Search:individual

WRWTFWW Records is thrilled to announce their 5th archival release taken from cult Tokyo label FORM@ RECORDS' catalogue, this time with the first-ever vinyl edition of Re-Form Ver-1.0. The remarkable, yet not widely known, 1999 remix compilation is now available as a limited edition 45rpm cut double LP housed in a heavyweight sleeve, as well as in digital format.
Originally only available on CD in extremely limited quantities, Re-Form Ver-1.0 resurfaces as a fascinating document of FORM@ RECORDS' late-1990s creative peak. Re-imagining key pieces from the label's catalogue, the remix collection offers a rare glimpse into Tokyo's electronic underground, where techno, house, ambient, and IDM breathe freely through FORM@'s soulful and exploratory vision.
Highlights include two remixes of Missing Project's adored gem "Poisson D'Avril" (including its well known ethereal ambient Galaxy Dub which appeared on Music From Memory's Virtual Dreams II) as well as the otherworldly Fossil (aka the legend Virgo) Mix of Penance's "Cure & Soul". Throughout, the compilation balances dancefloor sensibility with introspective listening, embodying the warm human approach to machine music FORM@ RECORDS excels in.
Another essential time capsule from a crucial era of underground music, Re-Form Ver-1.0 echoes the spirit of Warp's Artificial Intelligence era, alongside the forward-thinking energy of Ken Ishii, Carl Craig, The Black Dog, and Ian O'Brien, while keeping its feet and individuality firmly rooted in local context - the magic recipe for creating a universal, timeless language of electronic expression.
Re-Form Ver-1.0 follows the vinyl edition of Virgo's Landform Code (1998) and Remnants (1999), as well as the FORM@ compilations Art Form I (1997) and Art Form 2 (1998), further expanding WRWTFWW's archival series dedicated to uncovering hidden gems of late '90s Japanese electronic music.

Writing of Blues and Yellows is the highly acclaimed debut studio album by the British folk singer-songwriter Billie Marten, who wrote the album at the age of 16. At the end of 2015, the prodigy was nominated for BBC’s Sound of 2016 award. Marten’s thoughtfully crafted debut is a collection of tales, retrospect, and self-examination. It spawned four singles, “Milk & Honey”, “La Lune”, “Lionhearted”, and “Live”, which remain some of her most popular tracks to date.

The deluxe album of Writing of Yellows and Blues is now again available on vinyl. It includes a bonus D side which features demos, the bonus track “Out of the Black”, and an alternative version of her hit “Milk & Honey”.

The Deluxe 10th Anniversary Edition of Writing of Blues and Yellows is released as a limited edition of 1000 individually numbered copies on transparent vinyl, and includes a 4-page booklet

With the release of De Todas las Flores, Natalia Lafourcade returned with an album of entirely original material for the first time in seven years.

Musically, De Todas las Flores, dives into a wide variety of Latin jazz and folk genres, such as bolero, cumbia, bossa nova, and samba. Lafourcade describes the album as her musical diary, exploring themes of heartbreak, loss, and grief. She drew inspiration from nature, particularly her home garden in Xalapa, Veracruz.

Lafourcade enlisted the help of her former neighbour, Adán Jodorowsky, for production. The musical touch came from musicians such as the guitarist Marc Ribot (Tom Waits, John Zorn) and the bassist Sebastian Steinberg (Soul Coughing, Eddie Vedder, Fiona Apple).

De Todas las Flores is available as a limited edition of 2000 individually numbered copies on transparent vinyl and includes an insert and printed inner sleeves.

Formed in 1994, Belgian power trio Metal Molly quickly built a reputation for their infectious blend of indie rock, grunge energy, and sharp melodies.
Their debut Surgery For Zebra was released in 1995, the album was driven by their single "Orange", which received extensive airplay across Europe.

The album propelled the band onto major stages, including Pinkpop and Torhout Werchter (1996), alongside high profile support shows with Therapy?, Bush, and David Bowie. After a highly successful run, Metal Molly disbanded in 2000.
In 2025 the band reunited to celebrate the 30th anniversary of Surgery For Zebra, it also resulted in this long awaited vinyl pressing, now available for the first time.

Surgery for Zebra is now available as a limited numbered edition of 500 individually numbered copies on turquoise vinyl and it includes an insert.

/// First track, Symmetry, debuted on BBC Radio 6 New Music Fix, 10th February: "A beautiful, beautiful album" /// I got my life back. On 17 February 2025, 1024 rays of ultra sound converged at an operation table in Bern, Switzerland, and disconnected a noisy circuit on my brain. 90% of the manifestation ceased – of a disease that I no longer wish to mention by its name. During the same period, I completed my new album: Self Help Manual. I’ve read more current research about the nameless disease than my neurologist, who despite that I didn’t follow his advice on suitable treatment, called me after the successful operation: a brave, brave man. I have composed the music in the same way as in my previous album – Songs for the Nervous System – through layers upon layers of improvisations in dialogue with my synthesizers, most of which are the same age as me. I made the majority of the songs in my studio in the remains of Old Hagalund in Solna. I edited the recordings in my bed during the waking hours of clarity at night. Some songs – NAC, Ketosis, Overkill – were recorded in the basement of my childhood home in Skutskär, in Norduppland, where I’d returned to be nurtured by my retired parents – who during a night when I couldn’t turn over in bed, or pull the blanket over me – made a list of what would happen to my belongings. To my friends who have stood out with me despite my disease, I want to state: you will not inherit me yet. On the new album, the electric bass takes on a leading role. ESG and Liquid Liquid have been important when I reinvented my baselines, limited and liberated by my poor fine motor skills. Plasma is my homage to Summertime Rolls by Jane’s Addiction, that I listened to frequently in my youth. I guess that no one will hear the resemblance. In several songs, the Fender Rhodes plays an important role, a magical instrument that I bought shortly after my diagnosis over a decade ago, and for a long time didn’t dare to touch out of respect for Herbie Hancock and Fela Kuti. A couple of songs draw inspiration from the Horn of Africa – Inner Nile and Delta. At first, subconsciously in the reverb-drenched Inner Nile, then more consciously in Delta. I’m sorry it doesn’t swing the right way, but it was my attempt to return to the cradle of humanity. Longevity is possibly my favourite. The melody is played by an arpeggiator that I controlled by pressing down different keys in an exhilarating sense of freedom. One song in particular, the second track – One – has caused friends to associate freely: one thought it sounded like Patrick Cowley, another like Sly & Robbie meets Kraftwerk, a third like Air – Moonlight Safari. I made one song just before the surgery: opening track Symmetry. It’s the mightiest and most minimal song. I made one song after the surgery: finishing track Self Help Manual. My previous medication pump is heard through the microphone of my Ovation Magnum. It’s the most hopeful song on the album. I took the cover photos with my Hasselblad during walks in Tokyo suburbs of Ōmori and Kamata more than ten years ago. It was something about the faith of the traffic cones that fascinated me – born in the same streamlined form, they had over the years become increasingly individual and lovable. The mixing was finalized by Christoffer Roth in the newly built Studio Dubious in Nacka. Rashad Becker, who in an interview said that he listens as much with his mouth as with his ears, mastered the album at Clunk in Berlin. Right now it feels like anything is possible. My recovery is perhaps a small step for mankind, but a giant leap for me. I hereby leave the music to you. Joakim Forsgren

2026 Repress!

Tresor Records is proud to announce forthcoming special editions of its entire catalogue of Drexciya and related projects. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums. In recognition, the rightsholders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalogue. These editions will be released sequentially, bimonthly, starting early-September 2022.

