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In der Heimat der Wettbüros wird zurzeit ein Name groß gehandelt: SHAME. Die Band lebt von Konfrontation. Sei es die brodelnde Intensität, die auf ihrem Debüt ,Songs of Praise" knistert, oder das Adrenalin-pumpende Chaos, das sich bei ihren aufregenden von großen Emotionen angetriebenen Shows entfaltet. Bestehend aus dem Sänger Charlie Steen, den Gitarristen Sean Coyle-Smith und Eddie Green, dem Bassisten John Finerty und dem Schlagzeuger Charlie Forbes, begann das in London lebende Quintett bereits im Schuljungenalter. Mit einem gesunden DIY-Ethos als Grundlage und mit The Fall und Wire als musikalische Einflüsse schafften sich SHAME eine Nische in der Musikszene Südlondons und entwickelten furchtlos ihren aufrichtigen, eckigen, peitschenden Post-Punk. Die zehn Songs von ,Songs of Praise" lassen keine Fragen offen. Ob "Gold Hole", ein augenzwinkernder Takedown von Rock-Narzissmus, oder die Single "Concrete", die den überwältigenden Moment der Erkenntnis einer zum Scheitern verurteilten Beziehung beschreibt, oder das frustrierte "Tasteless", das die Monotonie des Alltags beschreibt. ,Songs of Praise" bietet keine Atempause.

Tauche ein in die zeitlose Magie des legendären Gitarristen Roy Buchanan! 1969 wurde Buchanan der Job als Nachfolger von Brian Jones bei den Stones angeboten. Er lehnte dankend ab und überließ Mick Taylor und später Ron Wood den Platz. In den 1970er Jahren erschien eine Reihe von Alben, die teilweise recht erfolgreich waren, und er seinen Status als "the best unknown Guitarist in the World" einbüßte. Das Meisterwerk "You"re Not Alone" veröffentlichte Buchanan 1978 und bietet eine einzigartige Mischung aus Blues, Rock und Soul, die vom ersten Ton an fesselt. Die Mitwirkung herausragender Musiker wie Ray Gomez (Gitarre), der mit seiner technischen Finesse und Vielseitigkeit Buchanans Stil perfekt ergänzt, sowie Willie Weeks (Bass, u.a. Doobie Brothers und Gregg Allman Band)), der für seinen Beitrag zur Fusion von Rock, Jazz und Funk bekannt ist, und Sly & The Family Stone - Drummer Andy Newmark bereichert das Album und fügt ihm verschiedene musikalische Nuancen hinzu. Roy Buchanan hat mit diesem Album eine zeitlose Sammlung von Songs geschaffen, die sowohl alte Fans als auch neue Hörer begeistern wird. Seine unverwechselbare Spielweise und sein einzigartiger Sound machen dieses Album zu einem Muss für jeden Musikliebhaber. Am 14. August 1988 beging Roy Buchanan im Alter von 49 Jahren Selbstmord. Er war nach einem Streit mit seiner Frau vorläufig festgenommen worden, Vollzugsbeamte fanden den Musiker leblos in seiner Zelle. Seine Musik lebt weiter.

A deeply hypnotic and beautifully crafted statement from one of the true masters of subtle groove and atmosphere. Playedby‘s label boss himself, returns to his very own imprint Tripsi Records with a stunning new vinyl release. Pure hypnotic brilliance, essential for selectors, collectors, and lovers of deeply crafted electronic music.
Tripsi Records is more than just a label. It is an audio-visual world created by Cristi Klebleev, where sound and image come from the same hand. Every release features only his own music, accompanied by original artworks painted by Cristi himself on canvas, making each record a fully personal expression, both sonically and visually. A perfect example of why Tripsi Records continues to stand out in a crowded world. Finest mastering and Cut, 180g Vinyl!

Shaped from fragile, emotionally charged piano motifs that distort, disappear and transform into dense, cinematic textures, 'CANALS' is a debut that's finely matured, the result of years of friendship and growth. Italian artist Vanja Sturno and Montréal-based Belgian-Spanish composer Pablo Geeraert (aka Sanea Ima) have worked together extensively on various projects up until now, but 'CANALS' is their first official release as a duo. Having both studied music academically, the pair were eager to work more intuitively, so applied their well-honed set of skills to sound that, instead of fitting into a conceptual box, reflected more personal experiences.

