quête:jam on

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.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

LTD Edition Clear Vinyl Version

Arguably one of the most memorable house music moments, born out of the black LGBT scene in Chicago at the legendary Warehouse and known as one of Frankie Knuckles earliest productions; ‘Your Love’ is a stone cold classic. A record that is up there with the greats, instantly recognisable and a song that only get better with time.

Written by Jamie Principle and originally released in 1986, ‘Your Love’ has become a seminal recording over the past 34 years. Originally an underground club anthem, famously borrowed on the crossover hit ‘You’ve Got The Love’ (The Source feat. Candi Staton), and most recently re-produced by as part of the Director’s Cut project which aimed to update a number of classic cuts for the modern dancefloor, this is a record that endures the test of time. Working alongside The Frankie Knuckles Foundation and Eric Kupper, SoSure Music now releases two new remixes for 2020 from Darrius Syrossian and Alan Dixon.

First up, House music aficionado and legendary Sankey’s resident Darius Syrossian offers his unique blend of beats to the remix package. With releases on the likes of Get Physical, Viva Music and Hot Creations, Darius’ production is heavily influenced by some of the greats – think of the finest spinners from Detroit, New York and Chicago – and is well placed to approach this huge task. Darius introduces a rolling house beat and some old skool breakbeats into his mix, keeping the energy high throughout; bringing a feeling of a euphoria and hitting the peak time moment.

Charting a rapid rise through the ranks in a relatively short time Alan Dixon is already building a name for himself in House and Nu Disco scene and has recently released on labels including Glitterbox, Permanent Vacation, Running Back and True Romance. Alan’s remix aims directly at the centre of the disco dancefloor. A strong beat dominates a unique energy through the mix along with a slightly nostalgic vibe. With a beautiful floaty interlude and a raw emotion this remix updates a classic with respect while also giving a fresh new twist.

Brixton Heights Records proudly presents the brand new single ‘Am I the Same Man?’, a soulful roots-reggae gem featuring a heavyweight all-star lineup including: Mafia & Fluxy on drum and bass respectively, the Ital Horns on brass, Gussie Clarke on mastering and Gaudi on falsetto vocals + BVs, dub mixing, piano and co-production alongside The Brixton Heights Orchestra.

Drawing inspiration from the timeless instrumental groove ‘Soulful Strut’ by Young-Holt Unlimited, the track channels vintage soul through a deep lovers-rock lens. A fresh and earnest reinterpretation of Barbara Acklin’s 1968 classic ‘Am I the Same Girl?’, this version flips the narrative with an adaptation on the lyrics voiced by none other than Gaudi singing in falsetto, resulting with a smooth, dub-infused love song that combines classic soul and international reggae into a modern masterpiece.
Gaudi is not stranger to falsetto-singing and backing vocals, in fact he has lent his distinctive vocal talent to albums by reggae giants such as Steel Pulse, Horace Andy, Lee “Scratch” Perry, Don Letts, Johnny Clarke, Mad Professor, Hollie Cook, Michael Rose, Creation Rebel, Africa Unite, Awa Fall, African Head Charge, Lion D & Capleton.

Mixed and co-produced by Gaudi at his Metatron Studio in London UK and mastered by Gussie Clarke at Anchor Studios in Kingston Jamaica, ‘Am I the Same Man?’ is more than a cover version, it’s a heartfelt transformation that captures the emotional core of the original song while creating a whole new vibe that speaks to today’s lovers and soul seekers alike.

The B-side presents a meticulously crafted dub version by Gaudi, produced exclusively with analogue equipment and vintage studio hardware. The mix brings forward the intricacies of the original instrumentation and enhances the lyrical elements through spacious delays and warm, analogue textures. Last but not least, in order to maintain the highest level of authenticity and an organic sonic texture, all recordings were done at 432Hz, tuned to resonate naturally.

Emerging from the University of the West Indies (UWI) in Jamaica during the late 1970s, Main Attraction was a group of talented singers whose music captured the social and political energy of their time. With a sound that blended reggae and soulful ballads, their songs were both a reflection and a response to the challenges of the era.

The group originally featured Sonia Copeland, a gifted writer, arranger, and back-up singer, alongside Sharon Jones, whose velvet voice led many of their reggae tracks. They were joined by Allison Smith, Marjorie Smith, and Shahiba Ali, forming the group’s first lineup. As time passed, Michelle Thompson and Lileth O’Connor joined, further enriching the group’s dynamic harmony.

Main Attraction’s musical journey began with their debut recording, a cover of Once Upon a Time, produced by David Haughton under the management of Clayton Downie. Later, with Owen Palmer as their manager and producer, the group expanded their horizons, performing in cabaret gigs with the band Mind Benders and embarking on an overseas tour that showcased their talent in New York City. While Sharon Jones led reggae tracks like Jam Up, Allison Peart and Shahiba Ali brought their soulful touch to R&B songs, creating a rich, versatile repertoire that captivated audiences.

Jam Up was the group’s first original recording, composed and arranged by Sonia Copeland. Performed as part of the Reggae Song Competition during Carnival in 1978, the song is a rallying cry for unity and progress. With powerful lyrics and a Shaka rhythm, Jam Up calls on Jamaicans to come together, strive for economic growth, and uplift the nation collectively.

Sonia’s vision was clear: that Jamaicans from all walks of life would find inspiration in the song’s message, motivating them to improve their standard of living and contribute to the country’s growth and prosperity. Decades later, the lyrics remain just as relevant — a timeless call to action for social and economic strength.

Hold this record in your hands, let the music play, and feel the enduring power of reggae music to transform, uplift, and connect.

Darren Nye and James Baker have both had prolific outputs on some of the most authentic, underground house & techno labels. Labels such as Exalt, Form@ Records, Neo Ouija, Revoke, Yore, Spacetime & We’re Going deep. This 12” sampler includes 4 tracks from their album on Fourier Transform which contains ReKaB and Darren’s trademark lush, deep, pad drenched melodies and is UK underground techno to make you move as well as sit and think.

The album they produced is the last James “ReKaB” Baker recorded before his passing in 2025, all proceeds of the album and the 12” sampler will be donated to a fund for his young son.

After a first cosmic cruise through Mediterranean Space Disco by TORRE, Musiq Voyage returns with its second release — this time from one of its own founders, Arno E. Mathieu.
Known for his label collaborations with NYC legend Joe Claussell, for his acclaimed Circumstances Of Chaos LP, and many releases on iconic labels like Compost, Yoruba, Real Tone, Deeply Rooted and Africanism, Arno has spent over two decades jamming & crafting deep, balearic & psychedelic journeys across house and electronic realms.
With MV002, he comes home, channeling the spirit of his native Provence and the sun-drenched pulse of the Mediterranean.
Arno delivers two evocative tracks:
“Phoenix” – an 80’s-inspired electronic resurrection, rising from the ashes on waves of funky basslines, soaring synths, and cosmic guitars.
“L’Amoragie” – a cosmic disco odyssey blending “Amore” and “Hémorragie” into one passionate eruption of love and sound — powered by hypnotic drums, anthemic synths, and euphoric choirs.
Mediterranean soul, space disco energy, and emotional storytelling — Musiq Voyage continues its journey.
Enjoy the trip.

First ever vinyl release from the fourth member of ATCQ. Consequence, featuring Kanye West, Mobb Deep, Q-Tip and Phife Dawg (R.I.P.)
Released on Orange vinyl a must have for all Boom Bap classic 90’s golden era NYC hip hop from a Native Tongue affiliate.

It's rare to hear a debut 12' single that really blows you away. That's hardly a controversial statement; in truth, most producers take time to find their feet, developing a distinct style over a period of years, rather than months.
Magnesii, then, is something special. Currently based in Amsterdam. The previously unheard of producer has delivered a stunning debut 12' for Tom Trago's Voyage
Direct label. R Raw, fuzzy and in turns melancholic, spellbinding and intense, its' three tracks bubble and hiss to the distinct sound of vintage analogue hardware.

You see, the young Dutch producer tends to avoid modern computers. 'I often feel like those screens suck my soul away,' he says. Instead, he jams out tunes on a tasteful selection of analogue gear, sequencing with either the Alesis MMT-8 or the Akai MPC2000 - a favourite toy of many of the Netherlands' best electronic producers - and adding basslines, beats, acid lines and melodies on obscure synths and drumcomputers'. His creations are then bounced down straight to 1/4" tape or cassette.

Some of these resultant jams, as showcased on this impressive debut, are nothing less than inspired. Acid lines rise and fall, machine drums rattle, and distinctive synth
lines weave in and out of the mix. These are raw tracks for the dancefloor blessed with all the colour and warmth associated with vintage hardware.

'RZTB Tantra' sets the tone, layering bubbling acid lines and dreamy chords over a relentlessly nagging bassline and punchy, scattergun drum machine percussion. 'Lava Jam' is decidedly deeper, with woozy, emotive melodies and alien electronics tumbling over a dusty rhythm pattern and tactile acid bass.

Magnesii completes a sterling debut with 'Van Dyke Island Jam', whose squidgy bassline and long, drawn-out M1 chords work in complete harmony with the crispy rhythm track and densely building percussion hits. Like its' predecessor, it too seems to be tinged with sadness, as if Magnesii's machines are shedding a tear for glories past.

Clearly, Magnesii is a name to look out for in future. For the time being, we'll have to make do with one of the most impressive debut 12' singles of 2014 to date.

Follow up to last years 12" on Voyage Direct from this active Amsterdam DJ/Producer. TIP!
.
" Back in December 2014, Elias Mazian debuted on Voyage Direct with a 12' that perfectly encapsulated his open-minded but interconnected approach to electronic music. He'd already showcased this ability to blend sounds and styles by becoming one of the most talked-about DJs on the Amsterdam scene. With Future Times' (and its superb flipside, They Don't Know'), Mazian gave notice of his undeniable production credentials.

Fast forward to the summer of 2017, and Mazian is ready to drop an EP that not only confirms his status as a rising star of Dutch dance music, but also showcases a newfound ability to combine a finely-tuned sense of what works on the dancefloor with the kind of compositional skills that can take a lifetime to perfect.

The Duplicate EP is an altogether more mature proposition than his debut 12', but retains many of the sounds and influences that marked out his first appearance on Voyage Direct - not least his love of spacey electronics, mood-enhancing chord progressions and sparkling synthesizer motifs.

This can be heard in particular on the title track, an ear-catching club jam that wraps chiming melodies, Mazian's own rapped vocal refrains and electro-era synths around a gently jacking, Chicago style house groove. It's deep, poignant and attractive, with subtle nods to the dreamy Windy City deep house of Larry Heard, the retro-futurist boogie business of Moon B and Dam Funk, and the kaleidoscopic electronic funk of Parliament.

Further proof of Mazian's increased musical maturity can be heard in the breathtaking Dream Mix' of Duplicate'. Featuring a yearning, almost melancholic vocal from the producer himself, the remix offers an analogue style deep house interpretation bristling with cascading melody lines, classic Chicago house bass and bubbly, deep space electronics.

The EP closes with superb bonus cut Ride That Shit Baby', an expansive chunk of mind-altering analogue deep house full of restless ride cymbals, crunchy drum machine hits, starburst electronics, delay-laden organ lines and swirling chord progressions. It's as intricately programmed and produced as anything Mazian has released to date, and twice as emotion-rich. In some ways, it's the perfect end to an EP in which Mazian brilliantly showcases the depth and breadth of his emerging talent."

The label say "Fresh from impressing with the pulsating techno of Boris Werner and the fuzzy live house jams of San Proper, Tom Trago's Voyage Direct label turns to a man who needs little introduction: Dutch legend and man of many pseudonyms Danny Wolfers.
Best known under his Legowelt alias, Wolfers has spent the last two decades flitting between strobe light acid house, 808 electro, fluorescent techno and shimmering space disco. Throughout, he's kept his productions pleasingly analogue-heavy, making great use of classic drum machines and vintage synthesizers. While his music may be steeped in the past, Wolfers' productions always sound like the future.

For this first outing on Voyage Direct, Wolfers resurrects the House of Jezebel alias - a pseudonym previously only used for the twinkling deep house warmth of 2010's 'Love & Happiness' - and delivers two tracks of synth-laden analogue house goodness.

'Back In Dogtown USA' sets the tone, as Wolfers layers rising chords, darting electronics and wide-eyed synthesizer melodies over a clattering analogue house groove. As with much of the legendary Dutch producer's work, the track ripples with rush-inducing melodic intent. It's the soundtrack to a party on Jupiter, and we're all invited.