The series starts with Neptune's Lair, first released in 1999, with the Hydro Doorways single arriving shortly after. In November, Harnessed The Storm and Digital Tsunami are coming. In 2023 comes the release of Transllusion in February. The series is completed by the long-awaited re-release of Shifted Phases - The Cosmic Memoirs Of The Late Great Rupert J. Rosinthrope - at the end of March.

These records, individually and as a catalogue, represent some of the most crucial moments in the Tresor label history, with the sound and mythic world of Drexciya undoubtedly inspiring generations.

Definition of spin doctor: a spokesperson employed to give a favorable interpretation of events to the media, especially on behalf of a political party. Spin Doctors weren't part of a political party but spread the word about romance.

The band was formed in New York City, best known for their early 1990s hits "Two Princes" and "Little Miss Can't Be Wrong". Those 2 songs were hits all over the world, and are still big hits in the streaming era. Pocket Full of Kryptonite is the first studio album (and second release) by the Spin Doctors, and originally released in August 1991.

The album was a top 10 hit in many countries, including the UK, Denmark, Germany, Norway and Sweden. It was the band's bestselling album and was certified 5x Platinum in the US. Not to be confused with the 3 Doors Down song 'Kryptonite' from 2000, the Superman theme was all over the Spin Doctors' album, with the title, a song called "Jimmy Olsen's Blues" and the album cover showing a phone booth (referring to Clark Kent frequently ducking into a nearby phone booth to change into his Superman attire).

This pressing of Pocket Full of Kryptonite is a limited 35th anniversary edition of 4,000 individually numbered copies on green vinyl. The jacket has a deluxe leather-texture laminate finish.

TrioRox is a project born from the encounter between three leading figures on the Italian music scene (and beyond):
pianist Giovanni Guidi, bassist Joe Rehmer, and electronic musician DJ Rocca (Luca Roccatagliati).
Three individuals boast eclectic and impressive resumes. Guidi, a child prodigy of jazz piano, has released several
albums for the prestigious ECM label and has collaborated with top jazz and electronic musicians, from Enrico Rava
to Matthew Herbert, Joe Lovano, and Ricardo Villalobos. Joe Rehmer, an American living in Italy, is one of the most
sought-after bassists, sharing stages and recording studios with such luminaries as Bob Mintzer, James Moody, and
Danny Gottlieb. DJ Rocca has been a DJ and musician since the 1990s, boasting numerous albums, singles, and
remixes with and for key figures in the alternative dance scene (Andrew Weatherall, Dimitri From Paris, and Howie
B), as well as a stint in the jazz scene, releasing several albums with Franco D’Andrea.
The trio's music is a blend of electronic, dance, jazz, and pop, with hints of groove in house and techno, as well as
blends of electro, classical, and minimalism. A melting pot of styles between Keith Jarrett and Carl Craig. The album
will be released on IRMA Records in September 2024, featuring guests Luigi Di Nunzio, Gianluca Petrella, Dan
Kinzelman, and Jacopo Fagioli.
This EP of remixes is by:
Zed Bias: Manchester-based electronic musician, producer, and DJ in the Garage/2-step, Broken, and Funky
Breakbeat genres.
Alexander Robotnick: Italian record producer, DJ, and composer considered a cult figure in the New Wave and Italo
Disco scene.
Daniele Bladelli: One of the first and most important Italian DJs, famous for pioneering Afro and Cosmic music.
Bjorn Torske: Norwegian house and breakbeat producer. He has collaborated extensively with Röyksopp.

"Carlos Santana’s nineteenth studio album Shaman was released in 2002 and debuted at #1 on the Billboard 200. Just like its predecessor Supernatural, Santana invited contemporary artists to collaborate with him across genres including neo-soul, pop, rock, metal, and opera. Artists such as Seal, P.O.D., Chad Kroeger, Dido, Michelle Branch, Macy Gray, Music, Citizen Cope, Alejandro Lerner, Plácido Domingos, and Ozomatli can be heard on the album. Four tracks were released as singles: “The Game Of Love”, “Nothing At All”, “Why Don’t You & I”, and “Feels Like Fire”. Shaman is being reissued for the first time since its original release. A limited edition is available of 2000 individually numbered copies on translucent purple coloured vinyl and includes an insert."

Shaman by Santana, released 3 May 2024, includes the following tracks: "The Game Of Love (ft. Michelle Branch)", "Amoré (Sexo) (ft. Macy Gray)", "Victory Is Won" and more.
This version of Shaman comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, purple disc. Another vinyl is pressed as a translucent, purple disc.

Following the release of Doble Vida , on which they flirted with North American influences, Gustavo Cerati recorded the demos for Cancion Animal in his flat, drawing inspiration from Argentinian rock bands of the 1970s, such as Pescado Rabioso, Vox Dei and Color Humano. The album topped the Argentinian album chart, and the single "De Musica Ligera" also made an impact, being regarded as an anthem of Latin rock and rock en espanol. The song continues to gain new fans daily and has amassed 700 million streams on Spotify to date. This makes it the band's most streamed song. All of this makes Cancion Animal an essential cornerstone album in Argentinian rock culture. Cancion Animal is available as a limited edition of 2000 individually numbered copies on crystal clear vinyl and includes an insert

Clusters of Noise LPR-V006, kicks off 2026 for Loopaina Records with a powerful vinyl release crafted by two standout names in the international techno scene: Oliver Rosemann and Carmelo Ponente. Photo taken in Mundukalogue between both artists, each delivering their own raw, focused vision of contemporary techno.

The A-side features one original track from each artist, clearly defining their individual styles.

On the B-side, they switch roles to offer remixes of each other's work-expanding the sonic palette of the release while maintaining a cohesive and impactful sound.

Clusters of Noise is a bold statement for the new year at Loopaina Records: quality sound, committed artists, and a strong devotion to the vinyl format while embracing digital as well. A solid, high-impact release that perfectly captures the spirit of the label.

All music written and produced by Oliver Rosemann & Carmelo Ponente

2026 Repress

White Marble Vinyl


Dutch electronic music trio, Noisia, have announced the release of their long awaited new album, 'Outer Edges' on their own label, Vision. The 18 track album is their first in six years, and the band's second in total.
With a peerless reputation and countless awards under their belts, Noisia have transcended their genre and grown into a phenomenon in their own right. Drum & Bass is at the core of Noisia's sound, but Nik, Martijn, and Thijs's visceral brand has always ventured further.

