Buscar:jun x

Two foundational releases from Toronto's Strobe Records get a well-deserved reissue on the Clone Classic Cuts series, spotlighting a pivotal moment in North American dance music. While often overshadowed by the Detroit and New York scenes, Toronto's underground in the early '90s was brewing its own potent blend of house and techno - and these tracks are prime examples of that cross-border synergy.

The Hayden Andre Project's contributions sit at the perfect intersection of tribal house rhythms and the emotive, machine-driven pulse of early Detroit techno. There's a raw elegance here - a sense of deep groove layered with just the right amount of percussive tension. It's no surprise that these tracks became staples in the crates of DJs both then and now. The production feels timeless, with hypnotic arrangements that still command the floor over three decades later.

On the flip, Kingdom Come, another alias of Ron Allen, delivers lush, blissed-out house music that channels the soulful energy of New York's golden era while adding a uniquely Canadian sensibility. Allen's piano work, layered with warm pads and swinging drums, gives these tracks an unmistakable vibe - equal parts deep house ecstasy and garage swagger. It's the sound of 3 a.m. euphoria, of packed dance floors and emotional peaks.

Dreamweavers II sees Mark de Clive-Lowe reunited with Italian rhythm masters Andrea Lombardini and Tommaso Cappellato for the next chapter in their electro-acoustic trio journey.
Recorded at Sotto il Mare Recording Studios in Verona, Italy in summer 2024, the album builds on the cosmic, hypnotic language established on Dreamweavers (2020) while pushing deeper into groove-driven terrain, dancefloor jazz and textural improvisation. Across eight tracks, the trio explore the elastic space between jazz tradition, beat culture, and club-influenced momentum – without samples or looping – relying purely on live interaction, feel and shared intuition.Opening with the Azymuth-inspired “Terra de Luz,” the album immediately signals its global outlook. “Kaze no Michi” follows with late-night Tokyo energy – dancefloor jazz that feels equally at home in jazz clubs or after-hours rooms. Two intentional reinterpretations bridge jazz and beat culture: J Dilla’s “Raise It Up” (from Slum Village – Fantastic Vol. 2) is reimagined with its original groove and bass line as the launch pad, while “The Bass That Don’t Stop” becomes a lush house-jazz tribute to the late Phil Asher, originally co-created by Asher and de Clive-Lowe in 2002 under the moniker musiclovelife.Bassist Andrea Lombardini’s “Pam” brings the album inward – introspective, spacious, and deeply melodic; while “Lucid Dreams” draws on the trio’s shared love of jungle, drum’n’bass and the exploratory spirit of greats like Chick Corea, amplifying the journey with forward motion and harmonic curiosity.Dreamweavers II is a concisely intentional sound narrative: a trio record rooted in jazz lineage, shaped by beat culture and guided by a collective curiosity for texture, rhythm, and movement.

Der mehrfach preisgekrönte Londoner Jazz-Saxofonist startet mit seinerm neuen Soloalbum sein eigenes Label.

Multiinstrumentalist, Produzent und Künstler Shabaka (Hutchings) veröffentlicht mit "Of The Earth" sein drittes Soloalbum, das gleichzeitig das erste ist, das über sein eigenes Label Shabaka Records erscheint und komplett von ihm selbst geschrieben und produziert wurde. Auf "Of The Earth" kehrt Shabaka zu seinem charakteristischen Saxophonklang zurück, ergänzt durch ausgefeilte Elektronik und Produktion sowie traditionelle Holzblasinstrumente und Perkussion aus aller Welt. Diese Kombination unterstreicht sein vielseitiges Talent und prägt den Gesamtklang des Albums. Hutchings genießt hohes Ansehen für seine Arbeit mit The Comet Is Coming, Sons Of Kemet, Shabaka And The Ancestors sowie für die beiden jüngsten Soloprojekte "Perceive Its Beauty, Acknowledge Its Grace" (2024) und "Afrikan Culture" (2023). Als Musiker arbeitete er bereits mit einer Vielzahl namhafter Künstler zusammen, darunter Andre 3000, Floating Points, Mulatu Astatke, The Sun Ra Arkestra, Lianne La Havas, Saul Williams und viele mehr. "Of The Earth" erscheint als schwarze Vinyl-LP, als limitierte kornblumenblaue Vinyl-Edition und als CD. Beide Vinyl-Formate enthalten ein Booklet mit Hutchings' eigenem Artwork.

Lilly Palmer ist eine Vorreiterin in der Welt der elektronischen Musik, bekannt für ihren einzigartigen Sound, der energiegeladenen Techno mit grenzen sprengenden Elementen verbindet. Mit ihrem langerwartenden Debüt Album „Bigger Than Techno“ geht sie den nächsten Schritt Richtung Techno Olymp!
Die in Deutschland geborene Lilly ist schnell zu weltweiter Bekanntheit aufgestiegen, gilt als eine der einflussreichsten und innovativsten Künstlerinnen ihrer Generation und würde jüngst vom renommierten DJ Mag auf #57 der besten DJs weltweit gewählt.

About Alec Pace’s “Respiro 22:16”
Breath as rhythm. Breath as memory. Respiro 22:16, the debut album by Alec Pace, is a world suspended between intimacy and impact — where personal confessions are carried by low-end frequencies and fragile melodies are shaped into physical space.
Written, produced and mixed between London and Turin, this record reveals Alec Pace not only as a producer but as a storyteller through sound. Layer by layer, his voice, guitars, piano, synthesizers, drum machines, samplers, and field recordings converge to form a sonic diary — one that whispers, cracks, shimmers and erupts.
The album moves fluidly between dream pop, modern UK bass, breaks, jungle, and club music, yet its essence lies in emotion: love, memory, anticipation, release. Each track is a breath, an exhale, a fragment of something lived.
“The30th” opens with nostalgic warmth, darkness and breaks; “For You (Hello)” captures the tender rush of a love song over a drum & bass heartbeat; “Venus Winds” floats in a balance of techno pulse and harmonic light. “Angular Invariance” reshapes the floor beneath your feet, while “Respiro” pauses to listen inward — piano and air, fragile and close. “Anticipation” closes it all with a forward surge: emotional, propulsive, unresolved.
Respiro 22:16 is not just a collection of tracks, but a portrait of an artist learning to breathe out loud.

Alec Pace said:
“This album is about putting myself out there — letting every sound, chord and rhythm breathe,” says Pace. “Respiro is both a personal archive and a release.”

“Respiro 22:16” is available across all platforms on Friday 6th March 2026.

Two of the UK’s finest party-starters Dub Pistols and the Freestylers team up on ‘Enter The Sound’ to bring you an album of high-grade & high-pressure, bass-heavy cuts. Enter the party, Enter The Sound!

The album is a sonic journey through their diverse influences, blending genres like Reggae, Ska, Breakbeat, Jungle, Hip Hop & Trip Hop. It’s a celebration of their shared musical roots and evolution.
 
The album features an all-star lineup of guest artists, including Johnny Osbourne, Tippa Irie, General Levy, Too Many T’s, Horseman, Belle Humble, Scarlett Quinn, Tenor Fly, MC Spyda, Persona, Harry Shotta  and of course, Seanie T.

,Mount Zero", das Debütalbum von Swapmeet, ist ein mitreißender, gitarrenlastiger Road Trip, der an den Slowcore und Alternative Rock der 90er und frühen 2000er Jahre erinnert und diesen Stil neu belebt. Es markiert den Moment, in dem das australische Quartett zu seiner eigenen Identität findet. Nach ihrer verträumten Debüt-EP ,Oxalis" aus dem Jahr 2024 erscheint ,Mount Zero" kurz nach der Unterzeichnung des Bandvertrags beim in LA ansässigen Label Winspear, nachdem sie in ganz Australien für Aufsehen gesorgt hatten, bei den South Australian Music Awards Auszeichnungen für die beste Veröffentlichung und den besten Song (,Ceiling Fan") mit nach Hause nahmen und bei SXSW Sydney den Titel ,Bester Newcomer" erhielten. ,Mount Zero" verbindet luftige Sanftheit mit schrägem Surrealismus und verwandelt so viele der Bedauern und Unsicherheiten des jungen Erwachsenenalters in ein aufkeimendes, neu gewonnenes Selbstvertrauen. Obwohl die Mitglieder von Swapmeet ihre Songs oft zunächst einzeln schreiben, drehten sich die Titel auf ,Mount Zero" letztendlich um gemeinsame Themen: erste Lieben, erste Liebeskummer, erste Peinlichkeiten, erste Katastrophen. Wie schon seit ihren Anfängen als Band tauschten Swapmeet auch bei ,Mount Zero" die Instrumente untereinander aus und teilten sich die Produktionsaufgaben als Quartett. Sie entwickelten ihren Sound, indem sie Dutzende (manchmal Hunderte) von Spuren in jedem Song übereinanderlegten und dann sorgfältig Elemente entfernten, bis die Produktion eine klare Form annahm. Das Ergebnis ist ein Album, auf dem Swapmeet die zähneknirschende Intensität einfangen, die man empfindet, wenn man sich unter dem unerbittlichen Druck der Realität auf zellulärer Ebene verändert. Es ist eine Hommage an all die Leben, die niemals gelebt werden können, an all die Wege, die niemals beschritten werden - und zugleich eine Ode an das Leben, das direkt vor uns liegt.

