A love letter to Canada sees Adams explore new musical territory, drawing on country, folk and rock while telling stories inspired by the people, places and history of home. How's It Goin' could be the most Canadian album ever written! Inspired by the landscapes, characters, stories and current affairs that are all part of Canada's ongoing history, How's It Goin' sees Adams explore a different musical landscape of his own. Alongside the unmistakable songwriting and voice that have been at the heart of his music, the album introduces elements of country and folk, giving the record a warm, roots-y character. Among the songs are "Diesel and Dirt," "How's It Goin'," "Iron Ribbon" and "The Battle of Lundy's Lane". "The idea was simply to make a record about Canada," says Adams. "It started with writing the song for the documentary, 'Canada's Wild Eastern Edge' and after doing so much research, I was inspired to start writing more songs about Canada. Musically it took me somewhere a little different too, which made the whole thing exciting." One of the album's most poignant moments is "The Ballad of Terry Fox," Adams' tribute to one of Canada's most inspirational figures.The song will also be featured in the forthcoming new documentary film about Terry Fox, entitled "Run Terry Run". How's It Goin' acknowledges Adams' roots and delivers an album that is at times personal, cinematic and, occasionally, reflective but always unmistakably Adams.
21 Bum Salute is the fifth album from Sydney experimental psych-noise-pop duo Party Dozen. The work of Kirsty Tickle (saxophone, vocals) and Jonathan Boulet (drums, loops, production), 21 Bum Salute finds the critically-acclaimed, semi-improvised duo feeling liberated - from their peers, their worries, and what the nell they're supposed to sound like now.
Emerging in 2017 from the warehouses of the Sydney experimental noise-rock scene, Party Dozen arrive at the release of their fifth album, 21 Bum Salute, in peak form. Over the course of four, increasingly perverse albums of psych-tinged rock peppered with pop noise and bursts of doom in equal measure, they've transformed from gleeful noise-makers producing DIY albums from a tiny room in Marrickville, NSW, to globe-hopping, critically-adored favourites - producing DIY albums from a tiny room in Marrickville.
As well as tours with Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Tropical F*ckstorm, Algiers and more, Party Dozen had Nick Cave appear on 2022 single Macca The Mutt', collabed with New York rapper billy woods, performed an incendiary live set on KEXP, signed international deals, firstly with Temporary Residence LTD (Mogwai, Explosions in the Sky,
Along the way Party Dozen self-released their first two albums, The Living Man (2017) and Pray For Party Dozen (2020), struck a chord internationally with album The Real Work (2022), which sent them on tours of Europe, North America, Japan, China and New Zealand, while fourth LP, Crime in Australia (2024), an ode to Aussie noir that leaned beyond rock into moodier moments, repeated it.
Party Dozen recorded, mixed and mastered 21 Bum Salute completely themselves, over a three month span. Inspired by spooky "old recordings" as well as the primal impulses of acts like ESG and Bikini Kill, 21 Bum Salute - named after a peculiar, larrikin ritual in Australia's arid Northern Territory - condenses consecutive years of jam sessions, loops and improvisations into just over half an hour's worth of fizzing, strutting, striking sonics from the fringes.
21 Bum Salute is the fifth album from Sydney experimental psych-noise-pop duo Party Dozen. The work of Kirsty Tickle (saxophone, vocals) and Jonathan Boulet (drums, loops, production), 21 Bum Salute finds the critically-acclaimed, semi-improvised duo feeling liberated - from their peers, their worries, and what the nell they're supposed to sound like now.
Emerging in 2017 from the warehouses of the Sydney experimental noise-rock scene, Party Dozen arrive at the release of their fifth album, 21 Bum Salute, in peak form. Over the course of four, increasingly perverse albums of psych-tinged rock peppered with pop noise and bursts of doom in equal measure, they've transformed from gleeful noise-makers producing DIY albums from a tiny room in Marrickville, NSW, to globe-hopping, critically-adored favourites - producing DIY albums from a tiny room in Marrickville.
As well as tours with Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Tropical F*ckstorm, Algiers and more, Party Dozen had Nick Cave appear on 2022 single Macca The Mutt', collabed with New York rapper billy woods, performed an incendiary live set on KEXP, signed international deals, firstly with Temporary Residence LTD (Mogwai, Explosions in the Sky,
Along the way Party Dozen self-released their first two albums, The Living Man (2017) and Pray For Party Dozen (2020), struck a chord internationally with album The Real Work (2022), which sent them on tours of Europe, North America, Japan, China and New Zealand, while fourth LP, Crime in Australia (2024), an ode to Aussie noir that leaned beyond rock into moodier moments, repeated it.
Party Dozen recorded, mixed and mastered 21 Bum Salute completely themselves, over a three month span. Inspired by spooky "old recordings" as well as the primal impulses of acts like ESG and Bikini Kill, 21 Bum Salute - named after a peculiar, larrikin ritual in Australia's arid Northern Territory - condenses consecutive years of jam sessions, loops and improvisations into just over half an hour's worth of fizzing, strutting, striking sonics from the fringes.
If Sylvie’s New Season were a movie, Ben Schwab would be the auteur, screenwriting and directing the vision, articulating his story through a cast of actors. In truth, New Season is a record of the freewheeling country-rock variety, Sylvie’s first with Ghostly International, and it finds the Los Angeles-based artist at the helm of a rotating ensemble, arriving at pure, joyous expression and renewed faith in the face of hardship. It’s a rare and refined kind of musical gesture, both intimate and all-embracing, self-produced, penned singularly, delivered collectively. An invitation to find beauty in life's trials and to trust that even the longest winters can give way to a new season. Like Sylvie’s self-titled effort, New Season still rings of the sunny, lighthearted, and smooth 1960s and ’70s pop, rock, and country sonics that have become the project’s signature. While Schwab constructed that 2021 project mainly with friends in his orbit, stemming from his time playing in Drugdealer’s band and other peripheral projects, he has broadened the scope tenfold for his full-length debut, New Season. The shapeshifting collective executes on an alluring mix of nostalgic and modern sensibilities, recalling the free-spiritedness of Laurel Canyon and bohemian-era Nashville with a contemporary sheen.
Nashville’s Jess Kerber focuses on the profound resonances of simple moments, pairing delicate acoustic guitar lines with her rich and captivating tenor. The World Is Dark, but I Want It to Be Funny, her second LP for Felte, is a deeply affecting collection of homespun poetry and natural artistry that finds the artists reflecting on personal history, the emotional intricacies of relationships, and the value of cosmic perspective. She explains,“These songs come from a space of feeling a little left behind, so a lot of the album is about realizing and accepting impermanence, and learning how to be good to yourself and to others.”
Opening with “Familiar Strangers”, Kerber gets to the heart of her greatest talents: fluid fingerpicking, emotive vocal cadences, feather-light touches of piano, and subtle harmonies. “Louisiana Song” positions a lyrical chain of childhood recollections up against the literal rising waters that will one day submerge a cherished place: “I think about being southern / and the sand on the gulf coast / When I think about returning / I am wading in a graveyard”.
Throughout The World Is Dark, Kerber navigates an emotional tightrope, fully aware of the ills of the world while trying to find connections and peaceful corners. Even with all their nuances and challenges, she suggests, our relationships are essential to staying grounded, even when we lose them. “Much of my writing is about facing the struggles head-on, balancing what you need to do to survive while remaining true to yourself,” she says. There are echoes of influences like Joni Mitchell, Gillian Welch, and Lomelda, though Kerber injects her own unique wit, wonder, and humility into every passage, allowing the listener into her head for a spell while quietly taking up residence in theirs.
On November 6th, Asthmatic Kitty Records will release Worst Christmas Ever!, a single-LP collection that distills Sufjan Stevens’ expansive holiday catalog—drawn from the box sets Songs for Christmas and Silver & Gold—into one definitive collection. The album pairs fifteen favorites, selected from more than one hundred Christmas recordings, with the newly released original song "On This Christmas (It Only Gets Better)," Sufjan's first new Christmas song in nearly fifteen years.
Available on LP, CD, and cassette, Worst Christmas Ever! is the perfect introduction for new listeners and an essential addition for longtime Sufjan Christmas devotees.
"Part of what makes Sufjan Stevens' contributions to the Christmas canon so enduring and remarkable is that they're almost overpoweringly effort-intensive. He views the holidays as a labor of love—worthy of creativity and care, hard work and an ocean of ideas."
— NPR
"9 EPs and 100 recordings later, Stevens has undoubtedly accepted his reputation as a Bing Crosby for the thirtysomething NPR listener."
— Consequence of Sound
On November 6th, Asthmatic Kitty Records will release Worst Christmas Ever!, a single-LP collection that distills Sufjan Stevens’ expansive holiday catalog—drawn from the box sets Songs for Christmas and Silver & Gold—into one definitive collection. The album pairs fifteen favorites, selected from more than one hundred Christmas recordings, with the newly released original song "On This Christmas (It Only Gets Better)," Sufjan's first new Christmas song in nearly fifteen years.
Available on LP, CD, and cassette, Worst Christmas Ever! is the perfect introduction for new listeners and an essential addition for longtime Sufjan Christmas devotees.
"Part of what makes Sufjan Stevens' contributions to the Christmas canon so enduring and remarkable is that they're almost overpoweringly effort-intensive. He views the holidays as a labor of love—worthy of creativity and care, hard work and an ocean of ideas."
— NPR
"9 EPs and 100 recordings later, Stevens has undoubtedly accepted his reputation as a Bing Crosby for the thirtysomething NPR listener."
— Consequence of Sound
Originally released in 2009, this massively in-demand record has been changing hands for anywhere between £50 and over £100 now finally available once again. You only need to check the width and depth of the DJ support tells you all you need to know.
DJ Support: A-Trak, Andy & Jaymo, Annie Mac, Brodinski, Cagedbaby, Damon Martin, DJ Mehdi, Erol Alkan, Filthy Dukes, Groove Armada, Hell, Jesse Rose, Joe Ransom, Kissy Sellout, Kris Menace, Pedro Winter, Riton, Rory Phillips, Seth Troxler, Severino, Shit Robot, Simian Mobile Disco, Thomas Schumacher, Trevor Jackson and The Whip
Retro Grade, (Serge Santiago and Tom Neville) an exciting act on the electronic music scene, revolutionising the world of Italo House with their release titled "Moda." This captivating track, infused with nostalgic vibes and infectious grooves, promises to transport listeners back to the heyday of '90s dance music while maintaining a fresh and contemporary sound.
"Moda" showcases Retro Grade's ability to seamlessly blend classic Italo House elements with modern production techniques. The track features pulsating bass lines, and euphoric synth melodies all meticulously crafted to create an irresistible sonic experience. From start to finish, "Moda" exudes an infectious energy that gets floors moving.