"It's called Outer Edges because it's us exploring the outer edges of what Noisia, the three of us together, is. It's about the idea that all the songs are little islands that we take to their individual edge... They're all like expeditions to far sides. That doesn't mean that it's everything; it's just that every song, if it goes in a certain direction, we've taken it all the way there. There's no real concessions, we haven't been super DJ- or radio-friendly at all and we've done no collaborations or hardly any vocals on the album." - Noisia

nagoyaka na kaze / 和やかな風 (quiet wind): a collection of forward-thinking electronic experiments sourced from central Japan - co-curated by Nagoya artist abentis for Facta & K-LONE’s Wisdom Teeth imprint.

The project profiles a close-knit community of music makers operating in and around the Japanese city of Nagoya: one of the country’s most populous and industrial cities, but one all too often overlooked in terms of its cultural significance.

Curated in close collaboration with local scene organiser Yuya Abe - aka abentis - the record seeks to capture the creative energy of a community of artists making hard-to-define, future-facing electronic music away from the clamour of the bigger cities. “In Nagoya, there’s a strong culture of supporting artists. Even if you pursue music in your own way, as long as it’s good, you’re encouraged to keep doing what you want”, explains abentis. “Within that environment, my generation has been able to freely bring in elements we like from all kinds of genres, combine them in our own way, and express ourselves individually. If you go to Tokyo or Osaka, that kind of freedom isn’t something you can take for granted.” Spiritually, Nagoya fits the mould of cultural hotbeds like Bristol, Detroit or Melbourne, showing that some of the most innovative creative communities form away from the glare of the capital cities. Like Detroit, Nagoya is principally known for being a major auto manufacturing hub, famous for being the home of Toyota Motors - but behind the scenes, it is quietly harbouring one of Japan’s most vibrant and forward-thinking electronic music scenes. “In a good way, Nagoya is a bit removed from the cutting edge, so you find people making all kinds of music”, explains Karnage. “If you’re making music, you feel like part of the crew, and people of different ages mix together without much hierarchy.” The city’s music scene is characterised by a freedom to mix genres and an open-door approach to creatives of all disciplines. The artists featured come from a diverse set of backgrounds, ranging from hip-hop to noise music, but have found a common collective identity in their omnivorous approach to genre. As such, the record moves fluidly between shimmering ambient and new age (Am Shhara, DHYAN, daiki hayakawa), psychedelic minimal house (Methodd, abentis), abstract, low-slung downtempo (baptisma, Nasty Soupman) and spaceage steppas (Karnage). “I’d say the way ambient, new age and that kind of sound design are blending nicely with dance music feels somewhat new”, says baptisma, the crew’s eldest member and de-facto scene leader. Responsible for bringing artists like Basic Channel, Mala and Jan Jelinek to the city, baptisma has been crucial in establishing underground electronic music in Nagoya since the 90s, and now helps cultivate the next generation of local talent. “Artists and DJs are seamlessly mixing ambient and new age with techno, house and bass music. I think that’s a really interesting development.” nagoyaka na kaze has its roots in a one-off event held in October 2024 as part of the 10 Years of Wisdom Teeth Japan tour. Curated by abentis in collaboration with Facta & K-LONE, the showcase featured live sets from eight artists based in and around Nagoya at one of the city’s key dance music hubs, Club JB’s. Each of the artists features again here, on record, presenting an original commission produced especially for the project. The record’s art direction was led by Yudai Osawa - in-house designer for Kankyō Records, the much-loved Tokyo record shop run by H. Takahashi - and features original photos by Hayato Watanabe.

Following up after the recent Circadian Rhythms release is Sebastian S under his Caustic 14 alias with a yummy yummy 2x12” six tracker full of speedy bleep science breakbeat and colorful jungle techno compositions that could only be made in BRUXHELL (Brussels).

The selection is a patchwork of various unreleased works from around 1993 to 1996. A silent witness of these rave-days said the following about the production process of the tracks on this new Basic Moves release:
“We were eager to share our individual sound universes with each other and see where it would take us. These compositions emerged during many sleepless nights spent watching videos of science fiction series such as Babylon 5 or Star Trek, scrutinising each episode while composing.”

Downtown Boys have pushed relentlessly forward as an artistic and political project since their founding. Singer Victoria Marie and guitarist/singer Joey La Neve DeFrancesco first met at union meetings while working together at a hotel in Providence, RI, writing many of the band's early songs about labor organizing and exploitative workplaces. The quintet is completed by Joe DeGeorge (sax/synth), Mary Jane Regalado (bass), and Joey Doubek (drums). Over years of touring, and three acclaimed albums, Downtown Boys have continued to grow as artists, musicians, and organizers. Now, the band has arrived with Public Luxury, an enthralling album that keeps politics front and center while summoning the band's most urgent and powerful sound to date. The definition of Public Luxury falls very much in line with that of the title of the second Downtown Boys LP, Full Communism. Straight up, Public Luxury means, "everything for everyone." It's the stubborn insistence that a better world is possible, while fully recognizing the horrors we witness daily, and the individual and collective responsibility to resist the nihilism and hopelessness we all feel. Sentiments like "everything for everyone," and "we will have it all" perfectly represent the cathartic, communal live experience this cadre of multi-instrumentalists create. These sentiments also encapsulate the inclusive, joyful sonic fusion that defines the album: anthemic punk and indie rock mix with Latin traditions, drum machines blend with acoustic drums, saxophones punctuate riffs, and layers of synths add flourishes from new-wave to industrial. The amount of ground covered on Public Luxury can't be overstated, and yet the album feels totally vital and cohesive. Public Luxury is a revisitation of the band's past for the sake of their future. It was co-produced by DeFrancesco with recording engineer and longtime Downtown Boys supporter Seth Manchester (Lambrini Girls, Lightning Bolt, Model/Actriz) at the Pawtucket, RI studio and arts space Machines With Magnets, not far from the band's first home of Providence, RI. Victoria Marie's grandmother-a monumental figure for the band throughout their existence-passed away in May of 2025, and her influence looms large over the album; the songs "No Me Jodas" and "Sirena" are crystallized representations of the love between a woman and her ancestor. Beyond the loss, rage and frustration of the present, Public Luxury points boldly towards a vibrant, open-hearted vision of both music and the world: "Our music is simply for anyone and everyone who believes in the new future we can make together," Victoria Marie declares. "A world that will be awkward, inconsistent, yet truly free when it comes to all that matters."

Isa Gordon and Tony Morris were first brought together through their individual releases on Optimo Music, which established mutual respect within the label’s community. While they had not previously performed live together, they were invited to take part in a fundraiser hosted by Queen’s Park Arena in support of Glasgow NW Foodbank and later for JD Twitch’s end-of-life care. Tony asked Isa to contribute guitar and backing vocals to his set, including a track then called Last Night I Had a Dream. That performance became the seed for their collaboration.

The first phase of fleshing it out, recalls Tony: “Somebody said Isa sang like Shania Twain. That got me thinking about country music and call and response, prompting me to come up with alternative lyrics.” Isa remembers: “I cycled over to Tony’s house with my guitar, and we spoke about what the tune meant. It was about him being wrapped up in dreamland, luxuriating in his subconscious, while my character — impatient and trapped in her own routines — barely had time to remember her own dreams.” Tony continues: “Brilliantly I realised that I could never collaborate with anyone in situ and so I sat in the garden for two hours watching my wife tend to plants. Every now and again I would creep up the stairs and put my ear to the door. I could hear Isa warbling away and so would resume my garden watch. After two hours I went back upstairs to see how she was getting on, only to find that she had written one of the greatest songs I’d ever heard. I still think that.” Tony adds: “My overwhelming sentiment about Wake Up Baby is pride. I can honestly say that I’m more proud of it than anything else I have done. It ticks a whole load of boxes. Isa’s singing in various Scottish modes is unique. The way her electric guitar adorns the dance beat makes it a rock song as well as a dance and a C&W song — truly multi-genre.”