,Mount Zero", das Debütalbum von Swapmeet, ist ein mitreißender, gitarrenlastiger Road Trip, der an den Slowcore und Alternative Rock der 90er und frühen 2000er Jahre erinnert und diesen Stil neu belebt. Es markiert den Moment, in dem das australische Quartett zu seiner eigenen Identität findet. Nach ihrer verträumten Debüt-EP ,Oxalis" aus dem Jahr 2024 erscheint ,Mount Zero" kurz nach der Unterzeichnung des Bandvertrags beim in LA ansässigen Label Winspear, nachdem sie in ganz Australien für Aufsehen gesorgt hatten, bei den South Australian Music Awards Auszeichnungen für die beste Veröffentlichung und den besten Song (,Ceiling Fan") mit nach Hause nahmen und bei SXSW Sydney den Titel ,Bester Newcomer" erhielten. ,Mount Zero" verbindet luftige Sanftheit mit schrägem Surrealismus und verwandelt so viele der Bedauern und Unsicherheiten des jungen Erwachsenenalters in ein aufkeimendes, neu gewonnenes Selbstvertrauen. Obwohl die Mitglieder von Swapmeet ihre Songs oft zunächst einzeln schreiben, drehten sich die Titel auf ,Mount Zero" letztendlich um gemeinsame Themen: erste Lieben, erste Liebeskummer, erste Peinlichkeiten, erste Katastrophen. Wie schon seit ihren Anfängen als Band tauschten Swapmeet auch bei ,Mount Zero" die Instrumente untereinander aus und teilten sich die Produktionsaufgaben als Quartett. Sie entwickelten ihren Sound, indem sie Dutzende (manchmal Hunderte) von Spuren in jedem Song übereinanderlegten und dann sorgfältig Elemente entfernten, bis die Produktion eine klare Form annahm. Das Ergebnis ist ein Album, auf dem Swapmeet die zähneknirschende Intensität einfangen, die man empfindet, wenn man sich unter dem unerbittlichen Druck der Realität auf zellulärer Ebene verändert. Es ist eine Hommage an all die Leben, die niemals gelebt werden können, an all die Wege, die niemals beschritten werden - und zugleich eine Ode an das Leben, das direkt vor uns liegt.

,Mount Zero", das Debütalbum von Swapmeet, ist ein mitreißender, gitarrenlastiger Road Trip, der an den Slowcore und Alternative Rock der 90er und frühen 2000er Jahre erinnert und diesen Stil neu belebt. Es markiert den Moment, in dem das australische Quartett zu seiner eigenen Identität findet. Nach ihrer verträumten Debüt-EP ,Oxalis" aus dem Jahr 2024 erscheint ,Mount Zero" kurz nach der Unterzeichnung des Bandvertrags beim in LA ansässigen Label Winspear, nachdem sie in ganz Australien für Aufsehen gesorgt hatten, bei den South Australian Music Awards Auszeichnungen für die beste Veröffentlichung und den besten Song (,Ceiling Fan") mit nach Hause nahmen und bei SXSW Sydney den Titel ,Bester Newcomer" erhielten. ,Mount Zero" verbindet luftige Sanftheit mit schrägem Surrealismus und verwandelt so viele der Bedauern und Unsicherheiten des jungen Erwachsenenalters in ein aufkeimendes, neu gewonnenes Selbstvertrauen. Obwohl die Mitglieder von Swapmeet ihre Songs oft zunächst einzeln schreiben, drehten sich die Titel auf ,Mount Zero" letztendlich um gemeinsame Themen: erste Lieben, erste Liebeskummer, erste Peinlichkeiten, erste Katastrophen. Wie schon seit ihren Anfängen als Band tauschten Swapmeet auch bei ,Mount Zero" die Instrumente untereinander aus und teilten sich die Produktionsaufgaben als Quartett. Sie entwickelten ihren Sound, indem sie Dutzende (manchmal Hunderte) von Spuren in jedem Song übereinanderlegten und dann sorgfältig Elemente entfernten, bis die Produktion eine klare Form annahm. Das Ergebnis ist ein Album, auf dem Swapmeet die zähneknirschende Intensität einfangen, die man empfindet, wenn man sich unter dem unerbittlichen Druck der Realität auf zellulärer Ebene verändert. Es ist eine Hommage an all die Leben, die niemals gelebt werden können, an all die Wege, die niemals beschritten werden - und zugleich eine Ode an das Leben, das direkt vor uns liegt.

DJ Support: Gilles Peterson, Osunlade, Lakuti, Sean McCabe, Craig Smith, Marcia Carr + more

JuJu Muzik presents “Counting Clouds,” the newest work from Chicago house pioneer Harry Dennis, whose poetic influence spans over three decades and legendary projects like Jungle Wonz, The IT, and Fingers Inc. Featuring an exceptional lineup of remixers & producers - Rob Redford & Damian Charles with a contemporary soulful rework that nods to classic Chicago, Rude Boy Rupert delivering a broken-beat-infused UK underground twist, Mark Hand with his warm jazz-rooted depth and Julian Garnett offering a signature JuJu Muzik interpretation—the release bridges Chicago’s foundational spirit with today’s global house movement, celebrating the genre’s past, present, and future.

666 ist eines der originellsten Progressive-Rock-Alben aller Zeiten. Komponiert vom verstorbenen Maestro
Vangelis, mit Texten von Costas Ferris, ist es ein konzeptionelles Doppelalbum, das bei seiner Veröffentlichung als „ein Werk von atemberaubender Komplexität und Originalität“ gepriesen wurde und die
Krönung in der Karriere von Aphrodite’s Child darstellt.
Mit Stücken wie „The Four Horsemen“, „Aegian Sea“, „Babylon“, „Do It“, „The Beast“ und „All the
Seats Were Occupied“ hat das Album im Laufe der Jahrzehnte stetig an Ansehen gewonnen und nachfolgende Generationen von Musikern beeinflusst.
Diese Box enthält remasterte Audio-Versionen des Original-Album-Mixes und der seltenen griechischen
LP-Version von 1974 (die einen deutlich anderen Mix als die Original-LP-Veröffentlichung aufwies) sowie
eine Blu-ray-Disc mit 96 kHz / 24-Bit-Atmos- & 5.1-Upmixen & Stereo-Mix, die alle von Vangelis betreut
wurden. Die Disc enthält außerdem als Bonus eine 28-minütige Episode der französischen Fernsehsendung
Discorama vom Juni 1972, in der Vangelis über das Album spricht (mit englischen Untertiteln).
Die Box enthält ein reich bebildertes Buch mit einem neuen Essay und Originalinterviews mit der Band
sowie vielen bisher unveröffentlichten Fotos, die Vangelis kurz vor seinem Tod im Mai 2022 in seinen
verschiedenen Archiven in Europa aufgestöbert hat.

A decade ago, Taylor Swift was already a world-renowned and dominant force in the pop world. In 2014, she was on a world tour that took in a stop at Tokyo Saitama Arena on June 1st and the recording of it captures the electrifying energy of her sold-out performance during the iconic "Red" world tour. This live album showcases Swift at her early peak and delivering heartfelt ballads and powerful pop anthems with her signature charm and stage presence. Fan favourites resonate with emotion and live energy, while quieter moments like 'All Too Well' highlight her storytelling prowess. The Saitama Arena crowd adds to the magic throughout.

Nia Archives returns with Emotional Junglist, an album about love – but not just the shimmering romantic parts. Written throughout 2025 – a year that saw Nia fall in, and horrifically back out of, love – each track will encompass something of the experience.

Marking her biggest sonic leap to date, her alt-jungle sound honed alongside James Ford (Arctic Monkey’s, Blur), Ethan P. Flynn (FKA Twigs, David Byrne) and Julia Michaels (Lady Gaga, Sabrina Carpenter), will see her flirt with everything from dewy-eyed indie pop and nineties electronica, underscored by the syncopated beats and thudding basslines of her jungle roots with a tracklist that features Jorja Smith and Sampha.