Back in 2023, Geeraert travelled to Rome to support his friend at a difficult time and, during the trip, received some bad news of his own. The complicated feelings unconsciously surged through a series of delicate Ryuichi Sakamoto-inspired piano improvisations and a new project began to coalesce. They didn't realize it at the time, but once the record was finished, Sturno and Geeraert began to understand that the entire process had been a form a joint catharsis - a release of pressure. They were able to function so effortlessly and swiftly because they had already provided the space for each other to resonate emotionally and the music flowed from that point.

So the album's title, while remaining ambiguous, suggests its formation: a sequence of eight interconnected channels that feed a creative whole. On the first segment, Sturno and Geeraert's initial recordings can be perceived most nakedly, the melancholy, Satie-like phrases floating peacefully for a moment before the tranquility is agitated by stormy distortions and swelled into thick waves of harmony. The piano provides the record with its emotional anchor, offering focus and clarity as multi-dimensional noise wells up around it before inevitably dissipating, leaving gentle, unadorned sounds once again.

And the familiar instrument is reshaped into a wheezing artificial organ on the animated 'CANALS III', punctuated by percussive, tape-warped pitch fluctuations that seem to bite into its very essence. Gauzy acoustic granulations snowball into a powerful, bass-heavy crescendo on the fourth part, setting the tenor for the album's second half. But after the crushing 'CANALS VI', possibly Sturno and Geeraert's heaviest track, a brief tremolo-heavy vignette that ripples through experimental rock and ambient music's braided history, the duo clear the air with a jazzy diversion, introducing soft woodwind blasts as a palate cleanser before an epic, widescreen finale.

It's an album that's best absorbed as a whole, a vortex of ritualistic, rhythmic repetitions that Sturno and Geeraert appropriately refer to as "spiral listening".

Doppel-LP, schwarzes Vinyl im Gatefold Cover. 24-seitiges Booklet. "Herz voran! Für die, die hinhören. Nicht nur zuhören. Fürs Umdrehen statt weiterzuskippen. Für Spätzünder und Aussteiger, Für Abgehängte und Neinsager. 15 weingeschwängerte, auf 4 Seiten verteilte Songs über den Tod, Liebeskummer, Freundschaft, Liebe und ein Huhn. Direkt from the Heart in die Matrize! Herz voran! Album Nr. 3 Angora Clubs finest!"

Cult reissue label Sticky Buttons returns with ‘Sweet Edits’, their first official foray into dancefloor edits featuring 4 remixes of Nigerian boogie legend Dizzy K by a hand picked set of superstar producers specially designed to get the party moving.

Starting with a bang, the A Side features a double hit of remixes to Dizzy K’s 80’s sleeper hit “Afrikan Jamboree”. First up is Clive From Accounts, frequent contributor to Razor-N-Tape and hot off the heels of his 2025 debut full length LP, Clive’s edit has gifted us a complete foot stomper, filled with popping synths and squelchy baselines the track has already been getting big plays by the likes of Optimo over the past 18 months. On track A2, well known dance floor magician Lipelis takes the reins, creating his Disco Dub version, expertly layering traditional african drums and vocal loops from the original to build a wonky club track laden with energy and soul as come to be expected from the artist.

Over on the B Side, South London based duo Make A Dance (M.A.D) take the formula from their own widely popular house inspired edits imprint to take apart Dizzy K’s “I’ll Never Love Again”, stripping it down into a teetering, chugging acid sprinkled weapon overlaid with a ferocious drum pattern destined to move even the stiffest hips. Last but not least, Japanese producer Mayurashka brings her signature subversive style to Sticky Buttons, flipping Dizzy’s K’s “Konga Mama” into a hypnotic tribal masterpiece, pulsating with a psychedelic techno edge ripe for blending in smokey club venues and dark mainrooms.

Four heaters not to be slept on. Hearing is believing and on this limited edition vinyl release the legend of Dizzy K sings again, finely tuned for 2026 dancefloors but always carrying the raw spirit of the original.

