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This one means a lot to us. A project we’ve been working on for a couple of years. One where we hand over the curatorial keys of the label to very specific artists in whom we have absolute trust and who have an almost academic knowledge of a specific rhythm or a specific region where our eyes and sensitivity cannot reach. In order to amplify powerful voices from the global south, where the true underground is happening today, and that move away from the traditional axis of New York, London, Berlin. We present to you: Mzansi Bass curated by Shannen SP.

A project meant to explore the space between 3-step, Gqom, the dark sides of Amapiano, and mutations of Pritori rap deeply rooted in Black African rave music from the local scenes of Durban, Johannesburg, Cape Town, Eastern Cape, and their global mutations from Brazil and the Netherlands. The project is anchored around the legacy act of DJ Lag and new comers of South African bass whose music has broken international barriers with pure-emotionally-rich dance music. The release works as both a celebration of the roots and the future offering it projects. As Shannen puts it, it's electronic music with a futuristic feel, both raw but minimal, trance-inducing and deeply physical, built in a very particular geographic space for
the whole world to enjoy.

Indulge into this special soundscapes crafted by their own inhabitants. Expect a couple each year from now on.

Part celebration, part reflection, THE TIME OF OUR LIVES arrives as both the final release of Lancey’s twenties and the closing chapter of a creative world he has spent the last decade constructing. The most expansive statement of his career to date, moving freely between trap, alternative R&B, dance music, Afro-influenced rhythms and more, Lancey explores triumphant highs and lows of stark vulnerability across the album, interrogating ideas of success, freedom, loneliness and what it truly means to have the time of your life. Lancey Foux stands at the forefront of UK rap’s evolution, blending elements of hip-hop, cloud rap, trap, Jersey club, drill, and more into a sound that’s uniquely his own. Since emerging from Newham, East London in 2015 with a clutch of freestyles and SoundCloud singles, Lancey has occupied a lane entirely of his own making. As he closes out his twenties, Lancey looks ahead to the next decade full of more unpredictable artistry as he continues to break the rules and change the game.

In 2000, after almost two decades of hibernation under the ambient waves and dub currents of the Sargasso Sea, LSD revived the seminal ‘Auntie Aubrey's' series, an Orb Remix Project. Released as a 2 x CD compilation, Part 3 is a veritable smorgasbord of classic, new and unreleased labour-of love remixes that span three decades yet still transcend space and time.

Many influential artists have been involved with The Orb since the beginning, and the project keeps evolving and adapting. Dr. Alex Paterson, the gravitation centre of the Orb is known for his playfully subversive remixes and true to form this album highlights the diversity of his musical mind.

We see the good doctor remix the melancholy and evocative “The Last Lighthouse Keeper” from The Transit Kings, an early British electronic music group that included Jimmy Cauty of The KLF, one of the original members of The Orb. The remix of ‘Davy Jones’ Locker’ from System 7 takes you surfing on a sun-dappled sea of ambient dance nostalgia, while Killing Jokes’ ‘European Super State’ remix (in which LSD label founder Martin ‘Youth’ Glover plays bass guitar) sounds like the soundtrack for an imaginary spy thriller with the powerful lyrics and hypnotizing voice of Jaz Summers.
Legendary producer Youth teams up with Lx yet again on a psychedelic rocker with spellcasting vocals by Lara Smiles, and this is just the beginning! Boasting an all-star lineup, the compilation includes many of our scenes most esteemed electronic music producers such as Coldcut, David Harrow, Sendelica and Gaudi as well as the ambient blissed out vibes from the enigmatic DF Tram, Duende India Collective and The Gyuto Monks of Tibet, this collection offers up such the variety to appease even the most dedicated Orbsessives and music connoisseurs

Released in 2000 on Tommy Boy, the album fi nds Capone and Noreaga leaning into their chemistry: Capone's colder, clipped delivery grounding Nore's wild-eyed charisma and off-kilter bounce. The record features heavyweight production and appearances from names like DJ Premier, The Alchemist, Havoc, L.E.S., Nas, Mobb Deep, Foxy Brown, and Carl Thomas, surrounding CNN with some of New York rap's most recognizable voices and architects. Highlights like "Bang Bang," "Invincible," "Queens Finest," and "Phonetime" keep the album rooted in hard drums, prison- call tension, borough pride, and that unmistakable CNN slang. Commercially, it made a solid showing, reaching No. 31 on the Billboard 200 and No. 8 on Top R&B/ Hip- Hop Albums, with "Phonetime" hitting No. 22 on Hot Rap Songs. The Reunion stands as a hard-nosed second chapter for CNN: a tough, guest-heavy, post- millennium Queens record that captures Capone and Noreaga reconnecting without sanding off the grime. This deluxe edition features the remastered original album with 3 bonus tracks.









i B3. Shows! (Interlude) [Feat. Timbo of M.U.]









