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Vintage Electronica aware smart leftfield House jams & Ambient interludes

LYR002 'GDEP' sees Adam Stromstedt and Flord King split the credits with both producers getting one track on either side. A side 'SINBAD' by Adam Stromstedt is a 12 minute long piece that takes you through intertwining chord patterns and delay heavy percussions to create a multi layered low-end journey. B side 'Dapper' by Flord King is an already proven secret weapon of some of this scene's most influential DJ's. It kicks off from the first bar with minimal inspired percussion, dreamy chords and tight groove, a real cruiser.

Originally released on Studio !K7 Records in 1998, Peter Kruder and Richard Dorfmeister's groundbreaking release, 'The K&D Sessions' reset the bar for what could be achieved in a compilation. Across an array of original tracks, dubs and infamous 'K&D Session' remixes, the DJ and producer duo took the listener on a smoke-filled blunted journey that flowed flawlessly.
Often compared to DJ Shadow's 'Endtroducing' for it's similarly deft craft of rhythm and quoted by Allmusic as "the most blissfully blunted music the world has ever heard", the album has sold over 1,000,000 copies to date and was included in Spin's 'Top 20 albums of 1999'.The album has long since been deleted on Vinyl with original 4LP sets changing hands for €300+ on the collectors market and even a bootleg vinyl copy will set a buyer back over €100. Sixteen years later, this legendary album will be available as a long overdue 5LP reissue remastered by Bernie Grundman Mastering in Hollywood.

Fuckthegovernment.Ltd, a.k.a. F.T.G (Alfredo Trastulli) and Music Box head honcho, Marco Riff, return to the Skylax fold in 2016 with a cache of house nuggets for our listening pleasure. Their last venture on Skylax saw F.T.G collaborate with a bunch of his friends, resulting in some of the best tracks we'd heard all year, including the unforgettable Fuckthegovernment theme. Their tracks have been celebrated and hailed by some of the best DJs in the game, names such as Derrick May, Ricardo Villalobos, Raresh, and DJ Harvey. The bar set by the first record remains sky high, and somehow, these two manage to raise the bar even higher. It may be the biggest cliche going when talking about an album, but the duo certainly do take us on a journey, through the past and present of house music. It's a record not too dissimilar in tone to Paranoid London's from a few years back, but F.T.G and Marco strip things back even further than those guys did, in our opinion; The sound is more raw with less frills, and no track names to predispose feelings in the listener either. This eight track project is cohesive and elaborate, with movements through sounds both acid and jazzy, minimal and maximal. It explores sounds that came to prominence in famous house locales such as Detroit and Chicago over in the U.S., but the underground European influence is definitely present, from Paris to Berlin, and of course F.T.G and Marco's home of Italy. With this album, these guys add to the underground sound that has cultivated in the city of Perugia for years now, a place that has seen the likes of Simoncino and Nicholas hone their craft.Don't miss out on a piece of Skylax history!

Pure worries from Leipzig — three club burners steeped in Detroit traditions, distilling the explorations in collective, nervy hypnosis of KM live sets. As the music slowly unfurls, there he is at every turn, subtly tweaking its parameters, redistributing its weight, pricking its grooves into a state of utterly infectious perpetual movement.
The two visions of Chilazon track opposite pathways: the first is twelve minutes of gorgeous, dubwise, aquatic techno, spattered with kicks and razor-sharp hi-hats, and smeared with ghostly echoes, then a terse mesh of broken drums, escalating to a quiet yet feverishly intense peak. Lanthanum is calligraphic swordplay, its toms and bass stabs warily circling one another in a graceful steppers' dance, spaced-out and fathoms-deep.

Stefan Robbers is one of the most known and respected non-U.K.-based European techno producers, and (along with Speedy J) one of the only Dutch techno artists to reach a wide audience outside of Holland. Recording as Terrace, Florence, and under his own name, Robbers has been responsible for some of the most memorable moments in experimental dance music in the last few years, from the first release on the now-commanding D-Jax label (Terrace's 1990 EP 916 Beuna Avenue) to recent Terrace and Florence full-lengths released on his own Eevo Lute imprint. Although tracks have appeared through GPR and New Electronica as well, his focus since 1994 has been on Eevo Lute, likely in an effort to raise awareness about Dutch techno artists and which also prompted the astablishment (by Robbers and Speedy J's Jochem Paap) of a Dutch remix network. Most often cited in connection with the sort of "listening techno" associated with the Warp, GPR, and New Electronica labels, Robbers' recent releases have moved increasingly toward the incorporation of du jour electronica hybrids such as trip-hop and ambient jungle, although his trademark mixture of intricate, off-kilter rhythms and sweet melodies has remained. Along with Robbers' own releases, Eevo Lute has also issued material from David Caron, Max 404, and Wladimir M., as well as two label compilations (Agenda 21 and Agenda 22). A remixed version of Terrace's 1996 Konnekt LP, entitled Re-Konnekt, was released in 1996, featuring Speedy J, Global Communication, Sean Deason, Kirk Digiorgio, Orlando Voorn, and Thomas Heckmann.

Drumcell and Luis Flores team up for a rough edged bass journey of complete techno.

The label owners of Enough! Music will tell a story with their music project. The following releases are bind together witch each other through the same story. Each release gets you closer to the whole story. Enjoy listening to the invited first artist Ilario Liburni.
Four trippy, groovy and pumpin tracks from mastermind Ilario
Liburni behind Cardinal / Invade Records and Enough! Music
labelhead Danilo Schneider. A - Piece Of Each EP' is a stunning
liaison between Danilo and Ilario. Enjoy our journey !

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

Joyfull Family and Mike Anderson on Wound Music. Major Panther Ep is a vinyl only release and includes Memoryman aka Uovo & Murphy Jax remixes. If you want some pure chicago/pumpin house acid tracks in your set, this is your ep! Nothing more to say...

repressed !

It was in 2014 when a mutual friend introduced me to Victor Ruiz while he was staying here in Berlin. I invited Victor to my studio where we had a fantastic session, playing our music to each other, listening to stuff we like and simply talkin and connecting. Since then, we became close friends as well as starting to work together. Victor has released two outstanding EPs on Electric Ballroom by now. This summer we met again and recorded three tracks. The result is our first joint EP, of which I am very proud.

Repressed!

Less than a year old, the newly formed label Apollonia presents its debut album releaseInviting you on an imaginary journey in their Lotus Seven, a road trip back to '90s San Francisco takes Chris Carrier and Hector Moralez on a musical mission, stopping for hip hop style smokes, disco jams and soul-warming joints on the beach; this is an exploration through their colourful inspirations and rhythmic upbringing.

The masterclass collection of deep melodic sound is going into the fourth round! "Parquet Most Wanted Vol. 4", featuring worldwide supported & impressive productions by SOLEE, SOUL BUTTON & ANDREA ARCANGELI, MIDAS 104 & OLIVER LIEB and JOS & ELI. These tracks are already played by A-List DJs like Solomun (Diynamic), Richie Hawtin (Minus), Kollektiv Turmstrasse, Edu Imbernon, Guy J (Lost & Found), Moonbootica, Eelke Kleijn, Hernan Cattaneo (Sudbeat), Nick Warren, Oliver Schories (SOSO Hamburg) and many more! 100% must-have for every melodic House & Techno lover!

Early support by: Marcel Dettmann, Takaaki Itoh, Gary Beck, DVS1, Adam Beyer, Randomer, Jeroen Search, Speedy J, Jonas Kopp, Tommy Four Seven,Slam, Mosca, Psyk, Paul Mac, NX1, Manni Dee, Progression, Scalameriya, Thomas Hessler, Juho Kusti, Ryuji Takeuchi, Mr Jones, ANFS, Dustin Zahn, Kyle Geiger, Joton, Paul Birken, Hector Oaks, Charlton, Dario Zenker, Kwartz, Dimi Angelis, Drvg Cvltvre, Stranger, Mikael Jonasson, Arnaud le Textier, Dax J, Jerome Hill, 3.14, Pfirter, Echologist, Darko Esser, Tripeo, Endlec, Stenny, Clouds, I/Y, Rivet, Henning Baer, Dave Tarrida, Rolf Mulder, W.I.R.E, SHDW, Pacou, Patrick DSP, Ansome, Sebastian Krenzlin, Rebekah, Gareth Wild, Domenico Crisci, Perc, Setaoc Mass, J.Tijn, Radial, Aiken, The Black Dog, Ness, Developer, Exium, Sawf, Joseph Capriati, Svreca, Shards, Truss, Truncate, Myler, Inigo Kennedy, Advanced Human, Operator

London centric debut album from Floating Points with a host of guest musicians and vocalists.
the label say " Sam Shepherd spent five years putting together Elaenia, juggling the production with his DJ commitments and his now-completed PhD in neuroscience.

The album takes its inspiration from classical, jazz, electronic music, soul and Brazilian music, much of which can be heard in Shepherd's DJ sets. There's a long list of contributors, with Tom Skinner and Leo Taylor (drums), Rahel Debebe-Dessalegne and Layla Rutherford (vocals), Susumu Mukai (bass), Alex Reeve (guitar), Qian Wu and Edward Benton (violins), Matthew Kettle (viola) and Joe Zeitlin (cello) all featuring. Shepherd also provides some of the vocals.

Shepherd's influence on the album extends to the cover art: he built his own harmonograph to create Elaenia's sleeve, using fibre optic cables that were connected to light sources and responded to bass drum hits and other sounds.