The B-side of the 12” release, Syringe Moustache, is a surreal, darkly playful counterpart to Wake Up Baby. The track was inspired by a dream Tony had: “I was in a shopping mall, in a two-level shoe shop, and my attention was taken by a little girl with a syringe taped beneath her nose like a moustache. She went about her business trying on shoes, confident and wise beyond her years. In the dream, I imagined her as the daughter of cultured, intelligent parents determined to raise her independently. I was struck by my own feelings of inadequacy — I knew I could never have coped with such a contraption myself.” Isa’s take on the meaning of this song somewhat differs: “Tony sent me the tune over Instagram months before I met him, and I was spooked — as far as I knew, he didn’t know anything about me, but the story felt like it was written about me as a little girl, growing up around heroin addiction. The syringe beneath the girl’s nose became a symbol of the inescapable constraints of that environment, literally written on her face, yet something you just have to carry on through. On a buzz from the serendipity, I added a full instrumental backing to this most bizarre of works.”

The result is absurd, unsettling, and strangely empowering, staking out its own surreal, cinematic space. The 12” dance single is a format Tony had long wanted to explore — a tangible artefact to leave for family, a medium that celebrates the physicality of sound and the ritual of listening. It allowed the artists to maximise the format’s potential: a strong, multi-genre A-side, a surreal B-side, and remixes that expanded the record’s sonic world. Glasgow music staples Auntie Flo and 100% Positive Feedback were invited to reinterpret the tracks, bringing their distinctive touch — Auntie Flo transforming the A-side into a luscious, dancefloor-ready meditation, and 100% Positive Feedback twisting Syringe Moustache into absurd, playful shapes with false-start drops and over-the-top vocal editing.

The cover photograph, taken at the University Café by Harrison Reid, captures Isa and Tony embodying the characters they brought to life in the songs — a visual reflection of the record’s narrative and emotional stakes. The Café also holds personal significance: it’s where all of Isa’s meetings with Keith McIvor took place, where she first remembers visiting Glasgow as a child, and a place Tony fondly likes to go to drip egg yolk down his tie and watch the world go by. Together, the 12” format, the remixes, and the artwork create a cohesive, tactile experience, amplifying the duality, theatricality, and emotional breadth of the collaboration.

Two figures of quasi-human form whose contours are in the process of dissolving. Like curtains of varying opacity, realities slide close together without ever laying claim to validity. The essence is clouded, nature its imitation. What sounds like the dripping of a viscous acid from porous aluminum casings could also be a sequential noise. The rhythm is an aid, a barb in the flesh. Voices fleeting like gases that have never surrendered to the dictates of gravity. It is the year 2024 of a calendar resembling an Abrahamic apparatus. Angels carry guns.

This record comes with a download code for the digital release!

This edition is limited to 150 hand stamped and numbered records including 150 individual and unique drawings and photographs.

Celebrate three decades of dance music history with 30 Years of Klubbhopping – the ultimate Best Of collection from the legendary Dutch DJ/producer team, Klubbheads. Known for their unstoppable beats and countless club anthems, Klubbheads have shaped the sound of global dancefloors with releases under many aliases, including Drunkenmunky, Da Klubb Kings, Itty-Bitty-Boozy-Woozy, DJ Disco and others. This anniversary release unites their most iconic tracks for the very first time, capturing the creativity, energy, and party spirit that defined generations.

From the club to eternity, 30 Years of Klubbhopping is more than a compilation—it’s a celebration of the sound that made the world move.
30 Years of Klubbhopping is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl and includes an insert with track-by-track liner-notes written by the Klubbheads.

DGM & Panegyric proudly present…

One of the highlights of the King Crimson 50th anniversary CD/Blu-ray editions to date has been King Crimson producer David Singleton’s series of Elemental Mixes as he utilises the full spectrum of available studio sessions for each album to produce very different takes on the familiar songs and pieces.

This is especially true of Lizard where the ambition of the material, the much-expanded line-up of musicians - the background of many of them in the jazz rather than the rock world - and the number of takes recorded, resulted in a large amount of material to be considered for this album.

There was enough material for David to be able to mix and produce alternate takes for every piece from the original album.

As well as giving great insight into the recordings, the nature of Elemental Mixes allows for different takes from individual musicians to be included – sometimes alongside one another - in a way that would never be considered in the formulation of the original album.

David comments that “When I was working on the Elemental mixes, I jokingly described them as ‘Lizard for those who don’t like Lizard’. They were a complete revelation. Lizard is the one album which, in its initial incarnation, never quite convinced me. And yet these Elemental mixes, with their opportunity to look ‘under the hood’ of the album, revealed something fresh, wonderful and astonishing. So, if you are a King Crimson fan, who like me, has never quite taken Lizard to your heart, then these are essential listening. And hopefully equally fascinating to those who already love the album”.

Presented as a single 200gram LP and including the complete album in Elemental Mixes form, running in the same sequence as the original album, this release showcases Lizard in a very different manner to how it’s previously been heard.

Lizard’s reputation has grown, deservedly so, in recent years as old and new audiences alike rediscovered the album, initially when it was first remixed for new Stereo and 5.1 Surround Sound editions in 2009 by Steven Wilson and then as much of it was performed live for the first time in concerts by the most recent King Crimson line-up between 2016 and 2018.

A heavyweight library record delivered straight from the Gods; truly, we are all blessed: Dubmaster Dennis Bovell presents cLOUD mUsIc. A miraculous set of loose limbed, slinky funk-forward dub on the A-Side with totally blunted, spaced out trippiness on the grooving versions gracing the flipside.

A pioneer of dub and progenitor of lovers rock, genius producer-arranger Dennis 'Blackbeard' Bovell's prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock, afro-beat to post-punk, disco to pop and beyond.

His production work encompasses such diverse figures as Ryuichi Sakamoto, The Slits, Fela Kuti, Linton Kwesi Johnson, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, I Roy, Maximum Joy, Steel Pulse and more.

cLOUD mUsIc features 8 new, deep, never-heard heaters, initially created for upstart UK library label FOLD. Dennis had written some music under the influence of Cloud-watching and presented it to FOLD with a view to them presenting it as Library Music to be utilised by anyone interested in having music for incidentals, films, TV and advertising etc.

cLOUD mUsIc represents Dennis expressing himself freely and inviting others to join and express themselves. As Dennis explains: "Library music is what makes the difference between creating for specific reasons and creating for your own individual enjoyment. cLOUD mUsIc was created whenever I felt the urge to create music that I wanted to, with no pressure. It was recorded at various times and in various studios around the world with various musicians’ assistance. Much sonic indulgence with many different recording devices."

