Two lyrical and spiritual forces meet, as Akae Beka and Ivorian veteran Tiken Jah Fakoly awaken the profound realisation that all is inherently blessed, encouraging us to accept life as it unfolds. Produced by Zion I Kings, Everything Bless is a gentle yet powerful reminder to embrace the present moment, cherish the divine connection with our spiritual kin, and nurture inner peace and contentment. Vaughn Benjamin meditates on the need for both determination and trust, while the ancient voiced Tiken sings in Bambara, over Mamadou Sidiki Diabate’s cascading Kora, reassuring that Jah will guide. The accompanying dub version pares down drums and vocals, maintaining the same sense of joy. Taken from 2021’s album Polarities, Everything Bless is released as a seven inch vinyl single for the first time on via Before Zero Records.
This series honours both the vocal and version culture of the reggae sound system and the profound lyricism of Vaughn Benjamin. We have consistently received two requests in relation to releasing the LPs: "Can we have dub versions?" and "Where can we read the lyrics?" Our response is the 'Akae Beka - vocal, version and word-sound collection.' Before Zero Records worked with Tippy I Grade to mix a series of dub mixes from a carefully curated selection of his extensive works with Vaughn Benjamin. The vocal and corresponding dub mixes were then cut to wax by Lewis Hopkin of Star Delta and wrapped in a collage made of Ras Marcus's artworks, which he crafted for various LP covers of Vaughn's works throughout the years with the lyrics transcribed and printed on the rear of each sleeve.
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- A1: Mieko Hirota - Soul Lady
- A2: Shinji Maki &Amp; Black Jack - Nabeyoko Soul
- A3: Tan Tan - Happy Day
- A4: Kenji Niinuma - Airenki
- A5: Hatsumi Shibata - Furui Fuku Nanka
- B1: Strawberry Jam - Arimasen
- B2: Mieko Hirota - Anata Ga Inakute Mo
- B3: Akira Yasuda &Amp; Beat Folk - Kaeroka Kaeroka (Single Version)
- B4: Miki Hirayama - Hatachi No Koi
- B5: Masaaki Sakai - Baby, Yuki Wo Dashite
At the start of the 60s, a new wave of gospel-influenced jazz started to emerge, with hits such as Art Blakey & The Jazz Messengers' "Moanin'" and Cannonball Adderley's "Work Song" epitomizing this evolution in the genre. The terms "soul jazz" and "funky jazz" were coined as a way to describe this new sound that was making an impact in the US and also on the other sides of the Atlantic and Pacific oceans.
In 1964, Ray Charles made his first visit to Japan. Then, in 1968, Martha & The Vandellas and Stevie Wonder set foot in the country, followed by Sam & Dave in 1969, Ike & Tina Turner in 1970, and B.B. King in 1971. The TV show "Soul Train" also began airing in Japan in the early 1970s. A watershed moment happened in 1973 when Sammy Davis Jr. was cast in a TV commercial for Suntory whisky — and the influence of the US Black entertainment world had really landed, with soul, jazz, and funk artists becoming household names.
Nippon Columbia played a pivotal role during this turning point. The company had contracts with Buddah Records and Blue Thumb Records, releasing notable works by artists such as Gladys Knight & The Pips, Curtis Mayfield, The Crusaders, and The Pointer Sisters. At the same time, the label was also releasing several Japanese soul, jazz, and funk projects under the lead of music director Jiro Inagaki. Inagaki, a saxophonist who began his professional career in the early 1950s, honed his skills at U.S. military camps, where he shared his love of music with the Black servicemen. In the 1960s, he played with drummer Hideo Shiraki's band, which was widely considered to be Japan's representative group of the funky jazz movement. Later, Inagaki went on to pursue more cutting-edge sounds with his Soul Media project, including being a pioneering figure in the "jazz rock" genre. By working closely with Inagaki and his various musical projects, Nippon Columbia really placed the company at the center of an exciting and important period in Japanese music.
In 1965, Nippon Columbia opened a recording studio in Tokyo's Akasaka neighborhood. Akasaka was also home to the first ever discotheque in Japan, the legendary MUGEN, which ran from 1968 to 1987 and where many acts performed, including Con Funk Shun, the Bar-Kays, Ike & Tina Turner, B.B. King, Sam & Dave, Three Degrees, and Edwin Starr, as well as many local Japanese singers and musicians. This melting pot of creativity in the area led to the recording of many singles and albums by Japanese artists that were infused with the sounds of soul and funk. Most of these recordings were not available outside of Japan and remain rare and unknown musical gems. The selection you are holding in your hands is an explosive collection of 10 essential tracks released by the legendary Nippon Columbia label between 1969 and 1977, capturing the raw, unapparelled energy that was flowing through the air of the Akasaka streets at this electrifying time. Enjoy!
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180GWALP07 - Manufactured and distributed by 180g.
UK-born DJ, producer and label boss Jimpster debuts on cult label Nu Groove in 2025 with a fresh set of four originals, The Phoenix EP, now on wax. Across this four-track collection, Jimpster showcases over two decades of production expertise, starting with a title track that showcases a club-ready sound built for the underground; ‘The Phoenix’ builds a tight groove through the ebb and flow of overlapping rhythmic patterns. What follows is ‘Lightening In Me’ featuring vocals from East London’s Oliver Night, an electronic artist and songwriter whose work has been supported by the likes of tastemakers Kerri Chandler, Gilles Peterson and Honey Dijon.
Rounding off the EP is ‘Beat Of An Era’ and ‘You Got My Love’, two select cuts that demonstrate Jimpster’s mastery of the deep house scene, complete with dreamy synthwork and jazz inflections. With vinyl alive and well in 2025, The Phoenix EP is a must-have for the modern wax aficionado.
- A1: Lying Together (Live From Coachella)
- A2: Washington Special (Live From Echostage)
- A3: Paris Special (Live From Le Zénith)
- B1: Different Masks For Different Days (Live From Echostage, Washington)
- B2: Salt Lake City Special (Live From The Union)
- B3: Madison Special (Live From The Sylvee)
- C1: Detroit Special (Live From Royal Oak Music Theatre)
- C2: Hong Kong Special (Live From Clockenflap)
- C3: Ylang Ylang (Live From Mtleus, Montreal)
- D1: Saint Paul Special (Live From Palace Theatre)
- D2: Sundays (Live From Eventim Apollo, London)
22_23 Live Sessions features 11 captivating live performances from FKJ's global tour, recorded over the past two years at iconic venues and festivals. 4 of the tracks are live renditions of well-known fan favorites, while 7 tracks present unique improvisations, exclusive to specific shows. Each improvisation is named after the location where it was performed, making it a distinct snapshot of that moment. This collection offers fans who couldn’t attend a chance to experience these special performances and hear new music for the first time.
- A1: Small Metal Gods
- A2: Died In The Wool
- A3: I Should Not Dare (For No)
- A4: Random Acts Of Senseless Violence
- B1: A Certain Slant Of Light (For Mk)
- B2: Anomaly At Taw Head
- B3: Snow White In Appalachia
- B4: Emily Dickinson
- C1: The Greatest Living Englishman (Coda)
- C2: Anomaly At Taw Head (A Haunting)
- C3: Manafon
- C4: The Last Days Of December
- D1: When We Return You Won't Recognise Us
"First time on vinyl for ‘Died In The Wool’, the 12 song remix companion to David’s 2009 album, ‘Manafon’, plus the non-album track “When We Return You Won’t Recognise Us”
Features remixes by David Sylvian, Dai Fujikura, Jan Bang & Erik Honoré.
“When We Return You Won’t Recognise Us” was specially commissioned by the 2nd Canary Islands Biennial of Architecture, Art and Landscape 2008-2009."