Aside from a couple of early excursions on R2 Records and Planet Mu, Shepherd's solo material has come out through Eglo Records, the label he co-runs with Alex Nut. Records like Vacuum, Shepherd's breakthrough release in 2009, and 2011's Shadows, which scored a five-star review on RA, have cemented his reputation as a classy, inventive producer. On top of that he's also released music from his Floating Points Ensemble project, and produced some of Fatima's 2014 album, Yellow Memories. "

An obscure tape release discovery by Red Light Radio founder and close friend of the label, Orpheu de Jong, led to Music From Memory's latest release.This two track 12' highlights the work of electronic music pioneer Joel Graham, a San Francisco based artist who self released two cassettes in 1984/85.
Originally recorded and performed live on pre-MIDI analogue equipment in 1982 as an outline for a live performance, these visionary tracks provoke much of the same sensibilities found in both contemporary dance music as well as in works of more established vanguard artists of the time. Slowly unravelling and deeply hypnotic, Joel Graham's music seems to manifest a doorway to a profound new world and can be seen as a forerunner of what was to come in electronic music.

Simple House music, created with hardware + psilocybin, some which were released on Shroom Records, sitting at #1 on DJ Sneaks wall at Gramaphone for several weeks in 1995. "a lovely reminder of piano driven 90's" - Honey Dijon

repressed !

RFBCOLOURS 002 bring L'Atelier on board. This pair from Amsterdam bring you a 4 track EP with a digi only bonus. It starts off with Again, which hits that great sample hard and gets the party started on a disco vibe with a house twist. Then theres XTC which carries on where the A1 left off. On the flip we see a serious piano workout on top of a a grooving drum arragement. To finish off the vinyl package we see Times Are Ruff take the remix on a deeper tip with some seriously crunchy basslines and rolling groove. Then if that wasnt enough theres a digital bonus that will warm up any willing club room.

Feedback:

Telonius (Gomma)
'thanks nice one'

Laurin Fedora (Sleazy McQueen (Morris Audio / Paper Recordings))
'I'm looking forward to this vinyl. Nice return to late 90s filter disco!'

kostas tassopoulos (Ekkohaus (2020 vision, morris audio, cargo edition, liebe detail))
'Solid house record, loving it, thanks....'

Harri (Sub Club)
'liking afew of these'

Gameboyz (Clouded Vision / Relish)
'we dont usually play this kind of house music, but this is very nice! will try! thanks!'

Sebastian Wilck (Sebastian Wilck, Watergate)
'times are ruff remix is strong! support'

Jonny Cade (2020 Vision / Leftroom)
'great house ep'

Tensnake
'wow, that's quite a killer, downloading thanks!'

Lauhaus Lanting (Polder / Intacto)
'nice ep guys, also diging the times are ruff mix. thanx!'

Julien Barthe (Plaisir de France, Pro-Zak Trax)
'yeah remmeber 2000'years'

Julien Sandre (Morris Audio)
'nice music'

Doc Martin (none)
'XTC for Me!!!!'

Tom Findlay (Groove Armada)
'great EP, a little bit of everything and in all the right places....'

Andrew Claristidge (Acid Washed (Records makers))
'good stuff...'

Mihai Popoviciu (Highgrade, Fear Of Flying, Hudd Traxx)
'again is cool for me!'

Dorian Paic (Raum Musik)
'xtc times are ruff remix is the one for me ! cheers Dorian.'

Hector Couto (Tribal Sessions)
'full support for this release! good music!!!'

Gianluca Pandullo (I-Robots)
'LAtelier - XTC (Times Are Ruff Remix) ! I-Robots approved!'

repressed !

Having recently joined forces with Dubfire to bring us the third instalment of their successful Elements Series, Ideal Audio boss Oliver Huntemann flies solo again on his latest double-header, Licht & Schatten. Whilst we are all aware of the Oliver's arena conquering techno credentials, his latest work finds the German producer taking his foot off gas, just a touch, and allowing the groove to dominate these tracks. The driving, pulsing and cascading bassline of Licht provides the backdrop to crisply synced, stiffly arranged hi hats and kicks, before dropping into a minimal but funky melody. On the flip, Schatten treads a similar path. The track is anchored by an industrial, mechanised kick and flash-like synth touches before swollen, acidic stabs set the pace on the drop. Both show a different but equally welcome face to Oliver's sound.

Reissue of the hot track Lava Lava by John Spring with two new version from Rydim, hot stuff vinyl only!

finally repressed !!

following the success of the first parquet most wanted ep, here comes the second volume with another 4 future classics!
finest melodic house & techno by EINMUSIK, SOLEE, WHOMI, DALE MIDDLETON and MASHK! Already huge DJ support by MARCUS WORGULL (INNERVISIONS), HOT SINCE 82 (NOIR MUSIC), JOHN DIGWEED (BEDROCK), MAX COOPER (TRAUM), BETOKO, SASHA, OLIVER SCHORIES (DER TURNBEUTEL), HERNAN CATTANEO, DEEP DISH and many more...

Hobo (Minus, Hot Creations, Tronic) launches his new imprint, Soundz, by finally releasing his highly acclaimed hit 'Mind Games'. After tearing up Ibiza and the world over this season, Mind Games is finally clawing its way out of select record boxes and into record stores everywhere. Joining Mind Games is its evil twin, 'Public Lies'. Equally epic, Public Lies builds to a fever pitch with familiar but not quite normal synth tones soaring wildly overhead. Two monster jams to kick off Soundz in that familiar Hobo style.

Bristol’s Admin renown for his digging prowess and charming, dusty beats joins the Better Listen family with a trio of chilled, jazzy house cuts.

GREEN VELVET MAKES HIS CIRCUS RECORDINGS DEBUT WITH BIGGER THAN PRINCE, HIS MOST TALKED ABOUT TRACK IN YEARS...

BIGGER THAN PRINCE WAS BORN OUT OF A CONVERSATION BETWEEN LABEL BOSS YOUSEF AND GREEN VELVET WHEN BOTH PLAYED THE INDONESIAN LEG OF THE ANNUAL CIRCUS TOUR. THE IDEA OF THE CHICAGO LEGEND CONTRIBUTING A BRAND NEW TRACK FOR THE CIRCUS X // PART 1 COMPILATION WAS FLOATED AND SOON HE WAS JOINING NINE OTHER FRIENDS OF CIRCUS WHO WERE ALL TO FEATURE IN CELEBRATION OF TEN YEARS OF EVENTS.

'BIGGER THAN PRINCE' IS A CLASSIC GREEN VELVET VOCAL NUMBER AND SHARPER AND FRESHER THAN ANYTHING WE'VE HEARD THIS SUMMER. QUIRKY AND DRIVING, ITS SET TO BE ONE OF THE TRACKS OF THE SEASON.

TO BACK THE ORIGINAL, YOUSEF HAS DRAFTED IN MORE FRIENDS OF CIRCUS ON REMIX DUTIES, HOT SINCE 82 AND THE MARTINEZ BROTHERS...



DJ FEEDBACK



STEVE MAC - "LOVE THIS RECORD AND THE REMIXES... GREAT RELEASE!!"

TOTALLY ENORMOUS EXTINCT DINOSAURS - "I LOVE THIS RECORD!!! I'LL PLAY THE ORIGINAL!"

MATTHIAS TANZMANN - "BOTH REMIXES REALLY ARE GREAT!! PERFECT FOR ME!"

LEE BURRIDGE - "IT WAS ALWAYS GOING TO BE THE ORIGINAL FOR THIS GREEN VELVET FAN!"

SINDEN - "ORIGINAL WINNING FOR ME!!!! CLASSIC GREENB VELVET... I LOVE IT!"

ZOMBIE DISCO SQUAD - "WOW! I DON'T THINK I NEED TO SAY MORE. THAT COVERS MY ENJOYMENT MARTINEZ BROS. MAYBE MY FAV."

TIEFSCHWARZ (ALI) - "A GREAT GREAT RELEASE FROM GREEN VELVET. SUPPORT!"

AXEL BOMAN - "THIS IS SUCH A COOL TRACK... LOVE THE ORIGINAL FROM GREEN VELVET!"



DANNY HOWELLS - "MEGA PACKAGE... SUPERB ORIGINAL AND STUNNING REMIXES TOO... ALL GOOD!"

DEETRON - "REALLY LIKE THE ORIGINAL AND THE MARTINEZ BROTHERS REMIX AS WELL. I'LL BE PLAYING."

UNER - "THE MARTINEZ BROTHERS REMIX IS SUPERB!! <3"

DRUMS OF DEATH - "I LOVE THIS WHOLE PACKAGE... WILL PROBABLY PLAY THEM ALL ACTUALLY! "

SOUL CLAP - "PURE FUNK, STRAIGHT UP NASTY!! "

MOXIE - "BIG BIG TUNE!!"

RALPH LAWSON - "THE MARTINEZ BROTHERS REMIX IS BEST OF THE PACKAGE FOR ME. GONNA TRY IT OUT AND LET YOU KNOW."

ALEX WOLFENDEN - "CLASSIC GREEN VELVET TRACK WITH GREAT REMIXS! MARTINEZ BROS' THE ONE FOR ME, FULL SUPPORT."

ANNIE NIGHTINGALE - (BBC RADIO 1) - "HOT SINCE 82 SOUNDS QUITE HOT IN 2013!"

LARSE - (KLUBBING, WDR 1LIVE, GERMANY) - "I LIKE THE MARTINEZ BROTHERS REMIX. WELL DONE GUYS!"