Who doesn't like the sound of that?

(Limited Edition 12" Silver Vinyl, 500 Individually Numbered Copies Worldwide) To mark an exceptional milestone, the legendary DJ and producer Phi Phi celebrates 40 years behind the decks with the launch of his brand-new label Mouvement Perpétuel and its inaugural release, the Forty EP, available in both vinyl and digital formats.

Early support from Forty Cats (Balance), Graziano Raffa (Sudbeat), Acid Pauli, and many more.

A true pioneer and iconic figure of the electronic music scene, Phi Phi has shaped generations of clubbers through his legendary residencies at At The Villa, Boccaccio Life, and Extreme, to name just a few. Throughout his career, he has deeply influenced the evolution of trance and progressive culture in Belgium, crafting a distinctive sound and spirit that continue to inspire today’s artists.

The Forty EP captures the very essence of this musical journey: three original tracks blending progressive house and melodic techno, where captivating harmonies and hypnotic rhythms intertwine to deliver a sound that is both timeless, powerful, and refined.

Pressed on a silver vinyl limited to 500 individually numbered copies, the record was unveiled during a special event celebrating Phi Phi’s 40-year career — making each copy not only a true collector’s item, but also a symbolic piece of his enduring musical legacy.

The definition of the word 'fado' is technically 'fate', though the Portuguese meaning bound up with this term is more complex. The music itself can be fairly closely compared with that of Greek rebetika - also the American blues or the original working-class tango music of Argentina and Uruguay - and similarly takes it's common subject matter from the various cruel realities of the world. Though perhaps what distinguishes fado in character is it's often poised acceptance of the pains of life rather than protestation or resistance - as writer Paul Vernon says "It speaks with a quiet dignity born of the realisation that any mortal desire or plan is at risk of destruction by powers beyond individual control"

Death Is Not The End compile here a spine-tingling collection of fado recordings, taken from records issued in the mid 1910s through to the 1930s. The fado's Lisbon and Coimbra variants are presented here by some of the music's earliest recorded stars - spanning a time period leading up to the emergence of the fado's all-conquering star, Amália Rodrigues.

Repress due to the high demand! Unbelievable deep and driving techno sound of the first hour. this 4 tracker from R.M.K. shows where techno should be. in the here and now, without exaggeration, without bling bling and without polarization. R.M.K. utilises his knowledge and past experiences, which include regularly playing at Berghain and Tresor in Berlin, as well as fabric in London, to develop his individual sound. During his more than 20 year career in music, he has formed friendships and worked in partnership with other respected artists such as Trevino (Marcus Intalex), Jamie Anderson, Robert Owens, Goldie and Nastia. Although the focus is always on the very heart of the most raucous of raves, R.M.K never shies away from groove and funk. This is conveyed in a Live Show that utilises classic hardware from the golden age of UK Rave.

Rooted in the New Orleans tradition and the essence of hip hop, Hip Horns Brass Collective unleashes its powerful sound in KREWE, their debut album. KREWE takes the brass band genre beyond its boundaries, diving into the underground with danceable rhythms like boombap and bounce, full of influences such as afrobeat, gospel and funk. The lyrics, filled with references to hip hop culture, flow in an explosive mix of English, Spanish, and Catalan, sharing their love for the tradition of rap and African American music. KREWE is a manifesto of the positive side of hip hop, a tribute to the unstoppable strength of the collective that a brass band represents in contrast to the solitude of the individual, and a homage to the legacy of hip hop and the vibrant tradition of New Orleans

For our next physical release, FERMA welcomes back home one of the individuals running the project, Romphea. As a co-founder, he has long shaped the label’s uncompromising DIY ethos—placing experimentation, raw energy, and community at the heart of its vision. After releasing in a series of acclaimed platforms, the forward-thinking DJ and producer from Vyronas, Athens returns to vinyl with a genre-defying release. Building on the experimental pulse and reshaping the edge between electro, breaks and techno, Romphea continues that trajectory, weaving together tense polyrhythms, warped melodic fragments, and cavernous spaces.

This release features four, plus three digital bonus original tracks, aiming to provide a clear sound identity for the artist. The A-side opens with “Calls from Salem”, a dystopian slow burner that sets the tone with broken-beat percussion and dissonant synth stabs. “Steel Chair” surges forward with unrelenting force, propelled by serrated arpeggios and a barrage of fragmented vocals that rise and fall within the space, crafted for peak-time eruption.

Flipping to the B-side, “Paid Dividends” reaches full intensity, layering hammering kicks and percussion, while the low end rumbles with tectonic weight, amplifying the energy to fever pitch. Closing the record on a more contemplative note, “We Are The Universe” slows the pace, easing the tension and drifting into deeper territory. Echoing chords drift into space, layered with fragile percussive details and low, throbbing pulses. It’s a meditation on collapse and renewal, offering a moment of breath after the storm.

Straight from the source, defying the norms, devoted to the art. Do not sleep.

Operating on the fringes of pure improv, organised chaos, minimal composition, lo-fi electronics and Italian spaghetti westerns, wide-eyed and with a healthy dose of DIY aesthetics lies the world of Jaan. It’s a poetic & cosmic universe, exploring “discreet music” whilst wandering on the edges of the Cat People soundtrack & Brian Eno’s more experimental output, in which you might yourself find floating, wandering or in the middle of a market place.

Jaan is a collective of one, a deliberately anonymous activistic unit with strong ties to the international art scene. Purposefully bypassing the know-it-all of the the internet & embracing the bygone mystery of dusty old archives and deep-dive searching, remarkably little is known about this project. Jaan is lead by veteran experimental sonic alchemist Jaan; they operate between Greenland, the Middle East and Europe, with frequent associates Lisqa, Mashid & Schneorr N. acting as local hubs for collaboration and exploration.

The purpose of this wilful obscurity: full focus on the actual music, whether live events or on recordings. Which brings us to Baghali, their first for World of Echo. It’s a deeply personal album, much like slowly browsing old family albums filled with vaguely remembered tales, some still very much present, some faded, leaving but a ghost-like reflection of what once was. Baghali was compiled over the course of a year on the road, trapped in snow storms, waiting for cancelled flights and stuck rides. It’s made up of snippets of diary, quick recordings on road sides, abandoned buildings, garden ruins, vast desert and focussed studio sessions, following a collage-like aesthetic and steeped in an exploration of non-lineair storytelling. There’s broken memories, a sense of displacement and an occasional yearning for what can’t be again, clouded in fever and unrest, but there is also hope, wonderment and bright colours seeping through the cracks in the wall. Jaan weaves home-made instruments, old tape loops, broken synths, beat-up reeds, dusty beat boxes and the occasional doom guitar squall into a tapestry of fractured sound, with tracks following their own inherent logic rather than following formats. Sounds crash in and out, field recordings placing the listener firmly in an environment then throwing several perspectives at once onto them, with individual elements - a wandering clarinet, a lone mandoline, a beat out of place yet perfectly in place - slowly walking in and out & doing their thing.

The whole album is alive, breathes, takes a wrong turn, gets lost, somehow finds its way again - effortless and with a unique sense of space and flow.

Baghali is released digitally and on vinyl in an edition of 300 on 3rd October 2025.