Wolfers' ups the tempo dramatically on 'I Took A Train In 1979', transplanting us to the far reaches of our galaxy via jackin' techno drums, picturesque organ melodies, drifting chords and intoxicating pads. There are echoes of classic Detroit techno, surging Rotterdam electro and vintage cosmic disco, yet it doesn't really sound like any of these things. Like 'Back In Dogtown USA', 'I Took A Train In 1979' sounds like the past, reconfigured and rearranged for the consumption of future generations. In other words, it's a classic Wolfers production."

Legendary Hiroaki Sugawara in the form of Sergio Maria Saguaro presents Rain Guitar.

Step into paradise alone to deeply savor an exotic experience.

“I first learned about this album thanks to GOKA, who built the sound system for my record shop, CELLAR RECORDS. Around 2019, it was praised by some connoisseurs, but it’s different from the so-called “popular ambient” sound that was in vogue at the time. This work is a Japanese obscure pop album created in 2002 by Hiroaki Sugawara, who goes by the name “Sergio Maria Saguaro,” mixing all types of exotic moods and completed in a secluded space. In particular, A-2 “Window with a Dog” and B-5 “Washing Machine” are truly a sonic paradise. When you put this record on your shelf, be sure to place it next to Tatsuhiko Asano’s excellent soundtrack “Following in the Footsteps of Doshin,” which was happily reissued in 2022, or Steve Hiett’s “Down On The Road By The Beach.”” -浜公氣 (Cellar Records)

“This sophisticated sound file paints natural landscapes, depicting rich and abundant scenes while floating through them, creating a world that is as beautiful as a kaleidoscope, appearing in the soundscape in a way that is always gentle, natural, and organic. It makes extensive use of four types of stringed instruments, modulators, flutes, and ethnic instruments, possessing a refined sense of elegant ambiance.” -Walearic / Gokaine Sound Research Institute

The Mighty Ryeders' rare groove classic Help Us Spread the Message has been remastered and reissued here because it forever remains a favourite with DJs and dancers. It's a timeless soul and funk blend with many a standout jams, not least 'Evil Vibrations,' a super cool and breezy groove famously sampled by De La Soul in 'A Roller Skating Jam Named Saturdays' and later covered by The Rebirth. Alongside funk staples like the aching beauty of 'Help Us Spread The Message' and the collector-favourite 'Let There Be Peace' the album blends rich horns, clavinet and deep grooves with great songwriting and vocal harmonies. Do not sleep on this masterpiece of funk.

On “Cold Sweat,” James Brown famously called to “give the drummer some.” In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson’s PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle.

Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet’s Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground.

Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal’s development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label.

“We couldn’t get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris,” Jamal recalled in a Cadence interview with Ken Weiss. “Within a few weeks, I had a few articles and I did a record date. It didn’t make me feel good about America.” That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu’s recent The Complete PALM Recordings, 1973-1974.

Jamal’s record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes’s wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal’s last word there were “The Creator has a master plan/drum dance to the motherland.” “Give the vibes some” could be added to this programmatic statement.

The futuristic proto junglism of Coral continues. With work that's been in the pipes for quite some time, Coral finally delivers an impressive 5 track EP made up of lush pads and deep bass, accompanied by vicious stabs and heavy breaks. An EP aimed at both dance floor and living room. To compliment this jam-packed release, the Dutch hardcore master Tommy De Roos, also known as FFF, has taken one of the tracks a step further down the rabbit hole with even deeper bass and a massive (!) mantra to make all heads turn. Shout out to Dj Flight, Tim Reaper, Mantra and all for the support.

We’re proud to present the sixth record of our limited series, which marks the 15th year of our label.
On the A side we have legendary Analogue Cops with their track “Iron fist”: a raw-acid jam with a funk sample which makes this so unique and special.
A2 is all about Bologna finest Dj Rou with his “051 Deep Journey”: the title speaks itself for this hot track that matches soulful pads and funky high keys.
On the B side we have Riviera resistance: label owner Alessio Collina and Deep House master Deep88.
“Spoken Randomly” by Alessio Collina is pure House without compromises: old-school bassline, floating pads and a neverending groove.
“Darlin” by Deep88 is a pure bliss: melancholic atmosphere, dreamy strings and arpeggiated synths which make this jam deeper than expected.

Second volume of the "Rebirth of jazz" series, VISIONS explores an even wider sound territory, which connects the 90s to today, between hip-hop, soul, electro and hybrid jazz. More than just a compilation, the album brings together generations of artists able to transform their influences into sensitive, generous and singular works. From Léna C. to Dj Mat and The Excitements, through Moar, Lou Blic & Prof Jah Pinpin or Joël Brown, each piece draws a soundscape where spirituality, groove and organic poetry intersect. A musical manifesto open to emotion and beauty, like the vision of the Rebirth On Wax label.

2025 Repress

Eric Cloutier launched Palinoia three years ago with an EP from himself, and now he's back on his own imprint for the first solo production since then. His new EP combines the three sounds he's know for - "Apeirophobia" is a heady roller that takes a solid twist halfway through, "Eleutheromania" is a dubby jam that was inspired by listening to (and owning) a LOT of Sterac / Steve Rachmad records, and, rounding it out, "Madrugada" is a deep and etherial house groove that lends itself more towards my monthly DOWN here in Berlin than the jacking beats most people equate my sound with.

Ambroos De Schepper and Pepijn Gyssels became roommates when PiP moved to Brussels in 2021. Both paid close attention to each other’s musical approach and interests. One year later, Ambroos moved out. When he swung by to pick up some boxes, they decided to record something for the fun of it. Between May '23 and November '24 they continued experimenting with textures and improvisations. This collaboration has become the deepening of a friendship and a way to maintain it at the same time.

PiP: “We would have coffee or the occasional beer and everything we recorded came very organically. Ambroos would just bring his saxophone, a clarinet, some FX pedals or a weird flute. Whatever he felt like on that particular day. A few hours later he would usually be on his way again, leaving me with the recordings. I could treat them as I pleased.”

Ambroos: “I liked the idea of working with someone focussing on the physical side of music. Not so much on chords and tonality, but on texture and atmosphere. This gave me a framework with less concrete references, using words like “dark” or “busy”. I could improvise freely and we would try and catch a particular moment."

“l’Esprit de l’Escalier” is meant to be a musical meditation, opening up a continuous and detailed sound palette, aimed for the right mental state to listen with. Ambroos came up with the melody in COVID times and later in PiP’s studio, they recorded it on clarinet.
“Sans Loup” is the first jam the duo did together, after Ambroos and Lou moved out of the apartment they shared. Lou Wéry eventually found her way back to the album, as she can be heard playing the wing piano in this track.

PiP: “We recorded in the apartment we used to rent together. Since the title track and the entire album are named after Lou being absent in this dynamic, it seemed only natural to invite her in a later stage.”

“Spring Whistle” was an attempt to embed Ambroos’ musicality in dreamy textures and “Bring Back Bones” was built around an endlessly evolving krakeb recording that PiP took home from on a trip to Morocco. Both tracks are not aimed to end or evolve drastically, they just make the clock tick slower.

To conclude this release, “Velours de Tendre” is built out of a deconstructed groove and a field recording of the “Ronde van Vlaanderen”, a small reference to the countryside where PiP grew up. The reverberating chords you hear are the echoes Tijn Driessen squeezed out of an old harmonium, in a staircase of De Grote Post in Ostend.

PiP: “During a residency in De Grote Post we recorded in a staircase with a spaced pair of omni microphones. And you can take ‘spaced’ quite serious; one was positioned 5 stories higher and the other 3 stories lower.”

Sans Loup is the first vinyl to release on PiP’s label. They look alike, but none will be identical. The cover is screen printed in various combinations + a risograph insert. A highly personalized object.


credits

Released on Zitstill Records
Recorded in Brussels, Horebeke, Morocco and elsewhere, between September 2021 - November 2024

Music, mixing and production by Pepijn Gyssels
Saxophone, flute and clarinet by Ambroos De Schepper
Grand piano on “Sans Loup” by Lou Wéry
Harmonium on “Velours de Tendre” by Tijn Driessen
Mastering and lacquer cut by Anne Taegert at Dubplates & Mastering
Pressing by Objects Manufacturing
Layout and graphic design by Liselotte Van Daele & Otis Verhoeve
Photography by Willem Mevis

Special thanks to: Stijn Cools, Victor De Greef, De Grote Post

Our journeys into uncharted lands of the Reducerverse continue.

Essential must-buy shit for all disciples of: The Rootsman x Muslimgauze, Love's Secret Domain era Coil, Chris & Cosey, Meat Beat Manifesto, early Reinforced Recs, Shut Up & Dance, He Dark Age, Zombies Under Stress, SPK.

If you've just joined us: Reducer ARE the greatest lost dub punks. Rumoured to have almost signed to On-U Sound but told Sherwood to stuff it when he wanted his hands on the desk. Fame never found them, cos they didn't want it anyway. Living in the obscure memories of the select squatters and weirdos lucky enough to have had their minds blown, their first recordings were scraped off the linings of the cosmic dustbin recently through a series of self-released 12"s, cassettes, USBs and strangest of all a 3D performance screened at the Cube (in association with pals Bokeh Versions).

In short: Reducer's the most thrilling fairytale resurrection these pages have been privy to, joining 23 Skidoo, Killing Joke, PiL, Slits, Terminal Cheescake etc on the Mount Olympus of the Punky Reggae Party.

This latest slice of karmic justice comes from The Human Aerial aka Reducer's guitarist and prime mover Hooly. And ohhhh what a justice it is. Drawing on 40 years of private solo recordings across 7 tracks from Abu Ama style dabke jaguar steppas punishment to thumping bass-led electro, peak Depth Charge dubby big beat to careening breakbeat hardcore, trashcan gamelan spirituals and Jamie Vex'd style maximalist beats blissouts,

Tying together this jaw-dropping range of styles and fashions is a relentless sampladelic bombardment. The Human Aerial's habitual pilfering of TV and radio for into lovingly spliced tape loops and samples showcases humanity at its best and absolute worst. Tele-evangelists rub shoulders with long dead chieftans: "there is no death, only change of worlds" "We're MAD AS HELL AND WERE NOT GONNA TAKE IT ANYMORE" "THe land is sacred, a cathedral of the spirit". These wisdoms and grave sins slip into us subliminal through the dance, the needle drops like a waking dream.

While the Reducer archives may be running low, we assure you the Human Aerial coffers are full. And long may our minds be blown by this ongoing renaissance.

The legendary Youthman riddim traces back to Glen Brown's 1977 cut 'Wicked Can't Run Away' and took its iconic name after the 1979 Wayne Jarrett classic 'Youth Man'. A decade later, Horace Martin carved his mark with Sound Boy Style, recorded in one take at Gussie Clarke's Music Works with Sly & Robbie in full stride. Known as "The Man With The Biggest Shoes," Martin's career spans over 400 songs, three acclaimed albums and worldwide tours across 24 countries. Blending roots, dancehall and his love for comedy, Martin is a proper champion of Jamaican music and culture.

Late 90’s golden R & B SOUL classic gets a limited reissue on the Infamous Classics imprint. Jam Hot ! Get it while you can !

After years of shaping the UK underground from behind the scenes, Alex Nut steps out with his first official solo EP, serving up an intoxicating blend of Spiritual Jazz, Deep House, Dub, Hip Hop and analog electronics. The Present Under Construction EP is rooted in a deep musical language and future-facing energy, it captures a moment of creative transformation and exploration.
Built up over a few years from rough sketches made on an old MPC2000XL, the tracks were revisited, reshaped and eventually brought to life in the studio with longtime friend and collaborator Sam Crowe (Cleo Sol, Lianne La Havas). Together, they added a range of analogue sounds using the Dave Smith Prophet Rev 2, a Fender Rhodes, and a Moog Sub 37. Those recordings were then chopped, resampled, and restructured into the versions you hear on the record today. The records lead track 'andthenitstarted' features saxophonist James Mollison (Ezra Collective, Nala Sinephro) and includes remixes from Detroit House legend Patrice Scott and fellow Eglo Records alumni Last Nubian.

Best known as a DJ, broadcaster, curator and co-founder of Eglo Records, Alex has spent over a decade championing soulful underground music, through fabled Radio shows to legendary club nights, his fingerprints are all over a scene that continues to evolve. Initially making noise alongside the likes of Floating Points, Steven Julien, and Fatima, Alex Nut has long been a cornerstone of the UK's soulful underground. His work continues to champion the evolution of Jazz, Soul, House, and Broken Beat — nurturing a generation of artists now reshaping the global soundscape.

