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Ian Simmonds presents his new album "The right side of kind" on Goldmin Music. Ian Simmonds is one of the most creative Nu-Jazz/Downtempo producers of the last 20 years.
Although these words can't describe his music properly as the man is always looking for an innovative sound that could cross the boundaries of musical styles. The Welsh-born found his inspiration in music from all over the world and his songs don't only express one clearly defined feeling. They are more of a subtle mix of emotions that let the listener interpret it his way. As Ian said himself: "I think there's a lot of beauty in melancholy". For example, he spent over a year living in a castle in Germany to record his last album " The Burgenland dubs" in a solitary atmosphere where he could really think, breathe, make a plan. That's the point, Ian is always re-thinking things over, looking for a new source of inspiration which results in a constant evolution. He had the chance to collaborate both with amazing musicians like Goldfrapp and electronic music heads like Mathias Kaden, Soulphiction, Krause Duo..

Repress incoming!

Following the success of two collaborative releases (EMC “The Show”/2008 and Ace & Edo G “Arts & Entertainment” /2009), Masta Ace joins forces with the metal faced MF Doom for Son of Yvonne, a highly personal concept album that celebrates the life and legacy of Ace’s recently departed Mother. Like his 2004 landmark Disposable Arts, Son of Yvonne is meticulously constructed with stories, settings, and characters that resonate with flesh and bone humanity. Interstitial vignettes provide a thematic backbone to the experience, and each track complements and completes the previous to form a narrative whole: a sometimes visceral, sometimes nostalgic slice of Ace’s young life in Brownsville, Brooklyn. Entirely underscored by MF Doom’s iconic Special Herbs instrumentals, Son of Yvonne features the Juice Crew general Big Daddy Kane, new comers Pav Bundy (The Bundies), Reggie B and even MF Doom on the mic. It’s Masta Ace’s no frills flow, however, that looms largest above the dusty samples and digger loops that define Doom’s production. Ace’s photo-realistic rhymes about stick-up kids, spraycan artists and wack emcees add extra gravity to his already celebrated reputation as “truly an under-appreciated rap veteran and underground luminary” (Allmusic Guide). Like Eminem recalls in his 2008 autobiography The Way I Am, “Masta Ace had amazing storytelling skills. His thoughts were so vivid.” TRACKLIST: A1. DJ Ski's Intro A2. Ninteen Seventy Something A3. Son Of Yvonne B1. Da Pro B2. Store Frontin B3. Me & My Gang B4. Crush Hour feat Pav Bundy C1. Think I Am feat Big Daddy Kane & Mf Doom C2. Fresh Fest Reggie B C3. Hoe-Tel-leftovers C4. Slow Down D1. Home Sweet Home feat Pav Bundy D2. Dedication D3. I Did It D4. In Da Spot feat Milani The Artis D5. Outtakes

'Sometimes life can kick you in the nads,' says Dominick Martin (aka Calibre). 'When life does do that, I need to make music like this. With its tones of hope and gospel-level layers of self-recorded vocals. Raw, uplifting, soulfull... Even to the most ardent of Calibre follower, ' Grow' sounds like nothing else he's done before. Yet it's not actually on the album it gave a name to. Partly because its ultimately positive veneer (even though it was written in the midst of two toxic relationships - one personal, one with the bottle) doesn't quite complement the deeper, more contemplative aesthetic of the album. But also because this is the start of a whole new story for Calibre...

'A part of Dominick is a poet and a part of him is a man who's lived through Northern Ireland at its worst,' observes Craig Richards . 'There's a gentleness and a tension to him and his past and his experiences. Somewhere in that middle ground is his music.'

Taken from a interview by Dave Jenkins for DJ Magazine.

The second installment of The Tape Masters series by German film music maestro Peter Thomas. Audiophile pressing in deluxe 2x10" vinyl set, limited to 500 copies.
While volume one of the series compiled Thomas' dopest library music cuts, this album dives deep into the soulful side of the Peter Thomas Sound Orchester, featuring the mystique house band of Afro-American Munich GI club Tabarin Bar, Donna Summer's first solo recordings, stunning cinematic funk instrumentals and a healthy amount of breaks and beats.

Out of the 20 scorching tunes on this compilation, only three were released at the time of their recording and are nearly impossible to find on the 2ndhand market, ten have never been released anywhere before, others celebrate their first outing on vinyl or in stereo.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970s, best known for his iconic soundtracks. Today, his work is cherished not least for its incredible groove factor. The story of this compilation traces the origins of the Peter Thomas Sound Orchester's rhythm section and its soul music background, shines a light on unsung heroes like singer Joe Quick and unearthes nuggets that have been lying dormant on tape for decades.