The album’s title deftly gestures to the sheer vastness of astronomical dimensions, while simultaneously capturing the musical breadth within, where the eight planets are imagined as the eight notes of an octave. The work draws inspiration not only from earlier compositions —most notably Gustav Holst’s The Planets—but also from the rich astronomical and cultural contexts surrounding these celestial bodies. Here, the focus transcends direct citation of melodic motifs, instead embracing an intriguing conceptual approach on a meta level, unfolding in a series of vividly contrasting soundscapes. These contrasts shape a sweeping sonic journey, one that fully embraces the album format with both arms, inviting the listener to venture into realms both strange and wondrous, feeling the immensity of the interstellar space that lies between them. Contrast, after all, is the brushstroke that enriches our world.
Embarking on an auditory voyage, "Astral Guide" establishes the sonic framework that propels us into the boundless expanses of the cosmos. Its ethereal tones evoke the vastness of space, crafting a mood ripe for exploration within the realms of sci-fi. The subsequent tracks unfold like constellations, weaving a rich tapestry of sound that seamlessly marries cinematic soundscapes with pulsating, club-oriented rhythms. This album invites listeners to traverse its immersive landscapes, whether nestled in the comfort of home or dancing under the starlit sky, each note a guide through the transcendent experience of a nocturnal journey.
"Solar Flares" draws its inspiration from the awe-inspiring expanse of solar phenomena, capturing the majestic power of the sun as it reaches into the cosmos. This track resonates with the idea that energy, while vital, can also be a force of destruction when unleashed with overwhelming intensity. The composition beautifully mirrors the sun’s duality, where brilliance and devastation coexist, inviting listeners to reflect on the delicate balance between creation and annihilation. Through its rich textures and dynamic shifts, "Solar Flares" serves as both a homage to the celestial and a poignant reminder of nature's formidable power.
"Mercury – The Winged Messenger" embodies a meticulously crafted soundscape where artistry meets astronomy. The tempo of 173.6 BPM, derived from precise astronomical data, propels the composition into a vibrant realm that resonates with cosmic energy. Synthwave sound design intertwines seamlessly with the fluid rhythms of Drum’n’Bass, imbuing the piece with an uplifting dynamism that evokes the ethereal grace of Mercury itself. In this sonic exploration, listeners are invited to ascend on wings of sound, navigating the celestial tapestry of the universe with each invigorating beat.
"Venus, The Bringer of Peace" strikes a decidedly cozy note, presenting a poignant contrast to the more tempestuous themes often found in cosmic narratives. This composition evokes a nostalgic vision of an optimistic era, one in which humanity transcended borders and embraced the infinite possibilities of space exploration, where no destination felt too distant. The dense, languid atmosphere envelops the listener, creating a tangible sense of serenity that unfolds gradually, allowing for a meditative journey through sound. Each note serves as an invitation to linger in this tranquil embrace, reflecting on the harmonious potential of our collective aspirations and the beauty of connection in a vast universe.
The central theme of „Gaia, The Bringer of Life“ —originally not part of the planetary cycle— is the profound enabler of life on Earth. The arrangement delicately mirrors the slow, tentative unfolding of this potential, marked by an initially sparse orchestration that gradually builds in momentum. This progression crescendos, embodying the explosive dynamism of the Cambrian burst of life, ultimately culminating in a euphoric fanfare—a triumphant, celebratory flourish echoing life’s victorious emergence.
"Blue Moon" unfolds as a contemplative reverie on the tranquil clarity of a night sky, now seldom glimpsed in its natural purity, unclouded by the relentless haze of urban light. The listener is drawn into the vast embrace of the star-strewn firmament, a journey that sways between euphoric awe at nature’s sublime beauty and a profound melancholy for its fragile and imperiled state. Musically, this duality finds expression in the delicate interplay of modal mixtures, while an ever-shifting triplet groove, poised at the intersection of Outrun and melodic house, lends a pulse that is both nostalgic and forward-looking—echoing the beauty and transience of a world on the brink.
Rather than replicating the original composition of „Mars, The Bringer of War“, this interpretation seeks to evoke its profound, foreboding atmosphere. Cyberpunk emerges here as an ideal genre, channeling the dark, relentless march synonymous with Mars, the ancient god of war. The piece reverberates with intensity, as distorted vocalizations rise, embodying the anguish and visceral torment that shadow war’s violent crescendo. This auditory descent into conflict captures the relentless pulse of warfare, where sound itself becomes an embodiment of suffering and fury.
Majestically, "Jupiter, the Bringer of Jollity" emerges on the celestial stage, sweeping away the somber tones with its radiant vigor. Drawing inspiration from the triumphant strains of the original, and borrowing a melodic motif in the refrain, the piece expresses joy and buoyancy through a shift to a major key and the lilting sway of a danceable 12/8 meter. Spirited and exuberant, it leaps boldly from major to minor and back again, playfully shifting time signatures to capture a mood of unbridled festivity and jollity.
Here, a more conciliatory concept is chosen than in the original inspiration. „Saturn“ aligns with the number six, being the sixth planet from the Sun and bearing the iconic hexagonal pattern at its northern pole. What, then, could be more fitting than to render this piece in a 6/8 time signature? The arrangement unfolds with a multifaceted richness, mirroring the countless stones and ice fragments that form the foundations of Saturn’s majestic rings.
„Uranus“ adopts the theme of a light-footed, dancing instrumentation, giving the impression of perpetual motion, never quite settling. This musical choice harmonizes with the planet’s own orbit, as it spins with breathtaking velocity, teetering and swaying, seemingly unable to attain rest or stability.
The chill and vastness of the cosmos find expression in „Neptune, The Mystic“. At its core, an electronic soundscape envelops a classical arrangement, its unreachability intensified by an ethereal, otherworldly choir. Hovering at the outermost boundaries of the solar system, where warmth is but a distant memory, the composition lingers in a slow, contemplative tempo, evoking a realm where space for speculation stretches wide and silence reigns supreme.
Though Pluto may have lost its planetary status, and its companion Charon never achieved one, this shift in classification subtly aligns with the cosmic scale invoked here—one that mirrors the musical tradition of an eight-note sequence. Fittingly, the album closes with „Kuiper Belt“, a composition emblematic of the turbulence and vitality of countless smaller
celestial bodies that, though diminutive, find their rightful place within the vast architecture of the solar system.
They say nature is the greatest composer, shaping the universe with a symphony of chaos and order, beauty and danger. It is this duality that fuels the artistic vision of Edictum—a producer who, armed with a doctorate in chemistry, delves as deeply into the mysteries of molecules as he does into the depths of sound. In the tension between the vastness of the cosmos and the microscopic processes that dictate life’s rhythm, Edictum creates sonic landscapes that dissolve the boundaries between science and art.
His music is a story of contrasts—a sonic tale where the raw forces of nature clash with the intricate structures of human culture. Opposites intertwine to form a harmonious whole: the primal rhythms of the earth meet the celestial melodies of the cosmos, the rigid laws of physics blend with the boundless freedom of art. Edictum explores these polarities with meticulous devotion, each composition an expedition into uncharted soundscapes—a quest to give voice to the unfathomable.
With over 20 years immersed in the realms of electronic music, Edictum has honed a keen sense for rhythm and movement. His driving beats compel both body and mind into a hypnotic flow. Yet beyond the pulse of dance lies a complex framework of conceptual thought. Today, his creative focus revolves around holistic album projects—self-contained worlds with overarching narratives that embrace contrast and complexity. Each track stands alone as a fragment of the whole, but together, they weave a cohesive tapestry, much like the chapters of a novel that guide the listener on an emotional and sonic journey.
Edictum’s distinctive musical signature has earned him international recognition. With over 150 releases, many on prestigious platforms like the iconic *NewRetroWave* label, and collaborations with artists such as Jan Johnston, Azumi Inoue, Powernerd, and Turbo Knight, he has solidified his place in the global electronic music scene. His latest work, *A Cosmic Scale*, marks his seventh vinyl album and is released under his own label, *Echoes of Expanse*. The label’s name is no coincidence—it captures the essence of his art: echoes of infinity, the vibrations of the universe distilled into a singular sonic experience that carries the listener ever further into the boundless expanse of sound and space.