Not content with delivering a stellar original track, Retro Grade enlisted the talents of acclaimed artist Sound Klash to provide a mind-blowing Remix of "Moda." Sound Klash, known for this boundary-pushing approach to music production, puts his unique spin on the track, infusing it with his signature dubbed-out house sound. The result is an extraordinary reimagining that takes "Moda" to different heights, showcasing Sound Klash's unparalleled ability to reinvent and elevate electronic music.
"Moda" and its captivating Sound Klash Remix are set to make waves across the scene.
A haunting, cinematic journey into a village that exists beyond time and place, Requiem For A Village is Steven Wilson’s most intimate and imaginative work yet. Blending dark folk, rock and electronica, the album unfolds as a continuous 54-minute “film for the ears,” populated by strange archetypes and eerie folklore. The album is narrated by David Tennant and written with Andy Partridge (XTC).
A haunting, cinematic journey into a village that exists beyond time and place, Requiem For A Village is Steven Wilson’s most intimate and imaginative work yet. Blending dark folk, rock and electronica, the album unfolds as a continuous 54-minute “film for the ears,” populated by strange archetypes and eerie folklore. The album is narrated by David Tennant and written with Andy Partridge (XTC).
From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.
From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.
,Oru Ye Ye Ye" des nigerianischen Musikers Prince Omo Lawal-Osula ist ein herausragendes Werk des Edo-Highlife und verbindet traditionelle westafrikanische Rhythmen mit experimentellen Gitarrenklängen und mitreißenden Call-and-Response-Gesängen. Gemeinsam mit seiner Familienband erschafft er ausgedehnte, hypnotische Kompositionen voller Percussion und Energie. Aufgenommen im legendären Joromi Studio von Sir Victor Uwaifo, zeichnet sich das Album durch seinen innovativen Sound und seine kraftvollen Drum-Breaks aus, die weit über Nigeria hinaus bekannt wurden. Die Neuauflage wurde direkt von der Familie des Künstlers lizenziert und sorgfältig remastert.
“I am not sure which of us it is that's writing this page” - Jorge Luis Borges. There are places where a river runs through the story even when you cannot see it. Austin Cash grew up in the Arkansas Delta, and Nathan Smerage in the Chicago suburbs, their paths crossing years later in Fayetteville, Arkansas, where both became members of the Ozark Free Music Society, a loose congregation of musicians who made free and experimental music in non-traditional venues across the city. ‘River Season’ began as an impulsive text sent to Smerage in the summer of 2024, Cash suggesting they should make an album of guitar duets. Calling his bluff, Smerage returned a folder of recordings within a week. Cash had a handful of pieces of his own, originally written for an unreleased film about an Ozarks ceramicist. The songs began traveling back and forth between them by email, however, after opening for the Magic Tuber String Band and playing the compositions live for the first time together, realised the decision to record them live was the only true option. For four days, in the basement apartment where Cash lived, they recorded River Season live. The result is a meticulously composed collection of steel-string guitar music: part folk record, part road map.
Fahey and Ackerman are somewhere in the distance, alongside Bert Jansch, Nick Drake, Marisa Anderson, Nathan Salsburg, Loren Connors, and others. But River Season belongs to neither Arkansas nor Chicago entirely. Cash grew up in Arkansas before moving to Chicago, whereas Smerage grew up in Illinois before moving to Arkansas. River Season catches the two musicians at an intersection in their paths; it belongs to the stretches of road and rivers between them, real and imagined. "This new collaboration between Austin and Nathan is intimate and tonally diverse. Many of the tracks see Austin playing acoustic and Nathan on electric. The statements are succinct (all but two clock in under four minutes) and idiosyncratic. "Bell Harp" and "Painting Friend" are two stand out examples for me in which the textures of the electric/acoustic pairing play off each other in a way that I can't say I have encountered before." -Evan Morgan (Magic Tuber Stringband)
Alek Lee and vocalist Margeeah come together for a boutique 7″ pressing limited to 200 copies, featuring two tracks blending soul, reggae, disco and dub. Lee, whose catalogue includes releases on Antinote and Isle of Jura, brings his background in slower, dub oriented productions to a collaboration built around Margeeah’s vocals and live instrumentation. The sound sits somewhere between Massive Attack’s Blue Lines and Grace Jones.
Margeeah comes from the Israelite community, whose musical history includes The Soul Messengers. Her debut album, Looking for Love, was recorded in 1983 with Kingdom Sounds, originally issued as a private press LP and reissued by Frederiksberg Records in 2025. Its musicians included Abshalom Ben Shlomo, associated with Sun Ra. Her vocal style spans soul, jazz, funk and reggae, with reference points including Roberta Flack and Doug & Jean Carn.
For this release, Lee records his own live drums and percussion for the first time, alongside his signature smoky melodica lines. The production develops the reggae elements of Margeeah’s singing, combining bass driven arrangements with live rhythms, spacious guitar lines and dubby approach.
On the A side, “The Music Inside”, Margeeah effortlessly projects Lee’s lyrics about optimism and the desire for inner and outer freedom. Built around a recurring vocal refrain, the track places her voice over a rooted reggae arrangement.
The B side, “Can You Feel It?”, moves seductively towards a slower disc-dub sound. Bass and drums provide the foundation, with the percussion developing from a restrained groove into a fuller live kit arrangement. Melodica and guitar weave around Margeeah’s lead vocal and the hypnotizing title phrase.
With “Rides Again Again And Again” US born and London resident singer, songwriter, producer, arranger und multi-instrumentalist extraordinaire Shawn Lee releases the third part in a series of very personal albums.
“Returning to my ‘Rides Again’ project feels like a home coming of sorts-familiar yet completely different from how I remembered it,” Shawn Lee says. “This time out it felt really fresh and freewheeling. Discovering things which were already there but somehow had remained hidden just out of sight. The genius of JJ Cale provided a lot of inspiration for this album. I had to pay tribute with the song ‘JJ’ in his honour. I also wrote a song for my dad called ‘Helluva Way’ who sadly passed while I was finishing the album. Multiple US tours last year with Young Gun Silver Fox informed lyrics on several tunes particularly ‘Hot Food’ and ‘Plastic Forks and Paper Plates’. The latter features a motley cast of characters on the ‘hell yeahs and the outro sing -a-long. My wife Kiren, Andy ‘Young Gun’ Platts, his wife Jodie and daughter Frankie plus all the live members of YGSF band, Ederlezi, as well as Smith & Liddle and our tour manager Claire Darling all contributed to the cause on ‘Plastic Forks’. Songs about Evel Knievel, my dog Carla, Tacos and Abilene Kansas round out the album as-well as a few instrumentals to boot. Three albums into the ‘Rides Again’ trilogy and I feel like I’m just getting started. So saddle up partners and join me on this musical ride!”
Swiss saxophonist Gilles Torrent may have been initially smitten by the sounds of US jazz giants like Coltrane, Shepp and Sanders, but as he’s developed and matured he’s cast his creative net much wider. After teaching himself the sax at 21 he spent the next 11 years studying the concepts and innovations of Coltrane before moving on to take the next logical step - exploring and soaking up the many styles music from around the world, and incorporating them into his Coltranesque vision of jazz.
Atestament to that workis the opening theme,‘La Longue Traversée Du Désert’whereTorrent directs an impressive ensemble of musicians – known collectively as World Jazz Sound - on a global trip from the plains of Africa to the pastures of England and even the mountains of his homeland Switzerland. Tracks like ‘Osso Varourn Ta Sidhera’, which pairs Beuna Vista-style Cuban rhythms with Grappelli-esque violin, or the transcendental calm of ‘Fridhia Mou’, complete with dainty harp and sultry Indian female vocal part, see the ensemble immersing themselves in the traditions and atmospheres of a panorama of different cultures, joining the dots between them all and gathering them up into one cohesive whole.
From the ancient and traditional – their effortlessly swung take on ‘Scarborough Fair’ for example – to the inspired but unconventional use of yodelling on ‘Chant des Alpes’, eventually giving way to a sensational modalworkout, this is an album full of widescreen freshness, surprises and, above all, the joy of discovery and experimentation. Originally released onCD in 2010, the sheer overwhelming beauty of the music withinhas compelled us at Jazzman to deliver these sanctified sounds onaudiophile standard 180g vinyl, for all to enjoy.
2x180g LPs featuring 8 tracks in total, housed in a single sleeve + download code.
When Swingrowers released their debut in Sept 2012, electro swing was a bubbling cultural zeitgeist. This Italian band were among the earliest pioneers who helped shape the sound of the vintage-influenced genre. Their debut 12 track collection paved the way for the brilliant albums that followed and indeed for the ongoing popularity of the genre. A little rougher around the edges but with all the early promise on show, this album completes a 4 piece set for fans and collectors.
Swingrowers went on to release a further 3 studio albums, toured internationally, playing major festivals includingMontreux Jazz Festival, Glastonbury, Boomtown and Tokyo’s Blue Note Festival. Their music has to date amassedmore than 100 million streams worldwide on Spotify alonewith videos clocking up many millions more.
Pronounceditself is a revelation. It stood the test of time as one of the earliest complete and fully-realised Electro Swing albums that seamlessly blend 20’s and 30’s influences - violin, gypsy jazz guitar, saxophones and swing music - with polished contemporary production. Here, superb musicianship meets great songwriting meets a unique modern sound from Swing Hop to Drum n Bass with jazz-inflected vocals in English and Italian.
As we approach the 15 year anniversary, Pronounced is being released on wax for the first time.
This releasecompletes Swingrowers’ entire album discography on vinyl, joining existing editions of Remote, Outsidein and Hybrid.
For long-time fans, collectors and anyone who discovered electro swing through artists such as Caravan Palace and Parov Stelar, Pronounced is a chance to finally own the sound of a young band (and indeed an up-start young genre) at the very start of their career.
Remix by Shubostar, artwork by Neasden Control Centre
We're thrilled to welcome Lauer to XXX the label with XXX018.
Delivering his unmistakable blend of driving rhythms, uplifting melodies and club energy, Lauer presents three originals that capture his signature sound: fast-paced, euphoric and built for the dancefloor.
On remix duties, Shubostar takes things into deeper territory with a slower, hypnotic interpretation, stretching the originals into a cosmic journey while preserving their infectious groove.
A meeting of two distinct yet complementary visions, this is XXX018. Wrapped in an original artwork by Neasden Control Centre, the release finds its visual counterpart in bold shapes, playful abstraction and a touch of surrealism.
Monster release by the Swedish Starving Insect and Japanese Miyuki Omura.