The motif for the album is a shell – tough on the outside, but through pressure, maturation and resilience, something precious is built within. Nodding to the female form, the spiral chamber also symbolizes growth and self-development.

And another new volume of the Meeting Of The Minds series is here, with 4 new collaborations I've done with other producers in the jungle scene!

"Casual Loop" is a collaboration that me & Submerse started working on in 2023 but it was another one of the tracks that I had lost due to my computer being stolen in early 2024, & I hadn't fully backed up everything I had done for a few months, including this track. This meant I had to re-do a lot of the work I had done with what Submerse had started but I was lucky enough to get it near identical to how it was sounding and ready for release. Submerse has been on Future Retro London a few times, with his EP release (FR033) & a track featured on the atmospheric VA EP (FR049) that came out late last year, I'm a huge fan of his musicality & his melodies, which made this track really fun to work on, even with all the obstacles faced!

My first interaction with Quaad goes way back to 2013, when he asked me for a guest mix for a radio show called The After Party that was on C89.5FM in Seattle (which is still up on my SoundCloud for anyone curious) and then before he started his current label (Heavy Sounds), he had started a label with Wetman called Vivid Recordings, which he was sending me the releases on (but I think in standard fashion, I kept forgetting to check them!). But it wasn't until 2022 when me & Dwarde played in Seattle with him and I saw his live Amiga set where he was playing a lot of his own music, & from then on, I was better aware of what he was doing & I got to hang out with him & know him a bit better, which is when I then fully started following what he was doing. Then eventually, we ended up doing a track together (he also uses FL Studio, just like me) and "Judge Dredd" is the end result of that.

Samurai Breaks is also someone that I've known of for a long time but didn't really properly connect with until recent years where I saw what he was doing with his label Super Sonic Booty Bangers, which also does events in Sheffield which I played for in 2024. It was quite an interesting collab because I don't think many people would have necessarily expected our styles to really gel well together but I think we managed to hit a nice midpoint between his craziness & mine haha

Fixate is most likely another person that people would not have anticipated as someone that I would collaborate with, mainly because the style of tune people know him for is more tied with the footwork/halftime sound that became popular in the 2010s, as well as his output as 1/2 of dubstep duo Leftlow, but he has made some jungle in the past & I'm always down for the challenge of stepping outside of my comfort zone to work with people who are not mainly based in the newskool jungle scene but have an appreciation for it. I found out about him through the releases he had on Exit Records from 2015 onwards, plus he was also a part of Richie Brains (the project in 2016 involving many artists forming a loose collective) so I was aware of what he was doing but I properly got to know him from when I went bowling with him, Dwarde & LMajor back in 2022 and then he sent me something to work on early last year (another FL Studio producer btw!), which I took my sweet time in starting it but eventually got done & here we are! And for those wondering, the track title (May Contain Traces) alludes to me & Fixate's shared allergy towards nuts (although his is a lot more severe than mine), which was the only thing I could think of to name the track after when it came down to it!

When Soulox sent me a bunch of tracks he had been working on last year, there were some really good bits in there, but I noticed that there also seemed to be a lot of remixes that him & Xtra Spice Mikey (previously known as Phineus II) had been doing of each other's music.

I felt like even though I had no clue what the originals of the tunes were or what they sounded like (or if they even really existed!), that it could make sense to put this all of this together into an 8 track joint release of original productions & each other's remixes. It also gave me the opportunity to include in some older bits from XSM which had never seen the light of day.

Big up to both of them for being up for putting this release together & thanks to Skr0nz for the illustrations used on the artwork.

Shall Not Fade welcomes Pugilist for SNF140 "Maternal".

If you don't already know (and love!) Pugilist's prolific output, you need to get to know! The Naarm/Melbourne based DJ, producer and Rinse resident has released on Martyn's 3024, Melbourne's killer Modern Hypnosis, Silent Era's Of Paradise, Samurai, Rupture, ZamZam, J:Kenzo's Artikal, Sub Basics' Temple of Sound, Whities/AD93, Al Wooton's Trule, Banoffee Pies, Best Intentions and now his own buy on sight Ruff Kutz imprint.

'Maternal' is four blissey dubwise house blurring cuts. Embracing, medicinal, lush & corrective. Vibrations for heads and feet.

'Title track 'Maternal' is deep grooving infectious and honeyed house. Hypnotic, pulsating with head-meltingly warm padwork. 'Bona Fide' sees Pugilist team up with UK duo Mystic State. Drums sidestep with jazz swing while graceful piano and an ensemble of pads are topped with an introspective vocal sample dialing for your subconscious. The B1 'Anomaly' is a stepper - FWD charging drums backed with sub low pulses all brought together by trumpet echoes and woozy melodics. Finally comes 'Marigold', a soulful jungle excursion > early hours business, caressed nostalgic percussion, brushed rhythms, fleeting guitar licks and undulating vibes.

Reptile Mob is proud to present 'Lost N Found' EP opening the vault to a long-awaited archive collection of unheard garage house tracks from Darlington-born and London-based producer Highrise. Unearthed from old hard drives, this EP captures a raw, unfiltered moment in UK garage, true to its name. Highrise is the alias of Dinn Warde, a name jungle heads know well as Dwarde. While he's been making increasingly large splashes on the jungle scene, his garage output as Highrise on labels like Practical Rhythms, Vibesey Records, Shuffle & Swing, and Fresh Milk Records has been equally on-point. Lost no more, found at last. The 'Lost N Found' EP is yours to discover.

After the last release ‘Innocence’ with Nathan Cable gaining support from John Digweed on his renowned Apple Music Compiled & Mix Series, we bring forth one of the remixers for his own single release ‘Snake Altar’.

Richie Blacker Northern Ireland’s progressive house & breaks prodigy who’s seen releases on Sasha’s Last Night On Earth, Scream’s Of Unsound Mind, Franky Wah’s Shen, Armada, Anjuna Deep and so many more including his own imprint Mess Express. We were super excited to sign the original breaks mix of ‘Snake Altar’, an amazing ethereal & euphoric progressive breaks track with its haunting ethnic vocals we just knew who could step up as the originator (this time) to remix the third Break-The-Future project.

Ray Keith delivered his signature sound system Jungle / Drum & Bass sound to which we think you’ll absolutely love, just oozing in class. The way it flows from euphoric to his heavy hitting signature darkness to deep jungle roots and back is exactly what we wanted from the big man himself and absolutely buzzing to have Ray on the label for our third release.

To finalise the package Richie Blacker delivered a 4x4 mix, now the lead track and to close off the release a beatless mix & acapella giving you some serious tools to work with… THIS IS ESSENTIAL!

DJ Support: David Morales, Dimitri From Paris, Tedd Patterson, Dj Spen, Terry Hunter, Hector Romero, Dr Packer, Da Lukas, Sebb Junior, Jo Paciello, Shabi and many others.

The friendship between Sarah Jane Morris and Mario Biondi is the basis of this collaboration, born from the desire to pay homage to Roberta Flack. The idea, proposed by Sarah Jane, to reinterpret "Back Together Again" was born a few months before the death of the famous American singer. The original song, published in 1980 on the album "Roberta Flack Featuring Donny Hathaway", included the posthumous participation of Donny Hathaway, who died in 1979. Mario Biondi enthusiastically welcomed the proposal, and considering that the original song had a strong dance component, entrusted the production to Micky More & Andy Tee, one of the most important Soulful Disco House production teams on the contemporary world scene. The duo of DJs and producers from Ancona Italy have been at the top of the charts of digital dance stores for years. The package includes a fantastic DUB version of Jazz-N-Groove, Courtesy Of Brian Tappert & Marc Pomery, The legendary American Dance producers Duo. A MUST HAVE.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

Above The Clouds I Finally Found Peace, the latest work from French artist Quelza (Leo Naït Aïssa) on Ostgut Ton, feels like a homecoming.

A testament to introspection and self-awareness.
Rather than adhering strictly to a club-focused approach, the EP marks a step forward in freedom of expression, breaking away from a purely club-based format and instead leading into a broader listening territory. It unfolds as a personal musical journal shaped by perception, memory, and emotion.

As its title suggests, the record carries a spiritual undercurrent. It stands as a sincere sonic statement from a young artist, driven by a clear intention: to express vulnerability and honesty through sound.

The EP invites the listener to let go of expectations formed by previous releases, while preserving the emotional intensity and distinctive sonic identity that have come to define this work in recent years.