Mastered by Submarea Estudio
Cover Art Illustration by Alex Ram

You On Repeat is a bittersweet indie pop album shaped by warmth, immediacy, and unfiltered charm, recorded over a summer weekend on Sweden's west coast. Jangly and distorted guitars meet lo-fi textures and disarming melodies, rooted in a DIY '90s indie spirit. Moving fluidly between noise and tenderness, the record balances raw emotion with finely crafted hooks. Fort Not, the Swedish songwriting duo of Robert Carlsson and Fredrik Söderström, return with their new album You On Repeat on Meritorio Records. Joined by bandmates Philip Gates, David Hansson, and Joakim Björnberg, the group recorded the album over a hot summer weekend in a barn near Sweden's west coast - an environment that left its mark on the record's warmth, immediacy, and unfiltered charm. You On Repeat is a bittersweet indie pop record where jangly and distorted guitars, lo-fi textures, and disarming melodies meet. Rooted in a DIY spirit inspired by '90s indie rock and classic pop songwriting, the album moves fluidly between noise and tenderness, urgency and ease, capturing a band equally attuned to raw emotion and crafted hooks. Long regarded as one of Sweden's best-kept indie secrets - as praised by Swedish music magazine GAFFA - Fort Not are ready to step fully into the light. With You On Repeat, that secret is finally revealed. FFO - Guided by Voices, Beat Happening, The Clean, Pavement, Television Personalities, Daniel Johnston.

The second volume of this series is as good as the first with more finely tuned twilight dubs and Balearic chuggers, expertly curated by a master of this form in Pete Herbert. Across two sides, the comp flows between low-slung grooves, deep synth atmospheres and sun-kissed dancefloor moments. Highlights include Statues' warming 'Andromeda' and a powerful synth-driven turn from Imogen Soundsystem, while side two leans further into Balearic romance, from Herbert's nostalgic 'At Zuka to Kasper Bjorke's proto-dancefloor elegance. Cohesive, tasteful sunset music with real substance.

DJ Feedback

Phil Mison/Cantoma/Ambala:
"Great tunes as always , full support. Lovingthe Zuka tune!"

Sean Johnston/ALFOS:
"Killer Petey! Next few ALFOS sets sorted"

Conrad/Idjut Boys:
"Nice selection, totem project rmx has it for me"

Sally Rogers/A Man Called Adam:
"Excellent, dependable DJ fodder from Pete and Co. Thanks for the consistency :) "

Camilo Miranda/Ibiza:
"Nice combo of tracks here ! loving these!!"

Dream Chimney/Blog:
"SF vol 2 is 10/10 every track a winner on here"

Logan Fisher/Try Outs:
"Superb comp. full of goodies"

4Trepanado/Selvagem/Brazil:
"Great compilation! the Pete Herbert Remix for Time is a great weapon to flip the switch at the dancefloor"

Simon Lee/Faze Action:
"Stunning compilation, hard to pick a winner but I'm heading for Pete Herbert - Zuka"

Marco Gallerani/Hell Yeah:
"Beautiful selection!!! loving it. Can't wait for summer now"

Dicky Trisco/File Under Disco:
"Classy release. All winners. Giselle is my fave. Nice one Pedro xxx"

Felix Joy/Rinse FM:
"Sounding great!"

Jaime Fiorito/Ibiza:
"Some cool bits! Time is my favorite!"

Carrier’s debut album features eight elegantly rude arrangements that dance in negative space between Photek’s frictional syncopations, Rhythm & Sound’s dubwise minimalism, and Torsten Pröfrock’s fractured dynamics, bolstered on two tracks by contributions from Voice Actor and Memotone, summoning a noirish, jazzier frisson to his signature metrics and temporalities.

Since hard-snagging our ears and feet in 2023 with 12”s for FELT and his own eponymous label, Guy Brewer’s Carrier has become the go-to project for anyone who had almost given up on chasing these sorts of ultra-subtle but vitally distinctive new permutations in dance music. For the past two years, his unpredictable variations within a style have kept us all tip-toed and seat-edged with organisations of a finely chiselled percussive palette and smouldering ambient noise that distils the salient aspects and spirits of D&B, dub techno, electro-acoustic music, and trip hop with unique traction. In effect, he’s enacted a clear leap of imagination from previous work issued as part of Commix and solo as Shifted that only continues to reveal hallucinatory psychoacoustics on this first album detail.