The Cinematic horror concept EP "Ningyo no Hausu" (Translated: House of Dolls) offers 4 bangers that will send shivers down your spine.
The theme track Hausu has both a Techno and a Hardcore version as well as A remix By label boss Tripped himself.
The "Disturbing, haunting & Scariest and strongest music" (as quoted in Kanji on the cover art)
dares you to indulge on this journey but remember "In this house... evil itself pulls the strings."
****COVER WITH AUGMENTED REALITY**** Argentinian producer Translate synthesises states of consciousness and perceptions into his semantics of sound, creating a distinct language of mental techno through hypnotic repetition, precision and deeply immersive atmospheres. His presence in this realm extends through his label Relativity, whose latest EP brings together tracks by Mike Parker and Oscar Mulero, while his own productions have appeared on Svreca’s Semantica Records. For his DIG release, Translate shifts into a broader spectrum, revealing a side of his production that has remained unexplored until now. DIG Curated captures this moment of a new sonic expansion between his signature hypnotic journeys and a stripped-down techno sound. Expansive opens the record with Translate’s distinct mental techno, pushed into an added psychedelic dimension. With a vast and trippy sound, the track steadily fills the space, inviting the dancers to go inward and simultaneously reach out into a collective morphic field. With Discursive, the coordinates shift, introducing a very stripped-down techno side of Translate’s production and a palette rarely heard from him before. Reduced to its essential elements, the track cuts directly through the floor with a functional groove, whilst retaining the tension embedded in his sonic DNA. On the B side, Fuse accelerates with fast-moving pads, mechanical drums and swerving loops that gradually lock the body into trance. Quirky textures spiral throughout, with robotic glitches sounding like organic beings. Coefficients closes the record by pulling the listener into rich bass and expanding loops over a cold melody that guides the final journey into a cosmic unfold. Hypnotic sci-fi vocals emerge from an interplanetary future, traversing space in search of earthly traces. The record ends suspended somewhere between the transmission and unknown, like a sonic threshold. Words by Lora Mateeva Animation/Artwork - Marcin Pospiech Master - Nihad Tule Graphist - Ferdinand Prat
Celestial Echo Records presents Nathaniel Best – Set Your House In Order, an incredible gospel soul LP from 1986, finally back in circulation.
Originally released on Spirit Records of Nevada, the album is very much of its time in the best way — gospel music with drum machines, warm synths and basslines that push it right into modern soul and boogie territory. Nathaniel Best’s voice carries the whole record with real conviction, joined by group vocals and arrangements that give the album that rich, uplifting 80s gospel soul sound.
For us, the standouts are clear. “Call Him” is the boogie dancer — bright, driving and full of movement, the kind of gospel cut that sits perfectly in a modern soul or boogie set. The title track, “Set Your House In Order”, is something else entirely: a beautiful downtempo soul glider, deep and heartfelt, with that slow-burning quality that makes the whole LP feel so special.
Those two tracks tell the story, but the magic runs through the whole record. Scattered across the album are these amazing slower gospel soul moments, balanced with enough groove and lift to keep it moving. It’s not just a one-tracker, it’s a proper LP with feeling, range and a sound that collectors have been chasing for years.
Best’s musical story runs deep. He grew up around gospel, recorded from a young age, played piano in church, sang with the Love Center Choir under Bishop Walter Hawkins, and later worked with names including The O’Jays and The Fairfield Four.
Original copies have always been hard to come by, and the album has built a serious reputation with gospel, soul and boogie collectors over the years.
Celestial Echo Records presents Nathaniel Best – Set Your House In Order, an incredible gospel soul LP from 1986, finally back in circulation.
Originally released on Spirit Records of Nevada, the album is very much of its time in the best way — gospel music with drum machines, warm synths and basslines that push it right into modern soul and boogie territory. Nathaniel Best’s voice carries the whole record with real conviction, joined by group vocals and arrangements that give the album that rich, uplifting 80s gospel soul sound.
For us, the standouts are clear. “Call Him” is the boogie dancer — bright, driving and full of movement, the kind of gospel cut that sits perfectly in a modern soul or boogie set. The title track, “Set Your House In Order”, is something else entirely: a beautiful downtempo soul glider, deep and heartfelt, with that slow-burning quality that makes the whole LP feel so special.
Those two tracks tell the story, but the magic runs through the whole record. Scattered across the album are these amazing slower gospel soul moments, balanced with enough groove and lift to keep it moving. It’s not just a one-tracker, it’s a proper LP with feeling, range and a sound that collectors have been chasing for years.
Best’s musical story runs deep. He grew up around gospel, recorded from a young age, played piano in church, sang with the Love Center Choir under Bishop Walter Hawkins, and later worked with names including The O’Jays and The Fairfield Four.
Original copies have always been hard to come by, and the album has built a serious reputation with gospel, soul and boogie collectors over the years.
Hope & Sorrow turns 20: Wax Tailor announces a limited collector's edition in Orange & Black Marbled double vinyls.
Twenty years ago, Wax Tailor released Hope & Sorrow, his second album. Following the success of Tales of the Forgotten Melodies, this new record confirmed and amplified a trajectory already well underway. Gold record certification, a world tour, an Indie Music Award in the United States, and a nomination at the Victoires de la Musique in the "Best Electronic Artist" category: Hope & Sorrow would firmly establish his singular world, blending trip-hop, finely cut samples, and cinematic arrangements, far beyond French borders.
Two decades later, Hope & Sorrow has lost none of its power. To celebrate this anniversary, Wax Tailor unveils a limited collector's edition on double gatefold vinyl, crafted both for those who have followed the album since its release and for those discovering it today.
An opportunity to revisit a pivotal record in his discography, one that played a major role in establishing Wax Tailor on the international stage.
44 Page, A6 magazine.
UK Garage Volume 2 features the likes of Relentless, Hotpoint, Large Joints, Big Apple, Quench, EC2A and many more.
The Icon Catalogue is a series of small A6 zines profiling 40 record labels in various dance music genres such as Jungle, Techno, UK Hardcore and Dubstep. From the most important labels responsible for the scene’s foundations to rare, hard-to-find imprints that are now defunct, plus a few heavy-hitting newcomers.
The 2018 album Igor Stravinsky’s The Soldier’s Tale is the adaptation by Roger Waters (co-founder of Pink Floyd) on the 1918 same-titled theatrical work. Waters recorded this version with members of the Bridgehampton Chamber Music Festival at Bridgehampton Presbyterian Church.
The original theatre work is one “to be read, played, and danced” by three actors (the soldier, the devil, and a narrator) and dancers, accompanied by a septet of instruments. The libretto relates the parable of a soldier who trades his fiddle to the devil in return for unlimited economic gain. The music is scored for a septet of violin, double bass, clarinet, bassoon, cornet or trumpet), trombone, and percussion. The libretto is adapted by Roger Waters from the translation by Michael Flanders and Kitty Black, based on the original text by Charles-Ferdinand Ramus.
The Soldier's Tale is available as a limited edition of 1000 individually numbered copies on green vinyl and comes in a gatefold sleeve with linen laminate finish. The vinyl package includes a 4-page booklet with lyrics and pictures.
DJ Support: Vladimir Ivkovic, Calm, LefTo, Dawn Again, Dream Chimney, Alexis Le-Tan, Afterlife, Sofa Elsewhere, Kreggo, Froid Dub, Johan Blende, Sean Johnston, Fabio De Luca, Dr. Rob, Leo Mas, Mark Broadbent, Patch, Stefano Tucci, DJ Nova
Three years after dropping Rapido Super studio on Hell Yeah, Caramel 3000 has slowed things down even further for his new eight-track LP, Super Tempra. This playful work gets stranger but even more inviting than ever with his signature OB-6 synth and the Eurorack modular, oodles of springy reverb, delayed balafon and scattered spoken-words. Caramel 3000 splits his time between the muddy waters of the Barene, south of the Venice Lagoon, and the dim light of a studio in Anderlecht. When not cruising in his sun-bleached wooden boat, he cherishes in the little light that reaches him at his shelter in Anderlecht. Renata and Piero, the couple on the artwork, once passed through that studio. This irregular sonic fusion of this EP came out of that visit. It's a fantastical collage that dissolves the boundaries between devotion and daydream with syrupy choir voices and fragments of Nancy Fraser lectures drifting in and out like the plot of a half- remembered hallucination. Quotes from legendary Italian singer Ornella Vanoni, children’s percussion and mystic melodies are looped and modulated into slow-burning psych - outs.
After the ancient sci-fi dub of the opener, 'Corsa Nudi' pairs the occult with the primitive, 'Arena Deriva' melts to watery droplets and glacial waves, and 'Acqua Tofana' is polyrhythmic tribalism from another dimension. 'Lente Virtus' marries melodic innocence to trippy humid density and 'Soft-shell Crab' is a woozy kaleidoscope with the happy accidents left in. 'Cacciatore di Frodo' is a haunting apparition from the deep and 'Vittoria Foresta' suspends you between the earthly and the otherworldly. Super Tempra is half the speed but twice the depth and full of wonder.
Do not adjust your tuning! Cowper emerges disc in hand from the liminal static, exposing us all to his peculiar brand of outsider club chaos. Boldly, slowly, Goa-ing into the fray, these three tracks chew your ear off in the sonic language of acid, trance and progressive house, churning and gurning their way deep into the darkness. In the time since the first dispatch of edit excellence, Cowper’s Between Stations has firmly established itself as an essential underground outpost, adding tape releases by Tolouse Low Trax, Zato and Miles J Paralysis to a growing catalogue of genre-fluid mayhem, consistently captured by his essential Noods Radio shows. Introducing itself with a gut punching kick and gurgling prog throb, the first track here is simultaneously upbeat and downcast, a glorious gloom-core ode to narcotic indulgence.
Extra-terrestrial pads and choral synth hark back to childhood days of Perfect Dark before a trance lead interrupts all remaining neural connections. When that snare lands in the second half we’re in fully fledged techno-pagan mode, red-faced and rushing right till the end. Assuming that even xenomorphs dance sometimes, this end of the world apocalypso is absolutely their jam. Track 2 tunnels further into the planetary core, 16bit woodblocks and bells sitting atop synthetic swells and hoover-ish vamps, before a hooning bassline drops like a sledgehammer on your unsuspecting ear drums. An unexpected, but very welcome left turn into mid track breakbeat provides a moment of airy reprise before we lock back into the cavern-shaking groove until the run out abates. For the encore, Cowper didgeri-doesus with the oscillating bass and molasses-apache break of a techno-tribal, prog-frog delicacy. Complete with the type of mantra vocal usually found on pound-bin trance or superspenny Dream House rarities, and a little acid-gwamph resonance abuse Josh Wink would be proud of, this chug-athon sounds a bit like Psychic TV tuning into Psy-trance, which is a very good thing indeed. Dark, dense and musky stuff that will drive a proper dance floor wild.