All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation is released in cooperation with Peter Thomas' son Philip who represents the Peter Thomas Sound Orchester catalogue since his father's passing in 2020.

Tim Wright is a musician, composer and video artist based in York. He is perhaps best known as a producer of unusual electronic dance music released under his own name and the pseudonym Tube Jerk. His music has been released by some of the key labels in the field including Tresor, Mute/Novamute, Sativae and GPR. Remix credits range from scorn through Cristian Yogel to Laurent Garnier and Goldfrapp.

Tim also works for the Japanese choreographer Saburo Teshigawara as a composer and sound designer. his compositions for Teshigawara include the original music for metamorphosis (2014), a commission for Goteborgsoperans Danskompani, Sweden; darkness is hiding black horses (2013) for the ballet de l'opera de paris, France; and compositions for installations at the Yokohama Triennale 2008, the Shanghai Zendai museum of modern art and the ikon gallery in Birmingham.

Despite building their careers out of strikingly different musical places, both dBridge and Radioactive Man have taken influence from the field in which each other operate. dBridge (Darren White) was part of the iconic drum & bass outfit Bad Company and he helms one of the scene's most solid and quality imprints in Exit Records and Radioactive Man (Keith Tenniswood) was born from the acid house scene and the off kilter electronics of his Two Lone Swordsman projects (alongside Andrew Weatherall) which led him to create his decidedly UK take on Drexciyan electro. It's by no means a stretch to learn that both producers have crates that contain their favourites from each genre but they've also found a mutual respect and connection in the studio over the last few years, leading to the dBRm moniker for Craig Richards' The Nothing Special label.

Somewhere between extraterrestrial techno and intergalactic disco lies Oli Silva. A waveform of multi-dimensional energy filled with analog heart and electric soul.
His first outing finds him land his spaceship directly on Craig Richards' The Nothing Special, with the genre bending Unlikely Punctuality EP.

The concept for this one is as wonderfully odd as we have ever heard: Argentinian Federico Durand draws on his collection of Cinderella stamps and looks to translate their modest scale into sparse arrangements and carefully spaced notes. Small motifs drift across analogue synth tones, all shaped with tape hiss and soft saturation. Pieces move slowly, often built from repeating figures that shift in pitch and melody, feel tentative, sometimes dissolving into low drones or faint harmonic clouds. There is little percussion, with rhythm implied through looping patterns and subtle timing changes. Tracks favour brevity and minimalism and the result leans into a darker mood than his earlier work, with a muted, slightly worn character that makes it all the more real.

Goldmin Music label founder Romain Lanteaume alias EinKa meets Detroit minimalism master Terrence Dixon aka Population one for a truly conceptual techno 12".. Terrence Dixon is one of our favorite artists and biggest inspiration.. Detroitborn artist released his first 12" back in 1994 followed by several quintessential records and 2 epic albums "From the far future" on legendary Berlin-based label Tresor. Terrence is not only a great techno producer who makes subwoofers roar in clubs, he is a man obsessed by a concept, an idea that he's following from the very beginning.. "Minimalism" in the reaaaaal sense of the word.. For example, when thousands producers are wondering what's eventually missing in their new track, Terrence is rather wondering what's useless, what could be removed and that's definitely what he gets to share on his own "Reduction" imprint. After the release of Terrence's track "Steve Austin's mile" on Goldmin Theme Lp, Romain got to meet him in Detroit during summer 2014. The aim was to make an abstract record that could still be linked to a feeling or a situation.. A1 The edge track is probably a good example as it's designed and built to make you feel like you get closer and closer to the edge while the track is slowly growing until you fall.. Can you feel it :) As for the other tracks, there is also a special idea behind them but we better let you interpret it your way

Presenting the 2nd in the series of Persian remix EPs, following the bumping Dub House remakes from Picasso, the label is joined by Yorkshire’s own young electronic folklore master, a fast-rising name, Miles J Paralysis.

Whereas Picasso took the first Dubplate ‘Space Within Art’, here Miles J delves in to the follow up ‘Smoke Dub’, turning out a selection of dubwise cuts that build on the dark electronics of his excellent debut releases for his Crying Outcast label.

Yorkshire born and based, with a love for the Moors, as well as the teachings of lore, magick and mysticism, this young producer has been emersed in music since a young age, with a penchant of Dub, Hip Hop and Reggae.