„Above The Clouds I Finally Found Peace“, das neueste Werk des französischen Künstlers Quelza (Leo Naït Aïssa) auf Ostgut Ton, fühlt sich wie eine Heimkehr an.

Ein Zeugnis der Selbstreflexion und Selbstwahrnehmung. Anstatt sich strikt an einen cluborientierten Ansatz zu halten, markiert die EP einen Schritt vorwärts in Richtung Ausdrucksfreiheit, bricht mit einem rein clubbasierten Format und führt stattdessen in ein breiteres Hörgebiet. Sie entfaltet sich wie ein persönliches musikalisches Tagebuch, geprägt von Wahrnehmung, Erinnerung und Emotion.

Wie der Titel schon andeutet, hat die Platte eine spirituelle Unterströmung. Sie ist ein aufrichtiges klangliches Statement eines jungen Künstlers, der von einer klaren Absicht getrieben ist: Verletzlichkeit und Ehrlichkeit durch Klang auszudrücken.

Die EP lädt den Hörer dazu ein, die Erwartungen, die durch frühere Veröffentlichungen entstanden sind, loszulassen, während sie gleichzeitig die emotionale Intensität und die unverwechselbare klangliche Identität bewahrt, die dieses Werk in den letzten Jahren geprägt haben.“

Mit The Drum "n" Bass Session erweitert Wagram die renommierte Electronic Music Anthology um ein weiteres zentrales Kapitel der elektronischen Musikgeschichte. Auch diese Ausgabe wurde von FG Radio, einer der wichtigsten Plattformen für elektronische Musik in Frankreich, kuratiert und widmet sich ganz den energiegeladenen, bassgetriebenen Facetten von Drum "n" Bass. Die Compilation vereint wegweisende Künstler wie Goldie, Roni Size, Calibre, Nookie, DC Breaks, Souljah und DJ Gilb"R - Namen, die das Genre von seinen frühen Jungle-Wurzeln über soulful, deepen Drum "n" Bass bis hin zu modernen, clubtauglichen Produktionen entscheidend geprägt haben. Rasende Breakbeats treffen auf massive Basslines, atmosphärische Flächen und eine unverwechselbare Mischung aus Präzision und Energie. The Drum "n" Bass Session richtet sich gleichermaßen an DJs, Sammler und Liebhaber elektronischer Subkultur. Eine sorgfältig kuratierte Anthologie, die den Stil nicht historisiert, sondern seine zeitlose Dynamik und Relevanz eindrucksvoll hervorhebt - kompromisslos, direkt und absolut dancefloor-erprobt.

Towering dub techno titan Brendon Moeller takes care of the 10th EP from Fossils Records and does so with a typically excellent six-track. The New York-based South African has long since mastered the art of space and restraint in his music and that's laid bare again here. 'Motion' has sinewy electronics and warped bass making for a fuller cut than you might expect from him. 'Disko Inferno' is a jumble of percussion and fizzy synth warmth and 'Habitual Ritual' then sinks into deep, dusty and ritualistic rhythms. 'Apparatus' is Moller's refined take on deep jungle and there are dancehall mutations on 'Samurai Steps' and serene deep space trips on 'Meltdown', making this one of his most varied EPs.

Second vinyl release on our label, this time presenting what we consider a timeless piece. Light Blue File delivers three cuts steeped in jungle flavour, heat and red lights. Intensity and minimalism. intricate elements and details that fuel the tension and trance on the dancefloor.

Producer/bassist Petter Eldh's celebrated Koma Saxo returns with a fresh single release on We Jazz Records, June 12. "Koma Mate" is a new look on "Koma Tema" from Koma Saxo's 2019 debut album. The track's anthemic quality remains, but with an extra 10% bangerism added for good measure. On the flip, Eldh invites Jameszoo to tear apart and reassemble Koma Saxo's elements, making for an extra tasty serving of spicy Koma Soup, filled with criss-crossing saxes and odd grooves. Lightning in a bottle, times two.

"Koma Mate / Jagd (Feat. Jameszoo)" will be released by We Jazz Records on June 12 as a 7" single and digitally. True to We Jazz style, the 7" comes with an old school heat-pressed labels and a generic brown paper sleeve.

Brera Groove returns with its third vinyl release, Brera Groove 003, a various artists that bridges early 80's Mediterranean disco with a warm and vibrant touch. The project, curated by Tamati and inspired by the artistic soul of Milan’s Brera district, opens up once again to new sounds with contributions from Haverdi, Joi N’Juno and HotchPotch, each offering their own reinterpretation of these classics. Four dancefloor cuts made to recreate the atmosphere of the golden age of disco clubs, where groove, rhythm and melody ruled the night, adding a new chapter to the Brera Groove library.

Citizens anhaltende klangliche Weiterentwicklung und ihre konsequente Weigerung, jemals zweimal dasselbe Album zu machen, haben ihnen den Ruf eingebracht, eine der konstant fesselndsten Bands der modernen Rockmusik zu sein. Genau dieses kompromisslose Bekenntnis zu ihrem Handwerk führte zu ihrem neuen Album Halcyon Blues. Es ist eine dynamische und selbstbewusste Kulmination all dessen, was zuvor kam - und macht unmissverständlich klar: Bei aller klanglichen Rastlosigkeit wussten Citizen immer genau, wer sie sind.Von Beginn an war die Band - Sänger Mat Kerekes, Gitarrist Nick Hamm, Bassist Eric Hamm sowie die neueren Mitglieder Gitarrist Mason Mercer und Schlagzeuger Ben Russin - fest entschlossen, ihrer Kreativität kompromisslos zu folgen, wohin auch immer sie sie führen würde. Über die Jahre bewegten sie sich souverän durch rohen Emo, bedrohlichen Post-Hardcore, hymnischen Alternative Rock, garageartigen Indie-Pop und vieles mehr.Halcyon Blues vereint nun Elemente aus dem gesamten bisherigen Katalog der Band zu einem geschlossenen, unmittelbar befriedigenden Album, das einfach unverkennbar nach Citizen klingt. Während frühere Citizen-Alben oft wie direkte Reaktionen auf den jeweiligen Vorgänger wirkten, fühlt sich Halcyon Blues an, als würde die Band ihr gesamtes bisheriges Werk umarmen und geschlossen weitertragen.Aufgenommen von Kerekes in seinem Heimstudio in Toledo und anschließend von Tom Lorde-Alge (U2, Weezer, Blink-182) gemischt, greift das Album die Dringlichkeit und Wildheit der frühen Citizen-Veröffentlichungen auf und verbindet sie mit der epischen Weite und den unbestreitbaren Hooks ihres jüngeren Schaffens. Das Ergebnis sind große Rock-Songs mit entsprechend großen Emotionen. Doch auch die jugendliche Frustration der frühen Jahre ist gereift - ersetzt durch eine nuanciertere, wenn auch nicht weniger scharfzüngige erwachsene Perspektive.

Citizens anhaltende klangliche Weiterentwicklung und ihre konsequente Weigerung, jemals zweimal dasselbe Album zu machen, haben ihnen den Ruf eingebracht, eine der konstant fesselndsten Bands der modernen Rockmusik zu sein. Genau dieses kompromisslose Bekenntnis zu ihrem Handwerk führte zu ihrem neuen Album Halcyon Blues. Es ist eine dynamische und selbstbewusste Kulmination all dessen, was zuvor kam - und macht unmissverständlich klar: Bei aller klanglichen Rastlosigkeit wussten Citizen immer genau, wer sie sind.Von Beginn an war die Band - Sänger Mat Kerekes, Gitarrist Nick Hamm, Bassist Eric Hamm sowie die neueren Mitglieder Gitarrist Mason Mercer und Schlagzeuger Ben Russin - fest entschlossen, ihrer Kreativität kompromisslos zu folgen, wohin auch immer sie sie führen würde. Über die Jahre bewegten sie sich souverän durch rohen Emo, bedrohlichen Post-Hardcore, hymnischen Alternative Rock, garageartigen Indie-Pop und vieles mehr.Halcyon Blues vereint nun Elemente aus dem gesamten bisherigen Katalog der Band zu einem geschlossenen, unmittelbar befriedigenden Album, das einfach unverkennbar nach Citizen klingt. Während frühere Citizen-Alben oft wie direkte Reaktionen auf den jeweiligen Vorgänger wirkten, fühlt sich Halcyon Blues an, als würde die Band ihr gesamtes bisheriges Werk umarmen und geschlossen weitertragen.Aufgenommen von Kerekes in seinem Heimstudio in Toledo und anschließend von Tom Lorde-Alge (U2, Weezer, Blink-182) gemischt, greift das Album die Dringlichkeit und Wildheit der frühen Citizen-Veröffentlichungen auf und verbindet sie mit der epischen Weite und den unbestreitbaren Hooks ihres jüngeren Schaffens. Das Ergebnis sind große Rock-Songs mit entsprechend großen Emotionen. Doch auch die jugendliche Frustration der frühen Jahre ist gereift - ersetzt durch eine nuanciertere, wenn auch nicht weniger scharfzüngige erwachsene Perspektive.