Machetes & Micheladas pairs Coyote’s sharp, street-rooted lyricism with Statik Selektah’s signature boom-bap polish, delivering a cohesive West Coast–meets–East Coast statement packed with heavyweight features. The album moves effortlessly between gritty anthems like “Can I Get A Hell Yeah” with Conway The Machine and the raw energy of “Fuck Everybody” with Daylyt, while keeping a strong Cali identity on cuts like “Cali Dreaming.”
Standout collaborations include Xzibit on the explosive intro, B-Real & Sick Jacken on the smoky “Whippin’ Cream,” and Curren$y on the reflective “Nothing Changes If Nothing Changes.” Tracks like “Letter To My Son” and “Whats Peace” add depth and introspection, balancing the harder-edged moments with personal storytelling.
With tight sequencing, cinematic interludes, and Statik’s soulful, hard-hitting production throughout, Machetes & Micheladas is a modern hip-hop record that bridges coasts, generations, and styles without losing its edge.
Statik Selektah links with Nina Sky for a limited 7" release, bringing together two names deeply rooted in the city’s hip-hop and club history.
Boston-born producer and DJ Statik Selektah has spent the last two decades building one of the most consistent catalogs in underground and independent hip-hop, working with artists including Nas, Joey Bada$$, Bun B, Action Bronson and countless others. Nina Sky — twin sisters Nicole and Natalie Albino — broke through in the early 2000s with their global hit “Move Ya Body,” becoming a defining voice in New York’s crossover between hip-hop, R&B, dancehall and club music.
The full vocal version appears on the A-side, backed with the instrumental on the flip.
Pressed in a strictly limited edition of 100 copies, this one is made for collectors, DJs and anyone looking to add a proper modern 45 to the crates.
Chicago-based duo DRASII (Lisa Armstrong & Chris Kalis) return with The Seeker, the follow-up EP to 2024's Spirito Celeste. Co-released on ETC and Shmee Records, it continues their trek through a paranormal sonic landscape. Using vintage analogue and FM hardware synths, the five-track release runs through Deep House, Acid, Electro, Balearic and Post-Industrial.
The opening track, "Daydream," features celestial, wispy vocals, deep bass and sparkling synth melodies. It leads into "Vertigo," which follows with a shifting drone over repetitive Juno 60 notes channelling Chris & Cosey or Adrian Sherwood. This is what Sarah and John Connor would have in the tape deck while barrelling down the freeway in a stolen police cruiser.
On the reverse side, "Tiger's Eye" leads with SH-101 bass that moves around a swinging 909 beat, creating a downtempo feel that mixes inspiration from Larry Heard and Ibiza in the 90s. From there, "Hycean" propels forward with 707 drums and acid bass before breaking into a syncopated polyrhythm accented by witchy vocal samples. "Sorcerer" closes on an upbeat, electro feel, centered around a dark metallic bass blended with 6/8 time arpeggio melodies.
The Seeker is a lucid dream, a spell, and a stirring of the subconscious: five transmissions from somewhere just beyond the void.
Workers Playtime is the fourth album by Billy Bragg, originally released in September 1988. This long overdue vinyl reissue comes in a gatefold sleeve and was remastered by John Webber at Air Studios using high-resolution transfers made from master tapes in Billy's archives. There will also be a limited edition run of coloured vinyl albums.
Helmed by legendary producer Joe Boyd (Nick Drake, Fairport Convention et al) and his former Riff Raff bandmate Wiggy, Workers Playtime saw Bragg deliver his most tender and empathetic collection. The band featured the legendary Danny Thompson on double bass, BJ Cole on pedal steel, Bruce Thomas (Elvis Costello & The Attractions) on bass and Micky Waller on drums. Licking his wounds after another victory for Margaret Thatcher at the ’87 general election, he wrote ‘Waiting For The Great Leap Forwards’, one of his most enduring songs, while the stunning a capella ‘Tender Comrade’ confronts the ugly prejudice of the moral majority. Melancholy and disillusionment are part and parcel of Bragg’s songwriting, but always with a healthy dash of optimism.
LA producer/vocalist Sweet Love Under Tyranny arrives with her self-titled EP (à La Carte Records, 11/6) — four tracks, nineteen minutes of nocturnal dance music built on coldwave and Italo pulled through new romantic melodrama. Co-produced with Matia Simovich (Inhalt) at Infinite Power Studios, mastered by Josh Bonati. The reference points span the pop confidence of Stacey Q and early Madonna, the airtight vocal architecture of Yazoo, and the coldwave romance running through the artist's own history as co-writer on Kontravoid's "Maskerade" (~200k Spotify streams since 2021's "Faceless" LP). Her voice cuts from aching falsetto to guttural growl over synth lines placed with the precision of someone thinking hard about where a chorus should sit in a mix. Post-punkcom: "a nocturne of neon-kissed bliss, a siren's serenade whispered through the haze of LA's twilight pulse." Pressed as a limited single-sided 12" in two variants (black-in-clear; clear).
Australian psychedelic rock band Druid Fluids return with Pareidolia, an ambitious second album exploring perception, superstition and the human instinct to find meaning in patterns, whether real or imagined.
Written and recorded in Adelaide at songwriter and producer Jamie Andrew’s home studio, Pareidolia unfolds across ten expansive and immersive tracks that push the possibilities of psychedelic music. Released by Australia's Third Eye Stimuli Records, the album arrives as a 2LP vinyl exclusive that includes a D-Side with bonus tracks taken from the recording sessions.
Psych-rock and melodic pop collide with krautrock rhythms, cinematic dreamscapes, classically inspired arrangements and experimental production. No two songs inhabit quite the same world, and the album never lingers in one room for long.
Influenced by the inventive songwriting of The Beatles, The Beach Boys and Frank Zappa, the atmospheric sophistication of AIR and contemporary psychedelia from Tame Impala, King Gizzard and Melody’s Echo Chamber, Druid Fluids balance vintage warmth with a distinctly modern sense of possibility.
Pareidolia is hypnotic, intimate and surreal. Melodies twist and reform, rhythms circle back upon themselves and subtle motifs appear like half-recognised symbols. Its labyrinthine passages and dream-logic imagery invite listeners into an immersive space where clarity and confusion remain in constant negotiation.
Pareidolia follows the band’s acclaimed 2023 debut, Then, Now, Again & Again, whose first vinyl pressing sold out worldwide. Since then, Druid Fluids have toured Europe and shared stages with The Brian Jonestown Massacre, Wolfmother, Psychedelic Porn Crumpets, The Murlocs and Amyl and the Sniffers.
Immersive, melodic and wonderfully unpredictable, Pareidolia is a psychedelic masterpiece that rewards repeat listening, revealing new details and hidden connections with every spin.
Long before streaming services, podcasts, or even the compact disc, there was Tellus—a radically ambitious publication that imagined recorded sound as an exhibition space. Founded in 1983 in downtown New York, Tellus transformed the humble audio cassette into a magazine, commissioning and publishing new works by musicians, composers, visual artists, poets, writers, choreographers, and performers who were reshaping the boundaries of contemporary art. Each issue invited listeners into a world where no wave, industrial music, spoken word, Fluxus performance, electroacoustic composition, downtown pop, conceptual art, and avant-garde experimentation could coexist on equal footing. More than forty years later, Earth Libraries proudly presents TELLUS: The Audio Cassette Magazine Anthology Vol. 1, the first comprehensive anthology devoted to the groundbreaking publication. The story of Tellus begins, fittingly, at the Rum Runner Bar on Canal Street. There, in 1983, visual artist Joseph Nechvatal, curator Claudia Gould, and composer Carol Parkinson conceived an entirely new kind of publication. Portable cassette players were transforming how people experienced music, and the trio saw an opportunity to use the cassette itself as a curatorial medium—one capable of circulating work that traditional record labels, galleries, and magazines simply couldn't accommodate. Early recordings by Sonic Youth and Liquid Liquid sit alongside works by James Tenney, George Brecht, Takehisa Kosugi, Carol Parkinson, Y Pants, Live Skull, Shelley Hirsch, Lenny Pickett, Paul Dresher, Gregory Whitehead, and dozens of other artists whose work helped define one of the most fertile creative communities of the era. For Earth Libraries, restoring Tellus represents a continuation of the label's commitment to preserving overlooked musical histories. Working from the original cassette masters, every recording on TELLUS: The Audio Cassette Magazine Anthology Vol. 1 has been carefully restored and newly mast
Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.
This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.
Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.
This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.
A hot slice of Latin dance music — produced by the legendary Masters at Work, the house icons and masters of that Nuyorican sound, “Little” Louie Vega and Kenny “Dope” González — from Los Amigos Invisibles, the Venezuelan band who have spent decades perfecting the art of getting away with everything.
Packed with raunchy songs (of course) that fuse every American genre under the sun — from salsa to acid jazz to disco to funk — this record tore up dance floors twenty years ago.
The chart-topping, multi-Platinum and Ivor Novello-winning Passenger returns with a new album ‘Wild Love’. Passenger - real name Mike Rosenberg - was inspired by recently (and unexpectedly) becoming a husband and father. ‘Wild Love’ captures the whirlwind of emotions as their relationship developed - the excitement, the upheaval, the trepidation and the joy. Passenger says, “Going from a working relationship to a romantic one is scary. The older you get, the more of the spikier sides of love you’ve seen. Things go sour for all sorts of reasons and with someone so close, the stakes are so much higher. ‘Wild Love’ is the title track because it sums up the theme of the album. Do you give in to your doubts and do nothing, or do you face your fears and go for it? I wrote the song as I was realising that the choice was obvious.” While the ‘Wild Love’ album charts the couple’s personal experiences - taking the plunge, cherished early memories together, the realisation that this new love could be one that lasts - the single ‘It Was Gonna Be You’ is an outlier from a previous chapter in his life, a story of discovering that relationships can rapidly unravel. It is set to a classic Passenger sound of bright, buoyant melody coloured with flourishes of piano and Americana-tinged guitar twangs. The uplifting, energised atmosphere of the ‘Wild Love’ album opens with its most direct moment, the infectious ode-to-change of the live favourite ‘Boomerang’. The title track and centrepiece ‘Wild Love’ will also be familiar from shows, a delicate piano-based country song which taps into the elation and fear that came as the couple’s relationship took shape. There are sonic surprises too, such as the way in which the frisky ‘Caution To The Wind’ draws on both ‘70s Elton John and the insistent keys of Bruce Hornsby and the Range’s ‘The Way It Is’, or the ‘80s synth embellishments on ‘Lightning Strikes’. A rare cover is also included with his take on Taylor Swift’s ‘Willow’, the song that soundtracked the couple’s blossoming love.