»Rhythm Immortal« sees Brewer tilt the project into slower, resoundingly more atmospheric realms, better to luxuriate in the instinctive guile and integer-stepping style ’n’ pattern of his incredible sound. At the album’s poles, a vocal cameo by cult gynoid Voice Actor follows from Gavsborg’s on a preceding 7” single to ideally model his sound’s mutability and compatibility with trip hop forms, and Memotone helps seal the deal with a hovering glow lent to »Offshore«, whilst Carrier jostles the reins throughout with masterful control of his thing, crisply purposed to the album canvas. In that context, it’s perfectly adaptable to bodies both supine or in motion, ushering a hypnagogic sway with »A Point Most Crucial«, and hingeing around the slightest interplay of 16th-note hi-hat ruffles and recoiling reverbs on »Outer Shell«, or blissfully stepping on knife-edge 2-step on »Wave After Wave«.

The album conveys a deeply personal pulse and spiritual devotion to that kind of all-tension-no-release mode typical of so much music we love – from Kode9’s earliest re-factoring of Prince to Photek’s »Ni-Ten-Ichi-Ryu«, from T++/Dynamo and Traktor’s asymmetric dynamics to Burial’s shockout debut – refactored with a rare conviction in its unspoken powers to activate the eyes-shut imagination.

Carlos Dafé (born October 25, 1947) is a singer and songwriter from Rio de Janeiro, recognised as one of the iconic voices of the Brazilian samba-soul era. Born into a family of musicians and trained at the conservatory, he rose to prominence in the 1970s alongside Tim Maia, Cassiano, and Hyldon, shaping the sound of Rio Noir with his warm baritone voice and soulful phrasing. His 1977 album, Pra Que Vou Recordar, became a cult classic among collectors and DJs worldwide, earning him the title of "Prince of Brazilian Soul." Still active today, Carlos Dafé remains an essential reference for artists exploring the boundaries between samba, soul, and MPB (Brazilian Popular Music). Released in 1977, Pra Que Vou Recordar reveals Carlos Dafé at the peak of his art, blending samba-soul, MPB, and the warm groove of the 1970s Rio de Janeiro scene. Surrounded by some of the city's finest musicians, Dafé showcases his baritone voice in deeply melodic arrangements and a series of songs that have become fan favourites. An album imbued with soul and elegance. The sound of BrazilianBlack music at its most sincere and timeless.

Despite its tragic breakup, Yugoslavia as a political, social and cultural phenomenon still inspires generations, especially those who were born or lived at the time of this utopian land of South Slavs. Those who didn’t enjoy the privilege are still amazed by its 1970s and ’80s music scene and the number of very modern, high quality acts that were so often ahead of their time. Two such acts were Data and The Master Scratch Band, both founded by Zoran Jevtic and Zoran Vracevic, who introduced synth-pop, breakbeat, and hip-hop music in Yugoslavia in 1984 with their releases: SP Neka Ti Se Dese Prave Stvari/Ne Zovi To Ljubavlju and miniLP Deogut (Jugoton). Our latest release, “It Was Ridiculous, It Was Amazing!” gathers their earliest unreleased material from 1981-1983, showcasing a broader range of genres – alongside synth-pop and breakbeat/hip-hop, they also experimented with industrial, EBM, minimal synth, and electro-funk!

The whole record is divided into two parts: on A side there are 7 previously unpublished songs by group DATA, and on B side there are 4 previously unreleased recordings by The Master Scratch Band.

The Data side opens with two unexpected “shocker” tracks: Ja Nisam Kao Ti” (eng. I am Not Like You) and “Izumi” (eng. “Inventions”) from 1981, where they sound like early Deutsch-Amerikanische Freundschaft with unusual vocal pan sound effects on Serbian lyrics and uncompromising synth-based sound. Equally unpredictable are the next two songs: atmospheric “España” and dusty “Damage In My Head,” where Zoran Jevtić boldly steps into the lead vocal role. But the surprises don’t end there. The next two songs, France and Strahovi (eng. “Fears”), bring a mysterious and nostalgic atmosphere, elevated by the irreplaceable sound of the modular Roland System-100M. At the end comes the greatest surprise of all: Data covers YMO-Ballet in a song called Ne Zelim Da Tako Zive (eng, I Don’t Want Them Living Like That) and puts some extra energy in rhythm without losing the original song’s sensibility. Like in the original, the lyrics are tender and yet mysterious and provocative.