WAIFS & STRAYS (AMOS) - "ALL TRACKS ARE KILLER! THE MARTINEZ BROS REMIX IS AMAZING...FULL SUPPORT."

LUKE SOLOMON - "I HATE TO SAY IT AS I AM SUCH A HUGE GV FAN...BUT MB'S MIX KIND OF TIPS IT FOR ME. SORRY CAJ."

&ME - "I DON'T LIKE IT, I LOVE IT!!!!!!!!!!!!!!!"

GERD - GREEN VELVET = BIGGER THAN PRINCE! LOVIN' THE LINNDRUM WINK... GREAT REMIXES TOO!"



ZDAR - "LOVE THIS TUNE!!! CURTIS IS THE BEST AND ALWAYS BE... VERY GOOD MARTINEZ BROS. MIX TOO! LOVE!"

DJ HELL - "AND ANOTHER BIG TUNE FROM THE NEW PRINCE OF DANCE MUSIC! THIS IS GREAT!"

TOM FINDLAY (GROOVE ARMADA) - "GREAT EP!! MASSIVE, SUPER FRESH! GREAT CHOICE OF REMIXES TOO, BOTH SMASH IT!"

SHADOW CHILD - "YES! THE HOT SINCE 82 REMIX SOUNDS DOPE!!! "

SKREAM - "SICK RECORD!! MARTINEZ BROTHERS REMIX IS MY FAV ON FIRST LISTEN."

JORIS VOORN - "WAHAAHA CLASSIC GREEN VELVET ATTITUDE! GREAT STUFF GUYS!!"

ALIX ALVAREZ - "GREAT PACKAGE. GREAT MIXES, ESP FROM MY GUYS TMB, BEING MY FAVORITE. GONNA TRY IT OUT THIS WEEKEND."

TAYO - "THE COOLEST MOFO OUT THERE. CLASSIC GREEN VELVET. SLEAZY "CONTROVERSY" STYLE BUSINESS. LOVE."

CATZ N DOGZ (VOITEK) - "FUCK!! YES PLEASE!!! THIS IS FANTASTIC... MARTINEZ BROS. MIX MY FAV TO PLAY ON FIRST LISTEN."

IAN POOLEY - "THE HOT SINCE 82 MIX IS WICKED!! I'LL BE PLAYING THIS OUT FOR SURE!"

JD TWITCH (OPTIMO) - "I REALLY LIKE THE ORIGINAL OF THIS!! SUPPORTING."

MARC ROMBOY - "GREAT SELECTION OF VERSIONS AND GREAT TO HAVE A NEW GREEN VELVET IN THE BOX! HS82 IS MY PICK TO PLAY OUT THOUGH!!!"

DIESEL (X-PRESS 2) - "THE ORIGINAL AND THE HOT SINCE 82 MIXES AT ARE THE BEST FOR ME. WE'LL BE PLAYING THESE!!"

COPYRIGHT (DEFECTED RADIO) - "HARD TO CHOOSE A FAV. WHAT A PACKAGE...LOVE THE BEATS ON THE MARTINEZ BROS MIX...KILLER!"

The first taste from Joseph Capriati's 'Self Portrait' has landed, as Drumcode drop a double shot from techno's heir apparent hugely anticipated second album. The tracks 'Fratello' and 'Awake', have been highlights of Capriati's sets in recent months, punctuating performances at landmark gigs such as his main room closing set at the internationally respected Time Warp Festival in Germany and maiden coast-to-coast tour of the US.

'Awake' was born out of Joseph's longstanding love affair with Holland's famous Awakenings parties and is a homage to the fanatical fans who turn out en masse at each event. Tense, atmospheric and relentless, 'Awake' captures the feeling of a momentary release of energy that is such a part of the high-octane Awakenings experience.

'Fratello' has achieved anthem status since it debuted in Capriati's sets last September, such is the reaction it has garnered from fans. A work of rare beauty, this is techno at its most emotive, as hypnotic melody is laced with intricate key patterns, while the Italian's trademark shaking percussion propel the track forward.u

Disconcerting, questing brilliance from Rabih Beaini: two sick, nervy techno killers (including an Ethio homage), stalking the corrosive perimeters of noise; and deep, long excerpts from his engrossing soundtrack to Dreyer's Vampyr, with contributions from the Upperground crew, and Sun Ra in its marrow, alternately driving and motorik, off-the-wall, lost in space.

Every record includes a downloadcode to get the whole digital release for free via Facebook !!

Moenstrous teamplay EP on Moensterbox. The family in form of Moenster and Rene Onze gets joined
by newcomer Tasaka and Dan Caster & Toby Montana (Stil Vor Talent, Shaker Plates).

Played & supported by Monika Kruse, Hanne & Lore, Patrick Kunkel, Gunjah, Arts & Leni, Paco Osuna, Carlos Sanchez and many more.

first release of french duo "creative swing alliance" on endless flight.
creative swing alliance is pablo valentine and steven joyce ames.
pablo is running mcde label.there are three killer beatdown house stuff. if you are following the sound of motor city drum ensemble or dj nature, you will definetly love this release.

Played & supported by Rodriguez Jr, Max Cooper, Erman Erim, Dubfire, Dinamoe, Alec Troniq, Electric Rescue, Kaiserdisco, Microtrauma, Abnormal Boyz, Jorge Ciccioli, and many more (...)

Titel der 12" MICRO010 "Generation Einzelkind" ... Formation Rosarot Blind ... Schau, der Himmel ist blau ... Du kannst mehr sein als 'TV'.

Played & supported by Max Cooper, Ron Flatter, Alan Fitzpatrick, Nicolas Masseyeff, Hanne & Lore, Jaxson, Gabriel Ananda, Marc DePulse, Jorge Ciccioli and many more.

mega new remix from the classic !!!!

start of the miditonal sub-label for reduced techno music - supported by gabriel ananda, troy pierce, paco osuna, dominik eulberg, ivan smagghe, holgi star, remute (denis karimani), renato figoli, tim xavier, perc, blood & tears, nudisco, chris fortier, joseph capriati, da fresh, david keno, xpansul and many many more !!!

after 3 releases its time for labelboss audiophile´s debut ep - 2 tech-house tunes for either primetime or afterhour and a crazy minimal tune ft. crazy johnny hähnchen !!! for fans of harry axt or steve bug - supported by oscar & markus lange !!!

The Spinning Plates imprint returns this October with Club Winston’s ‘Guzzle’ EP, comprised of four gritty club workouts from the London artist.

The UK’s Club Winston has been steadily unveiling a series of tripped-out club ready cuts via his own UKGEORGE label over the past few years along with remixes from the likes of D.Tiffany and Tim Reaper. Here though we see him join the roster of Spinning Plates with his latest collection of works, an imprint that’s played host to material from the likes of SHKN, Neksha, Andy Rantzen, DJ Spider and Bruno Schmidt since its inception in 2015.

Title-track ‘Guzzle’ leads, laid out across five minutes with a menacing arpeggio bass lead, howling atmospherics and crunchy analogue drums. ‘Hell’ follows and tips the focus over to heavy doses of sub bass, intricately dynamic, modulating drums and intense swells of processed synths throughout.

Opening the flip-side is ‘Chart’, upping the energy levels with a pacey 4/4 drum groove while twitchy resonant synth lines, low-end pulsations and cavernous reverberations ebb and flow throughout. ‘Partook’ then rounds out the release, a cinematic ambient composition which lays focus on swirling, textural pads, glitched out resonant bleeps and fluttering low end hits.

In Sheep’s Clothing announces the long-awaited vinyl pressing of Marc Leclair’s beloved 2005 album Musique pour 3 femmes enceintes. The album will also be available on streaming for the first time via Community Music Group.

For years after Marc Leclair released Musique pour 3 femmes enceintes, he heard from listeners who had lived with the record in an unusually intimate way. Many described how the music became part of the emotional landscape of the months leading to birth. “I never expected that,” Leclair says. “Many women told me they listened to the record throughout their pregnancies. They said it made a real difference, that it helped them. It became more than just a record.”

First issued on CD in the early 2000s, Musique pour 3 femmes enceintes (Music for Three Pregnant Women) now returns in a new edition from In Sheep’s Clothing Hi-Fi, appearing on vinyl for the first time as a double LP. The record is being pressed in Detroit at Archer Record Pressing, the historic plant behind deep-groove classics by Juan Atkins, Kevin Saunderson, Underground Resistance, UR’s Jeff Mills, and J Dilla.

Listeners who know the Montreal-based Leclair through his better-known work as Akufen might be surprised by the tone here. During the same years he was shaping the intricate micro-sampling tracks that made Akufen a cult figure on labels including Perlon, Force Inc. and Trapez, Leclair was quietly developing this far more personal project. The meticulous craftsmanship remained the same, though the focus shifted from the hyper-detailed cut-up rhythms of his dance records toward something slower and more atmospheric. “I always compare my work to a jeweler,” Leclair says. “It’s really very precise. I’m a bit of a detail freak. I can spend hours or days on just one phrase in one song. Everything has to be perfectly put together.”

The project began almost accidentally. A few members of Leclair’s circle became pregnant nearly simultaneously, including one who had long believed she couldn’t conceive. The first track he recorded for the project wasn’t meant to advance a larger concept, he says. “It was meant to highlight the fact that three of my closest friends became pregnant at exactly the same time.”