The chart-topping, multi-Platinum and Ivor Novello-winning Passenger returns with a new album ‘Wild Love’. Passenger - real name Mike Rosenberg - was inspired by recently (and unexpectedly) becoming a husband and father. ‘Wild Love’ captures the whirlwind of emotions as their relationship developed - the excitement, the upheaval, the trepidation and the joy. Passenger says, “Going from a working relationship to a romantic one is scary. The older you get, the more of the spikier sides of love you’ve seen. Things go sour for all sorts of reasons and with someone so close, the stakes are so much higher. ‘Wild Love’ is the title track because it sums up the theme of the album. Do you give in to your doubts and do nothing, or do you face your fears and go for it? I wrote the song as I was realising that the choice was obvious.” While the ‘Wild Love’ album charts the couple’s personal experiences - taking the plunge, cherished early memories together, the realisation that this new love could be one that lasts - the single ‘It Was Gonna Be You’ is an outlier from a previous chapter in his life, a story of discovering that relationships can rapidly unravel. It is set to a classic Passenger sound of bright, buoyant melody coloured with flourishes of piano and Americana-tinged guitar twangs. The uplifting, energised atmosphere of the ‘Wild Love’ album opens with its most direct moment, the infectious ode-to-change of the live favourite ‘Boomerang’. The title track and centrepiece ‘Wild Love’ will also be familiar from shows, a delicate piano-based country song which taps into the elation and fear that came as the couple’s relationship took shape. There are sonic surprises too, such as the way in which the frisky ‘Caution To The Wind’ draws on both ‘70s Elton John and the insistent keys of Bruce Hornsby and the Range’s ‘The Way It Is’, or the ‘80s synth embellishments on ‘Lightning Strikes’. A rare cover is also included with his take on Taylor Swift’s ‘Willow’, the song that soundtracked the couple’s blossoming love.
Following her previous appearances on Blueprint, Manchester-based techno artist Kerrie returns to the label with her latest release, "Pressure Signal". The four-track EP sees Kerrie deliver another focused collection of raw, uncompromising techno, continuing her distinct approach to dark, gritty, metallic and industrial sounds.
Kerrie is a multidisciplinary artist whose work spans live performance, production, DJing and running her own label, Dark Machine Funk. Having honed her craft for almost 20 years, Kerrie has developed a sound deeply rooted in UK, Detroit and European techno, with her sets and productions characterised by tough moods, high energy and a strong sense of groove.
Kerrie first made her debut on Blueprint in 2022 with her"Raw Regimen" EP, before returning to the label with further releases in 2024 and 2025 and joining the Blueprint crew at showcases around the globe.
Futurismo are proud to present DEVO’s NITROUS NIGHTMARE, Halloween Live ‘75. Never before released, or heard in it’s entirety, this legendary live performance is presented here in it’s full chaotic glory on limited edition 2xLP and 2xCD. The live release all hardcore Devo fans have been waiting for, Nitrous Nightmare demonstrates a band harnessing their artistic greatness in the purest of forms. This mythic performance captures Devo perfecting some of their most iconic concepts in the raw. Expertly restored, this live recording makes for a thrilling experience, it also captures Devo as a lightening rod for hostility. On Halloween 1975, Devo took the stage at the WHK Auditorium in Cleveland, in a supporting capacity for jazz legend Sun Ra, to perform for a raucous crowd dressed in the finest of Halloween cliché. Already riding high on Nitrous Oxide and booze supplied by the sponsoring radio station, this unaware horde was expecting to see a slick cover band churning out renditions of Bad Company hits, only to be subjected to an act of subversive performance art that would send the growingly aggravated crowd into eventual meltdown. Physical threats ensued, but Devo played on. Acting as a live companion release to Futurismo’s much lauded Art Devo, the tracklist featured here showcases the origins of de-evolution theory in a live setting. These songs would become some of their most famous material, with this recording believed to be the very first time ‘Jocko Homo’ was performed in front of a live audience; the full 12 minute version documented here is sure to please fans, even if it displeased the urban hippies and horror masked onlookers that evening. Whilst Devo may have felt they were trapped inside a negative energy vortex during that era, it is clear in retrospect that the band was using this energy to carve out the genesis of a sonic and visual art that has truly stood the test of time. The music performed that evening would mutate culture for decades to come, long after the denizens of the auditorium packed away their cheap vampire costumes and returned to their day jobs. Spanning 2xLP’s of unreleased live material, most of which has never been heard before, this wondrous performance draws purely from that integral early history. Mixed and mastered directly from recordings kept in the bands personal vaults, this live collection showcases why Devo was, and still is, one of the most important bands in American history. De-evolution is real. The art of DEVO is real. Here is the evidence. This 2xLP is housed in a gloss laminated wide spined sleeve. It has a tracklist that has been sourced directly from the archives, and contains colour inner sleeves and a fold-out containing archival imagery and liner notes by Gerald V Casale.
Futurismo are proud to present DEVO’s NITROUS NIGHTMARE, Halloween Live ‘75. Never before released, or heard in it’s entirety, this legendary live performance is presented here in it’s full chaotic glory on Super Limited edition Deluxe cassette format!
The live release all hardcore Devo fans have been waiting for, Nitrous Nightmare demonstrates a band harnessing their artistic greatness in the purest of forms. This mythic performance captures Devo perfecting some of their most iconic concepts in the raw. Expertly restored, this live recording makes for a thrilling experience, it also captures Devo as a lightening rod for hostility.
On Halloween 1975, Devo took the stage at the WHK Auditorium in Cleveland, in a supporting capacity for jazz legend Sun Ra, to perform for a raucous crowd dressed in the finest of Halloween cliché. Already riding high on Nitrous Oxide and booze supplied by the sponsoring radio station, this unaware horde was expecting to see a slick cover band churning out renditions of Bad Company hits, only to be subjected to an act of subversive performance art that would send the growingly aggravated crowd into eventual meltdown. Physical threats ensued, but Devo played on.
DJ Support: Kenny Larkin, Francois Kevorkian, Laurent Garnier, Ben UFO, Joseph Capriati, Fra Soler, Carista, Slam, Uncertain, DJ Bone, Christian Smith, Anthony Pappa, Radio Slave, Alienata, Marco Faraone, Christian Varela, James Zabiela, Anika Kunst, Carlos Valdes, Ame, Pushmann and Chris Fortier
Vince Watson Announces ‘The Force’, to launch his forthcoming 30 year compilation VW30 Introspection II.
As the build up to Vince Watson's huge forthcoming VW30 Introspection II compilation begins, the Scottish born Amsterdam based Artist releases a new track, a huge track 'The Force' as the exclusive.
Building on his Detroit inspired heritage and mixed with his energy infused Dancefloor material, 'The Force' is a monster.
With hints and shades of E-dancer with its big baselines, this track is sure to rip up some dancefloors.
Backing this up on the vinyl only, is Bon Voyage and Towards The Light, 2 tracks originally from the Via LP and featuring on vinyl for the first time.
Over the last 30 years, Vince Watson has produced some of the standout tracks of underground house and techno culture, from ‘Eminesence’ to ‘Aurelon’ to 'Mystical Rhythm’ and the new summer hit ‘The Awakening’ and has worked with some of the most renowned artists and labels to ever grace the scene.
To celebrate this incredible milestone and respect this legacy, Vince Watson is announcing a new compilation album showcasing new versions of some of the classics from his catalogue over the last 3 decades.
NOW Music proudly presents the next release in the ‘ERA’ series with NOW That's What I Call An Era - Ballroom Blitz: 1967-1976 celebrating the colourful world of glam rock, pop and unforgettable chart hits that defined the early-to-mid 1970s, with a selection of pop gems from the late 1960s. Pressed across three stunning coloured vinyl LPs – red, white and gold – showcasing the era’s biggest stars, instantly recognisable anthems, novelty favourites and enduring singalongs from one of the most distinctive periods in UK pop history.
Minutiae is the first full-length release form Stockholm’s Ināra Quartet, made up of brothers Kasper (guitar, banjo, mandolin) and Mauritz Agnas (bass, cello), Johan Graden (piano, harmonium, synths) and Mischa Grind (percussion). Drawing on wide performance and composition experience in free improvisation, jazz, and composed new music, the quartet have carved out a unique niche where radical approaches to rhythmic organisation and group interaction are wedded to immediately accessible, folkish melodic and harmonic material. Unfolding briskly across eight pop-song length tracks, Minutiae places these folk fragments under a microscope, expanding them into intricate patterns of group interplay by turns austere and lushly psychedelic.
The quartet’s layering of independent rhythms, pulses, and tempi suggests a range of precedents, from Ligeti’s ticking clock textures to the pulse music of John McGuire, the repeating asynchronous cycles of The Necks, and the intricate irregular crosshatching of Banda music. Rhythm, harmony and melody shade into one another within each of the instrumental layers that overlap to form the music’s rippling surface. At points guitar, bass, percussion, and keyboards can seem each to occupy their own world, each player moving independently according to their own internal tactus, but attention to the details of group interplay reveals carefully planned collective movement. On ‘Klapparen’, strummed acoustic guitar chords and clinking percussion accelerate and decelerate in unison, washed over by floating synth lines. At other points, the quartet as a whole suddenly shift direction like a This Heat tape edit. Check the opener ‘Box Pieces’, where a brief percussion tag cues an unexpected cut from frenetic layering of percussive attacks undergirded by slow moving synth and bass foundations to a rumbling, locked-in dirge.
The eight pieces span a range of tones, from plaintive abstraction to surging minimalism. Touches of whimsy relieve any threat of over-seriousness: witness the wacky electric guitar glissandi that open ‘Tilting’ or the lovely, almost Pascal Comelade-esque fairground wobbles that begin the wayward journey of ‘Cadence: not even,’ before it stumbles into a totally different zone of spacious Paul Bley balladry sprinkled with banjo plucks. Recorded across two days at Stockholm’s Atlantis studios, Minutiae’s minutiae truly sparkle thanks to the careful mixing work of Ghosted drummer extraordinaire Andreas Werliin. A wonderfully approachable document of the richness of the next generation of contemporary creative musicians from Sweden, Ināra Quartet’s debut also looks back to 70s touchstones like Archimedes Badkar in its joyful embrace of musical collectivity.
12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking to bring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!
Sampler 13 opens with Kollektiv Turmstrasse - Sorry I Am Late, the club track many will recognise from Solomun's legendary Boiler Room set in Tulum. Its unmistakable bassline sets the mood straight away. Next comes Skape D'Jear - Everything In You (Dedicated Clubba Mix), a
lesser-known house gem making its first appearance on vinyl.