Lantern in the Woods is the new album from musician and multi-instrumentalist Misha Sultan – a project that marks an important milestone for the artist. It is his first work conceived and realized as a coherent, unified statement, from the earliest ideas and sounds to the final mastering.

The story of the album began back in 2021 in Saint Petersburg, during studio jam sessions with Anton (Mårble), Vova Luchanskiy, and Nikita (Minereed). These live
improvisations eventually led to the formation of the collective Sri Primat and left a significant imprint on Misha Sultan’s solo sound. Some of the instrumental parts on the album were recorded during this period, preserving the spirit of spontaneity and open dialogue between the musicians.

Later, after moving to Thailand, Misha recorded the second half of the material. These tracks absorbed the atmosphere of southern nights, tranquility, and comfort – bringing a distinct “bedroom jazzy vibe”, a touch of sentimentality and gentle melancholy into the music.

The album offers a beautiful blend of jazz and various other influences. At its heart, it’s a search for balance between memories and the present moment, between nature and the city, between the light of the lantern and the darkness of the woods.

“It was especially important to me that my friends and close people were involved in this album. Their presence gave the music that warmth and personal feeling I value so much. My brother Zhenya (Dyad), Anton (Mårble), Vova Luchanskiy — they all contributed a part of themselves to these tracks, as did Nina Livanova, who recorded vocal parts for several songs,” says Misha.

Lantern in the Woods is a soft and sincere work, where all things intertwine naturally.

“From Birmingham and centred around the extraordinary songwriting talent of James and Patrick Roberts – initially as The Sea Urchins and since 1993 as Delta – they’ve only just got round to releasing their debut album, Slippin’ Out. It is a work of some beauty”. 9/10 NME ALBUM OF THE MONTH, 2000

“It’s classicist for sure, shot through with the influence of The Beatles, Byrds and Buffalo Springfield. In James’ downright beautiful closing ballad ‘I Want You’ one can also discern the school of ambitious English balladry that peaked in about 1968: The Casuals, Love Affair, Barry Ryan. The impression of accomplished old-schoolery is only furthered by the dizzying string arrangements penned by Louis Clark Jnr, son and namesake of the one-time orchestral chief of Electric Light Orchestra” – Mojo lead review, 2000


Having ended the 90s with the spirited ‘Laughing Mostly’ compilation of singles and demos (Guardian Album Of The Week) Delta finally released their debut studio album of twelve songs in the summer of 2000 on the Dishy Recordings label. Accepting that this might be their sole studio album the band threw everything at these recordings allowing it to exist in its own sphere, unbothered by their contemporary generation and disregarding the idea of even releasing a single.

Recorded at DEP International there was a notable difference to the scruffier, looser charm of their 1990s recordings, a tighter focus developed by having the experienced Lenny Franchi mixing the LP with them. Lenny had been working with a number of Island artists including My Bloody Valentine and Tricky so knew his way around a desk. There was also the question of budget (a few months passed between recording and mixing whilst funds were raised) so every day counted. Ultimately though you can hear the joy in the recordings, even amongst the melancholy and angst. As James recently recalled in an interview in Shindig! Magazine: “It was such a big deal for us. It’s one of my fondest memories doing that record. Everyone was happy. If there’s anything that I’d stand by, I think it would be that”

Louis Clark Jr joined the band towards the end of the ‘90s and brought a classically-trained element to the recordings particularly with his string arrangements. For ‘Cuckoo’, ‘I Want You’ and the prophetic ‘We Come Back’ Louis brought in eight players from the Birmingham Conservatoire; the baroque style is partly why the record often receives comparisons to Love’s ‘Forever Changes’.

On release ‘Slippin’ Out’ was a big favourite with writers at the NME, Mojo and The Guardian again and before long the band were signed to Mercury/Universal for their second studio album ‘Hard Light’, a far more expensive and expansive love affair. It was a temporary palatial home where things quietly fell apart again, but that’s another chapter.

“If long-term memory is nothing more than selective editing and only pop’s most weighty visceral works are built to last then it’s quite possible that in 50 years the Britpop era will be best recollected for the two bands it ostracised. Earlier this year we met Shack and thought their story of mercurial brilliance indicated the biggest music biz oversight of the 90s. We were wrong because we hadn’t met Delta yet. This is richer and more engrossing than anything by Shack” 

‘The Jamaican Recordings Allstars’ have gone back to the Reggae heydays of 1968 / 1969 as a strong influence on their snappy instrumental track. The flash points of Harry J Allstars ‘The Liquidator’ and Dave and Ansell Collins ‘Double Barrel’ come to mind. No reggae 7” single would be the same without its version b-side, so please flip the single over for part two where the beat is pulled up to the fore. Hope you enjoy rocking to this future classic !!!!

After the resounding success of its first edition, the legendary Lagoa club, temple of techno and hard techno in Menin, strikes back with LAGOA TRAX Vol. 2, a second vinyl release that promises to shake dancefloors with four explosive tracks crafted by the club’s emblematic resident DJs: DJ HS, Manu Kenton, Jamie Dill, and Max Walder.

Faithful to the spirit of Lagoa, these four pillars of the club deliver a new collection of powerful productions, raw, energetic, and forged for peak-time moments. Each track embodies the unmistakable sound that has made Lagoa’s nights legendary: relentless rhythms, hypnotic synths, and an intensity that ignites the crowd from the first beat.

Already tested and approved on Lagoa’s iconic dancefloor, these tracks have quickly become essential weapons in the sets of the club’s residents. LAGOA TRAX Vol. 2 is much more than a collector’s item, it’s a pure concentrate of the club’s energy, a sonic tribute to its unique atmosphere, and a must-have for all lovers of techno.

Français

Après le succès retentissant du premier volume, le légendaire club Lagoa, temple de la techno et hard techno à Menin, revient en force avec LAGOA TRAX Vol. 2, un second vinyle explosif qui réunit quatre morceaux inédits signés par les résidents emblématiques du club : DJ HS, Manu Kenton, Jamie Dill et Max Walder.

Fidèles à l’esprit Lagoa, ces quatre figures incontournables livrent ici une série de productions puissantes, taillées pour le dancefloor. Des rythmiques percutantes, des montées hypnotiques et une intensité sans concession : chaque titre capture l’énergie brute et la signature sonore unique qui font la réputation des nuits Lagoa depuis plus de trois décennies.

Déjà testés et approuvés sur le système légendaire du club, ces quatre tracks sont de véritables bombes, prêtes à retourner n’importe quel dancefloor. LAGOA TRAX Vol. 2 s’impose ainsi comme bien plus qu’un simple vinyle : c’est une immersion totale dans l’âme du club, une déclaration d’amour à la techno, et un objet de collection pour tous les passionnés.

Tóxico and Subject To Restrictions Discs present a retrospective on Switzerland’s hidden analogue gear scene from 2017 and 2018. A vibrant yet undocumented chapter in the country’s music history. The 10 tracks, originally released exclusively on cassette and heard only by a small circle of listeners, are now compiled for the first time on vinyl as “Tóxico Tapes”. The collection captures the scene’s raw, hands-on energy through off-kilter rhythms, low-key EBM, ominous wave and free-form synth excursions.

Founded and curated by the former DJ and producer Narco Marco, the Tóxico label became a hub for Switzerland’s analogue gear enthusiasts. Between 2016 and 2020, it released a series of 10 tapes – albums and compilations – that now stand as a blueprint of the DIY, machine-driven underground of the time. Narco Marco is a key figure in Swiss electronic music. As a long-time clerk at “Oldiesshop” record store in Bern, he has championed eclectic sounds across decades. His in-depth knowledge of 1980s music, combined with his work as a musician, avid record collector, and founder of the “Hot Jam” label, influenced an entire generation of musicians and DJs in Switzerland at the time.

Subject To Restrictions Discs joins forces with Narco Marco to present a selected set of 10 songs as a tribute to Tóxico and this creative era. The material draws primarily from the Autumn Tape and Winter Tape compilations, which spotlighted artists from Zurich and Bern – two cities at the heart of this analogue revival.

DJ Support: Raresh, Marco Corola, Jamie Jones, Joseph Capriati, Chris Stussy, DJ Seinfeld, D'Julz, Djebali, Voigtmann, Arapu

For Amsterdam’s Julian Anthony, club culture has always been about movement - between sounds, between scenes, and increasingly, across continents. Rooted in the Dutch underground, his path has taken him from intimate local spaces to international stages, with appearances at institutions such as Berlin’s Hoppetosse, Ibiza’s DC10, and London’s fabric. Along the way, he’s formed close ties with crews such as Slapfunk, VBX, Half Baked, and S.A.S.H, while recent tours across South America and Australia have further widened his reach. His connection with Enzo Siragusa and the FUSE family is longstanding, having previously dropped his track ‘It’s Showtime’ on sister label LOCUS while making appearances at both FUSE and LOCUS events across Europe, including this year at FUSE Malta, during ADE, and November’s fabric takeover. Now, his ‘Missing Pieces’ EP extends that relationship further, marking his fi rst release on FUSE and off ering a natural progression while showcasing his versatility as a producer.

In his productions and his sets, Julian threads together house, techno, and electro infl uences with a playful touch, resulting in a style that feels fl uid yet sharply defi ned. Title track, ‘Missing Pieces’, sets the tone with a heavyweight bassline at its core, coupled with a hypnotic groove and percussive drive, while ‘Endless Echoes’ stretches into more atmospheric territory, weaving rolling rhythms with cosmic textures. On the fl ip, ‘No Sleep’ ups the intensity with zipping synths and sharp drum programming built for peak-time play, before ‘TTS’ closes the record on a captivating note, fusing deeper house nuances and playful rhythms into a late-night trip.

With a growing catalogue across respected imprints such as Dungeon Meat, X-Kalay, and Bee You, and a touring schedule that continues to expand globally, Julian’s first outing for the London favourites highlights his talent for crafting tracks that are simultaneously precise, playful, and built for the club.

Un Own is a freshly minted label founded by, we're told, familiar-but-unfamiliar figures and designed as a home for DJ- and collector-friendly edits and remixes. The debut release comes from seasoned remixer and beatmaker Shimmy Sonic. These jams have already been tested on discerning dancefloors and 'Coolage' kicks off with elastic, low slung grooves that draw from classic soul and hip-hop sensibilities. The vocal is a real doozy that soars high. On the flip, 'Our Time' gets deep into downtempo bliss with psyched out guitars rising out of the mix to set the tone for Un Own's mission of putting out respectful reworks built for selectors and serious listeners alike.

Hot Creations Autumn 2025 Vinyl Sampler featuring four of the Hottest recent release on Hot Creations.

When Jamie Jones and Nicole Moudaber first collaborated on Hot Creations in 2020 with ‘Pepper Shake’, five years on, the pair return with ‘Where All My People’, a powerful anthem that merges Jamie’s signature groove-led style with Nicole’s unmistakable drive and energy. The record is further elevated by the infectious vocals of London-based duo House Of Molly, ‘Where All My People’ is a celebration of rhythm, anchored by a rolling bassline and crisp percussion that form a tight, understated groove. House of Molly’s commanding vocal hook runs through the track like a thread of energy, adding a human touch that feels both intimate and anthemic. Marking his second outing on Hot Creations, OMRI. is back with ‘Release The Pressure’, a pulsating, groove-driven heater made for full-throttle moments featuring Benny Ola on vocals. Crisp percussion, hooky vocals, sharp synths, and low-end pressure come together in a track that simmers with controlled intensity.

On the flip Joshwa makes a much-anticipated return to Hot Creations with ‘Lost In Music’ which reimagines a timeless disco classic through a contemporary house lens, delivering textured percussion, sparkling funk-laced synths, and an infectious groove that captures the euphoria of sweat-drenched dancefloors.As Hot Creations celebrates its 15th anniversary in 2025, label co-founder Lee Foss makes a long-awaited return to the imprint for the first time in half a decade with a powerful new collaboration alongside Colorado based talent GS5. ‘In The Ghetto’ hits with low-slung swagger and vibrant vocal energy, channelling a bass-heavy strut and hypnotic vocal loops that nod to early Hot Creations flavours while pushing into contemporary terrain.

Mumbai-based musician, producer, and DJ NATE08 returns with his sophomore album Twenty Seven - a luminous fusion of r&b, deep house, and funk-leaning grooves, pressed to a single 140g LP in black vinyl.

Three years on from his acclaimed debut Furaha (which featured the breakout hit “Primrose” with over 7 million streams), NATE08 expands his sonic palette with Twenty Seven: a radiant collection of tracks that balance soul-soaked vocals, late-night basslines, and warm, sun-drenched production.