Leclair was already a father with a three-year-old daughter, so the emotional terrain of early parenthood was familiar. Gradually the idea expanded. “I began thinking, why not make a whole album that celebrates this and also follows the entire pregnancy, the nine months,” he says. The music developed piece by piece, including a track originally commissioned by the Berlin experimental duo Rechenzentrum that would later become the album’s opening movement.

Nearly seven years passed between the first composition and the finished album, and the music mirrors the strange arithmetic of pregnancy itself. What begins as a single idea multiplies outward, sounds layering and branching until the album feels less like a sequence of compositions than a living process unfolding in time. “I work very slowly,” Leclair says. “Everything has to be something I’m completely behind. I never want to rush anything. I want things to come naturally.” Across its 72 minutes, the album blossoms with the patience of a long meditation on time, growth and emergence.

When Musique pour 3 femmes enceintes first appeared via Mutek, it circulated quietly but steadily. Critics who discovered it later recognized its unusual scope. In a 2006 Pitchfork review, Mark Richardson gave the record an 8.1, calling “150e Jour” “an unfailingly gorgeous and tightly sequenced quilt of guitar and piano samples reminiscent of Tangerine Dream,” and describing “85e Jour” as infused with “viscous pop ambient drift, the gauzy synth pads ebbing and flowing with rhythm.” Boomkat described the album as “a majestic opus from a producer that's always promised so much — here delving into a panoramic construction of almost visibly radiant music that works so beautifully through each and every second of its 72 minute lifespan.”

The new In Sheep’s Clothing Hi-Fi edition finally presents the record in the format Leclair long imagined. “I always thought that record deserved a vinyl edition,” he says. Spread across two LPs, the music now has room to unfold at its natural pace. More than twenty years after it first appeared, Musique pour 3 femmes enceintes remains what it was from the start: a carefully shaped meditation on transformation and the quiet miracle of life beginning.

Schwarzes Vinyl! Doppel-LP im Klappcover. Ursprünglich 2017 rausgebracht und jetzt zum ersten Mal in Europa über Sub Pop erhältlich! Pure Comedy, das dritte Album von Father John Misty, ist eine komplexe, oft sarkastische und ebenso oft berührende Reflexion über die verwirrende Torheit der modernen Menschheit. Father John Misty ist das Projekt von Singer-Songwriter Josh Tillman. Wir könnten viel über Pure Comedy sagen, zum Beispiel, dass es ein mutiges, wichtiges Album in der Tradition amerikanischer Songwriting-Größen wie Harry Nilsson, Randy Newman und Leonard Cohen ist, aber wir denken, es ist am besten, wenn sein Schöpfer es selbst beschreibt. Los geht's, Mr. Tillman: Pure Comedy ist die Geschichte einer Spezies, die mit einem unvollständig entwickelten Gehirn geboren wurde. Die einzige Überlebenschance dieser Spezies, die sich auf einem grausamen, unberechenbaren Felsen wiederfindet, umgeben von anderen Spezies, die in dieser ganzen Sache viel geschickter zu sein scheinen (und für die sie eine Delikatesse sind), besteht darin, sich auf andere, etwas ältere, halb ausgebildete Gehirne zu verlassen. Diese Abhängigkeit bekommt im Laufe der Geschichte verschiedene Namen, wie ,Liebe", ,Kultur", ,Familie" usw. Mit der Zeit und da sich ihre Gehirne als bemerkenswert gut darin erweisen, Bedeutung zu erfinden, wo keine ist, wird die Spezies zum Lieferanten immer bizarrerer und raffinierterer Ironien. Diese Ironien sollen helfen, mit der abscheulichen Verletzlichkeit der Spezies fertig zu werden und zu versuchen, ihre Fantasie mit der Monotonie ihrer Existenz in Einklang zu bringen. So in etwa. Pure Comedy wurde 2016 in den legendären United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, Kalifornien, aufgenommen. Produziert wurde es von Father John Misty und Jonathan Wilson, die Tonarbeit übernahm Mistys langjähriger Tontechniker Trevor Spencer und die Orchesterarrangements stammen vom bekannten Komponisten und Kontrabassisten Gavin Bryars (bekannt für seine umfangreichen Soloarbeiten und seine Zusammenarbeit mit Brian Eno, Tom Waits und Derek Bailey). Black Vinyl. Originally released in 2017 & now available for the first time in Europe via Sub Pop! Pure Comedy, Father John Misty's third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. While we could say a lot about Pure Comedy including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen we think it's best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species' only hope for survival, nding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like "love," "culture," "family," etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species' loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty's longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey).

On May 15, HULKOFF returns with his fifth studio album; Jotunheim - a towering new chapter that bends space and time, and throws you back to the very darkest void where the nordic sagas began - Etunaheimar. The first spiritual landscape known in the blood-memory of Fennoscandia, today referred to as Jotunheim - the realm of Giants. Founded by the former frontman of Raubtier, HULKOFF has dominated Swedish charts with multiple #1 releases, including Pansarfolk (2020), Ragnarök (2021), and Hersir (2023). As with some of the previous releases, HULKOFF once again drops a double album. With 20 tracks split across two discs -one in Swedish, one in English- the album invites the world into the frostbitten heart of the North, expanding the saga without loosing its roots. With Jotunheim, HULKOFF delivers what has become his hallmark: iron-hard riffs over folky melodies and thunderous drums. Often described as "Music for the Viking hearted", Jotunheim once again presents the established HULKOFF sound - Metal refined and enhanced by the primal organic sound from Talharpa and violin - wood, horsehair and steel. A symbiosis that is adding an earthy, ritualistic texture to the otherwise dark and heavy sonic landscape.

Solid Red Vinyl Edition - 10@ Mini album. Originally release in 2025 in a painfully limited 2x7" + Book edition.

"Dream of the Egg" is the debut solo album by Tomo Katsurada, known for his work with the Japanese psychedelic band Kikagaku Moyo. This project is a unique fusion of music and visual art, inspired by the Japanese 1920s children's book “Yume No Tamago (Dream of the Egg)”. It reveals a deeply personal journey, reflecting Tomo's dreams and the numerous rebirths experienced in 2024—a year marked by profound new beginnings in every facet of his life.

This mini album was driven by a passion for raw and immediate expression. Every song was crafted and recorded with only the materials available to him at the time, embracing an organic and handmade atmosphere. By eschewing rhythm clicks and standard instrumental tunings, a spontaneous sound emerged, capturing the essence of both uncertainty and immediacy. Adding to this distinctive sonic landscape, guest musician Jonny Nash (UK) contributed ethereal guitar sounds on the first and final tracks, enriching the record's dream-like quality.

The journey begins with the opening track, "Moshimo," which means "If..." in Japanese. Here, Jonny's guitar weaves seamlessly with the vocal melody, creating a harmonious dialogue. The first half of the album concludes with "Zen Bungalow" a cover of Gabriel Yared's “Bungalow Zen” from the soundtrack of the film “Betty Blue 37°2 Le Matin”. This particular track is his partner’s favourite song to listen to every morning and left a profound impression on him. One day, he heard a song in his dream that combined both of these tracks and loved how they blended together. This experience inspired him to create a new arrangement, "Zen Bungalow," which has become a central piece of the “Dream of the Egg” album.

The third track serves as an interlude, printed on a flexi disk attached to the middle of a picture book. This interlude transitions the listener into"Inner Garden," a bittersweet folk song that explores themes of love. The EP's narrative spans 20 minutes, culminating in the final title track “Dream of the Egg”. This piece features a delicate session between Tomo & Jonny, combining cello and guitar to create a spectrum of tones that evoke the imagery of a rainbow. The focus on smooth dynamics and meticulous play reflects an intent to convey a sense of physical trembling. This track sounds like the beginning of a new dream; as if the egg of one’s dream is about to hatch, bringing a sense of anticipation and wonder to the listener. Throughout the album, a variety of instruments come into play, drifting between notes and embracing the beauty of imperfection. By incorporating free-form sounds in a highly technological age, the record aims to reconnect listeners with the tangible, human-made quality of sound.

Special Thanks
Jonny Nash – Guitar

First ever vinyl release of this massive classic psychedelic black rock funk compilation. Lovingly reproduced for audiophiles on black vinyl and packaged in a fully artworked sleeve and labels and shrinkwrapped. Limited edition vinyl press! “One of the best compilations of formerly released material ever made. A classic” “The whole compilation is pretty damn sweet, but anything dug up by Iron Knowledge is essential listening”!

SURFILMUSIC, ein Dokumentarfilm, der Johnsons Entwicklung vom Surfer zum Filmemacher und schließlich
zum weltbekannten Musiker nachzeichnet, begleitet ihn bei der Entstehung seiner legendären Surf-Filme
”Thicker Than Water” (1999) und ”The September Sessions” (2000). Diese Klassiker offenbarten Johnsons
künstlerische Sichtweise durch seine Kamera und seine Gitarre und begründeten letztlich seine Musikkarriere.
Der neue Film feiert die lebenslangen Freundschaften und die vom Meer geprägte Gemeinschaft, die Johnsons Weg geprägt haben, und zeigt viele der Surfer, die in den Originalfilmen zu sehen waren, darunter Kelly
Slater, Rob Machado und die Malloy-Brüder. Er fängt auch den gemeinsamen Geist der Entdeckungslust
und Kreativität ein, der seine Musik und seinen Umweltschutz bis heute inspiriert.
Für den Soundtrack schlossen sich Hermanos Gutiérrez, langjährige Bewunderer von Johnsons Musik und
Surf-Filmen, ihm im Studio an, wo Johnson auch wieder mit dem Produzenten Mario Caldato Jr. (Beastie
Boys, Seu Jorge, Beck) zusammenkam, der mehrere von Johnsons beliebtesten Alben, darunter ”In Between
Dreams” und ”Sleep Through the Static”, co-produziert hatte. Was als gegenseitige Wertschätzung begann, entwickelte sich schnell zu einer kreativen Verbindung und Freundschaft, aus der ein wunderschöner
neuer Song, „Hold On To The Light“, und eine originelle Filmmusik hervorgingen. Ihre Zusammenarbeit
wird sich auch auf die Bühne erstrecken, wo die Brüder an vielen Terminen als Vorgruppe für Johnson
auftreten werden.
Außerdem enthält das Album 4 einzigartige Tracks, welche Johnson in den 1990er Jahren auf seinem 4-
Spur-Kassettenrekorder aufgenommen hat.