Fragments was a completely new way of working for us. We’ve always worked with an internal brief, creating documents, pictures and videos, simply because keeping an idea on track with three individuals can be difficult. It's easy for someone to be edged out of the creative process when the focus is not clearly defined.
It’s a formula we’ve used since the early 2000s, but things have changed a lot since then, particularly when we decided to dip our collective toes into supporter memberships with Patreon. It made us think about what we could do directly for our support- ers rather than just the next album or project. At first, the whole thing felt odd and uncomfortable, but we decided that we’d try a few things and ask for feedback.
"Fragments" was initially a way for us to see how we could include others in an ongoing creative process. There was no over-arching concept, no defined characteristics or purpose, just the promise that there would be at least one new track for members to download every month. Consequently, we never knew what was coming next, so the old, very focused working method was irrelevant. It was difficult for us to let individual tracks go without knowing what was coming next, but this also made the project more interesting.
And then C19 hit and we were forced to continue the project remotely from our home studios. As difficult as the disruption was, it was during this period that we realised we could re-organise and remaster the individual tracks into a coherent album, captur- ing a specific moment in time and drawing a line under the first phase of the project.
Like our "Allegory" EPs, we’ve tried to keep everything stripped back. We used to hide many subtle elements within the layers, but not so much this time.
Fragments is our journey through many changes, both self-im- posed and those imposed upon us, and it ultimately led us to create things differently. We hope you like it.




b A2















r D1 b Yes Hello (Remastered BONUS) 1:53
s D2 No JuJu (Man Power Version - Remastered BONUS) 4:27
t D3 Cup Noodle (Unemployed Youth Version - Remastered [BONUS]) 5:43
[u] D4 Black Smoke (They Never Got Started) (Remastered [BONUS]) 2:18
[v] D5 Concrete Concentration (Remastered [BONUS]) 3:21
[b] They All Live In The Past (Remastered [BONUS]) 1:06

First Word Records are very proud to bring you 'Ghouls', the 6th studio album from Bastien Keb.

Through the reflective and introspective multi-mood journey of its 19-tracks, this album spans psychedelic-chamber-funk, warped anti-ballads, cinematic instrumentals, Ethio-jazz & ethereal ambience.

Part soundtrack, part beat-tape, part memoir, this is a dreamlike soundscape sewn together from half-forgotten memories & late night breakdowns.

Entirely sample-free, this album is full to the brim with musical experimentation, with Keb's compulsion to make all the individual pieces of music independently; combining strings, harps, saxophones, theremins, clarinets, flutes and trumpets.

He signals to the fuzzy, nostalgic nebulous of mid '90s skate videos, as well as harking back to the scores & moods of movies like The French Connection, Taxi Driver, The Warriors and La Haine. There are whispers of sounds in the air from jazz clubs, street preachers & Turkish restaurants.

Keb describes the sonic experience of this album simply as this… "You're half awake, and half asleep, but you're warm…"

For this 19-track opus, Keb is joined extensively by Malik Ameer Crumpler; a poet, composer, editor and professor based in Paris, who's been involved in numerous albums while writing for various forms of experimental media.

A multi-instrumentalist originally from the Midlands, Bastien Keb (aka Sebastian Jones) previously released his highly-acclaimed album '22.02.85' on First Word back in 2017; this new album being a very welcome return to the Worldwide Award-winning UK independent label.

His music has been widely supported across BBC Radio in the past by DJs including Gilles Peterson, Huey Morgan, Huw Stephens, Jamie Cullum, Lauren Laverne, Mary Anne Hobbs, Nemone and Tom Ravenscroft. This is in addition to glowing press reviews from the likes of Pitchfork, The Guardian and The Line Of Best Fit.

He's built up a steady fanbase through his extensive catalogue over the years, with material for labels like Def Pressé, Gearbox, One-Handed Music and most recently for Shabaka Hutchings' Native Rebel Recordings imprint, on a collaborative project with South London's Confucius MC (Speakers Corner Quartet).

Keb concludes "this record is for anyone feeling lost in a world that seems to have lost itself without knowing it. It's for the people who know that the world is missing the beauty of the lights in the distance, whilst being distracted by new shoes and flashy phones..."

'Ghouls' is due to be released on vinyl & digital worldwide, November 14th 2025.

Four years on from their landmark Grassroots, visionary half-time heavyweights The Untouchables return with their third album, Lost Knowledge. The duo of Kate McGill and Ajit 'Nitrox' Steyns have carved out a space in modern D&B all their own, building on a legacy that reaches back to the late 00s to keep pushing into unexplored terrain with an assured and deadly line in rhythmic intrigue and atmospheric immersion.

Lost Knowledge launches into action instantly with the high-pressure drum science and dubby splashes of 'Drunken Bells', capturing the loopy techno propulsion and rolling intensity that drives so much of the output on Samurai Music. Where The Untouchables excel is in finding variety and nuance in their relatively forbidding, pared down sound. The heads-down groove of 'Mafia Town' owes as much to dembow and dancehall as D&B, while 'Lost Knowledge' spirals out into psychoactive flurries of synth strafes and organic percussion slathered in tight-locked delay trails. There's no light relief from strident hooks or riffs, just a pure, unshakeable commitment to the power of the beat and deeply designed layers of sound shaping out the space around.

'Busy Bones' makes space for carefully deployed hints of pad tone while the snares snap out of the mix with a sharp set of teeth. 'Four Eared Demon' baits the gabber crowd with its rapid-fire 4/4 hats atop seasick creaks across the midrange, keeping subtlety and patience in the lower frequencies to maintain the signature elegance readily associated with The Untouchables. 'Phase Correlation' teases an artfully unhinged ripple of synth that stands out amongst the murky murmurs filling out the middle distance, but it's still exercised with brutal precision.

Nothing happens by accident or feels out of place - McGill and Steyns are in total control, and they demonstrate incredible range and inventive approaches within their focused style. The accent of the grooves shifts, and individual sounds carry all kinds of artefacts, yet everything gets folded into the exacting Untouchables sound with a liberal dubwise sensibility. Brimming with inspiration and immaculately produced, on Lost Knowledge their one-of-a-kind sound is stronger than ever.

East Kilbride’s Scott Fraser finally comes good on a 25 year promise to his younger self with his debut solo album on his own label DX Recordings out of London. This record represents the closing of this chapter and the opening of a new one.

A truly international and collaborative project pulling together the help and talent of friends around the world with mastering by Radioactive man Keith Tenniswood, cut by Frank Merritt at The Carvery and world class US visual art and design legends, Tim Saccenti and Nick Martin on photography, artwork and design.

Limited to 300 solid red heavyweight vinyl copies, brown kraft sleeves; individually hand stencilled and numbered by the artist, printed inserts feature a collection of moments and images from the last 25 years - the studio, the equipment, the people and the places that came together to make this release. Japanese rice paper inner sleeves.

Limited edition hand printed screen print by Niall Greaves at Newbridge Print Studios in Newcastle on the first 30 copies exclusively available via the DX Recordings Bandcamp page.