Suburban Architecture are pleased to announce the second release in their 'New Town Dubs' series, following in the footsteps of the now Sold Out 'Architecture Dubs' series. Whereas 'Architecture Dubs' enlisted remixers from Drum & Bass's mid 90s golden era (among them the likes of Peshay, Blame, 4Hero and Ray Keith), 'New Town Dubs' turns its attention to the new breed of producers inspired by the sounds of Drum & Bass and Jungle's foundations.

On the A-Side, a rinsing Amen rework of 2022 roller 'Distant Response' comes courtesy of Law, the name behind the prolific Repertoire imprint. With releases on labels including Silent Force, Rupture and of course Repertoire, Law has been a major player in the Jungle revival sound for over a decade.

Over on the flip, Melbourne based producer Kloke delivers a stripped back rework of 'Rising', taken from this year's 'Vivid' EP. With releases on Future Retro, Hyperdub and Diamond Life, Kloke is a frequent collaborator with Tim Reaper and has collaborated with many of the notable producers and labels representing Jungle's new wave.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

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

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

Prolific beat pharmacist par excellence Brendon Moeller continues his hot streak with a return to Samurai to serve up the exquisite craftsmanship of Shadow Language. Across 15 fresh productions the seasoned house and techno producer demonstrates yet more variations on his rejuvenated sound since pivoting towards 160 tempo zones. Heavyweight dub techno pulses collide with D&B pressure and dubstep snarl, delivered with devastating restraint and mediative warmth.

Moeller's dub-informed, high-grade production hit a hot streak as he started to experiment with faster tempos and more broken rhythms, reaching into thrilling new sound fields where fast-slow rhythmic intrigue meets with spatial subtlety and constantly evolving synth voices. The past year has seen him release a swathe of albums, from Further on Samurai to outings on Constellation Tatsu, ESP Institute and Quiet Details that all burst with inspiration, each distinct from the last and offering an original perspective on this rich seam of crossover electronics.

Shadow Language shows Moeller burrowing even deeper into this new era of his work, continuing the hypnotic approach set out on Further while edging more forthright ingredients into the mix. From the outset 'Division By Zero' hits with immediacy even as it dips into a dubwise breakdown, with snatches of vocal and even the iconic loom bird making the slightest of appearances. 'Feral Hymn' finds a curious kind of uplift in the synth chord that twists in and out of the mental techno murmurations of the rhythm section. 'Impermanence' has some snarling bass that belongs in the gnarliest tech-step, while the nagging hats ticking through 'Junkyard Syntax' hint at a shockout without resorting to brute force. The majestic dub techno chords of 'Driftform' create a through-line across Moeller's extensive catalogue, but here they dominate the mix above a spongy bed of sub bass throb and framed by the tiniest slithers of percussion.

Throughout the album, it's the implications Moeller suggests with the tools at his disposal that create a powerful energy. Restraint governs the delivery, guiding the listener in deeper until they find a maximal experience from each elegantly understated roller. The weight and presence is abundant across every track, fuelled by the invigorating power of each tone and frequency while avoiding the clutter of overloaded arrangements.

Finding the notes in between and half-hidden rhythms, Moeller himself perfectly summed up his latest opus as he continues to develop his own compelling Shadow Language.

Western Lore presents the second part of an absolute jaw dropper of an LP from the enigmatic L own, the producer behind 2024’s much lauded Forgotten Paradise Bootlegs (which flew out so rapidly on Bandcamp, none of the ltd run of copies made it to retail).

Deep, musical, textural & blissed out jungle tekno wizardry across a range of tempos, Daybreak Survivors is a journey like no other. Emotive and dripping with nostalgia whilst sounding distinctly futuristic, L own effortlessly carves out a unique sound that shines like beacon in a sea of noise.

Roland Corporation's MKS-50 form 1986 is a rack-mount version of the Alpha Juno. It has the same synth engine and architecture, but with added features like 16 programmable chord memories, the ability to store velocity, volume, panning, de-tune, portamento and other similar parameters within each patch you create. The optional PG-300 gives traditional slider type control of all editable tone parameters which include DCO (digitally controlled oscillators) LFO, bend, ENV, pulse, waveforms, noise, PW/PWM, high pass filter, VCF (filter) with freq/env/res/LFO/kybd, VCA envelope, chorus, and more. Adapta delivers a project based on this legendary MKS-50 synth. Tracks created with technology from the past, aimed for the future. Techno!!

Pixl has been sending me so much of the music that he's been doing solo as well as his collabs with Duburban, Ark X & Peeb. I've been playing quite a few of them on my shows on NTS Radio & it only made sense to eventually put together a full release of them, so here is Old Citrus by him & Peeb, representing the atmospheric style of jungle that they are both excellent at.

Big up to both of them on this release & to Equinox for his fantastic remix of Old Citrus.

He runs a label called Western Lore which I've featured on previously, with 2 different remixes I did of Plastic Face by Response & Pliskin, as well as a track featured on the first Blunted Breaks compilation. It only made sense to eventually work on a joint label project as his label is a key figure in the current wave of jungle music, plus I hadn't put any music from him on Future Retro London yet so now I can finally tick him off the list!

Big up to Dead Man's Chest for his work on the collaborations & for his involvement in making this release a reality.

Cyborg Quest encapsulates MODAZ 2024—its learning, its searching, and its becoming. It moves through cycles of connection and disconnection, yet above all, it is driven by music. This EP is deeply personal. It echoes the phrases that resonate with his daily life: “It’s happening again,” lifted from Twin Peaks; “Where you at?”; and even “Why the world isn’t the way I wanted?” Together they form a blend of symbolism, mystique, and raw reality.

Von Augustus Pablos bahnbrechendem „Java” bis zu Carl Malcolms UK-Pop-Crossover-Hit „Fattie Bum Bum” präsentiert Chapter Two einen Klassiker nach dem anderen von einer All-Star-Besetzung der Reggae-Größen der 70er Jahre, darunter Black Uhuru, Horace Andy, Dennis Brown, Gregory Isaacs, The Heptones und Big Youth. Wunderschön verpackt mit Innenhüllen mit seltenen Fotos und Liner Notes des Reggae-Historikers David Katz.

Beginnend mit dem fröhlichen Ska von Lord Creators Unabhängigkeitshymne 'Independent Jamaica' zeigt das Chapter One Album den wahren Verlauf der jamaikanischen Musik in den 1960er Jahren mit einer virtuellen Who's Who der Reggae-Musik, darunter Bob Marley, Peter Tosh, Toots & The Maytals, Rico, Skatalites, John Holt & Alton Ellis. Wunderschön verpackt mit Innenhüllen mit seltenen Fotos und Liner Notes von Steve Barrow von Blood & Fire.

This record is like the lost crown jewels of House Music with a story that spans decades. Originally programmed in 1998 on an Akai S3000XL, this was meant to be released on Bjørn Torske's Footnotes in 2001. Unfortunately the original matrix and the master DAT tapes got lost under crazy circumstances. Yet several years later the tapes were found by Sex Tags Mania in the studio of mastering engineer Helmut Erler and the record eventually got issued in 2009 when a totally different House sound was "en vogue." Then due to some unfortunate coincidences most of the records ended up in far flung Japan, and so this record stayed totally underground. Yet it became a cult hit when House Music and later Disco got a proper revival around 2010/11. So over the years prices for this rarity were rising and rising... Then fast forward to 2025: after a sunny day off Berlin's modular synthesizer show "Superbooth" ATJ boss Mr. Fonk and Doc L. Junior teamed up to finally reissue this gem with new masters by Andreas Kauffelt of "Schnittstelle" / Berlin. On this 12“ Norwegian Disco and Balearic sounds meet: funky but deep to the core, playful but hypnotic, stripped down but with baroque details. Truly one of House Music's greatest productions.