Starting with Survival Dub, the anthemic Ragga Dub original morphs into 2 parts, first heading down Paralysis’s alley of dark and brooding production marrying perfect touches of the vocal samples, before the amen break builds the track to the light.

Smoke Mari follows, the languid Digibreaks chugger, utilizing Linval Thompson’s iconic vocals, now comes as a deep meditative Dub excursion. Stripped back to a raw essence, the vocals whirl, while hypnotic keys and dub bass complete the psychedelic mosaic.

There Is No Love is modern dub style, off beat syncopation, reverb, tape delays and heavy vocal sampling all in the mix. The breakbeats of the original are jettisoned for a Dub (Drug) Chug, the atmospherics seeking the dark corners. “These are the last days; can’t you see the sunshine…”

Zatoichi’s Troubles ends the pack, the trip hop, Depth Charge dub bass cut transforms at the mixing desk of Miles J in to Dub Techno territory, haunting, melodic. Miles J’s love of the deeper side of electronic music expanded. Club music but not produced for clubs. Made for the discerning.

Paralysis the Mystery.

In a Secret Room is a retrospective that reopens the sonic and visual archive of KKD, bringing back to light a trajectory that long remained underground within the history of Italian new wave. The tracks, recorded between 1979 and 1986, reflect a constantly evolving process shaped by experimentation, improvisation, and a drive toward new languages. The project takes shape inside a former hotel in Italy’s Po Valley, transformed into a studio, rehearsal space, and visual lab.

Here, among analog synthesizers, homemade electronics, and multitrack recorders, Kriminal Killer Division experimented with and pushed their available technology to its limits, developing a hybrid language: sounds captured from radio and the street, synthetic voices, guitars, and electronic sequences intertwine in compositions that move between art rock, minimal wave, and more industrial directions. This collection aims precisely to reactivate that imaginary. The vinyl is accompanied by a risograph fanzine that restores the project’s visual dimension: collages, photographs, and graphic materials reflecting the same experimental attitude found in the recordings. Sound and image move together, as parts of a single expressive device. In a Secret Room offers access to a hidden space where interference, noise, and intuition take form without mediation. Not a nostalgic operation, but a re-emergence: a living archive that continues to generate meaning in the present.

MT Jones is a soul singer and songwriter whose music channels the emotion and authenticity of legends like Otis Redding and Bill Withers, while embracing the energy of today’s soul and R&B. With his unmistakable voice and poignant lyrics, Jones has captivated audiences and earned, a reputation as one of the most compelling new artists in the genre.

Following "The Edge" & "Void", french producer and Goldmin Music label owner Romain Lanteaume aka EinKa delivers his first album "To Waken Doubt In One".

Another massive offering from the one and only Mick Harris, continuing on in his Culvert Dubs Sessions experimentations with a new 2xlp. Once again Mick delves deep into the shadow realm of slow beat, psychedelic heavily textured, grinding dub techno. Eight tracks of absolute industrialized, delay swept, full pressure, sound system shaking murk ridden, dark water dubs. Top form work when Mick lets loose in this wild style, just the right balance of beauty, restraint and brutality. Total heavy weight music!

Odyssey was originally a CD-only release by Japanese duo Master Mind (Hiroshi Ogawa & Hisaki Kurosawa) and was their 3rd full-length album. 30+ years later it is now available as a double LP on the California-based Forest Jams label. Its one of many albums of this particular genre that came out in the decade but one that is wholly unique with the depth in its sculpted sounds and the transportation it provides to an audio realm of equally fantastical and soothing proportions. For fans of ambient, lush gardens, auditory massages, RPG OST/BGM, and Kankyō Ongaku. Licensed by NHK Publishing and limited to 300 copies.

Work of Art is not merely a sophomore album; it is a victory lap run with the precision of a master artist. Following the stratospheric global ascent of his debut, Mr. Money with the Vibe, Asake faced the kind of pressure that usually demands a pivot. Instead, he treated that intensity like clay, sculpting a project that feels at once more expansive in scale and more intimate in spirit. Released in 2023, the album serves as a definitive statement on Asake’s sonic identity, deepening his signature fusion of Amapiano, Fuji-inspired percussion, and Afrobeats while moving with a newfound sense of deliberate poise.