Musically diverse, crossing styles, flavours and moods, threaded meticulously with razor sharp Roland TR606 programming and glued together with a Space Echo, Expanded opens with the sub aquatic funk of ‘Eden And After’. Side one takes you through banging electro on ‘Energy In Constitution’, the dark dub techno of ‘To The Letter Of My Oath’, leaves you disappearing through a black hole on ‘The Path Of Helium Rain’ and the sound of aliens talking through FM synthesis on ‘Collected Stills’. On side two: a slice of dark, heavy instrumental hip hop gets things started with ‘Where Is That Perception? ‘. Next we get into some straight 4/4 club techno with cut up drums and bumping baseline in ‘Mi Dominante’ before moving through some blissed out Detroit vibes on ‘Earth Looking Inwards’, a rough as you like TR606 driven experimental electro groover ‘Object of Life’ and finally closing out with the Ectomorph inspired stark electro of ‘Steel (NB_BLOOD cut)’.

Mastered by: Keith Tenniswood at Curve Pusher, Hastings

Cut By: Frank Merritt at The Carvery, London

Distributed by: Rubadub, Glasgow

Artwork by: Timothy Saccenti, Nicholas Martin, Scott Fraser

Photography by: Kate Green, Javier Gonzalez, Scott Fraser, Timothy Saccenti

Solid red vinyl (300 copies), 30 coming with a limited edition screen print designed by Timothy Saccenti, Nicholas Martin and Scott Fraser, hand screen printed by Niall Greaves at Newbridge Print studios in Newcastle.

'Find a Way' is the new album from Manchester-based pianist, composer, and producer Matt Wilde, released via his own imprint Hello World Records. The album serves as a reminder that creativity should be accessible and the importance of opening yourself to the unexpected as you 'Find a Way' through all endeavours. Digging into improvisation and jazz harmony on the LP, he crafts a sound that bridges jazz, hip hop, and electronic music, adding: "The creative act is not a matter of waiting for the perfect conditions, but of moving gently, insistently, through the imperfect".

Focus and title track "Find a Way" encapsulates this journey of process. Humans are known for adaptation and response when they face challenges, seeking solutions towards a better world. "Find a Way" leans into our instinctive reaction to improvise and reshape, taking the listener on an unexpected journey. The opening loop could as easily feel at home as part of an electronic soundscape, developing into a clock-like effect from the drums. This keeps time, allowing a duet between keys and trumpet to unfold, symbolising the individual, imperfect and non-linear paths we all carve out day to day.

The album was funded by Arts Council England and created in close collaboration with trumpeter and composer Aaron Wood, with the pair recording in Aaron's rural DIY studio in Huddersfield. Through improvising upright piano, Rhodes and trumpet over intricately programmed beats, the duo captured the spontaneity that makes jazz feel alive, but with the forward-facing touch of Ableton live production. "I actually had live drums recorded for this project and then deleted all of them and instead programmed intricate drums on Ableton live myself to create the kinds of drum sounds I could hear in my head," Matt adds, explaining the onerous process that truly made 'Find a Way' a labour of love.

Matt Wilde discovered jazz through an unconventional journey, and 'Find a Way' is an introspective map of this musical development. Starting out as a self-taught beatmaker, growing up Matt made tracks for friends in the grime scene before falling in love with jazz through the sample-heavy works of Madlib, J Dilla, and Pete Rock. Hints of this influence can be found on "Windup", driven by a deeper bass and a glitchy intensity not commonly associated with jazz. There are also nods to the weekly DJ residencies Matt had in his late teens, establishing a love for club music at iconic Manchester venues like Sankeys. "It's Ok, Feel it" incorporates pitched-up kicks and crisp, papery snares that pay tribute to UK dance culture and the foundation of connection in this world.

Guided by values of accessibility and creativity, Matt has become a key voice in the UK's boundary-pushing jazz and beats scene. His debut album 'Hello World' alongside EPs and single releases, have been championed by the likes of BBC Radio 1, Jamie Cullum and Soweto Kinch (BBC Radio 2), 'Round Midnight (BBC Radio 3), and across BBC 6Music, Jazz FM and Worldwide FM. He has performed headline shows at Band on the Wall (Manchester) and The Lower Third (London) and showcased his music at Brick Lane Jazz Festival and London's iconic Jazz Café.

A proud Mancunian with Polish roots, Matt's values-driven approach reflects his passion for community and empowering others through the arts. Matt founded the UK's first youth-led charity and is a trustee of Manchester music charity Brighter Sound. Driven by these values of equality and inclusion, Hello World Records strives to champion grassroots music with a backbone of fairness built into the business model. The imprint is named after Matt's debut album, released via Band on the Wall Recordings; simultaneously championing the music scene and global musical footprint of Manchester and highlighting the importance of artists reminding people: Hello World, I've made it. I'm still here.

- Martha Cleary, Glow Artists

“Oh my God! Super dope!” - DJ Qbert (Invisibl Skratch Piklz)

Kid Ginseng’s 3rd in a series of sample-delic electro 12»s embracing the sound of the diskette between 8-16 bit sound influenced by DJ Di’jital, Arabian Prince, and the LA X-men which consisted of Unknown DJ and DJ Slip. The whole LA Techno Hop label is a massive influence. Of course compatible with a Detroit electro set. Kid Ginseng is an individual.

Flash Atkins has pulled together a crack team of musicians for Sanza Mibale Ya Bo Pemi.
It is a tribute to the golden age of Afro-Disco, when the sounds of 70's New York found their way to the continent and fused with local musical styles and rhythms.
Felix Ngindu sings in his native Lingala language from the DRC over a locked bass, congas, keys, percussion, rhythm guitar and a brass section from Haggis Horn's Atholl Ransome and Malcolm Strachan.
Funk, disco, soul and jazz all blend for a peak time jam.

The Flash Dub strips things back to the rhythm section for heads down, dubby action and a tracky take that still packs a dance floor punch.
The incomparable Bosq steps up for remix duties and knocks it out of the park. Layered drums and percussion give things a more Latin swing before the beats break, piano enters the fray, and it's a tropical-funk party-starter all the way. The dub does the beat thing, rocking a hard groove for the dancers.

Hands in the air? F**ck yeah!

LTD Edition in individually sprayed sleeves !

Today, Manchester’s Maruja announce their highly anticipated debut album ‘Pain to Power’, due for release by Music For Nations on 12th September and produced by Samuel W Jones, who the band worked with on their three EPs to date. The extraordinary eight track collection not only confirms the four piece as a creative force of nature but finds a deeply emotional and empathetic band concerned primarily with the power of community, both in the nuclear sense, as a tight knit creative unit, but also as a wider force for social and political change in the age of the individual.

Maruja believe passionately in the ability of art to empower, heal and unite and have created a body of work with ‘Pain to Power’ that they hope will offer both strength and an emotional release to anyone who is struggling with the impact of years of political turmoil and social isolation.

Common Labour proudly presents Bibione by pothOles – a sun-kissed tribute to the iconic 80s family camping trips to Italy. Whether you’re swaying to the high-octane ”12-Inch Mix” or lost in the ”Sensual Version”, you can surely feel the salty breeze of the hedonistic Adriatic coast.