[i] B3 | Shows! (Interlude) [Feat. Timbo of M.U.]

Following the reissue of Fire & Sugar (1975), we present a special 45 focused on two standout tracks from the album.

If you’ve heard the album, you already know “Guaguanrock” had to make it to our favorite format. So here it is on 45.

Side A features “Guaguanrock (Le Spam Mix)”, a new version by Andrew “DJ Le Spam” Yeomanson, created from the original multitrack master tapes. The mix extends the intro break and brings the drums forward, enhancing the track’s raw, percussive energy for maximum dancefloor impact.

On the flip, “Bokolo” delivers a deeper, hypnotic groove, showcasing Caunedo’s unique blend of Afro-Cuban rhythms and jazz-funk textures.


A DJ-focused release, bridging rare groove authenticity with modern playability.

Anyone who has had the sheer pleasure of seeing and hearing Leroy Burgess perform in concert will know just how amazing the live renditions of his iconic compositions of Disco Boogie hits and classics sound with a full band and a fully fueled audience. Accompanied by the ten piece French band and long time Leroy Burgess collaborative outfit Saving Coco, BBE Music is releasing live versions of two of those classics Let’s Do It and Big Time. Recorded and released by Rick James in 1980 Big Time is an absolute killer of a track that sounds so fresh decades later in this crowd energising performance. Famously released by Convertion Let’s Do It was a huge club hit in the early 1980s and is the perfect track to accompany Big Time on this release. Leroy Burgess is a certifiably genuine legend of Black music; his compositions have moved dancefloors across the world since the early 1970s as a member of Black Ivory, then Convertion, Paradise Garage favourites LOGG, Kleer and electro outfit Aleem. His collaborations with Patrick Adams, Inner Life, Dazzle and solo artists such as Eddie Kendricks, Rick James and Fonda Rae have cemented Leroy Burgess’ place in the annals of Black Music History. As a founder-member of the Universal Robot Band he co-wrote the massive perennial favourite Barely Breaking Even. Leroy Burgess feat. Saving Coco-Big Time/Let’s Do It is released as a 12″ vinyl and digital download and definitely belongs in the ‘make sure you get this’ category. Mixed by Marc Mac and mastered at the Grammy-nominated Carvery Studio by Frank Merritt. Available as 12″ vinyl and digital download. Release date September 25th, 2026

If you don't know 'Clouds' then, quite naturally, you'd have to be living underground. The work of Venetian composer Gigi Masin went mostly ignored until Music From Memory's early-2010s reissue campaign pulled him and his ingenious ambient works out of the murk, among which many salvages include his now calling-card, 'Clouds'. Re-pressed astonishingly through P-Vine of all labels, this soul-quelling masterwork - first recorded in 1989 for a split release with Charles Hayward and mostly forgotten until said reissue - appears here at two various RPM speeds. The tune really does invite speeding up and slowing down at your leisure, especially if you're a dance music DJ's DJ who wants to prelude a set with a moment's iconic lushness.

Season Two continues with its fifth edition - a shift south this time, from KiF's English hedgerows to the island of Lutruwita, Tasmania, and the work of Soda Lite.

A gooseberry plant took root in the sand between the bricks of Alex's back patio - nutrient-deficient leaves and all - and fruited regardless. That's most of the appeal: "I'm drawn to species that survive in the interstices of human industrialisation." The husk itself carries the same idea, shielding the berry until it's ready to be let go.

Past Soda Lite records - Earthbound, Aqua Solar Cura, Vale & Stone - built outward from field recordings first. Here that flipped: you can't field-record a plant, only the noise around it, so only two tracks (Vibrant Matter and An Sí Gaoithe) carry field sound at all. The rest came from narrowing to a single species instead of the wider non-human world, and "trying to create and replicate sound and energy on the level of the plant and its perceptive world."

Two more things worth knowing. ‘Bryn Celli Ddu’ takes its name from a Neolithic burial chamber in Wales, aligned so the summer solstice sunlight reaches its back wall - the sun turning up again as its own recurring character. And ‘An Sí Gaoithe (Return)’ is a reworking of a Vale & Stone title, old fragments reprocessed into something new - "a bit like composting."

Soda Lite is the recording project of Alex Last, a gardener and composer working from Lutruwita on unceded Palawa land. Their music moves through field recordings gathered directly from the island's own biomes - coastline, forest, alkaline lake bed - alongside slow, warbling synth work, built less as backdrop than as document: proof of a specific place, at a specific time, being listened to closely. Past records have taken their titles and themes from geology and land relationships as often as botany - Aqua Solar Cura, Earthbound, Vale & Stone - so a plant with its own mineral-adjacent etymology (soda, found in dried alkaline lakebeds; lite, from the Greek for stone) suits the pairing.