Pratt & Moody melden sich mit einer neuen 7"-Single auf Timmion Records zurück, auf der ,Hard Way To Live" und ,You Bring Me Joy" zu finden sind - zwei tiefgründige Soul-Stücke, die ihren Platz unter den wahren Pionieren des modernen Sweet-&-Beat-Soul-Revivals erneut untermauern. Geschrieben und aufgenommen zusammen mit Timmions bewährter Hausband Cold Diamond & Mink, setzt die Single eine Tradition fort, die schon immer die Grenze zwischen zeitgenössischem Songwriting und zeitloser Soul-Ästhetik verwischt hat. Die A-Seite, ,Hard Way To Live", zeigt Pratt & Moody ganz in ihrem Element der Beat-Balladen. Aufgebaut auf einem warmen, funkigen Fundament, schafft der Song ein Gleichgewicht zwischen emotionaler Tiefe und melodischer Leichtigkeit, während der Refrain in Crossover-Soul-Pop-Gefilde übergeht. Textlich setzt er sich mit den Narben des Lebens und der stillen Schwierigkeit auseinander, den Schmerz loszulassen, den sie verursachen - das Gefühl, weiterzulaufen, selbst wenn man das Letzte von dem, was man hatte, bereits aufgebraucht hat. Auf der B-Seite entfaltet sich ,You Bring Me Joy" wie eine langsam brennende David-Lynch-Szene; sein dramatischer Einlauf erinnert an Soundtrack-Soul, bevor er in einen von den Staple Singers der Stax-Ära inspirierten Refrain übergeht. Tremolo-getränkte Gitarrenlinien verweisen auf klassische Dark-Surf-Musik, während Emilia Siscos gospelartige Hintergrundstimme an Mavis Staples erinnert und den Track zu voller emotionaler Entfaltung bringt. Zusammen bieten diese beiden Songs einen lebendigen Vorgeschmack auf das kommende Album von Pratt & Moody - ein tieferes Eintauchen in gefühlvolles Storytelling, ihre bewährten Lowrider-Soul-Fähigkeiten und moderne Klarheit, das bald bei Timmion Records erscheinen wird.

Back to back deep roots here. Both sides produced by Niney the Observer on one of Augustus Pablo's all time masterpieces, the 555 Crown Street rhythm. The A-side is Johnny Clarke chanting out "Warrior", then flip it over for Ranking Trevor, one of the most underrated deejays ever, breezing out over a dubbed cut with plenty of our beloved bleeps. These were undoubtedly dubplates at the time they were made in the '70s, but both first released later, the Johnny Clarke on CD in the 1990's, and the Ranking Trevor actually much earlier in 1979, when the late great Dave Hendley released it on his Sufferers Heights label. Both tunes have been issued in a couple forms since, but not in quite a while, and we just love them and felt they were too good to remain unavailable; top shelf essential material.

JoeyStarr is the co-founder of the famous French rap duo Suprême NTM. Originally starting out as breakdancers and graffiti writers, the duo is known for representing the perspective of minorities residing in the underprivileged neighbourhoods of Paris and beyond through dark, gritty, politically-conscious lyrics. Despite achieving record sales with their four albums, they split in 1998.

After a few detours away from the music business, in 2006 JoeyStarr dropped his first solo album. Egomaniac, released in 2011, is his second album and includes some high-profile collaborations; on "Mamy..." he works together with Nicoletta on a rework of her 1971 hit single "Mamy Blue" and the interlude "Appel À La Resistance" features a speech by leading left-wing politician Olivier Besancenot. After its initial release, the vinyl edition went out of print so we're happy we can finally make it available again.

Egomaniac is available as 15th anniversary edition of 1000 individually numbered copies on orange vinyl and includes an 8-page booklet.

Sari Jordan ist Sängerin, Songwriterin und Musikerin mit einer Stimme, die durch ihre unverfälschte Ehrlichkeit und verspielte Kühnheit besticht. Ihre Musik ist komplex und ätherisch, funky und fröhlich - ein kontrolliertes Feuerwerk. Die in New Jersey geborene und in New Orleans lebende Künstlerin beschäftigt sich mit den Widersprüchen in Beziehungen, Macht und Liebe. Jordans einzigartige Stimme und ihre introspektiven Songs tanzen am Rande der vierten Wand, die zwischen Künstlerin und Zuhörer schimmert. ,PERFECT BE THE ENEMY" ist ihr Debütalbum. Das Projekt mit 11 Songs kehrt Trauer und Wandel von innen nach außen und schmückt die emotionalen Erdbeben des Lebens mit eklektischen Grooves, hypnotischen Gitarrenlinien und einem warmen, goldenen Licht - wobei Jordans Stimme und Geschichten durchscheinen. Aufgenommen in New Orleans im Lil Squeeze Studio von Ajaï Combelic, wurde das Projekt von Jordan, Comebelic und Robin Sherman koproduziert, der auf der Platte auch Bass spielt. Jeder Song ist wie ein lebhafter Eintrag in einem Sammelalbum - Sari nimmt uns mutig mit auf eine Reise ins Selbst. Sie erinnern uns daran, dass nichts endgültig ist, alles im Fluss liegt.

After a savage summer of performing over 35 festival shows, COLLIGNON continue their journey with the release of Bicicleta.

Bicicleta was written and recorded right in the midst of the band's summer tour. Gino, Yves and Jori seized the moment, the album captures exactly where they currently stand as a band: thriving on the energy of their live performances, with the desire to dive deeper into their music.

The result is Bicicleta—a diverse and authentic album that stays true to COLLIGNON’s distinctive blend of wildly grooving beats, psychedelic guitars, and sharp keyboard riffs. The music transports listeners across many borders, all while maintaining their signature COLLIGNON sound.

This album was made with vinyl in mind, designed to be experienced as a complete journey. From the first Maloya rhythms of "Fonkér la Mér" (Kreol for 'fond du cœur de la mer', meaning ‘from the bottom of the heart of the sea’) to the Brazilian groove and cosmic crescendo of "Vai Vai Vai (Into the Stars)", Bicicleta is a trip that flows from track to track.

The album, recorded while Jori left his Portuguese studio for a year-long stay in the Netherlands, pays homage to what -without engine, exhaust or pollution- might be considered the finest emblem of Dutch culture: the bicycle.

The words of adventurer Nellie Bly, written in 1896, still ring true today: ‘In a frenetic era of expanding possibilities, cycling offers a journey into a landscape of dreams. The bicycle has always signified independence and freedom in steering one’s daily course and the byways of its occasional adventures.’

To truly experience this album, nothing compares to holding the vinyl sleeve in your hands and spinning the record on your turntable.

Not all 'All Stars' style releases live up to their name, but this multi-artist extravaganza from Demuir's Purveyor Underground Ltd label most certainly does. The Canadian artist has snapped up tracks from some genuinely impressive deep house talents, with predictably fine results. For proof, check the deliciously dreamy, hazy and rolling opener from Atlanta star Byron The Aquarius, the jazzy bass, locked-in beats and lightly psychedelic layered aural textures of Fred P's 'Sunny Rain Drops (Cosmic House Edit)' and the softened DJ Sneak-style sample-rich peak-time bump of Demuir's own 'Alone In Chicago'. Elsewhere, M Squared reaches for elongated electric piano chords, eyes-closed samples and jazzy house grooves on 'Dance', before Justine Joe delivers an exquisite exercise in jazz-house jauntiness ('AFaOA (As Far As Our Attitude)').

Essential compilation of long lost hard to find Detroit classics! Now & Then features five 90s original tracks and 2 brand new remixes from Detroit In Effect and Terrace. Top that up with 2 unreleased 90's tracks from John and we have the perfect compilation for the true heads, TIP!

Sixteen killer 70s reggae funk and soul cuts from the likes of John Holt, Lee Perry, Cornel Campbell, The Cimarons, The Chosen Few and more featuring superb reggae takes on songs by artists including The Jackson 5, William DeVaughn, Diana Ross and The Supremes, War, The Temptations, Roberta Flack, The Stylistics and others!

Well-documented is the influence of American black music on Jamaican styles of the 1960s – from the birth of ska music, when The Skatalites ska-ified the jump-up southern USA rhythm and blues music of Rosco Gordon, Louis Jordan and Fats Domino, through to the creation of rocksteady when Jamaican artists like The Techniques, The Paragons, Alton Ellis and The Melodians turned to the slower rhythms and soulful harmonies of groups such as The Impressions and The Drifters for inspiration. 