This album represents a significant evolution in the musical journey of Nick Viola, transitioning from the powernoise and heavy industrial sounds of his previous project, Fractured Transmission, into a techno-framed landscape. Spanning seven tracks, including remixes, the album features recurring sounds sourced from machinery, field recordings, and personal travels. These elements create an uneasy atmosphere oscillating between slight discomfort and absolute dread, offering a dystopian sonic experience fitting for the times we unfortunately live in.
The opening track, ‘A Ghost in Your World,’ sets an intense tone with distorted atmospheres and ‘It’s Still Real’ follows with a relentless pulse and swirling mechanical sounds, seamlessly flowing into Kenny Campbell’s remix of ‘A Ghost In Your World’, providing a cathartic release for the A side.
‘Drop Out,’ guides listeners on a psychedelic journey into the B side of the record, while ‘Negative Nancy’ ramps up the energy with an aggressive industrial techno assault offering an antagonistic jab at the current trend within the genre. Substencia’s remix of “Drop Out” delves deeper into psychedelia, offering an immersive trance-like experience relieving the tension of “Negative Nancy”.
The digital-only bonus track, ‘Tensor,’ maintains the album’s heavy industrial techno feel of a well-oiled machine, ready to pummel any underground sound system.
About Artist:
Nick Viola is a versatile electronic music producer known for his distinctive blend of industrial and techno music, drawing inspiration from a wide range of influences spanning from the gritty sounds of powernoise to the pulsating energy of techno.
Born and raised in Los Angeles, Nick began his musical journey immersed in the industrial club scene, where he cut his teeth performing at the legendary Los Angeles industrial club Das Bunker. Here, he honed his craft and developed a deep appreciation for the raw, aggressive textures of industrial music. As the driving force behind the project Fractured Transmission, he made a name for himself with his uncompromising approach to power and rhythmic noise, earning recognition for his intense live performances and relentless sonic assaults.
However, Nick was always drawn to the rhythms and sounds of techno, and in a bold move, he embarked on a new chapter in his musical career, transitioning from the abrasive sounds and rhythms of powernoise to recontextualizing those sounds into a more techno landscape. With this album, “A Ghost In your World”, he showcases his evolution as an artist, seamlessly blending the industrial aesthetics of his past with the pulsating energy and frame of techno.
Spanning six tracks, “A Ghost In Your World” is a sonic journey through dark, dystopian landscapes and pulsating dance floors, where distorted atmospheres and mechanical rhythms collide to create a mesmerizing and immersive experience. From the haunting textures of “A Ghost in Your World” to the relentless energy of “Negative Nancy,” each track offers a unique glimpse into Nick’s sonic universe, inviting listeners to explore new depths with each listen.
Written + Produced by: Nick Viola
Mastered by: Tim Vitek
Artwork: Permian Designs
Design by: Elaine Stam
Black Vinyl[11,98 €]
2025 Repress
RAWAX proudly presents the 3rd release by Gerald Mitchell on his own RAWAX MOTOR CITY - series.
This time we have the honor to present him under his Los Hermanos alias! "Remember Detroit" is a beautiful piece of Music which makes you feel the pulse of this City.
Will You joins the roster of Philipp Priebe’s Stólar this February with his ‘Is It 2 Late?’ EP accompanied by remixes from Lb Honne and Orion. Producer, DJ and Oleeva Records label boss Will You has been slowly unveiling his take on contemporary deep house and dub-tinged techno over the past few years via solo material and remixes on his own imprint and most recently a remix of Philipp Priebe’s ‘Movements In An Empty Department Store’ on Stólar. Here we see Will You returning to the latter aforementioned imprint with his latest EP.
Leading the release is ‘Santé’, a six and a half minute excursion through snaking sub bass tones, a crisp, shu®ed rhythm section, dreamy synth chimes, squelchy 303 licks and spoken word vocal lines. Title-cut ‘Is It 2 Late’ follows next and deviates into more dubbed out territory via expansive, unfurling echoes, cinematic atmospherics and robust, intricate percussion. Opening the ¬ip-side is Zurich’s Lb Honne’s interpretation of ‘Is It 2 Late’, the Project Indigo artist extracts the essence of the original and reshapes it into a subtly nuanced, loop-led and hypnotic workout. Italian duo Orion then conclude the package with their take on ‘Santé’, reshaping the original with their signature deep techno style, fuelled by grainy textural components and bumpy saturated drums.
The story of So-Do is both familiar and completely unique. A classically trained multi-instrumentalist with a poet’s sensibility and a passion for folk music meets a worldly bar owner with a love for psychedelia, post-punk and dub in the small town neither could bring themselves to leave. Over two years, they play dozens of shows in independent live houses across Japan, cut and self-release three singles – two 7”s and a 12” – and leave behind just eight tracks, all of which are set to be reissued for the first time forty years on.
So-Do’s Studio Works ’83-’85 collects the full output of this iconoclastic post-punk phenomenon, whose sparse, syncopated arrangements were infused with a dubbed-out flair that owed more to Dennis Bovell’s productions of Orange Juice, the Jah Wobble basslines of Public Image Limited or Adrian Sherwood’s live dubs of Mark Stewart than even they knew at the time.
Because for lead songwriter Hideshi Akuta, music offered an escape from the existential malaise of small-town life, folding a melancholy nihilism into tracks like ‘Kakashi’ and ‘Hashiru’ (which translates as ‘run’), or taking aim at the inequalities and creeping apathies of the middle classes, as he does on ‘Get Away’ and ‘Nothing’.
And if Talking Heads had CBGBs, Sex Pistols had the Roxy, then So-Do had Buddha. Influenced by Buddha venue owner and amateur producer Atsuo Takeuchi, Akuta turned So-Do’s sound towards dub, crafting playful, ironic and funky compositions that crackle with live energy at the vanguard of Japan’s nascent independent music scene.“So-Do is hard to explain,” Takeuchi says. “It’s been a struggle for years to try to find the words for our music.” The answer perhaps, is just to listen.
Both familiar and completely unique, So-Do extend Time Capsule’s genre-defining exposition of Japan’s reggae-inspired music of the ‘70s and ‘80s, as collected on the label’s two critically acclaimed Tokyo Riddim compilations, and London-based live outfit Tokyo Riddim Band.
Embracing the rip-it-up-and-start-again ethos of the early ‘80s, So-Do burned bright for a short time and then burned out. Their legacy is about to be reignited. Expect it to catch alight once more.
All songs are written & composed by Hideshi Akuta
Produced by Atsuo Takeuchi
Artwork by Ben Arfur
Liner Notes by Anton Spice, Ayana Honma, Kay Suzuki
Curated by Kay Suzuki
Licensed from Atsuo Takeuchi (Oregano Cafe)
Tape Restoration and Mastered by Mike Hillier at Metropolis Studios, London, UK
Time Capsule | TIME023 | 1983-1985 → 2025
This blissful example of Lover’s Rock from 1985 showcases the very specific sonic template of a portion of Reggae music that was coming from the United Kingdom during the period - steeped in a soulful, Pop sensibility. We are also treated to a version by Lindel Lewis aka The Gentle Giant of Reggae music under the guise of One Man Band that submerges the original into a rich, sun-kissed honey, securing it firmly into the territory of Balearica. Whilst not achieving commercial success at the time, You, Me & He has grown to become a much coveted artefact and we are pleased to have lovingly reissued this gem for your listening pleasure.
Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.
All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.
With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.
But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who
Born in 1989 in Bamako, Mali, Nfaly Diakité is a member of the Donsow, Bambara animist hunters. Nfaly Diakité is named after his grandfather, the late Nfaly Diakité, one of Mali’s most respected donso chiefs. His grandfather did not play, but as a leading figure in the donso brotherhood, he was always accompanied by musician Yoro Sidibé. Nfaly grew up alongside Yoro Sidibé, who became his first master of the donso ngoni, a type of eight-stringed antelope skin harp. After leaving school to devote himself to his instrument, Nfaly continued his apprenticeship with Diakaria Diakité and Oumar Sidibé, two donso masters from the Wassolo region.
