940, submerged beneath what is now Lake Roosevelt, yet beneath the still surface of the reservoir, a fast current continues to move across the buried cliffs. That tension between what remains and what can only be recovered through memory runs throughout »Memorial«.
In the essay accompanying the record, Wooley returns repeatedly to the idea of translation: the attempt to carry an experience from one form into another, from river to recording, memory to sound, landscape to music. He moves between Lockwood’s sound maps, John Ashbery’s rain falling on canal machinery, Ravel’s attempts to make water move through a piano, Christian Wolff’s »Stones«, and the Sinixt First Salmon Ceremony, where rocks struck together recall the sound of salmon once moving through the river in their thousands. These translations cannot restore what has been lost; however, they allow us to revisit what remains beneath in another form.
»Memorial« exists as an uncertainty, concerned with the distance between a place and its recording, between an event and what survives of it, and with the way listening itself becomes entangled with memory. Kettle Falls remains submerged, the river constrained and radically altered, but the water continues to move over the old rock beneath the reservoir. »Memorial« tries to listen for that persisting memory.
Alex Barbu – Paths Lead Inward marks Alex Barbu’s first release on Bosconi Records, following previous releases on Digital Finesse and Maeteria. Across four tracks, Paths Lead Inward explores the space between minimal, techno, deep house and psychedelic trance, combining stripped-back structures with hypnotic rhythms, dubby textures and subtle traces of Goa-inspired psychedelia.
The EP opens with A1. “Tokyo”, a straight-to-the-point dancefloor missile. A rolling bassline, delayed voices and a simple but highly effective rhythmic structure push the track towards trance territory, with hints of Goa psychedelia filtered through a minimal sensibility. Immediate, hypnotic and built to keep the floor moving.
A2. “2006” takes a darker and deeper turn. A dubbed-out minimal techno cut populated by subterranean sounds, blurred textures and distant voices. Its slow-burning atmosphere makes it particularly suited to the deeper, more intense moments of an afterhours set.
On the flip, B1. “Hello Everybody” brings a heavier deep-house pulse into the equation. Hypnotic arpeggios, deep vocal elements and a rolling groove give the track a physical, almost stomping quality, while maintaining the murky and psychedelic character running throughout the EP.
Closing the record, B2. “Blobfish” dives deepest of all. A heavy bassline anchors a strange and unsettling landscape of anxious breathing, dark textures and disorienting sounds. Hypnotic rather than aggressive, it gradually pulls the listener into an upside-down dimension — a proper late-night trip for losing yourself on the dancefloor.
Paths Lead Inward is not only about movement on the dancefloor, but about what happens underneath it. Four tracks that touch you deeper in the soul and make you reconnect with it.