If his debut was a high-octane sprint to introduce his sound to the world, Work of Art is a confident stroll through his own creative museum. Anchored once again by the masterful production of Magicsticks, the album serves as the perfect architectural space for Asake’s erratic, infectious flows. The record feels richly textured—brimming with pulsating log drums, soulful samples, and the specific, ecstatic chaos of Lagos nightlife. Asake successfully bridges the gap between traditional Yoruba heritage and the deep, percussive basslines of South African Amapiano, resulting in a sound that feels simultaneously ancestral and futuristic.

The project thrives on a unique duality: it is introspective, yet undeniably club-ready. Tracks like "Amapiano," featuring Olamide, provide the anthemic energy his fans crave, while cuts like "Basquiat" showcase a lyrical swagger that frames his life as high art set to a relentless four-on-the-floor beat. By leaning into his "Mr. Money" persona with added vulnerability and a clearer focus on the craftsmanship of his vocal delivery, Asake avoids the dreaded sophomore slump entirely. He proves that he isn't just making pop songs; he is curating a moment. Ultimately, Work of Art captures the feeling of an artist standing at the peak of his powers, looking out at the landscape he has helped reshape, and confirming that, indeed, he belongs there. It is not about reinventing the wheel—it’s about proving that the wheel he built is a masterpiece.

New album by french rapper Sheldon, including featurings with Chilly Gonzales, Jazzy Bazz, Tuerie, Asfar Shamsi...



Monsters are never where we expect them to be. They take shape in silences, in vague fears, in the baggage we carry without always understanding it. Sometimes, we also encounter them along the course of a life. On this new album, Sheldon chooses to dance with them, to tame them with wit, grace, and a sense of peace.



Following a powerful return with Grünt 75, an iconic format to which the 75e Session collective brought particularly ambitious visual staging, Sheldon unveils a fourth album that unfolds across fourteen tracks like a chiaroscuro landscape, revealing the full depth of his emotional and musical range. Through intimate narratives, the record explores identity (Être une fille), family and fatherhood (La Fenêtre and Les Monstres, the title track), as well as friendship (Eh le reuf). These are themes that run through all of us, approached here with writing that is vivid, demanding, and deeply sensitive.

Driven by a strong narrative arc, the album features songs like Être une fille, which challenges and questions us. On it, Sheldon reflects on his relationship to gender, his doubts and discomfort with the codes of masculinity, and the idea that he has sometimes imagined himself elsewhere. Tracks like La Fenêtre and Avec ça illuminate the album like moments of communion, sincere, warm, and unifying, carried by a childlike lightness that makes tomorrow disappear.

True to his open minded and ever curious artistic approach, Sheldon draws from a wide range of musical genres while keeping rap as the album’s guiding thread, giving each song its own singular identity and contributing to the balance of the whole. To shape the project, Sheldon surrounded himself with a new generation of musicians and beatmakers whose influences span rap, indie rock, pop, and experimental music. Among them are Johnny Ola, who has notably composed for Zamdane, Jazzy Bazz, and Edge, Rodolphe Babignan, Carbonne’s flamenco guitarist, and Jeune Oji, an artist signed to Friends of Friends Music. Together, they bring melodic and acoustic richness, as well as a collective generosity that deepens the album’s intimacy.

This new album also opens the door to new collaborations.

On L’école primaire, Chilly Gonzales joins Sheldon for an unconventional piano and vocals piece, driven by cinematic, deeply intimate storytelling. Using his primary school as a point of reference, Sheldon retraces his path from childhood to adulthood, somewhere between nostalgia and serenity.

On Cowgirl, Tuerie joins Sheldon for a soft, melodic ballad with an 80s tint, capturing the weightlessness of a sunlit summer.

On Sidequest, Sheldon reunites with Asfar Shamsi, who had already appeared on his Grünt. Over a delicate cloud trap production, the two artists open up about everyday pain, finding in introspection a way to put things into perspective.

Finally, Vol de nuit brings Jazzy Bazz and Sheldon together for an intimate exchange over an ethereal, mysterious production, as both artists look back on their journeys with calm and clarity.

Conceived alongside Sheldon’s closest circle, the project celebrates family, friendship, and love as its founding pillars. Sheldon chooses to step away from the images, allowing his story to be embodied instead through the faces and gestures of those around him. This approach runs through all of the project’s visuals. Rejecting the excess of spectacular image making, he chose instead to hand a camera to his loved ones so they could offer their own vision of a song from the album. By opening a small window onto his intimacy, and that of the people closest to him, Sheldon finds a way to say a great deal with very little, turning deeply personal trajectories into something universal.