Indiana Jones never dug this deep.
Church – the brainchild of Joe Washington – were a band both lucky and cursed to come up in the seventies. Lucky, because they rode a wave of community activism, uplifting messages and a moment when music truly mattered. Cursed, because those same times meant their tight, heartfelt output went overlooked.
Mid-sixties to circa 1980 soul and funk were extraordinarily rich. The era’s big releases have aged like fine wine, yet countless hidden gems remain buried. Church’s only single was one of them. Their hypnotic 1976 release “How Long” b/w “Da Da Song” arrived the same year as Stevie Wonder’s Songs in the Key of Life, Marvin Gaye’s I Want You, Diana Ross’s Diana, and at a time when Black mainstream music was shifting toward disco. Church, however, sounded like Sly & The Family Stone in an alternate timeline — gritty, focused, stripped of additives.
“Da Da Song” is pure grits and gravy: furious, tight drums and lyrics that sound like both a plea to DJs to play their record and an insistence to keep the party alive, noticed or not. It cooks from start to finish in just two and a half minutes.
“How Long” is its own universe. Where “Da Da Song” is skeletal, “How Long” blends key strands of Black music in under three minutes: touches of spiritual jazz with a Gary Bartz-like sax, gospel-blues undertones, and echoes of the era’s flower-power-tinged Black creativity — The Undisputed Truth, The Family Stone, even the poetic freedom of Nikki Giovanni. The lyrics are a timeless plea for love.
Church formed in the Bay Area in the early seventies, shaped by the movement, culture and activism of the time. Joseph Washington, based in San Jose, never chased a music career — for him, music was a way to bring people together. Before Church, he led a backing band called Wash, then added gospel singer Linda Williams (née Stephens) and New York–born Joel Como on xylophone to complete the group.
They rehearsed in Joe’s garage, spread through word of mouth and played every gig they could: Black colleges, opening slots for The Whispers, neighbourhood house parties. Some members studied at Nairobi Junior College in East Palo Alto, then a hotbed of Black community activism, with revolution in the air and messages woven naturally into the music.
This single is a message from that era, resurfacing at last — ready to be sampled just as another Joe Washington track, “Look Me in the Eyes”, was on Drake and J. Cole’s “First Person Shooter”. These rare, spirited tunes are begging for new life through samplers, again and again.

Two decades into his winding voyage through music, culture and creativity, Tom Trago has become part of the densely woven fabric of the Dutch electronic scene - a producer, DJ, label owner, collaborator, remixer, radio host and DJ's DJ who is renowned not only for his impressive productivity, but also the genuine depth and variety of his work. While it was Trago's distinctive DJ sets that once grabbed headlines - he famously held residencies at renowned Amsterdam institutions Trouw and De School, and for a decade spent much of his time jetting between some of the most renowned clubs in Europe - in recent years Tom has cut down on appearances. Today, he chooses to be far more selective about where (and when) he DJs or performs live, often working with a handful of cherished venues and festivals while ensuring that his travels are sustainable and inspiring. Instead of the grind of touring and hedonistic night-time activity, Trago has chosen to focus on music-making, alongside semi-regular forays into radio broadcasting (NTS, Radio Radio, BBC Radio and EchoBox). He now spends most of his days producing and remixing at his new SR-3 studio in Alkmaar and his seaside home-come-studio in Bergen aan Zee. As part of these lifestyle and career changes, Trago took time to look deeper, not only inside himself, but also for musical inspiration. Tom has always loved, and devoted time to, digging into a wide variety of production styles, using this inspiration to develop a trademark personal production style, but in recent years he has taken it even further. Fuelled by a desire to challenge himself, Tom consistently tries new things in the studio while channeling all he's learned during a career that has moved forwards at breakneck speed. Since making his debut in 2006, Trago has released six critically acclaimed albums (two of which, the eclectic, beat-focused, career-spanning, Patta-released archive dive, 18, and the dancefloor excursion, Trembala, appeared in 2022); extensively worked with Dutch electronic music institutions Rush Hour and Dekmantel; collaborated with countless friends and contemporaries (Charlie Soul Clap, Awanto 3, Maxi Mill, Steffi, San Proper, Seth Troxler, and BokBok included); remixed artists including New Order, Carl Craig, Cassius, Tiga and Erol Alkan, and championed a swathe of fellow Dutch producers via the Voyage Direct label he founded in 2009. In 2025 Tom returns to legendary Dutch label Magnetron Music, home to Fatima Yamaha, DMX Krew, Legowelt, Staygold and many other, to release his Magnus Opus; Ignorance.

The Cosmic LP is an album that is fully part of the history of Italian dance music.
First released in 1984, it is a produc*on signed by SANGY, one of the founders of Italo-dance, who was
responsible for the composi*on, arrangement, and performance as a guitarist and mul*-instrumentalist on
most of the tracks.
Crucial to this project was the collabora*on with DJ Daniele Baldelli, who at the *me was the resident DJ of
the legendary Cosmic club in Lazise (Verona) and is s*ll considered one of the most important Italian DJs.
Collaborators also include the names of Sandy Dian, one of the most sought-a2er sound engineers of the*me, and a debutant M&G, who would later co-sign one of the most iconic Italian disco tracks, "When I Let
You Down," also in collabora*on with Sangy.
The sounds of this album were absolutely revolu*onary for the era because they blended funky, jungle,
Brazilian, disco, and fusion influences in a completely unprecedented way.
For these reasons, the Cosmic LP has remained an iconic piece of interna*onal discography, maintaining its
originality and sonic power intact more than 40 years a2er its first release.

Focusing on bringing people some fresh air from the island that we produced with its own unique character. Our artists provide an escape to somewhere full of energy to drag you back from the so-called chaotic world. There are plenty of spaces, it’s a sharing for everyone!

As you may know, Koh is a word in Thai that means ‘island’. We want to represent the sound of our characterized island and tell the story through it. For this collection, we want to present the island under the ground which represents the different perspective of life reflecting our music scene in reality.

We gave the word “Clockmaker” as a hint to the artists.
It’s a simple, even mundane concept—something easily overlooked and not immediately eye-catching. It also suggests waiting, as it often takes time for people to return to the shop. But time itself holds meaning, and the clockmaker always has something hidden beneath the surface.

With that in mind, “The Photo Sticker Machine” and “Chucheewa” present their first original track: “Galactic Love.”

Alongside it are five vibrant remixes by artists we deeply admire—from Mogwaa (Korea) and Retromigration (Germany) to three incredible talents from Thailand’s local scene: Kova O’ Sarin, Chalo, and Saranmy.

Contains tracks by Amon Tobin, Two Fingers, and Cujo previously only available to members of The Nomark Club, Nomark’s online subscription service.
NOMARK SELECTS Vol.1 includes the first new Cujo music since the Adventures in Foam album (1996)
A compilation of previously publicly unavailable tracks selected by the members of Nomark's online subscription service, The Nomark Club. The album features work from Amon, Two Fingers and sees the return of Cujo, Tobin's earliest alter ego.

Celebrate the epic conclusion of Netflix’s Stranger Things with the official Season 5 soundtrack, a nostalgic journey back to 1987. Featuring iconic tracks that underscore the final battle in Hawkins.

Les Enfants Terribles presents LETM011 by DJ Real Madrid with the new EP No Smoking:

Dear readers and listeners,

My name is Tillmann Ostendarp, others know me as DJ Real Madrid. I love to play instruments, I love to play with machines. And this is something I did in May 2024, when I spent one week in my beautiful studio. Over the course of the week I recorded „NO SMOKING“ which is going to be my first Vinyl Release as „DJ Real Madrid“. No Smoking contains 4 Tracks: „Ta Ta“ which is a Juno-driven deep homage to the god of funk „Johnny Guitar Watson“. „Leave It Be“ is a big percussive jam that tells you to mind your own business. When I knocked out „GGGGGG“, I invited Dino Brandao and Mel D over to jam on the microphone, which led to a dark humorous ode to the insanity of our world. The last track is called „Merlasco“ and brings back the hope that we all will come together in the morning sunrise!

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

Farfalla Records presents “Kaleidoscope”, its new compilation dedicated to the composer Jack Arel. His name belongs to a constellation of composers whose writing has hot stamped sixties and seventies pop music. Variety, television, cinema, ballet and theatre have all been touched by Jack Arel’s signature.

Take a trip through a psychedelic pop musical journey featuring 12 tracks recorded during his long and productive collaboration with the Chappell label and with his friends Pierre Dutour and Jean-Claude Petit by his side throughout.

This compilation features tracks such as ‘Psychedelic Portrait’, famously used as a music cue in the avant-garde cult British TV series The Prisoner.
The track ‘Strange Galaxy’ was utilised as the opening and closing theme for the Australian science fiction TV series Phoenix Five.
‘Purpose’, ‘May Be’ and ‘Something Happen’ are taken from the ultra-rare French soundtrack of the musical Je fus cet enfant là.
While the more adventurous may recognise the tracks ‘Picture of Spring’ and ‘Picture of Summer’ from the Danish underground horror film The Sinful Dwarf.