NATE08, aka Nathan Thomas, has become a central figure in Mumbai’s thriving underground, working as a session bass player, live performer, and genre-spanning DJ, while making an international impact through releases on label Needwant. Twenty Seven captures his full range: both organic and synthetic, smooth yet floor-ready, always driven by heartfelt groove.

From the dreamy opener “You’re The Reason” featuring Mary Ann Alexander’s velvety tones, to the nostalgic glow of lead single “Where Are You Tonight” (feat. Dishaan & Mallika), the album unfolds like a love letter to house music’s emotional core. Highlights include the syrupy r&b/house hybrid “Afterlife” (feat. Dappest), the golden-hour deep house shimmer of “Call Me Back” (feat. Sahirah), and the soul-drenched “What Was It” featuring Jamal Bucanon. Closing track “Stay” wraps it all with soft-focus chords and a bumpy, irresistible groove.

Twenty Seven is a sophisticated and inviting journey across mood, tempo, and texture, showcasing NATE08’s gift for weaving melody, rhythm, and soul into music that speaks equally to the dance floor and the heart.

Welcome to the first release on Acid Lamour
A sub label for Lamour Records started in 2018 with a focus on techno and acid dedicated DJs. Releases are limited to 303 vinyls, no re-press.
Anders Ilar and John H are no newcomers to the electronic music scene.
Born in 1973, Anders Ilar began his explorations of electronic music in the mid 80s. Growing up in the small town of Ludvika in Sweden, Ilar spent all of his spare time playing with synthesizers, drum machines, keyboards and sequencers, learning the ins and outs of analogue and digital sound and music creation. Inspired by the early industrial and EBM wave he formed several bands with friends, started playing live shows
at smaller local parties, and released several demo tapes in very limited quantities. In the 90's he gradually shifted his creative influences towards ambient techno and acid and also started to DJ. He started using computer software to produce his music around 1999 and his first vinyl EP was released in 2001 on the german label Plong!, soon to be followed by
many more releases on labels such as Shitkatapult, Audio.nl and Echocord.
Developing his own flavor of deep minimal dub techno and ambient he gained critical acclaim with his album Nightwidth (2006) for Narita Records in the USA. Followed by highly appraised album Sworn on the german label Level Records in 2008. Ilar has also made remixes for celebrated artists such as Apparat, Mikkel Metal and Ripperton and has
appeared on numerous compilations and DJ-mixes. He's performed live on stage through-out most European countries and Japan, as well as doing a small tour with Notch Festival in China in 2008.
Up to 2018 Anders Ilar has produced 13 albums and 25 vinyl EP's and performed in over 15 countries.
Born in 1984 and based in Gothenburg. John H has been DJing, as well as producing tracks, since the late 90s, with Anders as his mentor and teacher, giving John early musical influences spanning across a wide range of genres, from Swedish techno to IDM, Cologne acid craziness and
the sound of Chicago house tracks. The musical output of his DJ-sets usually varies between techno, house, acid, electro and everything in between, depending on the time and location. John has performed on several locations all around Sweden, but also done appreciated gigs in other European countries at clubs like Tresor and Culture Box, and his music has been featured in sets by DJs such as Sven Väth, Adam Beyer,
Joris Voorn, Dense & Pika, Cari Lekebusch, Alan Fitzpatrick, Karotte,
Gregor Tresher, The Hacker and many more.
Coming For Your Tongue EP is Anders and John's 4th collab release, after
acclaimed releases on Flight Recorder and New York Haunted, recorded
during a jam session at John's studio in Bergsjön outside of Gothenburg,
Sweden, using a small setup of analogue synths and drum machines such as
the Roland TR-606, TR-808, a Devil Fish modified TB-303, Minimoog Voyager
and the Arturia Microbrute. After recording Anders spiced things up by
cutting and puzzling loops as well as adding extra effects and drums.

Limited edition of 303, no repress. Vinyl exklusive for 3 months

The Rude Boy moniker has its roots firmly set in the downtown districts of Kingston, Jamaica.
Alongside the regular Ska/Rocksteady sounds coming out of the sound systems, there was an undercurrent theme to some songs that spoke of the struggles of the youth, of their confrontation, arrests and run ins with the establishment.
Some of these songs praised the Rude Boys for their stance and style while other songs were more in contempt with the Rude Boy's attitiudes, comings ,goings and violent behaviour.
For this release we have put together a set of tunes that the Jamaican Rude Boys would have been listening to at the sound systems on the lawns and street corners.
Not only the more obvious Rude Boy tunes like 'Gunmen Coming to Town' , 'Dreader than Dread', 'Moon Hop' but also some of the tunes that made the sound systems rock well into the night.
Hope you enjoy the set,,,,,

Synaptic marks the second album of SIT on Sushitech, the latest visionary project from Cristi Cons and Vlad Caia. A true meeting of minds, the album was born from deep friendships and inspired studio collaborations.

Crafted through extended, boundary pushing sessions, Synaptic brings together a stellar cast of like minded artists, Silverlining, O.Bee, Jay Tripwire, Jamie Leather, DeWalta, Sublee, Cezar, Joe Rolet, Lawrence, Christopher Ledger and Mischa Blanos.

A powerful and immersive listening experience, it's an intricate blend of textures, moods and rhythms that captures the collective energy of some of the scene's most innovative producers, specially released as part of the label's 20th anniversary.

On 9th December Modern Obscure Music presents Cascades, the new album from Pedro Vian & Mana, which premiered during their immersive live set at the most recent Sonar Festival in Barcelona.
Cascades was recorded over a three-day studio session in Turin during the winter months, which is reflected in the musical narrative, as the eleven tracks flow gently like an icy river, filled with a mixture
of hazy melancholy, uncanny dream-states and euphoria.
Various recording techniques and instrumentation was utilised, including the Lyra-8 organismic analogue synthesiser, which takes principles from living organisms to produce sounds resembling a
conversation between nature and technology. The result is a spellbinding ambient odyssey that features a luminous synthesis of neo-classical strings and orchestral drones, together with strange
voices, and abstract passages designed to evoke Dante’s Inferno, which represent the soul’s journey.
Pedro Vian is a renowned Catalan artist who has released three solo albums (Beautiful Things You Left Us For Memories, Pedro Vian and Ibillorca) and a collection of singles on his Modern Obscure
Music imprint – a multi-disciplinary platform based on deep listening and music research. The ‘PRSNT’ compilation, which Pedro curated in 2021 and featured Laurie Spiegel, Ryuichi Sakamoto, and Visible Cloaks, received support from Pitchfork, Crack, Brooklyn Vegan, The Quietus, The Wire and Metal. Pedro has been remixed by Inga Copeland and Pye Corner Audio, and has recorded mixes for of Bleep, Self-Titled and Juno Daily.
As part of a new generation of Italian electronic music artists, Piedmont born composer and producer Mana has released two full length albums (Seven Steps Behind and Asa Nisi Masa) on Kode 9's
Hyperdub imprint, plus an EP on Nicolas Jaar's Other People label under his Vaghe Stelle alias.
Earlier in his musical journey, Mana supported Laurent Garnier, James Holden and Skream across the Torino club scene, and in 2011 teamed up with Italian friends Lorenzo Senni and A:RA to form
the experimental group One Circle.
Pedro Vian & Mana’s previous work as solo producers has pushed the limits of electronic music, and together they’ve garnered critical acclaim from the likes of Pitchfork, The Quietus, The Vinyl
Factory, Resident Advisor and more. They now join forces to traverse new sonic territories between electronica, ambient, drone, and trance-inducing soundscapes.

Vibe Ride is the sixth release of Adam Rudolph's Hu Vibrational project and marks his 60th release as a leader or co-leader. Comes with insert and download code.

“With every record, the goal is to explore new creative territory,” explains Rudolph. Vibe Ride continues a deeper exploration of a trance-like groove and a conceptual framework known as Sonic Mandala. This album marks the most complete realization of that idea, partly due to the group's experience touring beforehand. That time on the road helped to refine ideas and strengthen musical chemistry. The recording process unfolded organically—likely due to the long-standing collaboration within ensembles like Go: Organic Orchestra and Moving Pictures, where the musicians have developed a deep familiarity with the shared musical language.

Sonic Mandala refers to a musical approach distinct from traditional linear structures of theme and development. Found in cultures across the globe, it may represent one of the oldest forms of musical expression—predating written history by tens of thousands of years. Today, it is most vividly preserved in the music of the Ituri Forest peoples (Aka, Baka, Ba Benzele, Mbuti), whose sound traditions revolve in cyclical, orbit-like patterns. Vibe Ride seeks to bring that ancient sense of circularity into a contemporary—and perhaps even futuristic—context.

The ensemble of Vibe Ride—Alexis Marcelo, Jerome Harris, Harris Eisenstadt, Neel Murgai, Tim Kieper, and Tripp Dudley—brings exceptional creativity and skill to the project. While grounded in the sonic languages of today, their performance channels an ancient vibrational lineage, connecting with ancestral sound makers who were attuned to the rhythms of the sun, moon, stars, and seasons. Human beings have always been deeply responsive to natural cycles.

Like a mandala, where the circle reveals itself as a spiral—always returning, but never to the exact same point—the Sonic Mandala musical experience spirals through motion. Refined signal patterns emerge through overtone-rich instrumentation. The groove becomes a threshold, shifting the listener from passive observation into active, even transcendent, participation. With open ears and an open mind, the sound spirals inward—toward a primal center—and outward into the cosmos. When this elevated state is shared among participants, it creates what mystics describe as resonance.

Vibe Ride thrives on the distinctive sonic voices of its players, interwoven with care and nuance into the compositions. Hu Vibrational merges elements of world music, electronica, and improvised jazz into something both funky and spiritual, intense and soothing.

Using signature techniques of organic orchestration, layered arrangement, and electronic processing, the compositions are sculpted from percussion, electronics, and ethereal textures. Rhythmic foundations drawn from diverse traditions serve not as endpoints, but as building blocks. As the saying goes, “Orchestration is the key.” In shaping the sound, the aim was to discover fresh ways of balancing structure and sonic color. As Don Cherry once said: “The swing is in the sound.”

The audiophile LP was carefully recorded, mixed, and mastered by James Dellatacoma—longtime engineer for both Bill Laswell and Rudolph—at Laswell’s Orange Studio.

“This crew artfully blends together to create a seamless tapestry of rhythm… the end results are mesmerizing. Hu Vibrational is all about communing with the groove spirits and creating worlds where earthy rhythms and other-worldly sounds are one.”
— Dan Bilawsky, All Music Guide

“You can be sure that when Adam Rudolph and an ensemble of breathtaking drummers get together mystical and wonderful things will happen.”
— Raul da Gama,

“A stunning effort, enjoyable and grows with repeated listening.”
— Stefan Wood, Freejazzcollective

The Finnish imprint Vuo Records continues its exploration of deep dub techno textures with Split Dubs Vol. 2, an essential follow-up to the series that bridges timeless atmospheres and dancefloor-focused grooves. This time, Gradient, Star Dub, and label-head Tm Shuffle join forces for four heavyweight cuts that perfectly capture the label’s raw, analog spirit.
Gradient opens the record with “Stone Jungle”, a masterclass in restraint and tension, the kind of dub techno that feels alive in its own pulse, crafted from only the bare essentials yet rich in texture and movement. Tm Shuffle’s Housedubreshapes the original with reverb-soaked accents and elastic low-end energy, turning it into a deep, head-nodding trip tailor-made for late-night systems.
On the flip, Star Dub delivers “Rubber Dub”, a funk-infused roller driven by breaky percussion, floating echoes, and a deep-rooted bassline that vibrates straight through the chest. Once again, Tm Shuffle takes the controls for the remix, pushing the dub dimension even further: thick layers of delay, washed-out atmospheres, and sub-heavy pressure built for those endless outdoor jams and sweaty basement sessions.
Split Dubs Vol. 2 embodies everything Vuo Records stands for, authentic, handcrafted dub techno from Finland’s underground. Warm, analog, and irresistibly groovy, this record continues the label’s commitment to pushing deep frequencies into new, soulful territory.

In 1978 a newly formed Augusta, Georgia group Marshall, Donovan and Broomfield chose to record cover versions of two songs previously recorded in 1973 and 1974 respectively by Florida siblings group Cornelius Brothers and Sister Rose. These Eddie Cornelius penned songs “Let me Down Easy” and “Since I Found My Baby” would form both sides of Marshall, Donovan and Broomfield’s first 45 single, released on group founder John Marshall’s own Augusta label. The flipside “Since I Found My Baby” would eventually gain popularity across the pond with aficionados of the UK modern soul scene of the early 1980’s and beyond.

