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Transparent Purple vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

90s floor fillers featuring Robin S, Ultra Nate, Haddaway and Jennifer Paige.






[d] A4 Cunnie Williams Feat. Monie Love - Saturday [Mousse T.'S House Edit]
[e] A5 Eiffel 65 - Blue (Da Ba Dee) [DJ Ponte Ice Pop Radio Edit]

It was December 2015 when Simon Weiss delivered his first EP for Voyage Direct, an impressively intergalactic affair full of supersonic synthesizer arpeggio lines, Motor City influences and robotic drum machine hits. Two years on, the experienced Dutch producer returns to action for the first time since, in the process delivering another quartet of starry-eyed productions.
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Through releases on Deepermotions, Rush Hour and Hometaping is Killing Music, Weiss has established a reputation for combining a deep understanding of dancefloor dynamics with a sci-fi inspired futurist aesthetic. Both of these complimentary traits are much in evidence on his second outing for Voyage Direct.

Weiss blasts off via Brain Fever', where raw, mind-altering arpeggio bass, fuzzy drum machine hits, spacey chords and alien electronics thrust our hero skywards. Think of it as techno for funk-fuelled, Italo-disco loving astronauts whose journey to the end of the universe is only just underway. This intergalactic funk blueprint is explored further on the deeper and more melodious You Want A Cigarette', where Weiss's vocoder vocals wrap themselves around mutant TB-303 lines, rush-inducing chords and clattering machine percussion.

On Space Ghetto (Booty)', our hero celebrates the discovery of previously unknown worlds in the only way he knows how. With kaleidoscopic, full-throttle electronic motifs and funk-fuelled synth-bass to the fore, Weiss offers his own unique take on electrofunk. Pleasingly fuzzy and tightly wrapped in the syncopated drum machine handclaps of ghetto-house, it's a typically far-sighted and attractive proposition.

With just two minutes to go until his spacecraft touches down on alien territory, Weiss rounds things off via the melancholic chord progressions and heartfelt vocoder vocals of Intro', a beat-free excursion just tailor made for dramatic set openings and spine-tingling mix endings. He may be stepping into unknown territory, but it won't be the last you'll hear from Simon Weiss.

The story of Change goes back to the 1980 and our introduction to Luther Vandross on their hits “Searching” and “The Glow Of Love”. Next there was the amazing James Robinson with them on “The Very Best In You” and “Miracles” before they joined forces with writers/producers Jimmy Jam & Terry Lewis for “Change Of Heart”, “You Are My Melody” and so many more. You know this already! But here in 2019 Expansion are thrilled to bring you two tracks from their new album with extraordinary remixes by Joey Negro and Opolopo. What could go wrong? Both tracks are astonishing, brilliant on the dance floor and presented here on vinyl exclusively for the first time.

SPFDJ steps up for her long-awaited debut EP, Heel Thyself, out Friday 7th November on Intrepid Skin.

A core figure in grassroots techno circuits, and an internationally lauded DJ, SPFDJ's ascent reflects a passion for music governed by love and grit in equal measure. At once providing a gleefully chaotic two-fingers to dance music's self-serious establishment, whilst also flexing an ever-expanding knowledge of its roots and potentials, her musical armoury is renowned the world over for inspiring debauchery and sweat-soaked hedonism.

As an artist whose journey has been defined by challenging the norms of electronic music, SPFDJ's rebel spirit is recognised locally and globally, but guiding this attitude is a vulnerability to the realities of the music industry, and the rise of conservatism that permeates every aspect of life. And whilst sensitive to the use of buzzwords like community, it's ultimately a respect for the people who keep these scenes alive that motivates her artistry.

In releasing this EP, she taps into a more vulnerable side. The title - a nod to internal healing processes, and a play on words to motivate queers and women to 'boot up for battle' against increasingly oppressive structures - shines a light on some of the values she holds up to electronic music culture. At once playfully chaotic and deeply energising, Heel Thyself spins us through a cyclone of kicks, punches, and noise.