He quickly made a name for himself in the donso community and was much asked to play at the traditional ceremonies of his brotherhood. He then met percussionist Ibrahim Sarr and joined the BKO Quintet, with whom he recorded an album and toured Europe and the United States. His virtuosity on the donso ngoni soon attracted attention, and he took part in numerous music and dance festivals in Mali and abroad, with the aim of raising awareness of this little-known traditional instrument.
Nfaly Diakité is also a Kônô, meaning that he is responsible for passing on the history and culture of the Bambara people through music and song. He pursues his mission by combining tradition with more contemporary sounds and by collaborating with artists from a wide range of musical backgrounds. For him, music is a means of conveying messages of peace, love and harmony, and his compositions evoke the values of respect, tolerance and open-mindedness.
‘Tribute to Toumani Koné’ is Nfay Diakité’s first solo album, recorded in Bamako in June 2020. On the album, Nfaly is the only singer, providing backing vocals and playing the donso ngoni and keregne. The album is a tribute to the storyteller and poet Toumani Koné, the greatest donso ngoni player since N’gonifo Bourama. Nfaly Diakité is a representative of the new generation of donso ngoni players and he wishes to pay tribute to Toumani Koné, who throughout his long career has been a symbol of courage, daring, loyalty and honesty.
The nine-track of this solo album leaves no room for hesitation. Three instruments (donso ngoni, voice and keregne) manage to carry one into another dimension without ever tiring. The fitting and precise rhythm is a deep but melodious transe. Nfaly’s voice plays between expressive urgency and calm wisdom, and the choruses with his own voice multiply the planes of dimension of the music. The donso n’goni, of which Nfaly is an excellent player, sounds rough and earthy but always clear and sharp. All the strength of a music that does not belong to a single musician but to a long cultural tradition of which he is the spokesman is expressed here. The young Nfaly, thanks to his experience and sensitivity, succeeds on his own in pushing us into this world without feeling the weight of tradition but only the liberation of music that sounds all the more contemporary. This album is to be listened to in its entirety as one tight journey between repeated formulas, highlights and moments of rest within the same relentless rhythm. The densest moment is probably found in the heart of the album, between the tracks Nankama (the predestined one) and Mogote Diabeye (no one can please everyone). Here, the message, which can be deciphered from the translation of the lyrics, seems to transcend language barriers and intepret us directly about our human condition, urging us to move our bodies to the dense rhythm of life.
In this electrifying 2024, Flexi is still spinning, louder and prouder, as it marks 40 years of igniting dancefloors and fueling underground happiness. From its humble beginnings as a haven for vinyl enthusiasts to a cultural stronghold amidst the turbulent waves of the music industry, Flexi has become a name synonymous with passion, resilience, and the relentless pursuit of quality sound. To honor this milestone, Flexi’s indie label, Flexi Cuts, is dropping a second, limited-edition compilation. Aptly named "Musica Solida," this collection is spread across three or possibly four lush 12-inch samplers, each showcasing a handpicked selection of tracks from Flexi's cherished circle of artists and producers. This release is more than just a celebration; it’s a declaration—a call to arms to keep the spirit of the scene alive and thriving in Italy and beyond, against all odds.
"Musica Solida #2" doesn't just hold tracks—it’s got stories, moments, and grooves that demand movement. Each cut is a slice of that raw, unpolished energy that Flexi has championed for four decades.
Featured Artists on Musica Solida #2
Minimono: The powerhouse duo of Fabio Della Torre (founder of Bosconi Records) and Ennio Colaci take us on a hypnotic journey with their floor-filling "Before Morning." It’s the kind of track that keeps the dancefloor alive until the break of dawn.
DJ Rou: Going minimal yet impactful, DJ Rou delivers "Elastic Body," a dancefloor-ready cut that blends a stripped-back groove with robotic vocals—a futuristic twist that keeps things unpredictable.
Relative: Flexi’s proud owner kicks things off with an electro track that was conceived, birthed, and brought to life in a single whirlwind afternoon—an anthem for those who live for the moment.
Delphi: One half of the renowned Tiger & Woods, Delphi isn’t afraid to dive deep with a heavy-hitting house track, loaded with acid stabs and thick, pulsating basslines. A track that’s both a nod to the past and a push towards the future.
The record will be released in about 200 vinyl copies no more.
Packaged in the classic discobag 2- holes, with a distinctive letterpress print in a beautiful red cover.
'BOSTICH PT.1' – A hot Chicago House flip on this legendary classic by Swiss synthpop band Yello! Some unexpected editing surprises in this one! The groove will have you from the start! 'OPTIMO' – A highly energetic rework of this classic from American dance-punk band Liquid Liquid, with a percussion section that uses the snare drum, bass kick drum, cowbell, and claves that all combine for insane repeated drum rolls! A hot sure shot for the dancefloor!
Cratebug is a Chicago Dj, Producer & Remixer. His remixes and edits are hot gold and have found their way into the mixes and live sets of COUNTLESS djs all over the world. Most notable and well-known among fans & supporters of Cratebug’s work include: Derrick Carter, Jamie 3:26, Honey Dijon, Frankie Knuckles (RIP), Louie Vega, Scott K., Kenny Dope Gonzalez, Dimitri From Paris, Boris Dlugosch, Francois Kevorkian, Danny Krivit, Moodymann (Kenny Dixon Jr.), Theo Parrish, Master Kev, Moon Boots, Jackmaster (Jack Revill), The Martinez Brothers, Doc Martin, Mark farina, KON, Detroit Swindle, Radio Slave, Moodena, Luke Solomon, Jimpster, Alton Miller, Juan McClean, James Murphy, Alton Miller, Horse Meat Disco, Gene Farris, Jack The Box (Tyree Cooper & Bobby Starr), The Black Madonna, Jojo Flores, Marques Wyatt, Terry Hunter, Ricardo Villalobos, Kiko Navarro, Ted Patterson and MANY MORE!…
The world became another since the release of »Decadent yet Depraved« and Belief Defect’s reflection of it: now darker, political, honest – end times in Cinemascope. When the duo reunited in the studio after the 2 year fracture COVID inflicted on reality, the album that had been on pause all this time seemed insufficient against whatever life had morphed into, while humanity hid from itself. Finishing an album coherent to the present moment took prolonged studio shut-ins that proved to be as cathartic as the struggle sessions of the cultural revolution must have been. »Desire and Discontent« unfolds like a parable, structured by subsonic frequencies that give arrangements a solid gravity, dissonant chord progressions resulting in coherent movements, punctuated by human-like voices over slow, suspenseful melodies that come into being without the listener’s awareness. Contributing to the album with machine-like precision drumming is Merlin Ettore, vocals from Anna Gartner and the artwork of Juan Mendez (Silent Servant).
1021 is the third studio album from Toronto singer/songwriter, Rochelle Jordan. Originally released in 2014, 1021 is the album that forever changed Rochelle’s trajectory as an artist. Filled with moments of honest and pure self expression yet still showing signs of who she has eventually become, the album showcases Rochelle’s resilience as an indie artist, her unapologetic risk taking, and her drive and uncompromising belief in herself. The album’s production is filled with lush, airy, evocative beats, with her vocals drawing comparison to the iconic R&B superstar, Aaliyah - in fact, “Ease Your Mind,” was co-produced with Eric Seats, who produced the iconic Aaliyah track, “Rock the Boat.” Since then, Rochelle has gone on to become a major player in the R&B and dance spaces, most recently working with Kaytranada on his new album. To celebrate the 10 year anniversary since it’s release, 1021 will be making its debut on vinyl for the very first time. 2xLP, pressed on Baby Blue Galaxy vinyl and includes a 24x36 double-sided poster, as well as three additional songs not originally included on the album - this is strictly for the Day Ones.
Liverpool’s breakout techno star Massano’s second solo release on Drumcode, ‘The Lights’. Following this year’s stellar three-tracker EP ‘Telepathic’ after Massano’s track on last year’s Drumcode A-Sides Vol. 12, Adam Beyer welcomes him back to his imprint.