The Master Scratch Band side contains the very first versions of the songs Break War, Jailbreak, and Computer Break, originally recorded in studio Druga Maca in Belgrade in 1983. These versions were not released on their mini-LP album Dégout (Jugoton, 1984), and they are actually the first ever hip-hop/Breakbeat recordings in Yugoslavia. With great enthusiasm, every sound was uniquely crafted from scratch using the finest analog gear available in the early ’80s. The two young artists, aiming for international success, chose to write their lyrics in English. The album’s final track, “Mad Scratch,” showcases their talent for creating impressive sound effects, which would be a delight for contemporary DJs and producers who specialize in sampling and scratching old-school hip-hop.

This release is truly a “100% digger’s gem” – 11 previously unreleased tracks from legendary pioneers of electronic, hip-hop, and breakbeat. A collection to discover, enjoy, play, and treasure forever!

Part 1 in the next wave of Roof International 45 Clash Killers kicks off with Singing Melody ‘Dubplate to a Soundboy’ What sets this reissue apart is not only the murderous previously unreleased dub mix, but also the vastly improved audio quality, lifted straight from the original source. A true sound-killing classic that has become rare and sought after over the years, it remains an essential weapon in any serious 45 box arsenal. Pure Roof International energy at its finest, and presented in an original Roof International 7-inch dubplate hard sleeve.

After debuting on Delsin in 2023 as Reeko, Spanish techno icon Juan Rico now steps up as Architectural to present his second EP on the Amsterdam based label. Where Reeko is known for his adventurous, highly energized, broken techno bangers, his approach as Architectural is more fine-drawn. Over the course of four tracks, his tracks build slowly into immersive pulsations, pushing deep frequencies into captivating rhythm grooves layered with mesmerizing atmospheres.

Aspen is very proud to introduce ‘Non Sonett’ by the Christian Wallumrød Ensemble. This ensemble is a pioneering Norwegian chamber group whose work on ECM and Hubro has redefined the boundaries between jazz, contemporary composition and folk music.Across seven albums, the ensemble has developed a highly distinctive l anguage built on restraint, timbral nuance and collective interplay, placing it among the most influential European ensembles of the 21st century.

Bringing together some of the finest musicians in Norway, the ensemble draws on a rare collective sensitivity, where each player contributes to a deeply integrated and texturally rich sound world.

With Non Sonett, the Christian Wallumrød Ensemble opens a new chapter that grows directly out of recent years of work in more solitary and cross-disciplinary contexts. In this period, Wallumrød has developed material for solo performance as well as for dance, allowing ideas to take shape in more fluid and exploratory formats. Some of this material now finds its way into the ensemble, where it is met by the possibilities offered by instrumentation, collective playing, and the distinct voices of the musicians. At the same time, older pieces—originating in entirely different settings— re-emerge here in new forms, reshaped by the ensemble context.

A defining aspect of Non Sonett is the way many of the pieces function less as fully determined compositions and more as open frameworks: starting points, suggestions, or “springboards” for music. These structures invite response rather than prescribe outcome, relying on the ensemble’s inherent sensitivity and capacity to realize and transform the material in performance. The result is music that feels both precise and fluid, shaped in equal measure by composition and by the interpretative presence of the players.

Central to this album is a continued deepening of Wallumrød’s long-standing interest in ambiguity and in dissolving boundaries between different musical elements and expressive worlds. By placing contrasting materials and associations side by side—sometimes subtly, sometimes more overtly—the music opens up spaces where meanings remain fluid and interconnected. On Non Sonett, this approach is taken a step further, allowing these juxtapositions to play an even more active role in shaping the music’s character and flow.

This approach connects closely with the ensemble’s broader artistic trajectory. Over time, the Christian Wallumrød Ensemble has developed a language that is immediately recognizable—marked by reduction, clarity and a deep attention to sonic detail. While each release has its own character, the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements, where meaning emerges gradually through texture, spacing and timbre.

The listening experience becomes one of concentration and proximity, where each sound carries weight, and the accumulation of detail forms a larger whole. References may be sensed—to early polyphonic music, Norwegian folk traditions, or more recent experimental practices—but these are absorbed into a singular musical language that resists categorization.

As with the ensemble’s recent work, Non Sonett also continues the integration of electronics as a fundamental part of the sound world. Each musician engages with electronic elements alongside their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads into extended, exploratory passages reminiscent of analogue musique concrète; at others, electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.