Opener 'Cluster B Intro' is a tempo-twisting barrage of gabber led by a robotic vocal command, setting the scene for pretty much anything to happen. 'That Stiletto Track' kicks in like a tweaked out distortion of 90s trance before spiralling upwards into a storm of heavy breaks. 'F*ckboi' is hot n heavy electro - classic in its structure, but with the added industrial touch of hammerdrill synths and razor sharp percussion. Swinging into a bouncier state, 'The Hot in Psychotic' flings ricocheting rhythms through frantic claps, with a donk to keep things moving. Rounding things off, 'Mindless Counting' flies higher with pummeling drums lifted by a touch of euphoria.

A debut laced with both defiance and self-reckoning, Heel Thyself finds the rebel looking inwards - vulnerable, but sharpened and ready.

Wewantsounds is delighted to announce the release of Tokyo Funk Diva, a compilation highlighting the work of Hitomi "Penny" Tohyama, one of Japan"s leading funk voices of the 1980s. Blending funk, boogie and soulful grooves, Penny brought a distinctive energy to Japan"s music scene during the decade. Compiled by Nick Luscombe-who previously curated Tokyo Dreaming for the label-the set marks the first time Hitomi"s music has been compiled outside of Japan. Featuring newly remastered tracks and liner notes by Luscombe, the release offers fresh context to Penny"s work and its role in the evolution of Japanese funk and groove culture.

Kill Them With Kindness is the 18th album from Beans on Toast, recorded at Greenmount Studios in Leeds with The Beans on Toast Band, a collection of musical friends he handpicked from the UK music scene a few years back.

"We've done a few tours together, but this was our first venture into a studio. Each one of them is amazing, and together... well, I'm proper chuffed with how it sounds. Have a listen for yourself," says Beans.

This album is a bit of a juxtaposition, as is the title. "There are songs that deal with the current state of the world: wars, maniac leaders, the rise of AI and the fall of the establishment. Then there are songs about trees, late nights in music venues, art, love and my new cat. As usual, it's a time stamp of my thoughts and feelings from the past year on planet Earth."

Introversion delivers a powerful five-tracker on FJAAK's CROWD with 'Ghost Rockets', pushing his signature blend of gritty textures, stripped-down rhythms and emotional weight even further. Known for fusing 90s-rooted techno with contemporary clarity, Introversion opens the EP with 'Lights', a track that rides a relentless hardgroove rhythm before lifting off into an epic, melodic climax made for big rooms and peak-time moments. The title track 'Ghost Rockets' follows with the unmistakable CROWD signature: rolling, minimalistic grooves anchored by Detroit-inspired synth stabs and tense, driving percussion. On the B-side, 'Visitors' starts deep and atmospheric, slowly morphing into a propulsive, forward-pushing roller that balances subtlety and pressure. On 'Hessdalen' things take a darker turn: A menacing groove emerges, led by evil synth stabs that march with precision through a hypnotic, unrelenting beat. The EP closes with 'Wow-Signal', a digital-only track that begins with a long robotic intro, building tension before unfolding into a groovy, nerdy banger loaded with synthetic detail and energy. Introversion's 'Ghost Rockets' EP is a high-impact release that balances floor power with intricate design, being a perfect fit for both deep club nights and peak festival moments. The Berliner will present the release as part of the CROWD Showcase along with label-heads FJAAK on November 29th at Gew?lbe in Cologne - make sure to be there in the first row!

The debut single from Tompkins Square’s latest signing, 22 yo Nashville born and based Maisy Owen. Maisy plays all the instruments on this song. Produced by Robin Eaton." “My Youth is All For You” Mono and stereo versions.

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

Gainax’ alliance, “oyster sunrise”, had their base a couple light-years off the galactic ice ring. Unassumingly sitting in-between shelves of hyperspace artillery was a black sturdy box, with aluminium details revealing it’s conventionally terrestrial design. Stuck to the box was a label tracing it back to recon-mission-3.31 with a hand-written note that read “destiny’s best FFriend”

Recon Mission 3.31 was the last of a series of top-secret visits to a remote-community of terrestrials who had abandoned the global hegemony. Defined by their abrasive aesthetic but warm nature these self-defined spiritualists welcomed Gainax’ legion with caution. This courageous openness was part of their hopeful prophecy, one that saw the terror of Project-ST as an essential step in the global awakening.