Massano’s rise continues meteoric, with thunderous festival performances at Tomorrowland, Kappa Futur Festival, Ultra, & ElRow, sold out headline shows at Mute, Brooklyn Mirage, and Hi Ibiza … alongside releases on Afterlife and his own label Simulate which reflects his technology-dominated futuristic vision.
With chart topping success and the prestigious honour of having a BBC R1 Essential Mix, Massano’s aggressively powerful techno and rattling, insistent percussion interspersed with strong melodic riffs is clearly in ever-increasing demand. ‘The Lights’: with typical insouciance, Massano audaciously and successfully melds contrasting scenes/cultures/times – a bubbling, arpy bass and breakdowns of melodic, ‘hammered synth’ notes bring a North African/Middle Eastern vibe, until an interlude of building tension, with demanding drums, siren call, hard stabby chords and a huge drop, introduces a spacey, dystopian, futuristic techno sound. Fast, furious, takes no prisoners, dancefloor-compulsive.
Valerio Vaudano joins the roster of Cinthie’s 803 Crystal Grooves sub-label Collective Cuts with his ‘Lose My Mind’ EP.
Valerio Vaudano ‘: ’I'm a fan of Cinthie and feel honoured to release these tracks on 803 Crystal Grooves! This is the kind of sound I mostly love to play and produce at this time: house sound that blend energy, groove and 90s nostalgic melodies with Detroit, Chicago and Italo flavours. this new EP represents me best and explains better than words. The entire EP was produced using a 90s sampler without using a computer, I'm very proud of
the result! I hope you enjoy it!’’ Title-cut ‘Lose My Mind’ leads, laying down crisp saturated drums, crunchy stab sequences, choppy vocal hooks and bright strings all dynamically evolving throughout for ultimate dance floor impact. ‘Sunday Remedy’ follows with bumpy breaks, a weighty kick
and amalgamation of vocal samples in combination with gritty bass stabs and classic piano chords to perfectly encapsulate the essence of house.
Opening the flip-side is ‘Down The Street’, diving deeper with airy chords, breathy vocal chants and bouncy bass stabs intertwined with a more raw, reduced rhythm section. The aptly titled ‘Smooth As Butter’ then rounds out the release with a nod to the Detroit House sound, fusing shimmering keys with jazzy drums, twinkling chime melodies and lowpitched vocals across its near five minute duration.
Founded by Matt Hodgson in the mid 90s, 7th Voyage quickly became a cult imprint.
Despite a modest catalogue, the label earned a devoted following among vinyl collectors. Revered for its raw energy and timeless quality, these records have become treasured, often commanding hundreds of euros on the second hand market - some of the rarest electro tracks out there for those who know…
London based Hodgson, a passionate music lover and vinyl purist, poured his heart and soul into every release, crafting records that resonated deeply within London’s underground scene of the 90s. Following the recent reissue on Sushitech, Matt and Yossi have joined forces to present a
retrospective 7th Voyage release on Pariter, a label sharing a natural synergy with the ethos of 7th Voyage, this release honours the legacy of Matt’s work while breathing new life into these rare and sought-after tracks.
‘The Return Voyage’ is a carefully curated compilation of seven standout tracks from the label’s back catalogue, encapsulating its signature sound and unique musical journey.
This compilation is more than a selection of songs from Willy Nfor’s solo career in Nigeria—it’s the story of a man’s determination to live his dreams. Known as Willy Ngeh Nfor, he was a founding member of the Mighty Flames. One morning, Willy and his bandmates packed their instruments, grabbed a few clothes, and headed from Cameroon to Nigeria. Crossing the border on foot, they made their way to Onitsha.
“We left Cameroon with no contacts in Nigeria—it was an adventure. We’d heard about the FESTAC Arts Festival and felt we had to be part of it. Our first band in Nigeria was Pentagon Funk Band, sponsored by the 5th Brigade in Port Harcourt. Later, we moved to Onitsha and signed with Right Time Stores, recording Sweet Love (RTLPS 011) as The Mighty Flames. The sessions were at Decca Studios in Lagos, with a 16-track analog system. It was intense—no room for mistakes. We rehearsed endlessly before recording each take.” (Vincent Ekedi, Drummer, Mighty Flames)
Willy’s journey was shaped by his resilience and talent. Losing his mother early and facing family struggles, music became his escape. Inspired by funk and jazz-rock greats like Bootsy Collins, Jaco Pastorius, and Stanley Clarke, he honed his skills on bass and composition, playing with local bands alongside musicians like Vincent Ekedi. Together, they refined their grooves, dreaming of brighter futures.
After his time in Nigeria, Willy moved to Paris, becoming a session bassist for legends such as Manu Dibango, Mory Kanté, Tony Allen, Akendengue, Ray Lema, Jean-Luc Ponty, and Kanté Manfila. Touring extensively, he lived the “Star Life” (Star Life, Cornerstone Records, Feel So Fine, 1981), playing funk grooves with giants in grand venues, fulfilling his dream of the spotlight.
***** AUGMENTED REALITY COVER *****
For the third release on Dust In Grooves, Olivia Mendez curates a compilation EP that honours the boundary pushing spirit of the vinyl-only imprint and presents a collection of mind bending tracks by emerging and established techno producers. The first VA instalment on DIG showcases adventurous, challenging, and dynamic cuts while maintaining the groovy and raw signature sound of the label. Bridging the analog format with a forward thinking design is the animated cover created by visual artist Deniz Bicer, she is also known as Ojelibalon.
LKY - Bitter
Bitter by Manchester based producer LKY is a direct immersion in the atmospheric depths conveyed within a minimalistic tool track. With trippy loops and changing beats, this opener leaves a bitter taste of the sweaty, trance-infused 90s.
Deluka - R.A.W
R.A.W glistens with a mind-bending sound design, produced by the No Signal Records founder Deluka. He delivers a visceral, hypnotising track with quirky highs and stomping, rhythmic lows, captivating the attention all throughout the end.
Metapattern - Tamakotuma
On the B side, the relentlessly driving and layered Tamakotuma by Metapattern, beams with melting synths, intense rhythm and skewed melodies. After joining the Mord and HAYES families, Metapattern contributes a dynamic track with evolving retro-futuristic design, journeying across dimensions.
Dotdat - Take me to Detroit
An homage to the roots of timeless sound and community, Take me to Detroit by Dot Dat is a soothing dance-floor energy tamer, filled with melodic arpeggios and spacious drums. After his release on Truncate records, Dot Dat closes out the DIG VA with a slower-paced track, laced with classic synths.
Words by Lora Mateeva
Animation - Deniz Bicer
Master - Nihad Tule
Graphist - Ferdinand Prat
Here comes a first EP by Josh Ludlow for Toy Tonics. Mastermind of Make a Dance aka M.A.D. records. London’s best kept secret (or not so secret anymore) of new underground dance weapons that are played by everybody who counts in the scene.
Josh delivers a hot 4 -tracker that will move people on dance-floors worldwide. Combining 1990es filterhouse influences, 2000’s indie dance and some of the edgy contemporary funk moods that are lighting up clubs these days. The post - techno generation likes it funky and Josh delivers. Fitting perfectly with the vibe of Toy Tonics this EP will find a lot of friends. In fact Josh knows how things work.
Josh Ludlow has been steadily honing his craft over the past 15 years. Starting out releasing Drum & Bass under the ‘Squash!’ moniker in the late 2000’s whilst also playing drums in bands. The former gave way to live touring and it was only in 2020 when Josh resurfaced with some new electronic music.
The impetus for releasing this new material was when Josh Ludlow & Ben Lewis formed there beloved project ‘Make A Dance’ (which then went on to establish the imprint) M.A.D. Records during the pandemic.
Since then M.A.D have made a big impact on the underground scene, become regulars at places such as Fabric, Heidegluhen, Gottwood and gained DJ support of propel such as Laurent Garnier, Optimo, Palms Trax and Peggy Gou and across BBC Radio1 and regularly Cover show’s on NTS for Long Running Host’s Moxie and Apiento.
This is just the beginning.