Dark Entries is Elbow Deep in the Hoopla thanks to J.D. Slater. Legendary actor, director, and composer J.D. Slater is sometimes known as “the Lou Reed of gay porn.” Slater cut his teeth in the New York punk scene, even opening for the Talking Heads and Blondie at CBGB with his project Frenzy. A true polymath of the erotic, he co-founded Raging Stallion Studios with Chris Ward in 1999, which has remained a prolific outlet in the world of gay pornography. Elbow Deep collects the scores from three late 1990s fisting-focused Club Inferno films: At Arm’s Length, Hand Over Fist, and Heads or Tails. Never before released, these works show Slater digging deeper into the electronic music production techniques that were blossoming in that era, like loop-based sampling. Says Slater, “Suddenly I could have access to every instrument in the world. My whole concept of sound and structure evolved with the technology.” The works here are trance-inducing groovers, laced with acid and dosed with brooding ambience. Check out the Gregorian vibes on “Grand Fuck,” the legato lurch of “Stallion Funk,” or the frosty atmospheres of “At Arm’s Length.” Elbow Deep in the Hoopla comes with an insert featuring an interview with J.D. Slater. Starkly sexy, these tracks remind us of Slater’s creed: “The main rule for writing a porn score is to remember what you are writing for.”

Dark Entries is Filling Your Silence with the help of J.D. Slater. Legendary actor, director, and composer J.D. Slater is sometimes known as “the Lou Reed of gay porn.” Slater cut his teeth in the New York punk scene, even opening for the Talking Heads and Blondie at CBGB with his project Frenzy. A true polymath of the erotic, he co-founded Raging Stallion Studios with Chris Ward in 1999, which has remained a prolific outlet in the world of gay pornography. Having spent years in front of and behind the camera, 1999’s Filling Your Silence was his debut as maestro. This album collects the soundtracks from the first two Raging Stallion films - Sexpack One and Sexpack Two - to bring us nine tracks of sleazy beats and trance-like moments of pure ecstasy. Album opener “Seduction” begins with the iconic synthetic pan flute, one of the defining sounds of the 1990s, before pulling us along with its wild grooves.

Halfway through its nine-and-a-half- minute course, it breaks down to bust out a jazzy electric piano vamp. “Running with Scissors” ups the tempo with some crunchy breakbeats to undergird its portamento-laced lead synth. Elsewhere, like on “Mercy” and “Mercy (2nd Movement),” we see Slater embracing a bleep-adjacent sound close to early Nightmares on Wax or 808 State. Filling Your Silence’s endless grooves pursue that oceanic feeling. This record comes with a one-sided insert that includes archival Raging Stallion press materials. In the words of the Bay Area Reporter, Filling Your Silence is “quite possibly the best music for sex ever written.” A bold claim, but we can’t help but agree.

For the third release on Earthbound, Mihail P steps into a slightly different frame of mind with Silent Mirrors — an EP that pulls his atmospheric, emotive sound toward the rougher edges of 90s tech house, breakbeat and electro.

While Mihail P has become known for spacious productions, warm pads and mellow melodic detail, Silent Mirrors is about merging that side of his sound with something more direct and club-focused. There is a clear nod here to the halcyon days of UK tech house and labels and artists such as Primitive Urges and Pure Science, but filtered through Mihail P’s own sensibility rather than treated as an exercise in nostalgia.

“What Robot Says L” on What Robot Says Records is a deeply immersive Dub Techno journey crafted for demanding listeners who seek atmosphere, precision, and emotional depth beyond conventional dancefloor music. Across four carefully sculpted tracks, the release moves through shifting moods and textures, balancing raw energy with subtle elegance while exploring the deeper and more hypnotic side of techno.

A1. Nicolas Barnes – Dusted Maze opens the EP with a smooth and introspective approach, combining delicate textures, refined grooves, and floating harmonic layers that capture the timeless spirit of classic Dub Techno through a modern lens.

A2. Continuing the journey with TM Shuffle, Monoder – Vihreesametti delivers a warmer and more fluid interpretation of the genre, blending rolling grooves, dub-driven chords, and sophisticated sound design into a deeply immersive experience.

On the B-side, B1. Denizo – Versus follows with dark dub pressure, stripped-back rhythmic architecture, and evolving ambient detail, creating a hypnotic late-night atmosphere filled with tension and movement.

B2. Closing the EP, The Open Circle – Shinkai dives into deeper and more mysterious territory, emphasizing submerged atmospheres, minimal rhythmic tension, and profound spatial depth that slowly unfolds with every listen.