John Marshall began his musical career in a high school group called The Fabulous Gardenias who recorded the doowop ballad “It’s You, You, You” backed with the up-tempo R n B mover “What’s The Matter With Me” released on Tommy Brown’s local Liz label (named after his wife future Motown recording artist, Liz Lands) in 1961.The Fabulous Gardenias featured John Marshall, the late Atlanta alumni Calvin Arnold, “Little” Joe Jones Jr (later of the Tams) and a fourth guy only remembered as Harold. John Marshall later sang with another Atlanta group The Tams of “Hey Girl Don’t Bother Me” fame from 1970 through to 1978.

Later in 1978, John Marshall having relocated to Augusta, GA the previous year was casually emptying the contents of his mailbox outside his home when a car suddenly pulled up. The driver called out “Hey I recognize you, you’re John Marshall you used to be with the Tams!” The driver continued to introduce himself as John Donovan stating that he too was a singer, followed by an impromptu performance, and hey! sure enough he could sing! A later introduction to Charles Broomfield (John Marshall’s next-door neighbour at that time) would lead to the formation of the group Marshall, Donovan, Broomfield with the addition of Mary Marshall and Pat Donavan (the then, two John’s respective wives) as backing vocalists. The previously mentioned group’s first release the John Donovan led “Let Me Down Easy/Since I Found My Baby” was recorded at the now defunct Jam Studio’s in Atlanta. Upon release, the “Let Me Down Easy “side received considerable local radio play but only led to the group performing a handful of local shows. On the strength of the group’s first release a second 45 release followed in 1980 “Let’s Dance/That’s Love” both sides of this 45 were penned by Charlston, South Carolina native, Harold Thomas who John Marshall knew from his time with the Tams, Thomas having once been part of Bill Pinkney &the Original Drifters and later the Tams management teams. This second 45 never gained the same local attention of “Let Me Down Easy” and after three years together the Marshall’s, Donovan’s and Charles Broomfield went their separate ways. John Marshall lost contact altogether with his former group members and left the music business taking up employment at International Paper Mill until his retirement in 2013.

Due to the current resurgence in popularity of “Since I Found My Baby” with copies regularly selling for four figure sums, Soul Junction have reacquainted ourselves with John Marshall to you bring you “Since I Found My Baby” backed with “Let Me Down Easy” with the addition of the excellent and lesser, known stepper “That’ Love” making this an excellent value 45 release.

2025 Repress

The mighty Falsetto voice of Mr Cornell Campbell is another we believe, unsung hero of the Jamaican music scene. Who in our opinion should have broke through to a wider audience, than his cult status currently provides. We have unearthed straight from the master tapes an album that was due for release around the mid 70’s. A few of these cuts, found their way out on limited 7”s, that were mainly for the domestic Jamaican market. But as a complete body of work, never found a release until now. We hope like us, once you have played the tracks, you will feel that this set of cuts, stands up amongst Cornell’s finest work. Cornell Campbell (born 1948, Jamaica), made his first recordings in the early 1960’s for Coxone Dodd at Studio 1. Tracks like ‘Under the Old Oak Tree’, ‘My Treasure’ and later as a duo with Roy Patton ‘Salvation’ and ‘Sweetest Girl’, were local hits on the Jamaican Sound Systems. A short spell with the Uniques was followed by his roll as lead vocalist with the Eternals, under the monicker of Don Cornell. Their finest moment being the classic ‘Stars / Queen of the Minstrels’ cuts which still stand up today as some of Jamaica’s finest.

The 1970’s saw Mr Campbell move on to work with producer Bunny ‘Striker’ Lee, for whom he cut most

of his big tunes. He and fellow singer Johnny Clarke, would become Bunny’s 70’s equivalent to his 1960’s stable of singers like Slim Smith, Pat Kelly and Ernest Wilson. They would provide the voice to his many hits of the day. Bunny not being called ‘Striker’ for nothing. Cornell also had a series of hits around his theme as the ‘Gorgon’. The mighty figure unbeatable at the dances in the Greenwich Town district of Kingston. ‘The Gorgon’, ‘The Conquering Gorgon’. ‘Natty Dread in a Greenwich Farm’. These were all firm favourites at the dances in Jamaica. He also worked with other notable producers around this time. Winston ‘Niney’ Holness “I Heart is Clean’, Tappa Zukie ‘Follow Instruction’

and culminating in a massive hit ‘Boxing’ in 1979 for producer Joe Gibbs. But it was his time with Bunny Lee that set the levels for his record output. This unreleased album is from this period in time, when Cornell Campbell never sounded sweeter......

In the wake of their widely-acclaimed album Union, JUNO-nominated duo ÈBONY rematerialize on the dancefloor with the otherworldly Shades of Meridian EP, projecting a waking futurist dream haunted by echoes of Detroit techno, Chicago house, South African melodies, and the rich mythology of Ancient Toronto.

Opener "Break My Skin explores a hidden pocket of after-hours techno space-time with an ethereal vocal by James Baley, leading into the tense, disembodied jack of "Forever." Next, "Dull Side First" rides a spectral break through a sepulchral warehouse trip, "RIFT" invokes peak-time witchcraft, and closer "My Daylight" entrances even the most self-possessed sound-and-lighting guys to spam the smoke machine until reality itself is occluded.

And to those who say that working with JUNO-nominated artists proves that Turbo is just a cog in the CanCon cabal, we would like to familiarize you with the facts: Canadian Tire refused to carry our 2023 Bryan Adams remix LP and we have rejected five separate demos from Justin Trudeau's tech-house alias "Arabian Nights." It's called integrity - try looking it up sometime.

We want to honour the ONE & ONLY – mighty DJ FUNK !!
Rest In Peace !

393AD returns to his own Full Range Motion records with 'Singularities EP'! On this EP, 393AD continues to explore the grey-area in between introspective yet driving techno, an area in which 393AD's well-received debut 'Doctrine EP' left such an impression. The Amsterdam-based artist playful use of sound-design and storytelling adaptations of live hardware jams are once more an excellent foundation for his second release, solidifying the distinctive sound of the artist on this young label. Opener 'Gravitational' pulsating beats are a strong anchor for slowly unfolding harmonic stabs and a strong centrifugal energy. Glimmering patterns unfold as an umbrella; a projectile shoots past; the aftermath of a near-collision - there's no running from this mind-gazing adventure. On the same side 'Technological' pushes on with dramatic effect as noise interlocks with serenity. A devious and mesmerizing track. The flip starts off with 'Mechanical', the final clever contribution to this EP by 393AD. Propulsive kicks and startling low-end call & responses manifest infectious hooks and rhythmic interplay. This track is as serious as it is facetious. Finalising this EP is Maasym's remix of 'Gravitational'. Building on the urgent dynamics of the original, Maasym conjures a magical field of rhythm, intertwining the original with his own energetic pulses. Culminating finally in a compelling resurgence of the original's main stab.

Elations Recordings presents "Tairen", an evocative cello recording marking the debut solo release of Melbourne/Naarm-based cellist LEM (Lauren Meath). This deeply personal work is an impressionistic reflection on place, memory and self at the intersection of classical technique and folk sensibility; expanding Meath's lateral, avant garde approach to sound with piano and textural percussion, resulting in a work that unintentionally falls into the post-minimalist tradition.

Conceived as a single piece across five movements and recorded between 2022 and 2024, "Tairen" reflects on memories of a formative place and period for Meath. Each movement scores part of an imagined landscape, mirroring the cliffs and expansive southern ocean of the coastal Otway ranges, remembered and reinterpreted. While tied to a place and time, ultimately "Tairen" is an exploration and expression of self.

Each piece explores this landscape, retaining its own identity while unified by recurring themes, moods and motifs. Meath emphasises restriction in her approach, creating subtly shifting layers of slowly evolving cello lines with expressive unstructured free playing bursting out. In all but one movement ("Bird"), cello is performed in a single take, utilising joined looping pedals on a semi acoustic cello from luthier Paul Davies. Equal parts meditative and expressive, uplifting and melancholic, the instrument becomes a proxy for the human voice creating a work that is intensely beautiful.

While Meath has a background in classical and pop, LEM has always been a more interior, personal project on the boundaries of minimalism and folk; in the past only as a live project featuring only herself, taking a lateral approach to sound through bow, harmonics and voice. While built on this foundation, "Tairen" expands Meath's typically minimal live approach with piano ("Sky") and additional textural percussion. Produced and engineered by James Tom and Danny Smith and with additional percussion from Dylan Lieberman. Mixed and mastered by Cam Parkin.

Pilot Talk II is the fourth studio album by New Orleans rapper Curren$y, and follow up to his widely celebrated release, Pilot Talk. Originally released in November 2010, and initially only available on CD & digitally, Pilot Talk II was first pressed on vinyl and exclusively available in the Jet Life: Pilot Talk Collection Vinyl Box Set. For the very first time ever and after much anticipation from fans, Pilot Talk II will be released as a standalone vinyl product, exclusively available for Record Store Day Black Friday 2025 to celebrate the album's 15 year anniversary. Pilot Talk II includes standout tracks such as "Michael Knight," "Famous," "Hold On (feat. Trademark Da Skydiver & Young Roddy," & perhaps one of Curren$y's biggest solo songs, "Airborne Aquarium." Pressed on stunning Purple, Black & White 3 Color A Side B Side Vinyl and limited to 3000 copies worldwide, Pilot Talk II is a must have for any Curren$y or blog-era rap aficionado.

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.

Syncretic marks the debut full-length from Australian duo Bhairavi Raman, a Western and Carnatic violinist, and Nanthesh Sivarajah, a mridangam player and versatile percussionist. Both artists share a Tamil heritage, a current that hums across the album. Raman, from South India, and Sivarajah, from Sri Lanka, draw lines that connect Western practice and Carnatic tradition. This hybrid is central to Raman’s approach as a violinist, an instrument itself caught between East and West since the late 18th century. Her playing folds history, lineage and experimentation into music that acknowledges inheritance while gently rewiring its circuitry.

Expanding on traditional music can be a precarious practice, but Syncretic never feels heavy-handed. Raman and Sivarajah exercise measured restraint, letting the Carnatic framework breathe even as it is refracted through contemporary tools. Delays, looping, subtle layering and synthesized harmonies tilt tradition into a new light without disguising it.

Even within a contemporary framework, Raman’s rigorous Carnatic training under gurus Sri S. Varadarajan (India), Sri Murali Kumar (Australia) and Sri Gopinath Iyer (Australia) is unmistakable. She captures the spiritual and emotional essence of each raga: on Seven, the playful raga Bahudari becomes both centrepiece and conduit, while on the traditional piece Thunbam Nergayil, drawn from a Tamil poem, we hear a deeply personal iteration, a weeping euphony of mixed emotions hitting all at once. Tradition here is absorbed, expanded and reframed.

Sivarajah’s command of the mridangam, honed by his gurus Sri Jambunathan (Sri Lanka), Sri Balasri Rasiah (Australia) and Sri T. R. Sundaresan (India), is central to his original composition Guardian. He sustains tradition while extending it through layering and sound-spatialisation. The mridangam here functions as both a structural and ornamental force, mapping continuity between inherited form and contemporary sonic architecture.

Syncretic resonates as a space where Tamil heritage, diasporic memory and contemporary practice coalesce. Culture, like sound, circulates, transforms and persists. Tradition is not an archive but living material, a soundworld that lingers in the ears and the imagination.

A must have double sider from Harvey Scales & The Seven Seas, containing two of the rarest tracks from their much sought after back catalogue. Originals have sold for eye watering sums of over £1700 in the past, attaining to its rarity but also the sheer quality of the music pressed into its grooves. ‘Trying To Survive’ is one of the great social-consciousness anthems and a slice of pure lyrical genius, whilst ‘Bump Your Thang’ hits with a heavy funk workout, channelling James Brown-esque energy in Chicago shoes. Red label version original black sleeve.

London duo Babeheaven — vocalist Nancy Andersen and producer/multi- instrumentalist Jamie Travis — return after four years with their highly anticipated 5-track EP ‘Slower Than Sound’, released via Scenic Route on October 24.

Following their singles ‘Beloved’ and the 6 Music-premiered track ‘Picture This’, ‘Slower Than Sound’ marks a deeply personal and intimate turn for Babeheaven. Written and recorded largely in Nancy’s home studio, the EP embraces minimal instrumentation, acoustic textures, and spacious arrangements, capturing the emotional vulnerability and euphoria the duo describe as “Post Rave” — the music you listen to on the ride home from a
party.