- A1: Euph (Atmospherics)
- A2: Complete Nonsense
- B1: Helix
- B2: Phosphorous
- C1: Mars Rain
- C2: Lost In It
- D1: Fm
- D2: Odyssey
- D3: Genetic Experiment
- E1: Euph (Feelings In Finite) (Bvdubs' Re-Entries)
- E2: Complete Nonsense (Calm & Chaos)
- F1: Helix (Radiate In Red)
- F2: Phosphorous (Elements Of Endlessness)
- G1: Mars Rain (Freeze & Fall)
- G2: Lost In It (Life In Lucidity)
- H1: Fm (Frequencies Of Forgiveness)
- H2: Odyssey (Gazing Into Galaxies)
- H3: Genetic Experiment (Symbols & Secrets)
James Bernard's 1994 ambient masterpiece Atmospherics is now 30 years old. To mark its anniversary the landmark record has been meticulously remastered and paired with a brand-new, track-by-track reinterpretation by Bernard's longtime friend and collaborator, bvdub. Together, these works span four slabs of wax and offer a profound exploration of ambient soundscapes that honour the original while also presenting some fresh, emotive perspectives. A must-have work for your ambient section.
- A1: Head Rush
- A2: Black & Mild
- A3: Joyful Noise
- B1: Traffic
- B2: Cactus Water
- B3: Candy Paint Feat. Thundercat
- B4: Berghain Feat Barney Bones
- C1: Holy Moly Feat. Ty Dolla $Ign
- C2: I’m Him
- C3: Chain Hang Low Feat. Teezo Touchdown
- C4: Need U 2 Know Feat. Ravyn Lenae
- C5: Two Ways
- D1: Aspen Feat. Toro Y Moi
- D2: We Hungry Feat. Estelle
- D3: Type
- D4: Gold Daytonas Feat. Watr
- D5: Here
- Channel Tres releases his debut album Head Rush via RCA Records.
The album, which features the previously-released singles "Berghain" featuring Barney Bones and "Cactus Water" is the culmination of Channel's steady ascent since he first broke through to public consciousness with his cult-classic debut single "Controller." Head Rush features all of the sounds that have come to be hallmarks of Channel Tres songs, but finds him incorporating musical influences not heard in his prior catalog, as evidenced by "Berghain" and other songs from the album including the Ty Dolla $ign-featuring “Holy Moly,” a visualizer for which is out now. The album arrives on the heels of two recent head-turning Channel Tres collaborations as well -- his contribution to KAYTRANADA's "Drip Sweat" and Jay Worthy, DāM FunK & ATrak's "105 West" alongside fellow LA legends Ty Dolla $ignand DJ Quik exemplify his versatility. Head Rush is a richly layered record, but one that feels totally intuitive, without a trace of doubt or self-consciousness.
The way “I’m Him” shimmers is balanced by the Estelle-featuring “We Hungry,” which nearly growls; the spare, percussion-forward Ravyn Lenaeduet “Need U 2 Know” (the stylization of its title a nod to Prince, one of Tres’s major influences) at delightful odds with the easy ride of “Gold Daytonas.” Head Rush shows the staggering array of styles Channel Tres can evoke. But that versatility is not the point in and of itself—the point is that all these component parts can be reassembled into something that feels uniquely personal, and honest. Through his career, Tres has blended recognizable genres, textures, and points of view into a truly singular form all his own. Longtime listeners will recognize in Head Rush the hallmarks of a Channel Tres record: a mastery of rhythm, the rare ability to make songs sinister and fluorescent at once.
But this LP also opens a new sonic world, one rife with unexpected terrain and hairpin turns—see the way “Type” takes what sounds at first to be a simple romantic boundary and stretches it out into an alien landscape. Or take “Berghain,” a song that nods to the kinetic live shows that became must-see events—a crescendo of interest that included his momentous Coachella 2022 performance and culminated, at least symbolically, with his early 2023 set at Berghain, the legendary Berlin club that has long been a musical hub of the Western world. “Berghain” is delirious but thumps almost impossibly hard, in line with the album as a whole—always molting, always ready to turn from the claustrophobic to the communal, as the pivot on “Joyful Noise” accomplishes so seamlessly. Head Rush also features some of Tres’s most deeply felt vocals to date, like the veritable bloodletting on “Two Ways.” And so the record, which also features Ty Dolla $ign, Thundercat, Teezo Touchdown, Watr, Barney Bones and Toro y Moi, marks a new era for Channel Tres, personally as well as artistically. “I’m older now, and the things that I’ve accomplished tell me I’m ready to do this,” he says. “You’ve worked your whole life for this, you’ve been able to do these shows and walk into these rooms and make these songs. There’s no reason you have to live by the same insecurity that you had to use in years past.” Shedding that baggage accomplished exactly what it was meant to—lightening the load so we’re free to get heavier than ever
Oslo’s Sex Judas feat. Ricky announces 2 x LP for Norway’s Snick Snack Music
The band’s varied concept album portrays a break-up of epic proportions and releases Jabnuary 2025
Digital Release Date: 3rd May 2024
Vinyl Release Date: Jan 2025
“Are you ready for the big disaster? The moment when everything unravels?
On their third album, Sex Judas feat. Ricky portrays a break-up of astronomical proportions. The band's mascots, Sex Judas and Ricky, embodied by artist Sindre Goksøyr, find themselves in the midst of a separation, and their feelings are sprayed all over the big screen.
But what is actually going on? Sex Judas feat. Ricky consists of the musicians Tore Gjedrem (Ost & Kjex), Sidiki Camara, Ivar Winther, Tracee Meyn, Tore Brevik, Kristian Edvardsen and Linn Nystadnes, a stellar team part of Oslo's musical underground. Together, they play a mixture of funk, disco, post-punk, traditional music from Mali and electronica that always moves the dance floor, with two previous critically acclaimed albums on the Scottish Optimo Music and a Norwegian Grammy to show.
Sex Judas’ third album, ‘The Book Of Dreams / After Sex’, is a double disc and a two-part musical affair. In the first part, Sex Judas' version of the breakup is depicted in a band format, with music inspired by the alternative 80s. Think Grace Jones, Tom Tom Club, DAF, No Wave, and the Compass Point Studio backing band in a blissful cocktail.
In part two, depicting Ricky’s breakdown, the band has created their most experimental music to date in close collaboration with contemporary composer Ole-Henrik Moe. The songs influenced by Ole-Henrik's tones are fluid and beautifully ambient, with inspiration ranging from 30s and 40s film music, Norwegian folk, contemporary electronica and IDM topped with Moe’s modern string arrangements.” - Snick Snack Music
After the success of their first single the super hit 'Hondebrok' (You can trust a man with a Moustache vol. 5), Amsterdam-based trio Tending Tropic return to Moustache Records with their debut EP featuring 3 original tracks and a remix from Machinegewehr that further explore the modern Italo Disco Rave genre. A1. Terpentine. A track that has been the secret weapon and the NEW DJ hit for label boss David Vunk, debuting with strong dancefloor response playing this out for a year non stop at many national and international festivals and venues.
Expect crazy chatchy bassline and hypnotic trippy energizing melody. The new hit where everybody was waiting for! A2. Terpentine (Machinegewehr remix). Rotterdam-based Machinegewehr delivers a remix that takes the title track deeper into Italo territory, adding a distinctive, nostalgic twist. B1. Our Adventure Begins. Modulating Yamaha synths and an adventurous Italo-inspired lead, a track that symbolises the beginning of the next chapter for Tending Tropic. Described by DJ Cormac as absolutely beautiful! B2. Mowing the Lawn.
Final track of the EP drives the listener to the darker side of Italo, complete with signature synth hooks and a deep, clean drop. C1. Kilimanjaro (digital bonus track). Named after the dormant volcano and highest mountain in Africa, this track wreaks havoc using a combination of acid basslines and Italo strings. Dont sleep it this gone is gone.
Globetrotting Texan trio Khruangbin are set to release ‘Hasta El Cielo’, the band’s glorious dub version of their second album ‘Con Todo El Mundo’. The full album has been processed anew along with two bonus dubs by renowned Jamaican producer Scientist.