Less-well established is that in the 1970s Jamaicans didn’t (shock!) stop listening to American black music styles, with many 70s reggae artists as invested in soul, funk and the proto-disco sounds of Philadelphia, as was the case with rhythm and blues in the previous decade. In the 1970s, while Jamaica promoted its own roots reggae styles around the world, powerhouse USA soul labels such as Motown, Philadelphia International and Stax Records were at the same time all popular on the island.
This interaction between American and Jamaican music was not limited to Jamaica. In Britain, first-generation Caribbean-émigré children in the 1960s and early 70s grew up with an equal love of both soul and reggae, which manifested itself in the home-grown arrival of lovers rock in the mid-1970s.
Soul Jazz Records’ new ‘Reggae Island Soul’ tells this story of how soul and funk-infused reggae in the 1970s united the sounds of Jamaica, USA and the UK into a highly addictive cultural hybrid of styles.

San Diego’s Mrs. Magician has always bent surf music and punk into something delightfully off-kilter — sun-soaked, hook-heavy power pop with a lyrical fixation on life’s darker undercurrents. Their 2012 debut, Strange Heaven, was a nihilistic pop statement that grew into a cult classic. The 2016 follow-up, Bermuda, sharpened the edges with punchy, nervy songwriting. Both records were produced by John Reis (Rocket From The Crypt, Hot Snakes, Drive Like Jehu), cementing the band’s place in Southern California’s underground lineage. Now, in 2026, Mrs. Magician reemerges with their long-awaited third LP, Spiritual Hangover. Recorded at Dave Grohl’s Studio 606 and Singing Serpent Studios with producer Christian Cummings, Spiritual Hangover finds songwriter Jacob Turnbloom trading youthful nihilism for something more reflective. Where earlier records wrestled with existential dread through anthemic defiance, this new collection embraces uncertainty — an admission of ignorance in the face of the human condition, paired with a genuine longing for connection and understanding. The humor remains. The hooks are sharper than ever. But the perspective has shifted.

These songs feel less like a declaration of dominance and more like a celebration of fragility — an acknowledgment that life is fleeting, confusing, and still worth enjoying. The album features Andrew Montoya (drums) and Mark Rivera (bass) of The Sess, Ian Fowles (guitar) of The Aquabats, and John Reis (guitar). Spiritual Hangover channels the bright urgency of late-’70s power pop through a distinctly Californian lens — warm, melodic, and irresistibly alive. “Super fun, well crafted, with great melodies. It gives me that late ’70s power pop energy I loved so much as a kid. Every track has something joyous to grab onto. In a world full of bleak news, Spiritual Hangover is a warming blast of California sunshine.” — Walter Schreifels (Gorilla Biscuits/Quicksand)

Following a huge wave of global support since its digital debut, ‘Edge Of Desire’ from Jonas Blue & Malive finally lands on 12" vinyl. A fitting format for one of the most talked-about house records of the past twelve months.

Since its release in July 2025, ‘Edge Of Desire’ has become a genuine streaming and club phenomenon. The sun-drenched house cut built on shimmering guitar riffs, bubbling synths and an irresistible vocal hook quickly took on a life of its own, topping Beatport Overall Chart and spending weeks in the Top 10 while racking up 100 million streams worldwide and over 100,000 global radio plays. From major playlists to festival stages, the track’s uplifting energy has made it a staple for selectors and listeners alike, with early DJ support from tastemakers including Adriatique, Adam Ten and Carlita.

Now, ahead of summer 2026, the record arrives on a special 12" vinyl edition bringing together the original alongside standout reinterpretations from some of house music’s most respected names. Dutch favourite Franky Rizardo delivers a groove-heavy club workout, Florida legends Jazz-N-Groove add their unmistakable soulful house touch, while Grigoré & Serve Cold transform the track into a deep, rolling dancefloor weapon.

With the original continuing to dominate playlists and dancefloors around the world, the vinyl release of ‘Edge Of Desire’ feels perfectly timed. Ready to soundtrack open-air sets, beach parties and late-night club moments throughout the season. For DJs, collectors and house music fans alike, this pressing captures the record at the peak of its momentum: a modern Defected anthem finally given the wax treatment it deserves.

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

Water Sign is the debut EP from producer and instrumentalist John Silas: a five-track suite that moves fluidly between peak-time dance and inward reflection. Deeply aligned with the open-eared ethos of NYC’s Love Injection Records, the release channels house and jazz into an emotive personal chronicle shaped by movement, memory, and community.

At its thematic center is “Boundaries,” a dynamically arranged dance-floor meditation that begins with piano, 4/4 kick and restless hi-hats before blooming into radiant synth work reminiscent of classic disco auteur Patrick Adams. Midway, the track shifts—electric piano, whistles and percussion reframing the groove into what Silas calls “hues of vulnerability.” The result mirrors the arc of love, release and renewal.“Cyber Dreams” leans into lush escapism, buoyed by surging keys and impassioned flute from Domenica Fossati, while a remix from Detroit mainstay Patrice Scott (Sistrum Records) adds unmistakable Motor City weight. “Foster Child” nods to Silas’ hero, the late Paul Johnson with exuberant Chicago spirit, and “Nasty” delivers a concise workout featuring Marquinn Mason’s robust saxophone.

Water Sign reflects Silas’s trajectory—from a childhood steeped in Soul Train, coming of age with hip hop, to MPC craftsmanship, his Detroit musical family and present-day Brooklyn—into a deeply personal record equally suited to discerning DJs and deep listeners.

Shit Robot and DFA are psyched to rerelease 2015 anthem "Where It's At", a collaboration with the singer/comedian/television star Reggie Watts. Reggie Watts' vocal performance runs the gamut of Chicago dance music history - from the gloom and melodrama of iconic label Wax Trax, to the jubilant choruses of Frankie Knuckles' house anthems. But let's not de-emphasize the solid instrumentation provided by Mr. Marcus 'Shit Robot' Lambkin - we've got that classic DFA bassline, claps, and bleeps and bloops aplenty - mixed and manipulated by none other than our own James Murphy. The flip features a remix by London producer Johnny Aux, who turns the track into a staticy, stripped down, raw Deep House banger, with hissing glimmers of icy cymbals peeking through the smog.

Cosmic Journey is the new album by Little Lion Sound, bringing together the sound system's most significant releases from the past two years. The album embodies the DNA and artistic evolution of Little Lion Sound, reflecting a deep love for reggae and sound system culture, as well as a strong ability to build bridges between generations and territories.

Born from sound system culture and firmly rooted in reggae, Little Lion Sound has developed an open and modern musical vision over the years, blending contemporary reggae with hip-hop influences while always preserving the essence of the genre. Cosmic Journey perfectly illustrates this approach through a coherent and immersive soundscape, driven by deep basslines and meticulous attention to textures and arrangements. The album also stands out for the richness of its collaborations, bringing together iconic artists and rising voices from the international reggae scene. From Jamaican foundations (King Kong, Capleton) to new generations, passing through Brazil (Jô), London (Brother Culture), and Trinidad & Tobago (Queen Omega), each contributor brings their own color, energy, and signature. The project also highlights collaborations with producers from France, Costa Rica, and Jamaica, further enhancing the diversity and balance of the album.
Cosmic Journey is a true invitation into their musical universe. A celebration of creativity, authenticity, and the collaborative spirit at the heart of sound system culture, this sonic journey is designed as a complete experience where tradition and innovation meet, uniting established artists and emerging talents.

Tracklisting:

Lately, it feels like the world is one endless bad news cycle. Joshua Idehen isn’t here to pretend otherwise – but on the spoken word artist’s new album, I Know You’re Hurting, Everyone Is Hurting, Everyone Is Trying, You Have Got To Try, he provides a phenomenal sonic, poetic space. Made with his creative partner, musician Ludvig Parment, the album (out 6 March 2026) is an urgent but transcendent collection that holds you through it all, filled with grief, euphoria and hope.

I Know You’re Hurting… comes after the virality of Idehen’s track Mum Does The Washing, a wry and whipsmart poem examining how the world works (which started life as a Twitter thread), set to Parment’s spacious beats. The song has seen the pair propelled beyond Idehen’s wildest dreams this past year.

Across the album, that means uplifting choirs, cozy samples and exuberant, sometimes house-tinged beats. “I am personally drawn to music that transports you to a place, or scene or mindset,” says Parment. This is topped with ruminative musings on morality and human connection; about the longer loves in life – like friendships, family – that sustain us. These come from Idehen and Parment, along with a host of friends and collaborators, including writers Leone Ross and Charlotte Manning, and vocalist Amanda Bergman, to help expand on the topics of the record without sounding preachy. Similarly, there are musical guests including saxophonist Pete Fraser and Shabaka Hutchings on flute, each helping to imbue the album with a rich warmth.

Prajñāghoṣa's debut ambient album on Into The Deep Treasury is a narrative, a musical poem, an attempt to share the story of a transformative odyssey — an outer and inner journey marked by higher aspirations, spiritual growth, and a profound connection with the world.

REPRESS ON SILVER VINYL . COMES WITH 24”x24” POSTER + DOWNLOAD CARD + GATEFOLD JACKET.


On The Beths’ album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships – platonic, familial, romantic – and more importantly, their aftermaths. The shapes and ghosts left in absences. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. With Expert, The Beths wanted to make an album meant to be experienced live, for both the listeners and themselves. They wanted it to be fun -- to hear, to play -- in spite of the prickling anxiety throughout the lyrics, the fear of change and struggle to cope.