“It feels like a rebirth in a lot of ways,” says Nancy. “Writing at home gave me space to experiment, make mistakes, and rebuild confidence. Once I brought the songs to Jamie, we shaped them together into what you hear now.”

The EP explores love, reflection, and personal growth. Beloved conjures a comforting, almost mythic presence, while Lost For Words reflects the struggle to connect with the world and oneself. Picture This offers snapshots of a relationship, looking back while imagining its future. The cover Tiny Demons by Todd Rundgren blends seamlessly with the EP’s introspective mood, and Loud Thoughts, featuring Samba Jean-Baptiste, captures heartbreak, burnout, and creative pressure. “I hope people can find their own meaning in these songs,” Nancy says. “I’m writing for myself, but music is for each listener to interpret.”

Since debuting with Friday Sky in 2016, Babeheaven have steadily built a loyal following through their acclaimed albums Home For Now and Sink Into Me, amassing over 65 million Spotify streams and earning support from BBC Radio 1, 6 Music, and KCRW. Their live shows have sold out Village Underground,

Bush Hall, and Jazz Cafe, and they’ve shared stages with Cigarettes After Sex, Loyle Carner, and Nilüfer Yanya. Visually, Babeheaven’s world has been shaped alongside creatives including Margot Bowman, Frank Lebon, Tegen Williams, Sacha Beeley, and Joyce Ng, cementing their reputation as one of the UK’s most distinctive acts.

After facing cancelled tours, industry pressures, and a period of creative doubt, Slower Than Sound represents a return to the core of their artistry: intimate, honest, and self-produced. Jamie reflects: “Not putting out music for so long was hard, so we hope this is the start of a more prolific period for us, reconnecting with the London music community and beyond.”

The highly anticipated Platipus 30 Years – Volume 10 arrives to mark a landmark chapter in the anniversary vinyl series, celebrating three decades of timeless electronic music from one of the UK’s most influential labels. This special release features four standout tracks that showcase the depth and diversity of the Platipus sound: the hypnotic Art of Trance – Easter Island (Cygnus X Remix), the progressive brilliance of POB & Taylor – Baba (Marc Mitchell’s ‘Human Movement’ Remix), the melodic journey of Union Jack – Papillon (Original Mix), and the driving energy of Jamnesia – She’s My Friend (Original Mix). Volume 10 is both a tribute to the label’s rich heritage and a must-have collector’s item for fans of classic trance and progressive house.

Samuel Kerridge, with his signature sonic arsenal, stands alone in the worlds of rhythm and noise. A singular artist, his music is to be appreciated on its own terms. Here, he returns to James Ruskin's Blueprint Records with the eleven track album, "Memoir Of Disintegration".

The British producer has been carefully turning techno inside-out for over a decade. Taking a distinctly post-punk approach to the genre, he has become an integral part of Regis' legendary imprint Downwards. Kerridge has helped to define the label's contemporary sound: broken techno and snarling punk, informed by industrial music and metal.

Samuel Kerridge has released seven EPs and five albums (including a collaboration with Dva Damas' Taylor Burch) and his recent, "Kick To Kill", has become something of a statement of intent, blossoming into a new label and event series with a focus that broadens beyond techno tracks into full-blown song writing. Aside from his solo work, he collaborates with OAKE in what he describes as the "power metal techno" duo UF, and has recently started his own guitar band, Death Disco.

Kerridge ran the Berlin-based Contort label and party series and curated the legendary Berlin Atonal festival for three years, underlining his credentials as a stalwart figure in the world of experimental, boundary-pushing techno. He's also an accomplished live performer, most recently developing a hybrid live-DJ set that dismantles hundreds of tracks into a sampler to make new music in real time. It's an inventive process that places him in the lineage of iconic and ground-breaking techno acts, while still carrying the flag for the darkest corners of underground electronic music.

Debut release on Rotation featuring Italian house legend Enrico Mantini and Mannheim-based Wave Particle Singularity. This split EP delivers four finely crafted tracks blending deep and micro-minimal grooves. Don’t miss out on this ultra- limited vinyl gem pressed in only 100 copies!

Our favourite Parisian disco maestro, Young Pulse is back on GAMM for his 9th release !

Over three tracks, Young Pulse delivers an impressive range of soulful disco, jazz-funk-disco & modern soul/disco.

On the opening track, 'Ali's Movin' On', we're treated to a special version of the Brass Construction classic together with some spiced-up "Ali bombaye" chanting...it's truly a funky rumble in the Parisian jungle ;)

The flip side begins with an uplifting and stomping jazz-funk-disco take of one of our favourite Gap Mangione (RIP) tunes.
Rounding things off, Young Pulse hits us with one of those warm and uplifting modern soul/disco jams that we all love to hear on a dance floor, but with Mr Pulse's tasteful finger on the mix, the production now sounds even stronger.

The Mighty Ryeders' rare groove classic Help Us Spread the Message has been remastered and reissued here because it forever remains a favourite with DJs and dancers. It's a timeless soul and funk blend with many a standout jams, not least 'Evil Vibrations,' a super cool and breezy groove famously sampled by De La Soul in 'A Roller Skating Jam Named Saturdays' and later covered by The Rebirth. Alongside funk staples like the aching beauty of 'Help Us Spread The Message' and the collector-favourite 'Let There Be Peace' the album blends rich horns, clavinet and deep grooves with great songwriting and vocal harmonies. Do not sleep on this masterpiece of funk.

It's ten up for Ira James's so-far-so-superb Vessel Recordings Group label as the duo of Nonfiction and Kid Enigma step up for a fresh new single. 'Make It Look Good' is an instant house classic with all the key elements nailed: the drums are deep but driving, while the percussion adds texture and bite. And who better to add some further layers of house authenticity than the one and only Chicago don DJ Sneak. First up he goes raw and loop as you would expect, then dubs things out with his second offering. Another doozy from this imprint.

A collection of earlier and newer works by LFU
combined in one EP.
On November 14, 2025 !K7 Records released DJ-Kicks by Eris Drew. She chose 'Oh Echt' by LFU as the opening track of her mix.
The style of 'Oh Echt' is not easy to categorize. Electronic breakbeats with Detroit hi-hat patterns and a typically pushy four-to-the-floor kick. The funky, staccato bassline and mysterious strings take you back to the eighties and the added funky organs and stabs complete the story. The "Oh Echt" Main Mix is the instrumental mix of the 'Vogel Mix' in which the 'Oh Echtapella' is incorporated.
The first design of 'Boom Boom Tracking' was in 2011 for a DJ/DRUM performance that LFU did. He picked it up again in 2014, but did not finish it until 2024. This big beat floor filler contains chemical beats accompanied by electrostabs and a deep, dark bassline. If you listen intently to this song on a regular audio device, you might notice a thump on every 1 of the 4 beats, but when it's played on a good, big sound system, you can't miss this tension in your stomach. 'Boom Boom Tracking' it is!
Downtempo percussive track 'Tjeetje' is the first track LFU has made in North Coast Studio in 2001. 'Slow Forward' was the third song he completed there in 2003, the same place where he met Ben Baan of Fruitcake, who played the piano part.
Initially, 'Queen Cubana' did not make it as a remix of Eddy Zoey's 'No Soy Cubano' in 2017. In this new version, LFU removed his vocals, except for "Step". LFU took inspiration from Katy Perry's 'Bon Appetit' and turned it into a rhythmic slow jam with carefully programmed beats, resulting in a spectacular funky joint.

Hissing Nest is something like a carnivorous plant growing in the little piss patch just left of the well-beaten earth stage front. It’s something dense, unhygienic and purposefully inconvenient, like a smoker’s mating call for seducing your madness. Rhythms descending and ascending staircases simultaneously, bathrooms with holes cut in the floor so you can see the crashing waves below, or a giant lurching mechanism one loose screw from a total collapse. Sadly there’s nothing here resembling a safe-room, every wall is violently splattered with red paint. It’s a tumultuous space built by one-take analog sessions in the backdrop of murderous, racist, colonial ideologies ever encroaching on the zen garden so desperately needed in the floor plan.
Text about Rank+File:
Rank+File is a record label and event series based in New York City. It exists within and opposed to the empire, focusing on sounds and scenes that both challenge and provide release from its crushing grip. We’re entangled by our common threads, and sewn together by our collective unraveling.

Molecular Recordings Presents "Structure Series 2" — Continuing a Legacy of Techno Innovation

Following the success of the first volume, Molecular Recordings returns with Structure Series 2, the next chapter in its celebrated vinyl series that honors the label’s enduring influence on underground techno.

This 12" release deepens the label’s exploration of forward-thinking sound, pairing iconic names from the Molecular archive with groundbreaking contributions from the new vanguard of producers. Each track reflects the uncompromising spirit and sonic evolution that have defined the label for over three decades.

Structure Series 2 is both a continuation and a progression — a curated fusion of past and future that underscores Molecular’s role as a pioneer and incubator of techno culture. It stands not only as a collector’s item but as a bold artistic statement.

With Structure Series 2, Molecular Recordings reaffirms its commitment to pushing boundaries while remaining rooted in the authenticity that has shaped its legacy since day one.

When Chuck D proclaimed "Bass, how low can you go?" on Public Enemy's anthemic 'Bring the Noise,' maybe he was pre-empting or inciting the 10,000 fathoms-deep, spine-bending basslines and sub-quake tremors of 'Implosion.'

Implosion is a crushing split album, appropriately released on The Bug's own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it’s one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction.

As expected from a tag team featuring British soundlab explorer and 'London Zoo' composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz—a long-time graduate of Germany's new school of sound system reggae culture—the duo approaches their target differently yet share the goal of keeping their sound "raw" (Fiedler) and "brutally minimal" (Martin). This proves that opposites can attract, even if their tools are different and their methods sometimes diverge.

From such a disparate combo, hailing from different geographical and aesthetic backgrounds, contrasts are certainly on display, even within each artist's own contributions. From the melancholia and transcendence of 'Alien Virus (West Indian Centre, Leeds),' to the duality of ascension and descension on 'Hope,' or the Sunn 0))) in dub, visceral drone of 'Dread (The End, London),' to the tripped-out repetitions of 'Midnight,' which reinvents Chain Reaction for post-millennials, the result is both sacred and narcotic. Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album—a mastery of tone and texture.

This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler‘s Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design.

Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub's stark rhythm attack, isolationist ambience's eerie drift, dub techno's floatation strategies, and even the relentless riffs of doom metal collide. As the bass-obsessed pair drop what is arguably the heaviest ambient dub album to emerge from any electronic sector—a moody counterpoint to The Orb's fluffy clouds, etc, Martin has cited The Roots Radics, Black Jade, and On U Sound's Pounding System as heavily influencing his approach to the album, while Fiedler has expressed his admiration for Adrian Sherwood's productions and Rhythm & Sound's enchanting soundscape. Yet, the super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond these influences.

Shadowy and elusive, there’s a mysteriousness at this record's core. A haunting moodiness oscillating between nostalgia and future shock. Despite the deadly fixation with SLOW and HEAVY, the album maintains a totally hypnotic swing throughout. Implosion and its lead single 'Imploded Versions' are testaments to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers.

Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio, this record is heavy as f-ck without resorting to continuous distortion. It’s low-end worship taken to an absolute extreme, yet remains highly listenable and definitely danceable, albeit at the slowest of paces. Sacred and narcotic, this is low-end worship amplified to the max. Dive in if you dare.

R.F.I. is the first collaboration between London-based drummer Andy Baxter (Robohands) and LA-based multi-instrumentalist Jack Barone. The EP focuses on Middle Eastern scales and features 100% analog instrumentation, including guitar, bass, synth, and drums. It was recorded using fully analog gear to achieve a warm, saturated sound. Trumpeter Cesar Apolinar Hernandez and vocalist Alya Olcan appear on tracks A1 and A2. The record's title references Radio Frequency Interference, and the B-side includes an etching of radio towers as a visual nod to that concept. R.F.I. was designed with a clear structure across its tracks and highlights the artists' shared interest in analog production and global musical influences.

With over 81,000 Spotify followers and nearly 10,000 vinyl records sold worldwide, Robohands has earned widespread acclaim, including support from BBC Radio 2's Jamie Cullum (Best in Jazz), Huey Morgan (Album and Beat of the Week), KCRW's Morning Becomes Eclectic, Soho Radio, and Paste Magazine. His music—an evolving blend of jazz, krautrock, and ambient—has landed on top editorial playlists such as Jazz Vibes, State of Jazz, and Mellow Morning. A prolific artist, Robohands has released five albums since 2018, beginning with his debut LP Green on Village Live Records. He has performed at leading international festivals including London Jazz Festival, Montreal Jazz Fest, and Waking Life in Portugal. Robohands' latest project sees him collaborating with LA-based composer and producer Jack Barone, known for his film scores and commercial work.