Side B features Karmon feat. Terry Shand - Take My Hand, a melodic house track with a strong vocal performance that remains hard to find on vinyl. Tocadisco - Morumbi then takes things up a notch. With its driving percussion, this is a record that has blasted through the speakers of countless Belgian clubs and beyond.
Side C brings Fred again.. x The Blessed Madonna - Marea (We've Lost Dancing). A track about missing the shared experience of dancing, it became closely linked to the return to the dancefloor for many. Next, we head to Berlin with Kotai - Sucker DJ (Marcin "Highfish" Kozlowski Remix), a distinctive club classic that still holds its own. Daddy's Groove & Little Nancy - It's Not Right, But It's Okay closes this side with a groovy reworking of Whitney Houston's well-known song, now available on vinyl for the first time.
Side D captures the spirit of Ibiza with G Club presents Banda Sonora - Guitarra G (Martijn ten Velden Remix). Its recognisable guitar lines and gradual build make this a track to lose yourself in. This remix makes its vinyl debut here. Closing the sampler is Slam feat. Tyrone Palmer -
Lifetimes. Palmer's distinctive voice and the Scottish duo's outstanding production make this a record that still hits home after all these years.
Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, lesser-known gems and tracks making their vinyl debut. Selected with the same love for music that has driven 12 Inch Lovers' events for 15 years.
The modern day torch carriers of electric Brazilian jazz-funk. Fans of Azymuth, Marcos Resende, Antonio Adolfo and Cesar Mariano look no further !
Ultracooked infuses the Sao Paulo trio’s deep understanding of Brazilian music history with their consummate musicianship and infectious joy of playing. Their distinctly electric jazz-funk flavour rises to the top, as they pay homage to some of their musical heroes and teachers.
Where previous albums nodded to the lineage of Azymuth, Antonio Adolfo, Cesar Camargo Mariano and Marcos Resende, Ultracooked walks ! ! straight up to the greats and shakes their hands. Gilberto Gil and Caetano Veloso are here, with fresh versions of Espresso 2222 and Odara respectively. Garoto - the great choro guitarist and composer whose harmonic imagination quietly laid the ground for bossa nova - is here too, and honoured with a deconstructed reading of "Jorge do Fusa".
Recorded in the wake of the passing of both João Donato and Hermeto Pascoal, each has a song on the album named after them. Listen to Caixa Cubo and you can see why, their playfulness echoes Donato’s mischievous cheek, while their creative openness is clearly Hermeto inspired. But with both “Hermeto” and “Dontao” each featuring the sampled voice of the late masters themselves, the songs read more as conversations than eulogy. Caixa Cubo carry forward these legacies with care.
In good company, Zé Leônidas, who lit up 2023's Agora, returns to sing on "Expresso 2222", "Essa é Pra Tocar no Rádio" and "Cortejo", while guitarist Edson Woiski brings his sinewy sound to those Gil interpretations and to "Cabaré", before adding his voice to the closing chorus.
Ultracooked was produced by Caixa Cubo alongside Frederico Pacheco, who recorded and mixed the album at O&O Studios in São Paulo, with mastering by Casper Sutton at Gearbox Studios in London.
We love a concept. So for our 15 year anniversary, we added another layer.
one(15) celebrates 15 years of the label with one simple rule: every track had to clock in at one(15)BPM and under.
The result is 13 tracks ranging from 71 to 115BPM, a collection of slo-mo 303, horizontal acid and assorted low-tempo excursions.
15 Years | 3 LPs | 13 tracks | 71 to one(15)BPM | Still 303
Sucata Tapes and Annihaya proudly present Delia, the hypnotic new album by Munda (Selu Herraiz), following up on foundational explorations of ritual and territorial memory.
Recorded in September 2021 during a residency at Konvent—an old convent set within an abandoned industrial colony in Cal Rosal, deep in the lower Catalan Pyrenees—Delia is forged from the physical ghosts of a former textile factory. Within high ceilings, terracotta floors, and walls vibrating with low frequencies, Herraiz captured the remnants of another time: shards of glass, rusted iron, corrugated plastics, and the sonic echoes of a place where hundreds of women once worked the looms.
Using a dynamic microphone placed before the speaker of a battered Yamaha Electone organ with broken keys, Herraiz transformed these industrial ruins, raw materials, and acoustic traces into an immersive electroacoustic journey. Blending primitive textures, analog synthesis, and the deep resonance of territorial history, Delia stands as a profound meditation on memory, space, and alchemic listening.
Immersive, roots-infused dub-reggae power from Jamaica meets heavyweight instrumentation from Denmark on a landmark collaborative album out now via Recall Reality.
Rooted in the rich traditions of classic Jamaican sound yet pulsing with a hypnotic, contemporary organic weight, Signs of the Time brings together the evocative vocal artistry of rising roots talent Azizzi Romeo and the master craftsmanship of Denmark's formidable instrumental 11 piece band Guiding Star Orchestra. Built for sound systems and vinyl purists alike, featuring lush tape saturation, spring reverbs, and spacious dub mixes.
Released on Recall Reality, the album is a masterclass in modern roots reggae and deep dub dynamics. Rather than relying on rigid digital presets, Signs of the Time champions warm analogue textures, sprawling horn arrangements, and rolling basslines that echo the golden age of Studio One, Joe Gibbs, Bunny Lee and Channel One while carving out an entirely fresh, meditative space for the listener.
Azizzi Romeo carries forward a legendary musical lineage as the son of the late roots icon Max Romeo, bringing a captivating blend of spiritual urgency, conscious lyricism, and soulful conviction to the microphone. His delivery cuts straight through the mix, offering profound reflections on modern society, unity, and resilience in a changing world.
Backing him are the Guiding Star Orchestra, renowned for their authentic analog production ethos, deep-crate sensibilities, and musicianship that treats the mixing board as an instrument in its own right. The result is a seamless symbiotic project where every bubbling organ skank, hypnotic drum drop, and reverberating tape delay serves the song's core message.
To bring the record home, producer CHLLNGR spent a week in the spring working alongside UK dub maestro in his London studio - Prince Fatty, who mixed the entire album. Fatty invited legendary drummer Winston "Horseman” Williams into the sessions, and Horseman percussion added the final glue to the record.
Track highlights:
"Signs of the Time": Azizzi is joined by his late father, the legendary Max Romeo, on a prophetic warning of what awaits the world if we don't soon unite in peace and love.
"Thanks and Praises": An anthem of gratitude for everything life brings, and of rising up even when others want to see us fail.
"Jah Jah Disciples": A meditation on following Jah, and the strength that faith gives in the midst of adversity.
Signs of the Time is available now on Vinyl LP and Digital streaming platforms via Recall Reality.
Four track deep and dub leaning house record from Tom Ellis, built for groove over drama. Tom Ellis, four cuts, house built from the low end up. Daily Red Cocktail, loose kick, chords buried in reverb. Tram 28 next, steadier, more direct, a track for the middle of a set rather than the top. Pink Street Morning goes dubwise, echoes stretched out over a thin bassline. She Broke My Bongo shuts it down with live sounding percussion, no filler. Straightforward deep house record, nothing flashy, does its job on a proper system. Solid.
Red Vinyl. Swiss quintet Sunday, June present " Cinema ", their second album, recorded at the legendary Chapel Studios in Lincolnshire, England. Produced by Andy Savours (My Bloody Valentine, Arctic Monkeys, The Killers), " Cinema " is a luminous record with deep emotional layers, traversing psychedelic rock, dream pop, and indie rock, an album steeped in nostalgia, self-discovery, the redemptive power of beauty, and the profound joy of playing together. " Cinema " moves in the space where memory and desire blur into one. Drawing its central metaphor from the moving image, the album frames love, nostalgic, imagined, never quite realized, as a succession of interior scenes, each a fragment of an unfinished film.
Swiss quintet Sunday, June present " Cinema ", their second album, recorded at the legendary Chapel Studios in Lincolnshire, England. Produced by Andy Savours (My Bloody Valentine, Arctic Monkeys, The Killers), " Cinema " is a luminous record with deep emotional layers, traversing psychedelic rock, dream pop, and indie rock, an album steeped in nostalgia, self-discovery, the redemptive power of beauty, and the profound joy of playing together. " Cinema " moves in the space where memory and desire blur into one. Drawing its central metaphor from the moving image, the album frames love, nostalgic, imagined, never quite realized, as a succession of interior scenes, each a fragment of an unfinished film.
Scott Fagan’s new album Soon, 55 years in the making, revives songs from his lost 1971 Broadway rock opera.
Alongside songwriting partner Joe Kookoolis, Fagan conceived and wrote the rock opera, an age-old story of an artist forced to make a devil’s bargain between their principles and success, intending it to be the follow-up to his classic 1968 debut, South Atlantic Blues. But fate intervened. The production (which starred Fagan and a young Richard Gere) closed early, the album was shelved, never to be recorded or heard. Until now.
Recorded over seven days in July 2025 at the hallowed Sam Phillips Recording Service in Memphis with a crack rhythm section, the thirteen songs on Soon illustrate Fagan’s extraordinary facility and range as a singer and songwriter of great sensitivity, passion, and humour.
From its rousing gospel opener (“Let The World Begin Again”), through fiery, protest songs (“Faces Names and Places”, “Straight”), and tender-hearted ballads (“Child of Sympathy”, “To Touch the Sky”), the album is by turns, uplifting, mournful, righteous, giddy, soulful (title track, “Soon), and anthemic (closer, “Please Be Well”). This feels like an album of lost classics waiting to be rediscovered.
Scott Fagan has been waiting a long time for the world to hear these songs. The long, long wait is over, Soon.
Die City Saints wurden 2012 nach dem Ausstieg von Magnus Jonsson bei Perkele zusammen mit Stefan Johansson gegründet und sind mittlerweile seit fast 15 Jahren eine der umtriebigsten und bekanntesten schwedischen RocknRoll-Punk-Oi Bands mit sechs Alben und über ein Dutzend EP's und Samplerbeiträgen. Jetzt erscheint mit "Sods & Odds" eine üppige Doppel-LP mit 25 non album-Songs und Raritäten. Von exklusiven Songs ab der ersten Single "Spitting Blood", diversen Split-Singles u.a. mit den Hommage "On the Radio"-EP's, die sie mit Evil Conduct und Peter & the Test Tube Babies eingespielt haben, bis hin zu "I hope Santa Dies" vom "Cashing on Christmas Sampler" hat die Band eine eindrucksvolle Werkschau auf Doppel-LP zusammengestellt. Auf ihren limitierten und mittlerweile unter Sammlern stark gesuchten 7inch Vinyls veröffentlichten die City Saints auch exklusive Coversongs ihrer musikalischen Helden. Bands, die ihren eigenen Stil selbst geprägt haben und mit einer Bandbreite von RocknRoll, Glam, Sleaze bis Punk, Oi und Underground weit gefächert sind. Viele dieser Songs entstanden mit Beteiligung der Originalmitglieder. Auch diese Juwelen findet man auf "Sods & Odds". Von Slade's "Mama weer all crazy now" über Cock Sparrer (I got your number), Rancid, The Clash bis zu den Perverts, einer Band aus den Anfangstagen der schwedischen Punkbewegung. "Sods & Odds" erscheint im wunderschönen Gatefold-Sleeve - entworfen von Malwi / Old School Designs - auf 2LP 180gr, in klassisch schwarzem oder auf Silber mit Splatter Vinyl, jeweils limitiert auf nur 150 Exemplare bei ihrem Stammlabel Sunny Bastards.