Most of Expert was recorded at guitarist Jonathan Pearce’s studio on Karangahape Road in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) -- and sometimes in the building's cavernous stairwell at 1am -- toward the end of 2021, until they were interrupted by a four-month national lockdown. They traded notes remotely for months, songwriting from afar and fleshing out the arrangements alone, the first time they’d written together in such a way. The following February, The Beths left the country for the first time in more than two years to tour across the US, and simultaneously finish mixing the album on the road. That latter half felt more collaborative, with everyone on-hand to trade notes in real time, until it all culminated in a chaotic three-day studio mad-dash in Los Angeles. There, Expert finally became the record they were hearing in their heads.

Expert is an extension of the same skuzzy palette the band has built across their catalog, pop hooks embedded in incisive indie rock. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

The rest is a capsule of The Beths’ most electrifying and exciting output, a sonic spectrum: “Your Side” is a forlorn and sincere love song, emotive; while “Silence is Golden,” with its propulsive drum line and stop-start staccato of a guitar line winding up and down, is one of the band’s sharpest and most driving. “When You Know You Know” skews a bit groovier, pure pop and a natural addition to the band’s live set. “Knees Deep” was written last minute, but yields one of the best guitar lines on Expert. There’s a certain chaos across the 12 tracks, the palpable joy of playing music with long-time friends colliding with the raw nerves of pain.

Stokes strings it all together through her singular songwriting lens, earnest and self-effacing, zeroing in on the granules of doubt and how they snowball. Did I do the wrong thing? Or did you? And are we still good people at the end of it? She isn’t interested in villains, but instead interested in just telling the story. That insecurity and thoughtfulness, translated into universality and understanding, has been the guiding light of The Beths’ output since 2016. In the face of pain, there’s no dwelling on internal anguish - instead, through The Beths’ music, our shortcomings are met with acceptance. And Expert In A Dying Field is the most tactile that tenderness has been.

Steig ein in die neueste Mega-Firma von Seattle, Telehealth. Sind sie Rebellen, die mit Synth-Punk/New Wave die Grundlagen unserer techno-kapitalistischen Hölle untergraben wollen? Oder sind sie Unternehmer, die Marken aufbauen, um die Märkte zu stören und die Massen auszunehmen? Der einzige Weg, das rauszufinden, ist, ihr Debütalbum für Seattles älteste Mega-Firma, Sub Pop Records, zu kaufen. Green World Image folgt auf eine ausgedehnte US-Tournee, ein selbst veröffentlichtes Album und eine knackige 7"-Single aus dem Sub Pop Singles Club aus dem Jahr 2023. Für Fans von B-52s, Water From Your Eyes, Devo und Snooper. Die Kalshi-App ist ein ,Prognosemarkt für den Handel mit der Zukunft", eine Plattform, auf der Leute auf das Ergebnis von fast jedem realen Ereignis wetten können - von der Genauigkeit der Wettervorhersage bis hin zur Frage, ob in Gaza offiziell eine Hungersnot ausgerufen wird oder nicht. Als der Mitbegründer der Plattform, Tarek Mansour, Ende 2025 als offizieller Wett-Partner zu CNN kam, meinte er nach dem Deal: ,Die langfristige Vision ist, alles zu finanzieren und aus jeder Meinungsverschiedenheit einen handelbaren Vermögenswert zu machen." Telehealth wurde in dem chancenreichen Umfeld des Post-COVID-Seattle als skalierbares Musik-Startup mit ähnlichen Zielen gegründet. Das Unternehmen wurde 2022 von dem Ehepaar und Glücksspielbegeisterten Alexander Attitude (Synthesizer/Gesang/Gitarre) und Kendra Cox (Synthesizer/Gesang) gegründet, zu denen sich die langjährigen Mitarbeiter Ian McCutcheon (Schlagzeug), John O'Connor (Bass) und Dillon Sturtevant (Gitarre) gegründet. Die Gruppe will alle Meinungsverschiedenheiten darüber, wie die chaotische lokale ,Musikszene" weitergehen soll, zu Geld machen. Kann man DIY sein und gleichzeitig eine gute Suchmaschinenoptimierung haben? Kann man progressives kulturelles Ansehen und bares Geld gleichzeitig verdienen? Ist Kunst, die durch ,Kulturförderungen" der Tech-Industrie finanziert wird, irgendwie langweilig, authentisch gorpcore (junge Männer leben laut der New York Times den ,Quarter-Zip-Lifestyle") oder ironischerweise punkig? Für Telehealth ist die Antwort auf diese Fragen nicht ja oder nein, sondern eher eine unerschlossene Lücke im Musikmarkt, die auf eine Band wartet, die visionär und verrückt genug ist, auf die Verbreitung zu setzen. Produziert von Trevor Spencer, Green World Image, ist das zweite Album von Telehealth (nach dem Debütalbum Content Oscillator und einer Veröffentlichung des Sub Pop Singles Club, beide aus dem Jahr 2023) und sein Börsengang mit den Angel-Investoren Sub Pop ein vertikal integriertes Kunstwerk für die Post-Grunge-, Post-Flanell-Seattleiter und Konsumenten auf der ganzen Welt, die ebenfalls bereit sind, ihre eigene Leidenschaft für Musik zu finanzieren. Das traumainformierte, ergebnisorientierte und äußerst tanzbare Weirdo-Punk-Album ist inspiriert von Attitudes Zeit als ehemaliger Architekt in einer Climate PledgedÖ-Stadt, die mit ihrem Netzwerk aus effizient zonierten 5-über-1-Gebäuden die Kunst der ,Green World"-Architektur perfektioniert hat. Der PNW-Post-Punk von Telehealth schafft ähnliche architektonische Räume, in denen sich die glänzenden, futuristischen, techno-industriellen Rhythmen und Synthesizer des Seattle der Bezos-Ära mit dem rohen, unabhängigen Underground-Sound vermischen, den die Stadt aus kulturellen und Marketinggründen liebevoll bewahrt. Das Ergebnis? Stell dir XTC, REM und YMO vor, mit einem stärkeren Fokus auf ROI. Stell dir The B-52s vor, aber B2B. Stell dir einen intelligenteren Brainiac, einen transhumanen Gary Numan oder einen terminalen Online-Pylon vor. Endlich eine Band mit so vielfältigen Talenten, dass sie sowohl in deinem Keller als auch in den Amazon Spheres spielen kann.

[a] 1[USER ONBOARDING SEQUENCE]

REPRESS ALERT! Long out of press and with copies regularly changing hands for close to £100 on the second-hand market, Air Miles are proud to present a limited repress of their inaugural release, “An Ode To Midnight EP’ by Jeigo.

The tone is set from the off with the eponymously named first track of the release ‘an Ode to midnight’. The tracks mellow break beat feel is met by warm rushing pads, ebbing and flowing between textures of the night before last.

Floor focussed, zero fussing ‘Wing Systems’ carries the front side at an orbital trajectory. No time for an intro, the drums jolt you into alertness, the wobbly bass perfectly counterpointed by gated, washing keys.

‘Lime Hawk’, melancholic euphoria brings the release back to the conscious. It’s structure toy-fully crescendos and builds, all while the Balearic synth peaks with the sub line keeping you grounded throughout.

Rounding off the record is ‘By My Side’ meandering the record into slightly darker territories. The shifting keys wash over, the siren call vocals penetrate and the thudding kick punches through, anchoring the track as an emotionally driven, cerebral affair.

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

DJ Feedback

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

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

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

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

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

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

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

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

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

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

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

Felix Joy/Rinse FM:
"Sounding great!"

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

Der Altsaxophonist und Flötist Alan Braufman trat erstmals in den 1970er Jahren in der New Yorker Loft-Jazz-Szene als einzigartige Persönlichkeit in Erscheinung. Sein Debütalbum ,Valley of Search" aus dem Jahr 1975 wurde später als Meilenstein des Spiritual Jazz und Free Jazz anerkannt. Nach Jahrzehnten außerhalb des Rampenlichts kehrte Braufman mit einer neuen Welle der Anerkennung zurück und veröffentlichte 2020 und 2024 zwei hochgelobte Alben, die ihn sowohl als unverzichtbaren Veteranen als auch als wichtige zeitgenössische Präsenz neu etablierten. Anthem for Peace wurde an einem einzigen Tag im Herbst 2025 aufgenommen und ist ein völlig neues Studioalbum, das Braufman in der Gegenwart einfängt. An der Spitze eines Quartetts mit der Vibraphonistin Patricia Brennan, dem Bassisten Luke Stewart und dem Schlagzeuger Chad Taylor präsentiert er prägnante, eingängige Kompositionen, die fließend zwischen spirituellen Hymnen, beschwingtem Post-Bop und Free Jazz wechseln. Brennans Vibraphon - akustisch schimmernd und gelegentlich elektronisch bearbeitet - verleiht dem Ganzen Tiefe und Farbe, während Stewart und Taylor eine eng verzahnte, reaktionsschnelle Rhythmusgruppe bilden. Das Ergebnis ist Musik, die ,verspielt und leicht, aber dennoch texturreich" (NPR) ist: optimistisch, fokussiert und von einem klaren Gefühl der Vorwärtsbewegung getragen.

After Maghreb K7 Club – Synth Raï, Chaoui & Staïfi (1985-1997) and Maghreb K7 Club Disco Singles Volume 1, 2, and 3, Sofa Records and Les Disques Bongo Joe team up again for a new project exploring funky, synth-driven tape music from the Maghreb.

This compilation brings together eight songs —delivering a Saharan pop sound melted with reggae, dub, new-wave and funk — by Yassine (Ahl) Nana, the iconic figure of Mauritanian pop music in the 1980s and 1990s. Yassine and his band recorded songs between Nouakchott, Paris, and Rabat, resulting in only a pair of rare cassette tapes. This music was definitively part of the vibrant wave of African sounds sweeping across the continent at the time, from Abidjan to Oran and Kinshasa.