Hand Stamped & Numbered (limited to 300 copies)

Ground-breaking percussive ambient recordings from Gabrielle Roth & The Mirrors, inducing altered states of consciousness through ecstatic dance. "Selected Works from 1985 to 2005" finally available on Time Capsule

Despite featuring an extraordinary cast of musicians (with credits including Pharoah Sanders, Miles Davis, Sun Ra, Santana and Milton
Nascimento) and selling hundreds of thousands of albums, the music of Gabrielle Roth & The Mirrors remains largely unheard beyond their sphere. Conceived as live, improvised soundtracks to Roth’s transcendental dance workshops, musical acclaim was never on the agenda.Instead, for a passionate dancer and spiritual polyglot like Gabrielle Roth, movement was a means through which to channel a wide spectrum of teaching, from experimental psychology to psychedelic counter-culture. It was from this heady mix that she devised a movement meditation known as 5Rhtyhms, which came to define her life’s work.

As “guide and catalyst”, Roth would dance to inspire the percussion-led instrumentals that would in turn fuel her 5Rhythms workshops, stimulating a secular form of ecstatic dance with roots in Native American shamanic traditions, Afro-Brazilian Candomblé and Yoruba drumming. Using anything from a Sioux pony drum to East African kihembe and Japanese Kabuki drums, Gabrielle’s lawyer-turned-drummer husband Robert Ansell set the foundational rhythms for The Mirrors’ recordings, each of which would then feature a rotating cast of friends and professional musicians.

“The secret of everything we’ve done is that we never told anybody what to play,” Robert shares. “Instead of our albums being a musical vision of one person like me or Gabrielle, they were the musical vision of a whole bunch of people.”At times the recordings have a Middle Eastern flair, at others, West African and spiritual jazz modes come to the fore. Hints of kosmische musik, proto-house and electronic ambience are laced like LSD through the organic rhythmic structures. This was kaleidoscopic ambient music to stir the body and free the mind.

In practice, the task of synthesising these different elements fell to Scott Ansell, Robert’s son and a recording engineer whose credits now include Nile Rogers, Duran Duran, Grace Jones. With meticulous attention to detail he captured and translated the dynamic energy of each drum onto record. Their sessions became legendary, and with access to the best studios in the NYC, The Mirrors sparkled.

Despite being initially overlooked by the burgeoning ‘80s New Age market, which preferred pipes and gongs to The Mirrors’ heavy-grooving drums, Robert Ansell set up Raven Recording to self-release the music, creating a vast sonic archive of sixteen albums over almost forty years. The breadth of Raven’s catalogue is such that curator Pol Valls had to cut an initial selection of sixty-six tracks down to the eleven featured here. What crystallises is a stunning, mind-altering collection which spans, in Pol’s words, “a variety of genres, styles, and vibes within their catalogue, whether it is emotional, esoteric, spiritual, melancholic, hypnotic, dark, or at times a combination of these elements together.”Music for immersive and intimate environments, Gabrielle Roth & The Mirrors were born from the dance. In the hands of the right DJ, at the right time, in the right place, they might just return there.

Reissue of the very first album ever released by Sly & Robbie’s iconic TAXI label back in 1979.



"Having saved enough money during a tour with Peter Tosh to buy 4 multitrack recording tapes, Sly & Robbie asked Gregory to voice a few songs for them. Because they had played on so many of his hits, Gregory generously agreed to do it for free to help bootstrap the new TAXI label.

In 1979, Gregory Isaacs was by far Jamaica’s most popular artist, earning his "Cool Ruler" nickname many times over releasing hit after hit, most of which were produced with Sly & Robbie, who at 25 years of age were already the hottest backing band. Out of these sessions came hits like "Soon Forward", a fabulous cover of Bob Marley’s "Slave Driver" and 4 other potent tracks. There were no flimsy soul or pop covers: Gregory Isaacs, whose voice and range were at their peak, sang with clarity, depth, verve and confidence, with no unnecessary mannerisms.