Aspen is very proud to introduce ‘Non Sonett’ by the Christian Wallumrød Ensemble. This ensemble is a pioneering Norwegian chamber group whose work on ECM and Hubro has redefined the boundaries between jazz, contemporary composition and folk music.Across seven albums, the ensemble has developed a highly distinctive l anguage built on restraint, timbral nuance and collective interplay, placing it among the most influential European ensembles of the 21st century.

Bringing together some of the finest musicians in Norway, the ensemble draws on a rare collective sensitivity, where each player contributes to a deeply integrated and texturally rich sound world.

With Non Sonett, the Christian Wallumrød Ensemble opens a new chapter that grows directly out of recent years of work in more solitary and cross-disciplinary contexts. In this period, Wallumrød has developed material for solo performance as well as for dance, allowing ideas to take shape in more fluid and exploratory formats. Some of this material now finds its way into the ensemble, where it is met by the possibilities offered by instrumentation, collective playing, and the distinct voices of the musicians. At the same time, older pieces—originating in entirely different settings— re-emerge here in new forms, reshaped by the ensemble context.

A defining aspect of Non Sonett is the way many of the pieces function less as fully determined compositions and more as open frameworks: starting points, suggestions, or “springboards” for music. These structures invite response rather than prescribe outcome, relying on the ensemble’s inherent sensitivity and capacity to realize and transform the material in performance. The result is music that feels both precise and fluid, shaped in equal measure by composition and by the interpretative presence of the players.

Central to this album is a continued deepening of Wallumrød’s long-standing interest in ambiguity and in dissolving boundaries between different musical elements and expressive worlds. By placing contrasting materials and associations side by side—sometimes subtly, sometimes more overtly—the music opens up spaces where meanings remain fluid and interconnected. On Non Sonett, this approach is taken a step further, allowing these juxtapositions to play an even more active role in shaping the music’s character and flow.

This approach connects closely with the ensemble’s broader artistic trajectory. Over time, the Christian Wallumrød Ensemble has developed a language that is immediately recognizable—marked by reduction, clarity and a deep attention to sonic detail. While each release has its own character, the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements, where meaning emerges gradually through texture, spacing and timbre.

The listening experience becomes one of concentration and proximity, where each sound carries weight, and the accumulation of detail forms a larger whole. References may be sensed—to early polyphonic music, Norwegian folk traditions, or more recent experimental practices—but these are absorbed into a singular musical language that resists categorization.

As with the ensemble’s recent work, Non Sonett also continues the integration of electronics as a fundamental part of the sound world. Each musician engages with electronic elements alongside their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads into extended, exploratory passages reminiscent of analogue musique concrète; at others, electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.

This is hypnotic music in the purest sense: elegant, fluid, and deeply immersive, built on patience, precision, and a rare understanding of tension. Rather than forcing impact, the EP unfolds with quiet authority, drawing the listener deeper with every cycle and every subtle shift. Romanian producer Barac has long been regarded as one of the key figures in the country’s minimal and microhouse continuum, known for his hypnotic, deeply detailed sound and for shaping a distinctive artistic identity around rhythm, space, and subtle emotional tension. What makes this release so special is its balance of restraint and depth. The grooves are understated but powerful, the atmospheres weightless yet emotionally charged, and the overall flow simply brilliant. It is exactly the kind of record that shows why Barac remains such an important name in contemporary minimal and deep club music: few artists can create this level of hypnosis with such finesse. Look at the cross is a genius release, sophisticated, timeless, and absolutely captivating from start to finish.

Isle Of Men is the band led by guitarist Dirk Fryns, featuring Gunther Verspecht (Stash) and all-round keyboard maestro Tom Van der Schueren, Herman Temmerman (bass and production), Niels Delvaux (drums) and Sara De Smedt (backing vocals). They made an impressive debut in 2015 with the album ‘Voluntary Blindness’.

Here is what the press had to say at the time:
De Morgen ****: “Subtle night music that inhabits the same world as David Sylvian, The Blue Nile, Ray Lamontagne… an excellent debut.
Focus: *** “A fine Belgian debut with an album that willingly lets itself be enveloped by the quiet twilight of the night.
Het Nieuwsblad/GVA ***: “Refined, intimate songs carried by the deep voice of Gunter Verspecht”.
RifRaf: “An impressive nocturnal record for fans of, say, Talk Talk, Tindersticks, Nick Cave or Nick Drake. Welcome to the fragile world of Homo Melancholicus”.
Now, at last, there is an equally atmospheric and impressive follow-up with the album “The Soul Of Kindness”.