Experimental tape loop jungle from Oxford’s Battery Operated mad scientist duo. Deep, sumptuous hazy textural loops (with a slammer of an A1) driven by heavyweight percussive bliss. Supported regularly by Dead Man’s Chest on SWU/Kool FM

Lungfish's seventh album, released in 1999.

This pressing of the LP is on Translucent Lime Green.

This album was re-issued on both CD and LP+MP3 in June 2011.

Daniel Higgs vocals Asa Osborne guitar Nathan Bell bass Mitchell Feldstein drums

Recorded At
Inner Ear Studios
Mixed By
Ian MacKaye and Lungfish

I first found out about Dope On Plastic from a remix they had done of a track by Ontology (who has released previously on this label) & then later found out more about them when they had been sending tunes to Pete Dev/Null, which I would hear him playing on our radio show on Jungletrain.

Soon after that, whilst touring North America, I'd meet Dope On Plastic in person whilst I was in New York, get to hang out with them and visit their home studio. They showed me a tune at the time they were working on (which ended up being Odyssey) and it sounded sick, like something that I would definitely release on Future Retro London.

When they finished it and sent it over to me, along with some other music they had made around that time, there was more than enough to work with for a full EP & Life Energy is a collection of my favourite tracks of theirs of what they had sent me. Big up to Luca (Dope On Plastic) for their work on this EP, keep an eye out for more music from them in the future!

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

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

Two legends. One record. Light-Years sees Nas link with DJ Premier for the legendary Hip Hop release that fans have been anticipating for years. A must have addition for any serious collection

Spanish producer Pedro Vian and Japanese noise icon Merzbow reunite for A Wheel of Mani, out June 20, 2025, on 12” vinyl via Modern Obscure Music. Building on their previous collaboration, the album fuses hypnotic atmospheres with extreme noise, blending spirituality and digital experimentation. Vian’s ethereal pads meet Merzbow’s blistering textures, dissolving boundaries between harmony and chaos.

VIER - IIII, a project by: Machinedrum x Thys x Holly x Salvador Breed.

Across its eleven tracks, 'IIII' dissolves borders between breakbeat, trap-meets-gabber, skippy UK shuffle, halftime, jungle and cinematic electronica, music that shifts from serious voltage to full-colour euphoria. What ties it together is philosophy, not genre.

The group's working method began playfully in the studio with a ten-minute egg timer: each member would sketch for ten minutes, then pass it on. That rule became a ritual, a way to keep things human, spontaneous and shared. In VIER, every track passes through four sets of hands; every decision is a test of trust. What could have been chaos instead became a flow state, a cycle of surrender and discovery thatdefines their sound.

Following singles such as Frankfurt, Control, Where Were You, Solitu and Vai Pulando, 'IIII' stands as VIER's first full statement, a body of work that feels both playful and deeply considered. Moments of quiet bloom into distorted joy; melody drifts through broken percussion; endings turn into new beginnings.

Yup, more Jungle, D 'n B and breakbeats on GAMM...yay!

The MIR guys from Stockholm have been spreading rapid beats and dark b-lines since 2006 and are well established on the D'n B/Jungle scene for their productions, DJ sets and club nights.

For their GAMM debut, we get an eclectic cocktail of dark basement sounds and high-speed rhythms.
Starting off with a dancehall/jungle ting (War Edit), continuing with a classic hip hop/jungle mash up (Passin' Me By Edit), a deep breakbeat / Detroit version of a classic Kenny Larkin jam (Q Edit), and finishing off the EP with another hip hop / d&b roller.

All killers, no chillers!

For the second instalment of the Curio Cabinet gourmet-dub series, we bring you two fat slices of steppers’ delight, straight from the southern city of Toulouse.

Both are made by Stefan Dubs under the guiding light of his live project, Sòn Du Maquis. This project has deep roots in the free rave, micro-festival, and dub & sound system culture of his country. It’s also the name of his own label, home to his dub-infested productions; ranging from slo-mo jungle to droney steppers and blown-out trip-hop on a slightly medieval tip.

Staying true to classic sound system tradition, each side pairs the original cut with its own version.

First there is Tolosan Dub, a trancey bass meditation colossus with deep synth work moving around in the trees. Some early nineties UK digidub vibes are surely mashing up the dance here. The version workout slows things down a bit, taking you even deeper into the riddim... strictly warrior style !

On the B-side we've got Bonnefoï Dub, which is pure bass-bin filth with a rootsy harmonica touch and a raw clubby feel. This tune just screams to be played out loud on a proper sound system. The version is certified dance-floor gold, yet there are enough dubbed-out flavours going on for intimate headphone sessions or some mad home skanking.

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

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

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

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

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

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

Continuing Born Bad’s French library music series ‘Space Oddities’ is this reissue of experimental artist and musician Dominique André’s extremely rare LP ‘Evasion’, which takes you on a weird and wonderful abstract and experimental electronic journey.
The last 2 original copies of this sought after LP sold for €250, making this a timely reissue. Available on LP with printed inner sleeve with gold pantone and download code. Plus CD digipack with gold pantone print and 16 page booklet.

Bangalore-based producer Chaz (IN) makes a striking debut on KUJE002 with Soul Contract, a four-track EP that marks a shift from his industrial roots into mental techno with a driving edge. These tracks aren't just meant to be heard; they're body music, built to be felt as much as listened to.
The EP opens with Hardwired, a percussion-heavy trip that builds tension through progressive hihat patterns, bleeps, and raw energy. Sling Hook follows with a composition that's both driving and mind-bending.
On the B-side, Wiggle Room taps into an almost animalistic dimension; a jungle of percussive textures that breathe, shift, and pull you in. The record closes with Retroactive, where shimmering synths and ghostly, wailing tones sketch out a post-human vision of Bangalore.
Soul Contract is mental techno with a pulse, designed to inhabit your body while captivating your mind.

Auf diesem Tonträger mit dem für "KrawallBrüder" eher ungewöhnlichen Namen „Stories of our life“ erwarten Euch 10 Songs, darunter einige der größten Hits der KB-Ära – komplett neu interpretiert in englischer Sprache.

Die Songtexte wurden von "Tim Steinfort" (Haymaker/Discharger) standesgemäß ins Englische übersetzt und von den Brüdern komplett neu eingesungen, wodurch die Songs eine ganz eigene, frische Atmosphäre bekommen, ohne ihre ursprüngliche Kraft zu verlieren.

Ein neues Kapitel in der Geschichte der vier Jungs aus dem Saarland? Wohl eher nicht! Dafür aber die logische Konsequenz auf die inzwischen auch international wachsende Fangemeinde.

Ein besonderes Sammlerstück für die geneigten Hörer – Streng limitiert und sicher schnell vergriffen!

Die LP streng limitiert auf 400 Einheiten auf weiss/blau/rot marmoriertem Vinyl im Inside-Out Gatefold Cover.

Polymania is a collaboration between Earl Grey and Aroma Nice, both of whom hail from the North West of the UK and are known for their genre-pushing productions in and around the overlapping modern Drum & Bass, Jungle and Drumfunk spheres. This record is a euphoric ravey jungle affair with strong acidic inflections, extrovert and dancefloor-focussed, where effortlessly slick percussive flair shines and rolling acid lines squirt out through the seams - the result of two long-time friends with heaps of production experience having a lot of fun.

A-side opener 'Farce of Nature' sets the tone with high energy stabs and a big grooving bassline, rooted in 90s jungle techno but rendered in full high definition, while 'Happy Slaps' continues the theme with crisp drums dancing over an undulating resonant acid line. 'Tank Ammo' deftly ramps up the euphoria with a spiralling melody rising towards a lethal switch-up midway, using filtered choppage to burst the tension with extreme precision. Bouncy acid breaks bubbler 'Give U Up' closes the EP slowing the tempo a touch and dialling up the funk - a refreshing palate cleanser laced with rich braindance melodies and an infectious vocal hook.

Mit „USB002” setzt Fred again... „USB”-Serie fort. Er selbst bezeichnet sie als „unendliches Album”. Fred ist wieder da! USB 002 ist endlich da – das nächste Kapitel seines „unendlichen Album“-Projekts und die offizielle Fortsetzung des Bestsellers USB 001.