The band’s exotic, spacious, psychedelic funk aligns with the dub treatment particularly well. Indeed, keen fans won’t fnd this a surprising release. Dubs of tracks from their frst album ‘The Universe Smiles Upon You’ appeared on limited vinyl releases of ‘People Everywhere’ for Record Store Day 2016 and ‘Zionsville’ on the Boogie Futuro remix 12”. The especially eagle-eared willhave caught a dub of ‘Two Fish And An Elephant’ playing over the credits of the track’s celebrated video.
“For us, Dub has always felt like a prayer. Spacious, meditative, able to transport the listener to another realm. The frst dub albums we listened to were records mixed by Scientist featuring the music of the Rootsb Radics. Laura Lee learned to play bass by listening to Scientist Wins the World Cup. His unique mixing style, with the emphasis on space and texture, creates the feeling of frozen time; it was hugely influential to us as a band. To be able to work alongside Scientist, a legend in the history of dub, is an honor. This is our dub version of Con Todo El Mundo.”- Khruangbin.
Formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums; Khruangbin’s sounds are rooted in the deepest waters of music from around the world, infused with classic soul, dub and psychedelia. Their 2015 debut album ‘The Universe Smiles Upon You’ was heavily influenced by 60’s and 70’s Thai cassettes the band listened to on their long car journeys to rehearsal in the Texan countryside. 2018’s follow up ‘Con Todo El Mundo’, which received hugely positive critical reactions and radio play around the world, took inspiration not just from South East Asia but similarly underdiscovered funk and soul of the Mediterranean and the Middle East, particularly Iran.
Since the album’s release, the band have continued their almost non-stop approach to touring, playing over 130 dates in 2018 alone. They return to the UK this summer for festival shows at Green Man, Latitude, Mostly Jazz, Funk & Soul Festival and Barclaycard British Summer Time.
After a ferocious start to 2020, which saw the band land a top 15 album chart position with their debut Mixtape EP, a #1 spot on the UK vinyl chart, #1 in the Scottish album charts, an appearance and sync in a UK-wide multimillion pound Strongbow ad campaign, FIFA21 soundtrack sync and over 30 million streams, The Snuts have announced their raucous, hook laden debut album, W.L. – out 2nd April on Parlophone Records.
The campaign has gone from strength to strength with the band amassing over 100,000 social followers and daytime support from Radio 1 as well as creating an incredible heartfelt video for single Somebody Loves You in partnership with The Scottish Refugee Council with the video’s production budget and all proceeds from downloads of the track going to the charity.
Adored up and down the country for their uninhibited, sweat-drenched live shows, the band have also announced a UK tour for the end of 2021 – totalling over 30,000 tickets including 3 sold out nights at the legendary Barrowland Ballroom in Glasgow with tickets selling out for that and multiple other dates on the tour in minutes.
Hailing from Whitburn, West Lothian, The Snuts have well and truly found their stride on W.L.. Produced by Tony Hoffer (Beck, Phoenix, M83) and recorded at the Firepit London, the album encapsulates the band’s journey from four working class kids growing up with a dream in Whitburn, to becoming one of the UK’s most exciting and vital bands of the new decade. The album opens with the poignant ‘Top Deck’, winding through a voyage of genres including the raw, rousing, hip-hop driven ‘Elephants, heart-wrenchingly honest ‘Boardwalk’, the undeniable pop banger ‘Somebody Loves You’, the hauntingly heartfelt anthem ‘Always’ and the main stage festival ready hymn, ‘All Your Friends’.
La Pointe debut on Damian Lazarus’ Secret Teachings with ‘Umbra’, featuring remixes from Nathan Fake and Jonny Rock. The experimental label opens its 2025 schedule on 24th January with the Geneva-based trio’s warping original backed by a pair of late-hours remixes from two of the best in the scene.
Emerging from a confluence of rave culture and artistic mastery, La Pointe make an impressive label debut on Damian Lazarus’ Secret Teachings imprint with the enigmatic ‘Umbra’. The release, set for 24th January, is accompanied by stellar remixes from revered producer Nathan Fake and the ever-versatile Jonny Rock, delivering a sonic journey that transcends the ordinary. La Pointe, a trio formed by Geneva-based techno pioneers Crowdpleaser and Entlet alongside New York City’s Jonny Sender, represents a fusion of cultural and musical legacies. Rooted in the dynamic after-hours scenes of Geneva and New York’s underground club culture, the trio creates music that is both innovative and steeped in tradition. Their studio, located in an old factory by the meeting point of the Rhone and Arve rivers, lends its name—and its industrial inspiration—to their project.
The original mix of ‘Umbra’ is a hypnotic exploration of light and shadow, blending atmospheric melodies with deep, pulsating rhythms—a testament to their ability to craft soundscapes that resonate emotionally and physically. Nathan Fake’s remix ventures into intricate, textural layers, marrying ethereal tones with electronic intensity. Jonny Rock injects a raw, off-kilter groove and late-hours energy into his reinterpretation, blending his eclectic influences from disco, funk, house, and beyond. The genesis of La Pointe is as captivating as its sound. Crowdpleaser and Entlet are celebrated architects of Geneva’s rave scene, running the legendary after-hours party The Shark for over a decade and hosting luminaries like Alexander Robotnik, Boo Williams, and Sonja Moonear. Jonny Sender, a stalwart of New York’s downtown music revolution in the 80s to 00s and bass player of post-punk band KONK, brought his unique perspective honed in venues like Mudd Club to the trio when he moved to France. This debut appearance on Secret Teachings is not just a collection of influences but a narrative woven from decades of underground culture and musical exploration - making it a perfect fit for Lazarus’ label as he continues to champion boundary-pushing artistry, curveball signings and inspired remix curation.
LP on blue coloured vinyl in printed inner sleeve.This is country as it was meant to be: raw and honest. Not perfect-and it doesn't need to be. The beauty lies in the off-note, the stumbling rhythm, the simplicity of three chords that tell you everything you need to know.
The West is crumbling. It's values, once unshakable, have buckled under the weight of a world spinning ever faster and growing ever more hollow. Revival Of The West, Blue Gene's debut album, is his exploration of this collective malaise-a call to rediscover meaning in a world that has grown estranged from itself.
On his debut, Blue Gene gives voice to the contemporary themes that keep him awake at night: consumer hysteria, the numbing grip of social media, the solace found at the bottom of a bottle, the crushing weight of taxes, and the paralyzing complexity of a world where humanity seems to have been reduced to a cog in the machine. Yet, despite all the despair, his songs always carry a spark of hope: after the fall, you can rise again. These stories are wrapped in the sound of classic country music-music about life as it truly is: bent, battered, but full of resilience.
This is country as it was meant to be: raw and honest. Not perfect-and it doesn't need to be. The beauty lies in the off-note, the stumbling rhythm, the simplicity of three chords that tell you everything you need to know. Blue Gene's country music is the song of a man wrestling with life and himself, infused with humor, sharp lyrics, and anecdotal musical moments. Because sometimes, we just need to remember to laugh. In short, it's a mirror showing us our demons, but also a reassurance that teaches us how to live with them.
And yet, the question lingers: who is Blue Gene? Is he just a country singer putting strugglesto music? Or is he a modern Robin Hood in cowboy boots, a voice trying to do justice to lost ideals? Blue Gene exists in the grey area where music and meaning meet-and it's precisely there that he finds his strength.
Revival Of The West is no nostalgic longing for a bygone era. It's an invitation to reinvent the values we've lost. It urges us to return to a place where life can be honest again-where music doesn't aim to please, but to say something real. Because sometimes, a song is all it takes to make sense of the world around us.