Die City Saints wurden 2012 nach dem Ausstieg von Magnus Jonsson bei Perkele zusammen mit Stefan Johansson gegründet und sind mittlerweile seit fast 15 Jahren eine der umtriebigsten und bekanntesten schwedischen RocknRoll-Punk-Oi Bands mit sechs Alben und über ein Dutzend EP's und Samplerbeiträgen. Jetzt erscheint mit "Sods & Odds" eine üppige Doppel-LP mit 25 non album-Songs und Raritäten. Von exklusiven Songs ab der ersten Single "Spitting Blood", diversen Split-Singles u.a. mit den Hommage "On the Radio"-EP's, die sie mit Evil Conduct und Peter & the Test Tube Babies eingespielt haben, bis hin zu "I hope Santa Dies" vom "Cashing on Christmas Sampler" hat die Band eine eindrucksvolle Werkschau auf Doppel-LP zusammengestellt. Auf ihren limitierten und mittlerweile unter Sammlern stark gesuchten 7inch Vinyls veröffentlichten die City Saints auch exklusive Coversongs ihrer musikalischen Helden. Bands, die ihren eigenen Stil selbst geprägt haben und mit einer Bandbreite von RocknRoll, Glam, Sleaze bis Punk, Oi und Underground weit gefächert sind. Viele dieser Songs entstanden mit Beteiligung der Originalmitglieder. Auch diese Juwelen findet man auf "Sods & Odds". Von Slade's "Mama weer all crazy now" über Cock Sparrer (I got your number), Rancid, The Clash bis zu den Perverts, einer Band aus den Anfangstagen der schwedischen Punkbewegung. "Sods & Odds" erscheint im wunderschönen Gatefold-Sleeve - entworfen von Malwi / Old School Designs - auf 2LP 180gr, in klassisch schwarzem oder auf Silber mit Splatter Vinyl, jeweils limitiert auf nur 150 Exemplare bei ihrem Stammlabel Sunny Bastards.
Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more
Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.
Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.
Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.
A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.
Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.
Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.
A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.
The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.
Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.
The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.
MCRV019 – VA – Phase Drift. Passage is a graceful and emotionally nuanced four-track journey through modern deep tech house. Blending reimagined echoes of early 2000s deep sounds with forward-thinking production, the release moves between moods and textures with surgical control and quiet sophistication. It’s an EP that balances warmth and restraint, melancholy and motion — built for selectors who appreciate finely tuned emotional arcs.
A1. Stephano Franca – Arriving opens with a fluid, introspective piece. Gentle and melancholic, it glides with cinematic poise, drawing listeners into a state of suspended reflection.
A2. Dot – Distance Call introduces a percussive, tribal undercurrent — earthy and grounded, yet full of bounce. It energizes the space while maintaining depth and groove.
Flipping over, B1. Reenday – Last Call (Nicolas Barnes Remix) brings a refined sense of cold elegance. Dubby and atmospheric, it’s a minimalist piece that evokes distance and stillness — a cool breath in the night.
Closing the release, B2. Jeronimo Watson – On The Prowl is a deep tech gem — emotive, seductive, and sharply detailed. With a slow-burning energy, it brings the record to a confident and composed close.
From Brazilian talent Stephano Franca to Dot and Nicolas Barnes, two of the label’s most precise and consistent producers, and rising standout Reenday, a finalist of the ANTS: NEXT GEN Artist Program 2025, this release represents the current essence of MixCult. It is sealed by the distinct touch of Jeronimo Watson, whose Los Angeles–rooted sound closes the circle with style.
Phase Drift. Passage is not just a collection of tracks — it’s a refined toolkit for navigating emotional shifts and dancefloor narratives, framed by elegance and intention.
Lewis Fautzi and The Advent join forces on "Gravity Won't Hold Me", a four-track Sci-Fi techno journey that breaks through the limits of sound and space.
Fusing mechanical energy, futuristic tension, and cosmic textures, the EP unfolds with relentless precision and force, a statement of pure propulsion beyond gravity itself.
Available in the following Territories: Wordwide minus Japan & Korea
NOTON is pleased to announce12 Conversations, a collaborative album by Ryuichi Sakamoto and Alva Noto to be released on 18 September 2026.
The partnership between the legendary musician and composer Ryuichi Sakamoto and the German artist Carsten Nicolai (aka Alva Noto) has produced some of the most distinctive and enduring works in contemporary electroacoustic music. Beginning with Vrioon in 2002, the artists spent more than two decades fusing and expanding their disciplines, with Sakamoto's evocative, sustain-drenched piano compositions finding their counterpart in Nicolai's skilful and sensitive electronic detailing.
Each successive project further deepened their artistic dialogue: from the five studio albums of the V.I.R.U.S. series (Vrioon, Insen, Revep, Utp_ with Ensemble Modern, and Summvs), to their score for Alejandro G. Iñárritu's The Revenant; Glass (2017), a wholly improvised performance inside Philip Johnson's iconic Connecticut landmark, in which the pair fixed contact microphones to the glass walls, playing the architecture itself as an instrument; and Two (2019), a document of their live performance at the Sydney Opera House.
Across these works, their distinct approaches achieved a rare synthesis, a brilliantly sustained dialogue between piano and electronics, Sakamoto's warmth and melodic finesse meeting Nicolai's abstract electronic formalism to invoke a mesmeric quietude as deeply satisfying in its melodic resolutions as in the merger of its filmic romanticism and meditative subtlety.
12 Conversations brings together musical exchanges recorded in November and December 2022. Rooted in the same creative period that gave rise to Sakamoto's final solo album 12, these recordings were not originally intended as a standalone release. It was only after the completion of 12 that Sakamoto and Nicolai decided to present these exchanges as a work in their own right.
The album reflects the vitality and curiosity that defined more than two decades of shared inspiration: fluid, exploratory, and forward-looking. Created with openness and trust, it captures a creative process in constant transformation - sounds expanding, altering, and evolving through attentive listening.
Conceived as the continuation of an artistic dialogue extending beyond the physical, 12 Conversations honours Sakamoto's wish that these encounters should exist beyond the archive, offering an enduring testament to one of contemporary music's most revered collaborations.
Carsten Nicolai writes:
"A heavy breath can be heard in the recordings. Yet this work is not about remembrance but continuation, vitality, curiosity, and the spirit of experimentation that shaped an artistic relationship over decades.
The twelve pieces we exchanged in November and December 2022 possess extraordinary density: sounds expanded, altered, recontextualized. Initially, every intervention felt almost inappropriate. Yet this was part of our openness and trust: adding, shifting and radically yet softly transforming.
Even in these final exchanges, plans for future projects continued to take shape, mindful of finite yet firmly believing in the power of new ideas. We chose the name Conversations, which has become a space of memory and vision, where past, present and future intertwine.
For a long time, releasing this music seemed impossible. The loss felt too sudden, and the emotional connection too profound. As time passed, it became clear that these twelve musical encounters should have life outside the archive. To honor Ryuichi's wish, these pieces are now being released as the continuation of a dialogue that extends beyond the physical."
The first single, Conversation 3, will be released on Tuesday, July 14, 2026. The second single, Conversation 6, will be be released on Wednesday, August 26, 2026.
12 Conversations will be available worldwide on vinyl, CD and digitally. A Japanese edition will be available on Ryuichi Sakamoto's commons.
DJ Support: Danny Krivit, Dj Spen, Tony Humphries, Simon Dunmore, John Morales, Dr Packer, Cj Mckintosh, Kevin Yost, Groovy P, Hector Romero, Souldynamic,
Micky More & Andy Tee are back on wax with Analog Dreams, an exceptional 4-track EP that bridges the gap between classic club heritage and modern dancefloor sophisticated heat. Far from a simple collection of loops, this release delivers four fully realized, 100% original compositions crafted alongside top-tier collaborators.
The title Analog Dreams says it all. In a digital world dominated by sterile, point-and-click production, this EP feels like a vivid, living dream for vinyl purists. It is a sonic love letter to the warmth, depth, and texture that only real studio hardware, live instrumentation, and analog mixing can provide.
Channeling his honed sample craft towards the ominous portent of modern times, Romare returns with his fifth album Oblivion, with the previous 3 out of 4 LP's appearing on Ninja Tune. Across a suite of downtempo, broken beat, bubbling grooves and brooding reveries Archie Fairhurst threads a narrative that wrestles with the big questions of the present moment — the tipping points of the planet and technology, the fight for social justice and the power structures that govern our existence. While his trademark source material continues to cast a long line back through recorded history, this is Romare at his most contextual.
Nothing is placed by accident. 'Machines' hums its throbbing 4/4 pulse along to a German language recital of Johann Wolfgang von Goethe's 'Blessed Longing' — an enduring reflection on the human condition that rings true from way back in the 19th Century when it was written. 'Computer Love' slinks into a sumptuous trip-hop lull laced with sci-fi flourishes sculpted from samples of old computer documentaries — a bittersweet romantic backdrop to our complicated situationship with the devices in our lives. 'Take Us' goes one step further on its hard-stepping boom-bap strut as a subtle tale of possession by screens unfolds around Romare's signature strain of technicolour mutant funk.
There is space for optimism in the message on Oblivion as well — the strength of the suffragettes as a benchmark for social justice and activism amidst the speakeasy slink of ‘Deeds, Not Words', and spring-loaded acid house joint 'Change' pointing to the need for positive action in the face of imminent calamity.
The artwork for the album follows Fairhurst's thought process, drawing on Edvard Munch's iconic 'The Scream' along with Philippe Halsman and Salvador Dali’s ‘Voluptuous Death’ to help render the ideas of the album visually.
The wild ride of Oblivion races towards a final beguiling opiate on 'The Last Lullaby' — the perfect sedative after the rush of information and emotion that comes with a full-length trip through Romare's vivid, uniquely creative world of sound.