Like the music videos, the album cover is rooted in a deliberately simple approach, where the fantasy of childhood disrupts reality. Designed by Tenzin, the graphic designer behind Sheldon’s recent projects, Ptite Sœur, and also work for Jul, it is based on an archival photograph taken during a traditional carnival in Tenzin’s native village. With no staging involved, the image captures children in costume mid parade, caught in a spontaneous burst of movement, embodying the free innocence of childhood.



Les Monstres marks a new chapter in Sheldon’s journey. Like a rainbow after the storm, this fourth album reveals new colours in the artist’s discography, as he delivers a record that is both demanding and accessible, intimate and open, one in which music becomes a love letter to friendship and to love itself. Set for release on April 24, 2026, the album will be followed by a tour culminating at La Cigale in Paris on December 3, 2026.

In a patchwork of IRL sound fragments, humming ambience and sub bass brushstrokes, Bobby Ingham debuts on Sneaker Social Club with a social-realist inversion of soundsystem music that relishes negative space while telling a street-level story.

Bobby Ingham is a 24-year-old multidisciplinary artist whose creative practice across film, music and sculpture was shaped by formative experiences in his native Leeds. Having started to experiment with spoken word, poetry and electronic sound production, he sharpened his focus after moving to London. Homesickness moved him to recreate the sensory impression of his hometown through sound, using snippets of his every day experience with his friends and family as well as archival recordings online related to Leeds. The particular lilt of regional dialect became central to the character of his work — a direct portal into a personal world that could only be rendered by someone who has lived it.

Ingham’s work chimes with that of SSC’s own Low End Activist. Where LEA has repeatedly taken us around the Oxford council estate he calls home, on Angel of the North Ingham lets us stay a while on the streets and in the houses that made him. It’s intimate from the very start — opening track ‘Lynne’ features Ingham’s own grandmother, while ‘I Feel So Good I Swear I Could Fly’ finds Ingham voicing his own poem as he retells personal experiences in a disarmingly mythological manner.

‘1st Memory Of Love For DRXSJKFL ft. Pretty V’ invites Wakefield, West Yorkshire-based artist Voldy Moyo to lay down a spoken word piece that evokes the dehumanising nature of military service and those left behind by it. Where there are no words, Ingham instead speaks with brittle machine rhythms and blocks of texture, swooning synthesised beauty and any emotional shade you care to mention in between. It’s a work that takes you right into the heart of the artist — someone committed to telling an honest story from a viewpoint that seldom gets a second thought.

Malik Kassim AKA Retromigration, makes a powerful return to WOLF Music with Choices EP Vol. 1, reaffirming his place as one of the most exciting producers in house music. Building on the momentum of his acclaimed Ausfahrt 9 EP released in late 2025, as well as his standout remix contribution to Manuel Darquart’s Dream House Factory Vol. 1, Malik continues to push his sound into fresh and compelling territory.

With Choices EP Vol. 1, he comes out of the gate at full throttle. The release captures a refined and confident artistic vision, blending deep grooves, rich textures, and infectious rhythms that feel both timeless and forward-thinking. Each track showcasing his ability to balance musicality with energy.

This first instalment of the Choices series not only highlights his evolution as a producer but also signals a new creative peak. Bold, cohesive, and undeniably engaging, Choices EP Vol. 1 stands as a strong contender for his most accomplished work to date and sets an exciting tone for what’s still to come.

A sharp, genre-blurring portrait of Uruguay's most creative and profound voice of the new urban generation. Ironic, witty, and relentlessly current, Davus blends trap, plug, drill, and hip hop into a bold statement of cultural leadership-now captured on vinyl for the first time. Davus is one of the defining figures of Uruguay's contemporary urban movement. Known for his sharp lyricism, forward-thinking sound, and constant reinvention, he has become both a reference point and a source of inspiration for emerging and mainstream artists alike. Emerging from Montevideo's fast-evolving underground scene, Davus built his career by fusing irony, emotional honesty, and street-level storytelling with a sound rooted in trap and its subgenres-plug, Detroit, and sexy drill. From early independent releases to major collaborations with leading figures of the Latin American urban movement, his work has consistently pushed beyond trends while remaining deeply connected to the pulse of his generation. This recopilatory vinyl brings together key moments from across his catalog-songs that trace his evolution from underground innovator to a defining voice of contemporary South American urban music. More than a collection, it stands as a cultural snapshot of a generation that found its sound, its language, and its attitude through Davus's ever-evolving artistry-while simultaneously opening the door to a new chapter shaped by bold collaborations and cross-border creative exchange.