Repress 2026

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

The next of Toolroom’s 4 track vinyl sampler series kicks off with a bang(er!). Welcoming CHANEY back onto the label with possible his finest release to date in the shape of ‘I Choose You’. On Toolroom alone he has amassed over 40m streams across leading streaming stores in just 3 years and can add massive imprints like Defected, Insomniac and Perfect Havoc to his list of musical successes. Everything in this record is 100% original and written by CHANEY himself from the self-played bass line, lush rhodes chords and distinctive, poignant vocals.

Next up is Gene Farris who has been a mainstay on Toolroom in recent years and is a regular artist at our label events all over the World. ‘In My Heart’ lands as an exciting collab with the Basura Boyz, a duo also hailing from Gene’s hometown of Chicago and the chemistry between the 3 of them is evident from the first beat! A super cool, stripped back vocal tech house track that sits in that sweet spot of club and specialist radio.

Kicking off the B-side is Deeper Purpose who returns to Toolroom alongside Jalja & Lazy Joe, after his debut club weapon ‘Stutter’ dropped on the label last year. He has had success across all the scene’s leading imprints over the past 12 months including Fisher’s Catch n Release, Experts Only and Repopulate Mars and this record is an anthem in the making! Jalja is on vocal duties, the vocalist that shot to fame after her huge ‘Hanging Tree’ record alongside Michael Bibi. She adds her trademark ethereal vibe to the record and delivers a typically killer hook - This is a real EAR WORM!!

Wrapping things up on Sampler 14 is a very exciting collaboration from 2 of the scene’s brightest shining new stars; Tony Romera and Crusy. Having been die-hard Toolroom fans for many years, this record came about during a conversation about old Toolroom records, and how they collectively wanted to emulate that slightly progressive tech house but bring it right up to date. And they have certainly done that! A real peak-time dance floor moment here with insane production and a unique, intense build up that is already causing maximum mayhem!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong

Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Past Due Records is thrilled to announce the release of Midnight Blue's "One Wish - South Carolina 1975-83," a compilation showcasing the legendary funk and modern soul band from Columbia. This limited edition double LP compilation is an exclusive collection highlighting the band's peak during the mid-1980s American boogie funk era. Formed in 1975, Midnight Blue blended the talents of local musicians Myron Alford, Robert Hoefer, Jr., Ronnie Amiker, and many others. Despite their underground status, their music left a lasting impact, performing alongside legends like Midnight Star and Prince. The compilation includes their debut single "Feel It and Groove Together," their powerful rendition of "I Who Have Nothing," and unreleased tracks recorded with Cameo's Larry Blackmon. Fan favorites such as "All Because of You" and "Coolin' Out" will also be featured. This double LP comes with a full story and many never-before-seen pictures of the band, making it a must-have for any fan of eighties funk, courtesy of Past Due Records.

On a class debut for Biscuit’s choice Good Morning Tapes label, Kyoto’s dub specialist G Version III runs signature fusions of digidub steppers, drill, and holographic, minor-key FM synths.

One up on her 12” for Riddim Chango last year (plus the »Scenery From Double Glazing« tape for Digital Sting in ’24), G Version III’s »Chapter II« most finely chisels her lucidly rugged definition of the late ’80s / early ’90s mystic steppers sound. The OG Caribbean spirit is heard filtered through UK dances and shored up in Japan, where G tessellates its salient points with a palette of glassy Japanese synth tones and chamber music to exquisite effect. If Wendy Carlos was a soundgyal?

Across six cuts she builds the dance around digidub x drill waltz »Livin 4« and a haunted dancehall special in the harpsichord/horn riff of »An Idyll«, impressing her prowess in the fusion of subcontinental scales with a drill-tipped skip in »Queen G Theme Chapter II«, and tucking right into an aerodynamic, flying steppers mode, shades away from Element, in »Motherearth Guidance«. At a slower, wider stride her »Higher Grade« goes eyes-down on massive subs, and »Voice of Mystique Warriyah« adapts the classic-schooled sound like TNT Roots in Tokyo.