Four years after first playing for Motive Hunter, and coming off his contribution to our ‘Friends Of The Label VA’ in 2024… DJ Hybrid returns with three red-hot Junglist weapons. Closing out the B-side, UKG maestro ODF flips the title track into a slick, complimentary vibe-switch for the garage crew.





d b2. All Over ODF Remix




[d] b2. All Over [ODF Remix]

‘Açid Blüüs Räägs Vol.2’ is the latest evolution of the sound of last year’s Volume 1. The debut album was described by Joe Banks for Shindig! Magazine as; “Shivering slabs of drone blues transcendentalism…a burning junkyard of sheet metal blues… Hot stuff.” Volume 2 builds on the skronk blues guitar, sax and electronic drones of it’s predecessor, to explore cosmic free jazz, concrete exotica and dub, channelling influences of Moondog, Terry Riley, 75 Dollar Bill and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's ‘Stalker’ and ’Solaris’, Jodorowsky's surreal desert western ‘El Topo’, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever evolving Invocation band, plus some superstar guest contributors.
Featuring five brand new tracks, including the forthcoming single; ‘Cosmic Fanfare’, has already picked up BBC 6 Music support from Gideon Coe. The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. “….Acid fried kosmiche blues meets drone raag transcendentalism”. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt’s avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3’s contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. THE JONNY HALIFAX INVOCATION follows Jonny’s junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall’s Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck and Melting Hand.

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

Influences and inspirations come from far and wide. Sometimes they can be household names or pioneers. Other times, they can be lesser-known outfits; less known, but no less influential. Futuro belong to the latter category for Italo Moderni.

Javier and Raúl are two Spanish synthesizer sorcerers who are steeped in the traditions of italo disco and the analogue sounds of the 1980s. While Italo Moderni was still in its infancy, Futuro were a shining light with a young upstart by the name of Adrian Marth even making videos for their tracks. From these beginnings, a mutual respect and friendship developed. Now, the circle is complete with the six tracks making their way onto Accidenti; an EP that marks Futuro’s debut on Italo Moderni.

The collection showcases the breadth of Futuro’s sound. With all instrumentation played through classic analogue machines, the six works journey through neon-streaked city nights, deep uncharted jungle and sun-kissed beaches. Drawing on the music of Rimini, silver screen soundtracks and arcade innocence, this is an EP that remembers and reimagines the 1980s. Intent is immediately set, with the tense and textured “L’assalto” delivering movie score synth stabs alongside crisp percussion. “Matador” is pure elegance, panpipe playfulness countered by glacial refrains and shimmering key shifts. “Iguazu” transports the listener to the wildlife and wilderness of the Amazon; cascading chords glisten as the canopy sings. Futuro takes to the skies with the sonorous swoops of “Il sogno dell’aviatore” before the lovelorn landing of “Fantasma d’amore”, a sumptuous synthesizer serenade of unrequited romance. To close, we’re firmly on the ground for “Sotto le stelle.” Under these sparkling stars, glimmering notes glow with warmth in a finale fitting for such an EP.

And, it is fitting to finally have Futuro on Italo Moderni. A group that has inspired and will continue to do so well into the future. An accidental discovery, mutual respect and a partnership rooted in a love of synthesizers has brought Accidenti into being.

South London producer Nima announces his debut album. A project five years in the making that pays homage to the formative dance floors of UK bass music. Drawing from the spirit of nights like FWD>> and DMZ in London, and many from Bristol, the record sits at the crossroads of hip hop, dubstep, grime and cinematic sound design.

Of Iranian heritage, Nima grew up on a steady diet of 90s Hip Hop and Grime before discovering 140 culture through pioneers like Skream and Benga. His sound developed further in Bristol during one of the city’s most vital periods for bass music, later refined at London’s Roundhouse studios. His productions blend filmic atmosphere with the physicality of sound system music, heavy hip-hop drum structures, rolling 140 basslines, and emotive grime-inspired melodies.

Across the album’s tracks, Nima explores the evolution of UK sound system culture through his own lens. From the weightless grime-inspired “Imperial Dreams” and cinematic, jungle-inflected “Big Up”, to the stripped-back melodic grime of “Ruff Sqwad” and the deep, meditative bass of “One People.”

Referencing everything from Plastician’s Beg to Differ to Mala’s Boiler Room set, Fugees skits, and samples from films like Imperial Dreams and Belly, the record is a reflection of the cultural layers that have shaped Nima’s musical identity.

Nima’s debut is a personal statement to the foundations of UK bass music. Cinematic, weighty, and built for the dance floor.

Wenn du zehn Jahre in die Vergangenheit reisen könntest, was würdest du deinem jüngeren Ich sagen wollen? Das war eine Frage, die sich Khruangbin selbst stellten, als sie sich dem zehnjährigen Jubiläum ihres Debütalbums näherten - dem einstigen Kultklassiker, der heute als genreprägend gilt: The Universe Smiles Upon You". Wenn wir zurückgehen und uns selbst sagen könnten, wie viel nach diesem Album auf uns zukommen würde, was würden wir feiern wollen?" fragte Laura Lee, Bassistin, Sängerin und Gründungsmitglied der Band. Stattdessen dachten sie: Lasst es uns noch einmal machen." The Universe Smiles Upon You ii" wurde vom 4. bis 6. Januar 2025 in derselben Familien-Scheune des Gitarristen Mark Speer aufgenommen, an denselben Tagen, an denen TUSUY vor zehn Jahren erstmals entstand. Obwohl die Bedingungen dieselben waren - Schmutzboden, brutal kalt, minimale Schalldämmung, alle Aufnahmen live - sind die Songs es nicht. Sie wurden neu angegangen, einige stärker verändert als andere, mit der eingefangenen Blitz-in-der-Flasche"-Energie des ursprünglichen Albums, während gleichzeitig entdeckt wurde, was diesmal einzigartig sein würde, in dieser Phase des Bandlebens. Das Ergebnis bewegt sich wie Wellen auf dem Wasser über zehn hypnotisierende Tracks, die Scheune erzeugt ein Gefühl von Weite, Gelassenheit und kreativer Freiheit, die nahegelegene Tierwelt ist hörbar (achtet auf die Vögel bei August Twelve ii"), ebenso das Knarren und Klappern der Scheune. Es ist ein Geflecht aus kleinen Bewegungen in nuancierten Arrangements, das langsam das neue Leben, die Geschichten und den Charakter von jemandem enthüllt, den man nach zehn Jahren wieder wie zum ersten Mal trifft.

Tastemaker and cult figure among some, noise vendor among others… lurking somewhere in the shadows between London and Paris, the man known as Sheet Noise emerges out of the blue with his debut LP, Shostakovich's 5th Played Backwards in a Concrete Silo.

A direct shock to the system: equally beautiful and evil, abrasive yet uncomfortably calming. The feeling that something is about to happen at any minute—impending love or hatred blaring from the speakers at breakneck speeds. Heavy-duty, reactor-melted junglism; twisted samples buried under layers of dust and static; familiar voices in unfamiliar places.

This eight-track album is as intense as it can get. Don’t call it ambient. Don’t call it jungle. Don’t call it noise. Just strap yourself into the electric chair and get ready for the end.

A classic in the making.

Best Intentions announces Inverse, a new 4-track EP from Melbourne-based producer and DJ; Pugilist, arriving 12 December on digital and limited white-label 12" vinyl. Marking his first release on the London imprint, Inverse sees Pugilist expanding further into the shadowy, percussive terrain he has become known for, merging future-focused techno, lo-fi industrial, and the energy of early hardcore breaks through his own atmospheric lens. The EP captures both the toughness of the dancefloor and the subtle experimentation that runs through his catalogue. A Scottish/Kiwi artist now based in Melbourne, Pugilist has built a reputation for stylistic range and rhythmic depth. His releases on Modern Hypnosis, Samurai Records, and 3024, along with the recent launch of his own imprint Ruff Kutz, demonstrate his ability to move across tempos and moods while maintaining a distinctive sonic identity. On the decks, he is celebrated for tightly curated sets, deep crates, and an array of unreleased dubs. Speaking on joining the Best Intentions roster and the inspiration behind the project, Pugilist shares: "Stoked to be joining the Best Intentions fam with 4 x retro rave rollas across the hardcore continuum, from minimalist Techno, to smoked out Electro, to krusty Hardcore and Breaks. This EP is a mix of styles which have informed my production style over the years. It is great to be putting out music with a shared vision for giving back for a greater cause. I have been a fan of the label since its inception so jumped at the chance to do a 12". I will be donating my share of profits to the Asylum Seeker Resource Centre - a wonderful Melbourne-based charity for asylum seekers here in Naarm. They do wonderful work." The EP's closing track, FKRY, a collaboration with POD, brings warped leads, stepping drum work, and old-school jungle tension into a modern, heavyweight techno frame.

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