Following his acclaimed ARTIFACTUAL RHYTHM album, Alexander Flood returns to ARCo. with an outstanding remix package, assembling a cast of renowned producers whose names will be instantly familiar to discerning listeners. Each remixer brings their own unmistakable touch, resulting in a rich and diverse body of work that honours the original music while showcasing the individuality of every artist involved.
Contributing to this superb release are Alexander Flood himself, ARCo.'s very own Peacey, the unmistakable sounds of Close Counters, Atjazz, and Fred Everything. Also joining the remix roster are Oliver Knight, Crowd Control & Karl Swisher, and the ever-inventive jazz scientist Kaidi Tatham, each offering a distinctive interpretation that makes this an essential companion to the original album.
This is Acid – for the deep, driving, uplifting after-hours. It's also a pure Acid remedy, sorely needed to elevate today's Techno dancefloors. With absolutely hands-in-the-air stabs, the Moon Creator EP nods to the best of the '90s Dutch club scene, while always staying true to the Acid game with its continuous double-303 sequencing. Swedish trio The Sysop – aka Pascal Mayet, Jonas Månsson, and Erik Jäähalli (of Börft Records) – present a beautifully melodic EP. In the right hands, this will impress dancers with their eyes closed.
After a five-year hiatus, JKS makes a triumphant return to the iconic French label Molekul with a highly anticipated solo EP. Leading the release is the standout track, The Cult, a testament to JKSs evolution while staying true to the essence of his sound.
Built for the club, The Cult channels an undeniable sense of power through its driving rhythms and immersive energy. The tracks tribal undertones create an
almost ritualistic atmosphere, pulling dancers into its pulsating core. With expertly layered textures and a commanding structure, The Cult keeps the momentum
unrelenting from start to finish.
True to his roots, The Cult brings a distinct old-school vibe, laced with a plurality of influences that have defined his sound since the beginning. Its a journey through raw rhythm and immersive layers, a bridge between past and present, aimed squarely at making people move.
Gäste: Oli Rubow, Sandie Wollasch, Jona Heckmann, Alex Weis, Ulf Kleiner, Marcus Bartelt, Bernd Windisch,
Andrew Murphy
Reviews und Features in den relevanten Medien
Die „Rudies“ stehen hier als Synonym für die Verbreitung und Vermengung ursprünglicher karibischer Rhythmen
(inklusive „Dubbing") mit westlichen Beats. Vor Jahrzehnten über England eingereist und von dort weiter ins restliche
Europa getrommelt.
Over 10 years ago, Leon Michels released his first full length record, Sounding Out The City. It was Michels' first full length record under the moniker El Michels Affair. At the time, the budding retro soul scene consisted of mostly organ quartets a la The Meters and of course, Sharon Jones & The Dap Kings were in the early days of their ascent to world domination. Leon Michels, who was 18 when recording Sounding Out The City began, had just released Thunder Chicken, the first record by his high school band The Mighty Imperials. At the time of SOTC, Michels was just discovering early rocksteady, afrobeat, and 60's garage rock, which inevitably crept its way into the songwriting. He purchased a Tascam 388, an 80's 1/4" reel to reel 8 track intended for home recordings, and began recording music in a 10x10 box with no windows that also doubled as his childhood bedroom. Along with fellow Mighty Imperials Nick Movshon, Homer Steinweiss, and Sean Solomon, and Michael Leonhart, Thomas Brenneck, and some of the musicians from The Dap Kings, Michels recorded the LP over a two year period. Upon it's release, it received some rave reviews and the small deep funk community ate it up, but due to the lack luster promotion and distribution the rest of the world was slow to catch on to the instrumental gems featured on SOTC, which Michels appropriately labelled as "cinematic soul". However, in 2005 it found it's way into the hands of the people who were organizing a series of concerts for Scion that paired bands with MC's. El Michels Affair was contacted about playing one show with Raekwon The Chef of Wu Tang Clan fame. The show was such a success it led to a tour, and then to another set of concerts that featured multiple members of the Wu-Tang Clan. This eventually led to the release of El Michels Affair's second record, "Enter the 37th Chamber" which introduced them to a much larger audience and has been their most successful release to date. Michels has since gone on to produce and co-produce numerous records for powerhouse soul artists like Lee Fields. He shares songwriting credits with Adele, Jay-Z, Ghostface Killah, Aloe Blacc, and has played on records by Ray LaMontagne, Lana Del Rey, The Black Keys and Dr. John.
The wait is over, Return To The 37th Chamber is El Michels Affair's highly anticipated follow up to 2009's underground cult classic Enter the 37th Chamber. Churning out classic records since then for the likes of Lee Fields, The Arcs, The Shacks, and tons more, it is clear that EMA's signature sound is stronger & sharper than ever. This time, in addition to re-interpreting the Wu compositions for a live band, EMA pays homage to the production and sonic fog that makes a RZA beat so recognizable. Producer and bandleader Leon Michels recorded the album completely analog, sometimes hitting 6 generations of tape before it was ready for mixing, giving the Return to The 37th Chamber it's own hazy sound. Adding to the unique fidelity, the record is laced with psychedelic flourishes, John Carpenter' synths, heavy metal guitars, triumpha0nt horns, and traditional Chinese instruments that make up for the lack of the Wu's superlative vocals. From start to finish it's a dark trip that walks the line between RZA's timeless hip-hop aesthetic and the cinematic soul EMA has become known for. El Michels Affair tackles some classics like 4th Chamber and Wu Tang Aint Nuthin to Fuck Wit, as well as some deeper cuts like Ol Dirty Bastard's Snakes, Raekwon's Verbal Intercourse, and Shaolin Brew, Wu-Tang's contribution to the St. Ide's Hip Hop endorsement campaign from 1994. This time El Michels brings some of the Big Crown family along for the ride. Lee Fields handles vocal duties on Snakes and is joined by Shannon Wise of The Shacks for their version of Tearz, which pays as much homage to the Wendy Rene sample as it does to the Wu-Tang Clan. Lady Wray makes an appearance on the cover of Method Man's hit, All I Need, lending her vocal prowess to what gave the Wu one of their biggest hits of all time. Interspersed throughout the record are some original interludes that are like the rug that ties the room together,' giving Return To The 37th Chamber a cinematic narrative that makes it a proper El Michels Affair record and not just a collection of covers. From the music to the presentation, this album is a perfect example of what can only be achieved through diversity. The end result is as much a kaleidoscope of influences and multiculturalism as the city it was recorded in. El Michels Affair is once again, sounding out the city' that raised them, pulling elements of art and culture from across the country and around the globe to create an album truly unique in it's own right.
From the co-writer of the iconic Hardcore Uproar, Suddi Raval arrives on Hello World Records with his debut EP — a five-track electronic journey that moves effortlessly between disco, electro, experimental electronics and analogue-fuelled psychedelia.
At the heart of the release is “Laser Beams and Mirror Balls”, the EP's titular track, reimagined by superstar DJ and producer Justin Robertson, who takes the neon-charged original and pushes it into new disco dimensions with his unmistakable production touch.
The journey begins with Robertson's remix before moving into the original French-vocalled version of “Laser Beams and Mirror Balls” — a hypnotic, pulsating slice of electronic disco that sets the tone for what follows.
On the flip side, “Oni Strangler” takes a darker, more hypnotic and exotic turn, drawing the listener deeper into Raval's richly textured electronic world. “Robot Computer” follows with a growling bass machine of electronic stabs, warped drones and relentless low-end energy.
Closing the EP is “Zub Sierra”, a spaced-out voyage through a dubbed-out otherworld before descending into deep, resonating electro synths — the kind of beautifully unpredictable analogue textures that only an analogue Odyssey can deliver.
Across all five tracks, Raval combines electro-flavoured rhythms with a kaleidoscope of electronic textures, forging pulsing basslines, hypnotic melodies and richly layered soundscapes. It's an EP that feels both rooted in the electronic music traditions that have influenced him and entirely of its own time.
Five tracks. One electronic journey. From laser beams and mirror balls to analogue odysseys and robot computers.
Out soon via Heads In The Clouds - H004 - Josh Wink & DJ ESP - Stairway To Headphones (12") Re-issue from 1995
Communique Records re-issues an classic by Josh Wink & ESP aka Woody McBride on the sublabel "Head In The Clouds"
from 1995. All tracks are re-mastered and re-recorded from original DAT.
Highly recommended!
The return of Batty Bass is well and truly underway with a brand-new four-track EP from Hannah Holland. Bringing together Holland with long-time collaborators Kurtis Lincoln and Joy Joseph, the EP delivers four killer dancefloor workouts.
'Action Satisfaction' comes in heavy, driven by a seriously mean, ceaseless bassline and Kurtis Lincoln’s unmistakable vocal, with Joy Joseph’s percussion adding another layer of physicality to the track. Lincoln is an artist, writer and performer whose work moves between fine art, rave culture and performance, bringing a distinctive theatrical edge to his vocal work.
Joy Joseph is a drummer, DJ and live percussionist with a long history spanning East London’s New Wave scene through to collaborations with artists including Mr Hudson, Amy Winehouse and Jessie Ware.
'Mitzubishi' takes things somewhere darker. A sinister, heads-down number built for late-night pressure and packed dancefloors.
The remixes bring two fresh perspectives to the EP’s originals. DJ Spilt, known for his raw take on classic Chicago house, brings down the tempo with a sleazy, low-slung groove that swaps peak-time pressure for after-hours swagger. Meanwhile, Wigs turns Mitzubishi into an even more techno-tinged, heads-down affair designed to lock the crowd in and keep them there.
Justin Berkovi presents You're so Alien - The Remixes. His classic track from 1999
comes around new remixes from Johannes Volk, Lee Holman and from Justin himself.
Higly recommended!
"Now and Forever," the latest EP from Boo Williams, showcasing his unmistakable style once again. Known for his hypnotic grooves and infectious rhythms, Williams delivers a collection that embodies his signature sound. Each track on this EP captures the essence of deep house, blending intricate beats with soulful melodies. The production is polished, allowing the music to resonate authentically while inviting listeners to immerse themselves in the experience. "Now and Forever" reaffirms Boo Williams' position as a master of his craft, offering a captivating journey that will resonate with fans of electronic music. This EP is a testament to his talent and a must-listen for anyone seeking quality grooves.
This compilation album is the result of a unique collaboration between PLAZA and Kunstmuseum Den Haag, inviting listeners on a sonic journey through the museum's hidden collection of instruments, previously unseen by the public . On this special record you can hear a diverse range of musicians from the Hague engaging with this music archive through inspiration, sampling or even playing the fragile instruments themselves.