This compilation features previously unreleased recordings, along with liner notes, interviews, and exclusive iconography.

Shawn Lee, the Silver Fox, did it again! He managed to persuade David Fostex to reord a follow up to his intriguing 2023 offering "Dark Yacht" with an even more cutting-edge venture into the world of sinister, mysterious world of the super yacht sounds and releases "Dark Yacht 2" including 10 new, original compositions written during a frosty, starry night somewhere near Marina Del Ray.

"As I find myself entering into the new era of my personal musical odyssey, I reflect back to a simpler time -a kinder, more gentle world where people listened without hearing," says David Fostex. "An artistic genius such as myself could easily live a life of excess and luxury without even breaking a sweat. I now find myself slaving away in a hot cramped home studio perspiring profusely over childlike chord structures and rudimentary themes. However, I am still reaching for musical greatness and to be perfectly honest, I am creating sonic masterpieces beyond the shackles of my so-called peers- if you can even call them that. My work speaks for itself and I speak for myself. So it is with great pride that I present to you ,Dark Yacht 2', an intimate journey into the mystical world of DAVID Jeremiah FOSTEX the living legend and purveyor of all things good and true. You will laugh-you will cry… Find a friend or a loved one… hold them close and listen to the splendour of what no doubt will be considered to be one the greatest albums of all time. You're welcome".

Sultans Ghost Ship LP was originally released on Sympathy For The Record Industry in 2000. While RFTC looked for a new drummer, Speedo (armed with an 8 track tape machine and 3 microphones) devised yet another alias as “Slasher” and concocted this primordial ooze of moped scuzz, punk rock and roll. Ghost Ship was met with enthusiasm by those seeking blistering relief from the weak, whiny, wretched and wimpy wannabes du jour.

The sound is full on, straight ahead with only starting gates and finish lines between songs. The band played some shows around California and would slightly evolve on their second LP Shipwrecked. Ghost Ship is Sultans at their most thuggish and hairiest. Taking inspiration from Australia’s Chosen Few, Ramones bootlegs, Misfits bootlegs and then challenging themselves to be as thrifty and impatient as possible, the songs are intentionally brief, similar and burly. After this was recorded these tapes lay dormant in a shed for over 20 years. When the tapes were recently unearthed it revealed unreleased songs recorded after Ghost Ship yet before the band’s follow up LP Shipwrecked. Some of these songs would later be absorbed by RFTC and re-recorded. These songs are included here as bonus tracks and offer no relief to the record’s unrelenting pace.

Single Lock Records feiert das 10-jährige Jubiläum von Dylan LeBlancs hochgelobtem drittem Album ,Cautionary Tale" mit einer limitierten Auflage auf gelbem Vinyl. Er kehrte nach Muscle Shoals zurück, um seine Wunden zu lecken und sein drittes Album zu schreiben, mit den Produzenten Ben Tanner (Alabama Shakes) und John Paul White (Civil Wars) an der Spitze. ,Bei diesem Album geht es darum, dass ich ehrlich zu mir selbst bin", sagt Dylan. ,Ich musste die Schuldgefühle über die Vergangenheit loslassen und eine neue Wahrheit in mir selbst finden. Dieses Mal hatte ich das Gefühl, dass ich wirklich etwas zu sagen hatte."

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine

GALA announce Ten Years of GALA – a compilation marking a decade of independent culture

Ten Years of GALA is both an archive and a horizon: a reflection on where GALA has come from, and a signal of what lies ahead.

Founded in 2016 as a one-day gathering in South London, GALA has grown into a global point of reference for dancers, artists and collectives drawn together by a shared commitment to independence, collaboration and underground music culture. Rather than charting success through scale alone, the festival has consistently prioritised integrity, community and musical curiosity – values that underpin this release.

Spanning fifteen tracks, Ten Years of GALA unfolds as a considered journey. It opens with an intimate spoken contribution from Charlie Dark, grounding the compilation firmly in GALA’s home of Peckham before gradually expanding outward into fuller, club-focused terrain. From there, the record moves between moods and tempos, tracing a path from reflective moments into the physical language of the dancefloor.

The compilation brings together longtime friends of the festival alongside newer voices drawn into its orbit in recent years. Each artist contributes a distinct perspective, but collectively the tracks form a coherent portrait – not of a single sound, but of a shared ethos shaped over ten years of gatherings, collaborations and days spent dancing together.

Rather than a retrospective in the conventional sense, Ten Years of GALA functions as a living document. It captures fragments of past editions, scenes and relationships, while remaining firmly oriented toward the future. These are not museum pieces, but records designed to be played, shared and folded back into the spaces from which they came.

Together, the compilation holds a piece of GALA’s first decade – not as a closed chapter, but as a foundation for what comes next.

Elations Recordings presents "Terra Ignota", the long-awaited new full length album from elusive Melbourne-based fusion ensemble Krakatau. "Terra Ignota" marks a return and an epochal shift for the group, a deep exploration of possible sonic spaces and a portent of things to come.

In the years since 2016's cosmic jazz funk-prog-spiritual 12" "Tharsis Montes/Apogean Tide" Krakatau have worked on refining their craft as instrumentalists and writers, expanding further into the world of jazz and fusing influences from world folk musics, contemporary jazz and the European post-minimalist music of the 1980s and early 90s. "Terra Ignota", literally translated as "Unknown Land", takes its name from the cartographer's notation for uncharted territory, the blank spaces on maps where knowledge gives way to imagination and speculation, gesturing towards the group's studio explorations and search for new sonic worlds in the years spent developing the record.

The results are a diverse yet unified combination of sounds and influences across five tracks that see Krakatau drawing closer to the independent underground "world" jazz scene of the 1980s than anything contemporary. The album opens with the digi-minimalism and fourth world atmospherics of title track "Terra ignota", a percussion heavy latin fusion sound in "Birds of Passage", and melancholic ambient saxophone and synthesiser duo "In Memory". Three-part epic "Cosmetic Surgery" journeys through a long, complex post-minimalist arrangement into latin fusion and contemporary jazz, followed by the contemplative ECM-styled acoustic quartet closer "Trial in Absentia".

The album features significant contributions from saxophonist Rob Vincs, former Victorian College of the Arts head of Jazz and Improvisation and a collaborator with Australian musician Brian Brown; layered percussion and wordless vocals from Brazilian percussionist and esteemed songwriter Alcides Neto; and a guest performance from trumpet player Reuben Lewis on the title track.

Naarm/Melbourne producer Mistr Dean delivers the first release on the city’s newest label, Lower Power, a nine-track double LP rooted in Dub influences.

The project is at its core, a journey that progresses through ambient and house adjacent soundscapes, to methodically constructed grooves. Phase Shift, Solanin, Automagic and Send Dub all exemplify the consistency and range of the record, and Dean’s clear ability to build clean tracks from the ground up.

While it has a clear cohesive identity, Phase Shift leans into a diversity of sound and feel, suitable at points, for the bar, club, couch or frankly, any function you feel.

IN2POL rounds out the record with a remix of the title track that brings its own distinct weight to the LP’s sound and, to no one’s surprise, it truly is a weapon.

Credits:
Mixed by Mistr Dean
Mastered by Brendan Zacharias at Cirius Audio

Mit "Hoarse" zeigen sich 16 Horsepower in ihrer radikalsten und unmittelbarsten Form. Das Live-Album fängt die Intensität der Konzerte in Denver und Paris ein und präsentiert Songs aus Low Estate und Sackcloth "n" Ashes in Versionen, die härter, wilder und präziser wirken als ihre Studio-Originale. Schon das von David Eugene Edwards" Akkordeon getriebene Intro von "American Wheeze" baut eine Spannung auf, die sich in eruptiver Kraft entlädt. Die Band agiert wie eine perfekt eingespielte Maschine: schwer, aber niemals stumpf; filigran, aber stets von innerem Druck durchzogen. Coverversionen wie "Bad Moon Risin"", "Fire Spirit" oder Joy Divisions "Day of the Lords" werden in eine düster glühende, beinahe rituelle Energie verwandelt. Die Oxblood Vinyl Edition bringt diesen Live-Klassiker zurück - rechtzeitig zur Reunion-Tour 2026 und als essenzielles Dokument der außergewöhnlichen Bühnenmagie der Band.

Nach einer dreijährigen Pause kehrt der schwedische Singer-Songwriter Thomas Jonsson mit ,Give Up Together" zurück, seinem sechsten Album als I'm Kingfisher. Nach dem 2023 erschienenen, hochgelobten Album ,Glue", das größtenteils gemeinsam mit Jazzmusikern arrangiert wurde, hat sich Jonsson dieses Mal für einen etwas anderen, härteren Sound entschieden - mit einer brillanten Sammlung von Americana-Songs, die von ruhigen Drums, markanten E-Gitarren und satten Streichern umhüllt sind, während sie gelegentlich zu reduzierten Folksongs dekonstruiert werden. Als eines der bestgehüteten Geheimnisse Schwedens und als einer der besten Songwriter der nordischen Folk-Welle hat Jonsson still und leise ein mehr als beeindruckendes Repertoire aufgebaut, während er die Bühne mit Kevin Morby, Courtney Marie Andrews, The Weather Station und Damien Jurado teilte, und ist nun endlich bereit, neben seinen berühmteren Zeitgenossen ins Rampenlicht zu treten.