A must have for any serious music fan, this crucial album features extended so-called "Discomix" versions of all the songs, providing listeners with a generous serving of the Riddim Twins drum and bass extravaganza. In addition to the original album, we have added 3 dub versions that were only released in Jamaica, as B Sides of singles, in 1979. These have never been reissued until now and provide a fascinating glimpse into Sly & Robbie's drum and bass sound, which revolutionized Reggae music at the time."

Strictly limited to just 500 copies, this transparent blue 12” vinyl marks the 142nd release on Systematic. It proudly features none other than the boss himself, Carl Cox, delivering a groovy electro killer you might not have seen coming.
On the flipside, label head Marc Romboy joins forces with his long-time friend Robert Babicz (Kompakt, Force Inc., Mille Plateaux) to present a warm, driving four-to-the-floor tech track that perfectly reflects their signature sound.
A truly powerful package!

For the first time ever, Marcal's "Thought Control" is available on vinyl to commemorate Enemy Records' 20th anniversary. Previously only available digitally, the EP figures some of Marcal's biggest tracks such as "Seroto"and "Manta Ray." This ep is part of a limited series of reissues and first pressings from the label's back catalog, headed by Dustin Zahn.



"Thought Control" takes on a slightly deeper and heady direction than his previous output for Rekids or Uncage. However, the drums are still slammin' and every detail is crystal-clear. Marcal's natural progression shows he is more in control of his sound than ever before.



Manta Ray starts the EP with swinging drums and shots in the dark that will keep people marching through the night. Nevoa is the most melodic cut on the record. It's moody, wandering, and tripped out enough to disassociate you from reality. Robotic Thinking is as rigged as it is funky. The strong, pedaling, unified groove is laced with vowel formants and pulsing sinewaves. Closing out the EP is Seroto, a steady headsdown tribal workout for those trying to find their way through the late-night fog

Available on LP format - comes with Japanese obi-strip.

Jamaica's national treasure. Legendary Jamaican Jazz. Internationally acclaimed guitarist Ernest Ranglin with piano genius Leslie Butler in a dazzling quartet. Recorded in 1965. Ernest Ranglin is a guitar player who represents Jamaica as well as one of the forefront personals who took Jamaican music to the world. As an arranger and a musical director, he contributed with his talent in the development of Jamaican music, including Ska and Reggae, from the origins. Musicians who have started their career at the time, still look up to him as a mentor and pay their respects. The internationally acclaimed guitarist Ernest Ranglin is currently pursuing his career without any musical boundaries at the age of over 80.

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Musicians:GUITAR: Ernest Ranglin, BASS: Stephen Lauz, DRUMS: Carl Mcleod, PIANO: Leslie Butler.

Produced by K. Khouri.

Recorded at Federal Studio.

2025 Repress in CURACAO COLORED Vinyl
NEXT UP IS “I WAS DEEP IN MY LAST LIFE”, SASCHA DIVE RETURNS TO BONDAGE MUSIC ONCE AGAIN FOR ANOTHER DEEP FREQUENCY ENCOUNTER, AS USUAL AS VINYL ONLY RELEASE

Set against the backdrop of New York City’s high-pressure nightlife scene, Black Rabbit centers on two brothers who are pushed to the brink by their duty to family and their pursuit of success. Jake Friedken (Jude Law) is the charismatic owner of Black Rabbit, a restaurant and VIP lounge, poised to become the hottest spot in New York. But when his brother, Vince (Jason Bateman), returns to the business unexpectedly, trouble soon follows; opening the door to old traumas and new dangers that threaten to bring down everything they’ve built. Black Rabbit is a propulsive thrill ride and character examination about the way an unbreakable bond between two brothers can shatter their world and everything in its orbit.
Black Rabbit is a music-fuelled series featuring a brand new song of RAYE and two songs by The Black Rabbits (Albert Hammond Jr. and Jude Law). Also with the exciting score of Danny Bensi and Saunder Jurriaans a vinyl release is an absolute necessity for the this soundtrack.
Black Rabbit is available as a limited edition on crystal clear & black marbled vinyl.