Limited to 200 pieces. Each record comes on heavy 180g vinyl, handnumbered and with an exclusive art print inside. Launching both his debut record and the very first release on brand-new label Tennis Is Good, Justus Rokah kicks things off with the Disco Fizz EP.

The title track blends soul, funk and disco into a sparkling groove – a Motowninspired homage to Sektmate, evoking rooftop sunsets and live jam vibes straight out of the ’70s. Warm, musical, and made to get you vibing.

On the flip, Tennis Is Good (the duo of Justus Rokah & Flemming Bassedow) strip things down for the floor: a raw, driving house rework with pumping bassline, grinding kick and Detroit-tinged chords. Pure underground energy designed for peak-time moments. A strong first statement from Rokah – bridging soul, disco and house in his very own style.

Fobos Hailey is the sound of a new era. Reminiscent of the anti-authoritarian, boundless soundscapes of the early '90s, his music carries an infectious, ethereal flair of self-determination. Bulletproof oozes liquid confidence and swagger — it's the kind of sound that lights a fire in your belly. Throw it on your sound system, and you'll be dodging bullshit like Neo dodges bullets in The Matrix. Fobos Hailey elegantly showcases the breadth of his production — from heavy-hitting bangers to self-reflective, contemplative jams. Get ready to be dosed with some of the freshest sounds of 2025. This masterful LP reimagines the rave sound we love from the past and pushes it into a future-facing, modern form.

2025 Repress

When people think of Tough Gong they usually think of Bob Marley and rightly so, as he was nicknamed and often called Tough Gong and from this his early releases which came out on the Tough Gong label. But Tough Gong was also the name of a recording complex named after Bob Marley hat included a top level recording studio, pressing plant and distribution centre that would allow reggae music to carry on many years after his sad and too early demise.

Bob Marley had take over the former residence of Island Records boss Chris Blackwell the Island House, 56 Hope Road around 1974. Just before the 'Smile Jamaica' concert on 03rd December the same year the house was ambushed by gunmen. Bob's manager Don Taylor was hit 5 times AND Bob was shot in the arm and his wife Rita Marley was hit in the head by a stray bullet. How no one was fatally injured is staggering. Immediately after the concert Bob Marley started his self imposed exile from Jamaica, settling in London, England. This would lead to the aptly named exodus album being recorded there in the summer of 1977. It would not be until the 'One Love' peace concert in Kingston's national arena on the 22nd April 1978 that would see Bob's return to the island. Marley felt is was important to show his commitment to the people of Jamaica and on his return to 56 Hope Road he began construction of his own recording studio with the help of music mogul Tommy Cowen. Unfortunately Bob Marley's short life would end on the 11th May 1981 from cancer which originated form a football injury. His passing would lead to 56 Hope Road being turned into a museum to the legend of reggae music.

A new location would have to be found to carry on Bob's work which was 220 Marcus Garvey Drive, Kingston 11. The buyer would be Rita Marley and the Tough Gong International Organisation.

Engineers working at the new facility included Errol Browne who had worked at Treasure Isle studios and Hopeton Overton Browne known as 'Scientist', named by the great producer Bunny 'Striker' Lee who worked with him previously at King Tubbie's and Channel One's studios described his ground breaking style as being like that of a scientist.

We focus for this release on the work carried out by the great Scientist on the songs of the Black Solidarity Label run by Ossie Thomas (aka Joe The Boss) recorded at Tough Gong studios. One of the foremost recording, pressing and distribution facilities on the Jamaican island set up from the work of Bob Marley to carry forward reggae music. Hope you enjoy this set......

A collection of remixes of the Radioactive Man album ‘Jam Out The Kicks’, cunningly titled ‘Jam Out The Mix’. Featuring remixes from dBridge, Jerome Hill, Ben Pest, Ara-U, Berwick, and Radioactive Man. Ranging from the finest in Electro and Techno to full-on DnB/Junglist vibes - designed to test the bassbins out!

When people think of Yacht Rock-those smooth, sun-drenched sounds that once drifted from Californian radio stations in the late '70s and early '80s-they rarely imagine it echoing through rehearsal rooms in Hamburg or Linz. Yet even far from the Pacific coastline, the appeal of shimmering chords, laid-back grooves, and polished production found fertile ground.
This compilation gathers rare and overlooked tracks from Germany and Austria. These artists embraced West Coast aesthetics with sincerity and subtle twists, resulting in music that feels both familiar and refreshingly new-smooth sounds for cloudy skies. So drop anchor, pour something cool, and enjoy this unexpected cruise through the lesser-charted waters of Euro Yacht Rock.

Our journey begins in Austria, where Reflection's Because (1981) set the tone with blue-eyed soul and analogue warmth-a sunlit blend of Doobie Brothers polish and local charm. Its creator, Dieter Heyduk, reappears with Austrian Sky, a heartfelt nod to his homeland that fuses mountain calm with oceanic longing.
From the North Sea island of Föhr, Ara Pacis dreamed of California on their 1979 self-release To the Westcoast. Inspired by Steely Dan and Lake, they turned German rock precision into breezy, melodic sophistication. Meanwhile, in Düsseldorf, Mainpoint fused funk and jazz-rock on Frisbee, their 1980 single bursting with rhythmic drive and optimism before the tide of the Neue Deutsche Welle swept such grooves aside.
Bremerhaven's Nuages offered the compilation's only instrumental gem, Strange Weekend (1985)-a gentle blend of jazz-funk and rock and largely lost to time. Its cool restraint captures the European interpretation of Californian ease.
Around the same period, British traveler Gavin James recorded River of Laughter in southern Germany, backed by the blues-rock band Black Cat Bone. His acoustic reflections on water and flow mirrored the soft, meditative pulse at Yacht Rock's core.
Berlin's Top Spin kept things playful with Bikin (1985), a funk-fusion snapshot of urban joy that showcased the city's finest session players. From the Ruhr area, the Jan Pack Band is up next. While not a typical Yacht Rock track, Cable Dance is driven by an effortless, groovy '80s vibe.
Peter Seiler's Goldfinger project reimagined Walkin' in the Sand as a relaxed reggae-tinged track, while Munich's Major Seven closed the voyage with Silverboat, a wistful soft rock ballad gliding between melancholy and light.

Across these hidden harbors of German and Austrian pop, the West Coast dream took on new forms-reflected in rivers, skies, and studio lights half a world away from L.A. Under and Above the Clouds celebrates that spirit: the enduring pull of smooth music, wherever it's made.

On a "Balearic-Jazz trip", the phenomenally hyped Thought Leadership returns with another X ideas: the deck this time chooses the Ace of Swords. In the acclaim garnered by III of Pentacles, there were many whispers of “Balearic” from those in the know. As soon as you drop the needle on XI you will be basking in turbo Balearica.

Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

The sonic palate has been augmented by the addition of synth and bass; there are more guitar layers, more pedals and more organic drums this time – a much fuller production. Still DIY, and still recorded straight to multitrack, just ever so slightly grander in scale; think a rough-hewn, long-lost Claremont 56 cut and you’ll have some idea of how XI opens this future classic LP.

The touchstones so key to the vision of Pentacles (Cocteau Twins, Dif Juz, Durutti Column) are all still present and correct; XII could be a piece from Extractions, XIII is pure Garlands-era Guthrie and, now with the shuffling jazz drums, XV makes TL even more LC – but more disparate influences are found this time out too. ECM guitar legends John Abercrombie and Pat Metheny in the more considered melodic phrasing and harmonic structure of the ideas and a nod to the cosmic Balearic spirit in the overall vibe, means more is offered to the listener across Swords.

XVI and XVII are the biggest indicators to Thought Leaderships’ new found love of The Real Book and their grasp of jazz chords. The former sounds like if Mike Hedges had produced on a heavily sedated ECM date in the early 80s, whilst the latter is Bright Size Life condensed into a most post-punk shard of Strat conversation. The syrupy Phase 90 on the lead parts lends much weight to the guitar melodies, a beautiful tonal counterpoint to the Vox-ish chimes of the plangent chords we’ve all come to love.

The flip again treats us to three extended, improvised jams. XVIII owes as much to Canterbury as it does to Krautrock, another modal voyage through the stars. Light the incense and drift away, guided by delayed cymbals and weaving ribbons of guitar. XIX has almost a New-Wave/Sophisti-Pop energy to it in tone, if not in structure and execution. Something almost Tears for Fears-esque in the chiming chorus guitars. An interesting outlier that has already received a lot of love from those that have heard it. XX is the starkest idea, and the only piece this time with no drums. What we do get, however, is a free exploration over a two chord-vamp. It’s Harvest Time meets Planet Caravan and a fitting end to this Balearic jazz trip.

Be With is honoured to present the first ever vinyl release of Ace Of Swords, carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last one flew. You have been warned.

Stiletti City Tape Archives is the fourth Stiletti-Ana album, showing off the Finnish mastermind’s talent for making electronic music that’s immediately inviting while generously rewarding the focused listener.
Following on stand-out work for labels like Public Posession and Höga Nord – not to mention all sorts of odd jobs within the Sex Tags multiverse – Stiletti-Ana presents his latest offering: eight irresistible jams cooked up in the hallowed halls of Helsinki’s Haista II studio.
Here, vintage and modern synths joined forces with live drums and the occasional robot-voiced interjection, resulting in a body of work that’s dazzlingly off-kilter, rich in detail and instantly addictive. The artist himself states: “I think the music has a sense of urgency which relates to city life. Still,
Stiletti City is a small and cozy place, a bit freaky and not gentrified.” Stockholm label Studio Barnhus is delighted to invite fellow travellers into this secret town – welcoming and full of surprises.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. 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 artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

In 2018, Rian Treanor left his home in Rotherham, UK, and headed to Kampala for a residency at Nyege Nyege's villa studio. The mind-expanding experience inspired his critically acclaimed 2020 full-length "File Under UK Metaplasm", but that wasn't the end of the story. Treanor also spent time working alongside Acholi fiddle player Ocen James, developing an improvisation-heavy collaboration that would push both musicians' idiosyncrasies into completely new places. Treanor wanted this collaboration to be as tactile and reactive as a live performance with traditional instruments, so he set about working on a digital process that would synchronize with James' approach. Using physical modeling techniques, Treanor created an instrument that explored the tunings and sounds of the a'dungu, an arched harp, and the nah or nag. With Ocen playing his rigi rigi, a single string violin, they intuitively experimented with the spectral properties of sound, using texture and acoustic contours as their structural framework. They were able to develop a sound together that was unconventionally rooted in traditional Ugandan culture, but shuttled into different dimensions of noise, computer music and radical UK rave. "Saccades" is the buffer between two vastly different sonic universes, united in respect and sprightly curiosity. Treanor's hyperactive computer-controlled rhythms are immediately identifiable on opening track 'Bunga Bule', but the sound palette is distinct: it's more flexible and less digital. James' expressionistic fiddle strokes are a revelation, contorted into hoarse squeals and rough vibrations that rub and flex off Treanor's tin can shuffle.

Theory Therapy is pleased to present ‘we’re here all the time’ by jp (aka J.P Wright) – the New York producer behind one of last year’s shinetiac remixes on the OST label, and a member of Housecraft Recordings’ trip-bient group Ahem.

Compiling several years of well-worn material, the Brooklyn artist’s debut solo LP was the result of many hours of hardware jams and happy accidents, later meticulously edited down into these seven arrangements. Blending first-thought-best-thought spontaneity with extended DAW labouring, Wright delivers some of the most immediate music yet on Theory Therapy.

The album is reminiscent of ’90s and early-’00s IDM. Syncopated rhythms and atmosphere swirl into a mutable whole, as hardcore breakbeat, ambient trance and acidic electro bleed together into a liquid mélange. The sequencing drifts from gauzy, ethereal openings into tensile, club-ready pressure before swerving toward moments of stillness – like lingering in an emptied club hours after the crowd has gone.

There’s a distinct physicality to the music too. Kick patterns jitter like loose live wires, delays ripple through the fog-soaked air, yet the album’s finest moments lie in its more subtle textures and tonal shifts. This is proper braindance that keeps you suspended in its pulse, caught in non-linear time. Wright lets the music wander in unpredictable arcs, moments folding back on themselves, stretching in multiple directions at once – tracing and retracing a memory that refuses to settle.