And there’s more: we’re so excited to finally unleash the slamming Flabaire remix of This and That. Get ready to hear this on dance floors all summer long – a true masterpiece from the maestro himself. And as the sundowner, we serve up Fyre Fest Anthem – a classic deep house bomb, salty yet sweet, made for the golden hour.

Bibione EP is another cherished 12” from Common Labour – hand-stamped, individually numbered and limited to 199 copies worldwide. A true family affair, it features special artwork created by Aaro.

Limited repress!

What is it about New York City, that concrete jungle that continually inspires the creative spirit? From Warhol’s Factory to Larry Levan’s Paradise Garage to David Mancuso’s Loft, collectives that celebrate and nurture unfettered, organic artistry have been absolutely intrinsic to the story of this sprawling metropolis. Its latest chapter is being written at the hands of ‘The Maestro’, Grammy Award winner Louie Vega and his Expansions NYC parties, the sound documented in his latest album Expansions In The NYC (Nervous Records).

Starting in February 2019 in Manhattan and Brooklyn venues, Vega’s Expansions NYC parties have their origin not in his revered prowess as a DJ but rather his whole-hearted appreciation of the different elements of the dance floor surrounding him: the dancers, the musicians who bring their instruments to join him ad-hoc on the night, the small, dedicated crowd of clubbers whose ears to the ground keep them informed on the underground party information. The events included 6-hour DJ Sets with Louie under his select curation, and would usually end with 3 AM jam sessions involving keyboardists, guitar players and poets all performing in front of a jam packed crowd. In just a few short years the Expansions NYC events have evolved into an NYC-clubland institution, an intimate celebration of house, funk, disco, afro, R&B and more.

As with his parties, so goes his album. The collective vibe that forms the beating heart of Expansions NYC parties is absolutely front and centre in Expansions In The NYC, Vega drawing in one of the most comprehensive lists of collaborators in recent memory. House heavyweights Honey Dijon, Joe Claussell, Moodymann, Kerri Chandler and Anané rub up against legendary vocalists Bernard Fowler, Cindy Mizelle, Lisa Fischer, Audrey Wheeler and Tony Momrelle. Gospel royalty BeBe Winans and Debbie Winans, pop icon Robyn and rising star Karen Harding sit alongside disco-era champions Unlimited Touch, Cuban jazz pianist Axel Tosca, Nico Vega, Two Soul Fusion with Josh Milan and Vega and underground legend DJ Spinna. At the centre of it all, fingerprint on every beat, touch on every groove, sits a master at work, weaving the individual threads into a rich dance music tapestry.

"In the past few years I’ve found new inspiration both from the musicians I’m working with and the audiences coming to see me at my DJ shows,” Vega says. “So for me this album represents new beginnings, bringing together a beautiful mosaic of artistic perspectives to express musically what we call Expansions In The NYC."

At its heart, Expansions In The NYC is a love letter to New York, as much as melting pot as the city it represents, the scope of its line-up possible only because of the influence and reverence of Vega the artist, the DJ, the producer, the curator. In creating this album, Louie Vega has once again utterly enriched the lives and libraries of music lovers the world over, far beyond the hustling streets of NYC that have so indelibly left their mark on his work.

Move recordings continue the relaunch with this wonderful MV06 from By:Them, new duo former by Ludwig Buez & Jerome Lipani. Including a fantastic remix from the sound designer, DJ & Producer Hermanez. A 100% Belgian product!

"Never too old to dance," evolves with a big intensity, layering elements that cultivate an incredible atmosphere. The track unfolds through melody songs, progressing towards rich, deep chords punctuate, the experience with a sense, till a melodic break.

The Hermanez remix for Move recordings is an amazing sunny tune. Following his refreshing style, Hermanez remixing "never too old to dance" with grace and unequivocal individuality. With his captive melodic, he empowers the atmosphere, with a high-energy and a sexy flavor. A pure track to rock the summer.

Through defined grooves and rolling bass lines blends, "Rising away" melodic and atmospheric sounds to create a transcendent listening experience. With an energic groove, this track showcases an exceptional range, to craft atmosphere that goes beyond the dancefloor.

By:them truly strikes for his first ep and presents us with two dance floor weapons with a fantastic Hermanez reinterpretation.

Support by, Timo Maas, Joris Voorn, Alex Neri, Nick Varon, Just Her, Paco Osuna, Danny Howells, Ilario Alicante, Sahar Z, Nhar, Michel De Hey, Sasha, Adriatique, The Micronauts,

Makhunik Records Presents: "Withdrawals" - A Bold New Vinyl Release by RAKANS Withdrawals, the highly anticipated follow-up to Emergence EP and Deep State (Midnight Stallion) EP, marks a bold new chapter in RAKANS's ever-evolving sonic journey.

Set for release on I Makhunik Records, Withdrawals explores the tension between desire and detachment, featuring five tracks that blur the lines between electronic, experimental, and club sounds. Available on vinyl, Withdrawals invites listeners to experience the raw and intimate emotions that inspired its creation. Following the success of Emergence EP (Gently Leftfield Techno from a Core Dresden Artist - Resident Advisor/Single Review by Andrew Ryce) and Deep State (Midnight Stallion) EP on Boudica, which gained recognition for their atmospheric intricacies and deep, immersive textures, Withdrawals delves deeper into personal and societal themes, paired with the artist's signature ethereal soundscapes and captivating beats. Each track carries a narrative, from late-night reflection to hedonistic encounters, with a pulsating intensity that mirrors the artist's own process of creative and emotional release. With Withdrawals, RAKANS continues to push boundaries, creating a profound listening experience that resonates both in its melancholy and its intensity.

Description of the Title: The title Withdrawals reflects a state of emotional and mental transition, where one is caught between the craving for connection and the unsettling effects of isolation. It symbolizes the artist's inner turmoil and process of reclaiming personal agency after experiences of burnout and separation. The tracks are an expression of that journey-tracking the highs and lows of life in a world that constantly demands more. Through these melodies, RAKANS has captured the intensity of longing and the aftermath of desire, inviting listeners to confront their own internal conflicts. The narrative is personal yet universally relatable, and the title speaks to the often painful but necessary process of letting go, detoxifying from past habits, and learning to be at peace with oneself. "With Withdrawals, He wanted to channel the emotions that often come from the struggle between desire and self-preservation, between the drive to connect and the need to retreat. he's journey, both as an artist and as an individual, has been filled with moments of intense reflection, self-discovery, and sometimes, disconnection.

These tracks are the culmination of that inner conflict, a raw exploration of what it means to both lose oneself and find a deeper, often painful, form of clarity. Like the music he's created before, the sound of Withdrawals speaks to the space between tension and release, the liminal space where truth is often revealed in its most vulnerable form. He's always believed that music is a mirror to the soul, and in this EP, He's tried to reflect that feeling of being both pulled in and out of something greater. It's a raw and intimate look at the way we navigate modern life, often feeling like we're running toward something that we can't quite reach, yet constantly pulled back into our own personal truths.

This EP is personal, but it's also for anyone who's ever felt caught between two worlds, the one they want and the one they need. I hope it resonates with listeners who are experiencing their own form of withdrawal, whether it's from people, places, or even from themselves.

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.