Blue Gene (vocals & rhythm guitar) is joined on Revival Of The West by his loyal band of outlaws: Nathan Ysebaert (lead guitar & vocals), Tijl Van de Casteele (drums & percussion), and Tom Vienne (bass guitar, saxophone & vocals). The record is further enriched by guest appearances from Bart Vervaeck (pedal steel), Nils De Caster (violin, mandolin), Mathijs Steels (piano), Ciska Dhaenens (vocals), and Harry Descamps (vocals). Recorded in spring 2023 by Michiel Renson, mixed by Jan Chantrain and Michiel Renson, and mastered by Uwe Teichert. Produced, composed, and written by Timotheus De Beir.
Revival Of The West will be released on January 24, 2025, via On The Level.
Jamwax is proud to announce the reissue of Justin Hinds' rare and evocative track Marcus Tradition, a powerful song that resonates deeply with the roots of Jamaican music and honors the enduring legacy of Marcus Garvey.
Marcus Tradition is a heavyweight roots reggae masterpiece that embodies the spirit and teachings of Marcus Garvey, the Jamaicanborn leader who founded the Universal Negro Improvement Association (UNIA) and championed the 'Back to Africa' movement. The song’s down-tempo riddim and distinctive whistle create a captivating atmosphere, while the lyrics emphasize the importance of tradition and heritage: "You're the offspring of this nation, and this is a tradition. Marcus Garvey was born in Jamaica and that's a tradition."
Justin Hinds, a pioneering figure in Jamaican music, is celebrated for his impactful contributions to the ska and roots reggae genres. As the lead vocalist of Justin Hinds & The Dominoes, he achieved monumental success with classics such as Carry Go Bring Come, cementing his legacy in Jamaican music history.
This reissue of Marcus Tradition reaffirms Jamwax's dedication to preserving and sharing the richness of Jamaican musical heritage. By bringing this exceptional track back into the spotlight, Jamwax not only honors the profound artistry of Justin Hinds but also celebrates the timeless cultural legacy of Marcus Garvey, a tradition that continues to inspire and unite generations.
Originally released in 1987
Licensed courtesy of Claudette Pottinger & Correl Hewitt
RAWAX proudly presents the 5th release by Fresh & Low on their own RAWAX TREASURES series!
This time we have the honor to re-issue one of the most wanted records from their entire catalogue.
It's "Wind On Water" which came out on legendary Guidance Recordings in 1996!!!
The new version on RAWAX is re-mastered and will be out in Jnauary. Don't miss!
This 12" contains the first sounds from EDM Z album, which will complete Jodey's 'Electric Dance Music' series. Very limited strictly no repress handstamped piece of Braindance. In the realms of imagination and creativity, there exists a man whose life is as diverse and eclectic as the beats he now produces. Born in the picturesque landscapes of Cornwall in 1953, Jodey Kendrick's journey began with the wind-swept cliffs as his backdrop and the crashing waves as his symphony. As a young lad, Jodey was drawn to the world of cinema. Inspired by the likes of Bruce Lee and Jackie Chan, he found solace in the art of martial arts and action-packed storytelling. With determination in his heart and a fire in his eyes, Jodey ventured into the realm of acting, honing his skills on the stages of local theaters before making his mark in the bustling streets of Hong Kong. It was in the neon-lit alleys of Hong Kong that Jodey Kendrick found his true calling. Embracing the vibrant energy of the city, he immersed himself in the world of Hong Kong action films, earning acclaim for his daring stunts and charismatic performances. With each role, he etched his name deeper into the annals of cinematic history, becoming a beloved figure in the hearts of moviegoers across the globe. But as the years passed and the reels of film kept spinning, Jodey felt the stirrings of a new passion within him. Beyond the glitz and glamour of the silver screen, there lay a world of pulsating rhythms and electronic melodies, waiting to be explored. Intrigued by the allure of electronic music, Jodey embarked on a new chapter in his life, one that would see him swap his martial arts moves for the dancefloor beats of Jungle Tekno and Drum and Bass. In the bustling metropolis of Hong Kong, Jodey found himself amidst a thriving music scene, where the streets throbbed with the rhythms of the underground. Fuelled by his love for music and driven by a desire to create, he immersed himself in the world of music production, crafting beats that reverberated through the city's concrete jungle. Today, Jodey Kendrick stands as a testament to the power of reinvention and the boundless possibilities of passion. From the silver screen to the dancefloor, his journey has been one of constant evolution and exploration. With each beat he creates, he pays homage to the winding path that brought him here, a path that weaves together the worlds of cinema and music into a tapestry of creativity and inspiration.
Mike Inzinger trades with a wide array of sounds, intersecting Ambient, Techno, Electro, House and Acid elements.
The upcoming 4-track EP "Final Report" nods to Netherlands' west coast electro bents, varying from surreal 808-driven groovy acidic realms to immersive atmospheric, spaced-out pads and repetitive percussive wanders.
It starts of with jacking proto ACID house song called Delayed Attraction. A song that would have made the kids crazy at the Music Box in the mid 80's. And are still as uplifting for all us house heds. The second song Tear Gas takes us back to Europe, with a slow Belgian beat that moves like a train and hits you straight in the chest, and on top of this a monotom synth pad on top of that it gives the song a some what a scary dream feeling. The third song Nasjiga is taking us further in to the complex dream but packaged in a Detroit electro vibe with sounds that makes me think of a hospital hart beat monitor but then mixed up with bit-crushd lo-fi dragon covers in a dubby inferno that keeps on building up without coming to a climax (in a good way). The forth song Verfolgung is a 8 minute stomping song that's starts of in a Burzum sounding flute but the quickly goes over to a freaky baseline that's sounds like its made out of a congas patch and a detuned bass on top of that. On top of that they put a march bands drum pattern that gives this song a freaky tivoli vibe and would be such a banger a the right time of a DJ set. /Jens W Limited numbered to 200x * Delayed Attraction - With a bumpy baseline that grooves, hard hits on the drum machine, this is are both funky and hypnotic. * Tear-Gas - A mid-tempo acid journey that blends funky drum patterns with psychedelic trance strings. Typical FRAK's acid-outed sound, with a hypnotic and thumping beat and bassline. * Nasjiga - The B-side kicks off with a deeply dubby and tribal vibe, with splashing hi-hats and echoed percussions. like the heartbeat of an underground train going of the rails. * Verfolgung - This track kicks hard with a marching beat that builds into a funky disco. It's playful yet progressive energy leaves you with a smile on your face and your feet moving on the dance floor. Honk Honk! // Dj Jespha Galore
- A1: Intro
- A2: Things Done Changed
- A3: Gimme The Loot
- A4: Machine Gun Funk
- A5: Warning
- B1: Ready To Die
- B2: One More Chance
- B3: #!*@ Me (Interlude)
- B4: The What
- B5: Juicy
- C1: Everyday Struggle
- C2: Me & My B*Tch
- C3: Big Poppa
- C4: Respect
- D1: Friend Of Mine
- D2: Unbelievable
- D3: Suicidal Thoughts
- D4: Who Shot Ya
- D5: Just Playing (Dreams) (Dreams)
Originally released on 13th September 1994, Ready To Die is the debut studio album from hip-hop legend, The Notorious B.I.G. Upon release, the album was met with widespread critical acclaim, with Pitchfork giving it a 10/10 rating along with various other critics praising it for its brutally honest depiction of gang violence and conflict as opposed to the often-glorified portrayal in the genre and the wider media. The album has cemented its place in hip-hop history and has since gone on to achieve 6x platinum certification in the US, selling over 3.5 million copies, and has achieved platinum status in the UK as well.
This x2LP re-issue featuring the iconic artwork of an infant bearing a resemblance to the rapper has been out of the marketplace for over a decade and also features all 19 tracks from the Ready to Die Sessions.
The album cover is often cited as one of the greatest of all time, with Billboard magazine placing it no.4 on its list of “The 50 Greatest Album Covers of All Time” stating that juxtaposition of the music with the “innocence of a child” on the cover illustrates how “a cruel world imprints on unmoulded minds”. NME has also placed it no.12 on its list of “Timeless Hip Hop Album Covers” and Complex Magazine have placed it at no.16 on its list of “Greatest Album Covers”.








