Mastered and cut by Beau Thomas

After two self-produced EPs, Sarah Maison (2018) and Soleils (2021), and the EP Karma (2021) with Anoraak, French singer, musician, author, composer, arranger, and producer Sarah Maison finally unveils her first album, DIVAD, the fruit of four years of creation. Sarah opens up, tackling personal themes through an exploration of the soul and existential questions. She also ventures into more autobiographical subjects such as melancholy, derealization, the search for meaning, and the breakdown of romantic or friendly relationships: often through coded language but always with a touch of humor. DIVAD is a manifesto of artistic independence, boldly and uncompromisingly fusing French chanson, Egyptian music, 70s disco, synth-pop, and English pop. Her influences draw on musical history while reinventing it, bringing together Alan Vega and Martin Rev, the 70s Egyptian band Al Massrieen, the king of Iranian psychedelia Kourosh Yaghmei, as well as Brigitte Fontaine and Françoise Hardy. Each track is a cinematic tableau, where the artist"s theatrical voice, both imperious and vulnerable, carries an intimate narrative with universal overtones. Co-produced with Steve Surmely (sound engineer) and Timotée Pédron (sound designer), the album blurs the lines and asserts an artist who defies categorization. Throughout these twelve tracks, we witnessa rebirth, with Sarah fully embracing her character as a dark, grandiose, and tragicomic diva straight out of a Dario Argentofilm, a sort of tribute to her Italian muses. Danceable, elegant, and elusive, DIVAD is a flamboyant work that reflects Sarah Maison"s image: free, sunny, and daring.

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.

The 12th release on ALIM Music, Brazilian singer-songwriter Rogê delivers a radiant and rhythmically rich reinterpretation of Talking Heads’ “Road to Nowhere,” setting the tone for BBE's Naive Melodies - a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden - the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) releasing this October via BBE Music. Now based in Los Angeles, Rogê, a Latin Grammy nominee and longtime torchbearer of Rio’s samba-soul vanguard - reimagines the Talking Heads classic as a soulful samba jam, infused with earthy guitar, syncopated percussion, and his signature smoky, magnetic vocals. Where the original rides on quirky tension, Rogê’s version flows with saudade and sway, steeped in the Afro-Brazilian traditions that have defined his sound for over a decade.

Produced by Tommy Brenneck (Amy Winehouse, Mark Ronson, Cuco, Charles Bradley, The Budos Band), the track carries a raw, analog warmth that nods to classic MPB (Música Popular Brasileira) and the golden age of 1970s samba-rock, while subtly weaving in the existential overtones of the song’s lyrics. Rogê's “Road to Nowhere” captures the essence of Naive Melodies: a reimagining of Talking Heads’ catalog through the rhythmic and cultural lens of the global Black music traditions that helped shape it. From samba and funk to soul, dub and jazz, the album brings together forward-thinking artists from across the diaspora to revisit, reinterpret, and revive the sounds that have always lived in the band’s DNA.

DJ Support: Axel Boman, Coyote, Rune Lindbaek, Dr Rob (Ban Ban Ton Ton), Lefto, Johan Blende, Feel Fly, Marco Gallerani and many more

Secret Soul Society, aka South Wales's Cal Gibson, continues his red-hot streak of form with four original jams for Hell Yeah that effortlessly weave decades of influences into intimate, unusual sounds that go from Balearic daydreams to after-hours soul burners.

Gibson was one-half of Nottingham's deep house and downtempo outfit Neon Heights back in the 2000s, a collective that label head Marco has long admired. He has landed here before with the superb Keep The Mystique in 2023, a 15-track collection of brand new curveball cuts built from lovingly sourced samples. Since then, he has continued to collide jazz, funk, Afro, beats, dub, soul and reggae on Paper Wave and Magic Wand.

'To Be Happy' opens with gentle, sun-soaked grooves, swirling keys and dreamy pads that evoke a hazy Mediterranean sunset. Nostalgic soul samples tug at the heart while the track’s laid-back vibe is perfect for golden-hour moments. 'Orange Surprise' is a magical slice of downtempo bliss with hints of romantic vocals. It's built on soft broken rhythms and drifts between ambient soul and laid-back electronica, perfect for introspective moments or late-night winding down.

'Keep On Trying' flips the script with more texture. The synths are crystalline, the pads are sugary, and the meandering bassline unfolds in wonky fashion while soft male vocals bring a steamy edge. Last but not least, 'What You Do To Me' is funky and slow motion disco with 80s synths and reverb that drowns you in good vibes.

This EP is Secret Soul Society at his most expressive and emotive.

DJ Support: DJ Spen, Tony Humphries, Danny Krivit, Simon Dunmore, Seamus Haji, Grant Nelson, Brian Tappert, Opolopo, Cj Mckintosh, Tedd Patterson and more...

Long-serving British house producer and hits maker Michael Gray brings his famously soulful sound to "On My Way Out" By Jamiroquai’s Derrick McKenzie Feat. Angela Johnson and it very much taps into a timeless vibe and old school disco feel. The grooves are nice and loose, the moog riff is smooth and fresh and the vocals are solar to the heavens next to mid tempo beats. High class Remix and lavish quality of the most uplifting music.

On "The Afrodub Experience," Umberto Echo takes us on a ride across four continents, exploring 50 years of Afro-Caribbean music history with numerous collaborators.

The inspiration is the Afrobeat of the 1970s, which he discovered through original musicians from Fela Kuti's "Africa 70" band in the Berlin project "Afrobeat Academy" which he began to fuse with dub and reggae.
Mitwirkende
wird veröffentlicht am 17. Oktober 2025

Recorded by Umberto Echo and the musicians in Berlin, Hamburg, Munich, New York, Melbourne,
Kingston Jamaica & São Paulo between 2008 and 2024

Mixed by Umberto Echo & Silvan Strauss, November 2024 at Apollo Studio Berlin
assisted by DJ Tobi Neumann & Robin Ludyga

Produced by Umberto Echo, co-produced by Silvan Strauss

Mastered by Umberto Echo

Artwork by aDUBta

Umberto Echo published by KKBB Publishing/Edition Dubvibes


Drums: Silvan Strauss, Giuseppe Coppola
Drum Programming: Silvan Strauss, Gengis Don, Umberto Echo
Bass: Daniel Stritzke, Oghene Kologbo, Patrick Frankowski, Giorgi Kiknadze
Percussion: Samuel Wootton, Nicholas Ado-Nettey, Umberto Echo, Djakali Kone, Giuseppe Coppola
Guitars: Umberto Echo, Mandjau Fati, Ferdinand Kirner, Oghene Kologbo, Giovanni Agostini
Cora: Sebastian Cuevas, Djakali Kone
Saxes: Ben Abarbanel-Wolff, Florian Riedl, Giovanni Pecorini, I Sax
Trumpets: Benny Brown, Philip Sindy, Sebastian Kölbl
Trombone: Roman Sladek
Keys: Barney McAll, Lionel Wharton, Markus Kuczewski, Umberto Echo, Silvan Strauss, Milo Winter
Vocals: Lenna Bahule, Gengis Don, Vimbai „Vee“ Mukarati, Mark Wonder, Tydal Kamau
Backing Vocals: Runtendo Machiridza, Tariro neGitare, Erica Nevell

Support by Green Velvet, Rebolledo, Dr. Rubinstein, Cormac, DJ Hell and many more! Summer 2013, Comeme label's studio - The District Union. Behind the analog console and hardware - 20-year-old Philipp Gorbachev and Djs Pareja from Buenos-Aires. No plugins, reels, or LTE. Sweltering heat, peak of summer EU tour, the musicians had just a few hours to record. The track drops on the label's compilation and immediately lands in a mix by Chicago legend Green Velvet. It spreads afterwards in all possible ways - Do You Believe in House Music? is blasting in bars, DIY spaces, raves, cars and street parties, the lyrics get sprayed on walls or inked as tattoos System 108 proudly presents the official reissue of the original, boosted with brand-new remixes from shining artists of the Russian dance scene - those whose journeys also began in the 2010s and who, in some way, crossed paths with either the track itself or that very vibe of faith and love, without which a dancefloor can hardly pulse with life. A house is not a home, when there's no one living there

Dok & Martin return to the brand, this time to DCLTD imprint with their 3-track EP 'Impulse'. 'Impulse' brings delicious chaos, mixing up rattling bass-driven energy, with the mayhem of peak house traffic, as a barrage of horns and jutting synths coalesce to create a fierce wall of sound. 'Reaktor' begins as a streamlined roller, marked by tightly woven drums before building like a skyscraper with thrilling intent. Later it drops down into punchy percussive territory, never losing any momentum. 'Believe' gallops with slick swagger, a late-night jam heavy on atmosphere and crisp sound design.

(Platipus 30 Years vinyl part 9/12, remastered audio) This edition brings together the legendary Union Jack – "There Will Be No Armageddon (Original Mix)", the driving grooves of Jamnesia – "Get Busy (Original Mix)", the atmospheric depth of Paragliders – "Lithium (Original Mix)", and the timeless journey of Quietman – "Now + Zen (Original Mix)".

Marking another milestone in the celebrated anniversary series, Platipus 30 Years – Volume 9 lands with four defining tracks that capture the label’s pioneering spirit and enduring influence on global trance culture. This edition brings together the legendary Union Jack – There Will Be No Armageddon (Original Mix), the driving grooves of Jamnesia – Get Busy (Original Mix), the atmospheric depth of Paragliders – Lithium (Original Mix), and the timeless journey of Quietman – Now + Zen (Original Mix). Each cut represents a cornerstone of the Platipus catalogue A true collector’s piece, Volume 9 continues the story of one of electronic music’s most iconic imprints.

Western Australian label Hidden Liaison Recordings returns in 2025 for their second release. This EP kicks off with French producer Robotnik3000's deep, techy piano-laden jam. Local underground producers round out the rest of the EP, starting with sn33ze's blippy, dubby "Siofra River". On the B-side, things take a dark electro turn with Late Night Protocol's scifi-esque "Animus." Label-owner Ian Daniels closes the release with an ambient piece and the upbeat 2step "Soft Image." An amazing variety of electronic productions drawn from the Australian underground.

Eoism return with six tracks of driving and atmospheric Electro, Techno and beyond. All based on live jamming, expect some crispy rhythms, pounding baselines and lush melodies suitable for both home listening and excessive club treatments.

Skylax Records proudly presents the first release in our brand-new archival reissue project: the SKYLAX COLLECTOR'S SERIES. This collection is dedicated to unearthing rare and forgotten underground gems, pressed back to vinyl with love and respect for the original sound. We kick off this essential series with a deep cut from one of the UK’s most respected techno pioneers: AUBREY – WAREHOUSE, originally released in 1997 on his cult imprint Textures (catalogue: TEX2). This classic slab of wax features five tracks that masterfully blend deep house grooves with raw UK techno energy: A1. Warehouse / A2. Rift Zone / B1. Shot / B2. Insult My Friend / B3. Space Lead. Aubrey, real name Allen Saei, started his journey into music in 1990 under the alias Panic, with his first release Voices Of Energy on Sheffield’s Ozone Recordings, later licensed by Buzz in Belgium. That same year, he launched his first label Solid Groove Records, which went on to drop over 30 vinyl releases in 13 years, with tracks licensed and supported by heavyweights such as Derrick May, Carl Cox, Adam X, Pete Tong and Terry Francis. Aubrey also ran four additional underground labels: Textures, Dark, DOT and Cheap Knob Gags. A true lifer, he became a hip hop DJ at age 13, discovered acid house at 16 after hearing Mr. Fingers’ Washing Machine, and released his first vinyl at 17. By 18, he had a residency at Central Park in Portsmouth (a key spot that hosted the likes of Luke Slater, Carl Cox, Frankie Bones, Joey Beltram, Grooverider…), and quickly became a fixture in the UK rave circuit, playing regularly at London institutions such as The Astoria, Turnmills, The Gardening Club, The Pirate Club, and legendary events like Energy and Raindance. He also worked behind the counter at import store Razzles, one of the most important dance music shops in the South of England, before joining Luke Slater at Jelly Jam Records. In 1991, he created Solid Groove to push his unique production vision—a journey that continues today through releases on legendary techno labels such as Metroplex and Ostgut Ton. Still fully active and devoted to music—DJing, mastering, remixing, and working in record stores—Aubrey remains a cornerstone of the underground. This reissue has been carefully remastered from the original tapes, pressed with the utmost attention to quality. A vital release for collectors, DJs, and all lovers of true UK techno and deep house. Strictly limited. No repress. Just music.