WRSL1 – “What Robot Says L” is not designed for casual listening, but for those who appreciate Dub Techno as an evolving exploration of mood, space, and sonic detail — a refined and highly immersive statement from some of the genre’s most skilled contemporary artists.

but wait a minute.. Does anybody know What Robot Says?

Isaac Kniveton (fka Keplrr) steps out with Daydreaming, a four track deluge of psychedelic club projections for Call Super and Parris’ can you feel the sun imprint.

Having boasted a notable reputation as Keplrr for labels like Control Freak and Midgar, Isaac Kniveton now embraces transition. On Daydreaming, his debut release under his own name, he maintains an unclassifiable sound with newer purpose; a sound that cascades in brighter colours. It’s a renewed sense of focus and subtlety that produces some of his most arresting work to date.

The ornate funk of opener Flutter angles for the wide-eyed, a cosmic stepper that pins tight drums to a weightless melodic base. Love Groove’s inebriated swing trips out further, a steady cut that binds vocals from GRACE founder Katiusha with entangled melodies. Symmetry’s wayward rhythm ups the ante with subtle rave tension, gently rising as its circular bassline swells. On closer Molecule, he locks in for an exploratory dive, offering shades of Detroit and twisted theremins.

A fascinating new era for Isaac Kniveton that finds solace in can you feel the sun’s forward-leaning club manifesto.

The Ron Trent Collection Vol. 2 continues the relaunch of the legendary Nite Grooves label, further exploring the deep house catalogue that helped shape New York’s underground sound.

Following the first volume, this second instalment highlights more productions and collaborations connected to house pioneer Ron Trent, featuring appearances from Carlton and DJ Roland Clark alongside Trent himself.

Including standout cuts such as Carlton’s Can’t Be Without (Damier & Trent’s Prescription Extended Mix) and DJ Roland Clark presents Urban Soul’s My Urban Soul (USG Club Mix), the release brings together a selection of timeless grooves and club-ready house productions.

With deep rhythms, soulful vocals and hypnotic arrangements, these tracks reflect the musical depth and dancefloor sensibility that has defined Ron Trent’s work across decades of house music.

As the second release in the relaunched Nite Grooves catalogue, this collection offers strong appeal for both deep house DJs and collectors of classic New York house.

Another essential chapter in the return of Nite Grooves and a strong catalogue addition for stores supporting deep and soulful house.

This special 3LP clear vinyl collates the “Back To Black” era in a definitive package. Featuring the original studio album, 4x unreleased demos, rare B-sides and demos, alongside the notable live performance from Paradiso, Amsterdam (February 8th 2007) from the Back To Black tour, never released in full and on vinyl.

This edition features brand new alternative cover artwork, including Amy’s handwritten lyrics, and never-before-seen photos by original album photographers Mischa Richter and Alex Lake, plus brand new, exclusive liner notes from Mark Ronson and Salaam Remi.

2026 celebrates the 20th anniversary of the 5x Grammy award winning album “Back To Black”, universally regarded as one of the greatest, most important and influential albums in pop history.

Ralph Session is a direct connection to the old school and original house values and he brings all those to the fore here. 'Move Your Body' (feat Mr Flip - main mix) touches on hip-house energy with jacked drums and rapped vocals. 'You Never Know (Party Break)' is deeper, smoother and soulful for when you need a nice late-night pick-me-up and 'Feel That Spirit' plays around with jazzy, off-grid chords and expressive vocals that play with pitch. The highlight might be the effortlessly breezy closer 'Listen', which is a broken-beat and sun-bathed delight for summer sessions.

In the realm of past-life regression hypnotherapy, there is a concept known as “Life Between Lives,” wherein a sacred exchange of energy occurs between two souls in the spirt world, helping a spirit fully understand and forgive a being who hurt them in a past life. This exchange – called “passing the cup of sorrows” – became the unexpected inspiration for William Basinski’s first new album in six years.


While sinking deeper into the daily abyss of our collective negativity bias, William Basinski stumbled upon a video describing the spiritual hypnotherapy exercise known as “passing the cup of sorrows.” Fixed on the glow of a screen that projected mounting anxiety and cynicism at a seemingly interminable pace, Basinski found the testimonials of this fascinating therapeutic practice to be profoundly moving. He sat at his piano, translating the transformation of those traumatic memories of past lives into cathartic tears of the present day.
Channeling the quiet curiosity and asymmetrical patterns of pioneering 20th Century composer, Morton Feldman, Passing the Cup of Sorrows is a single 40-minute piece that employs a solitary piano and subtle electronics to truly haunting effect. It recalls fragments of traumatic memories and projects them as fractals in a slow-moving soft focus that’s as eerie as it is enlightened.

In the realm of past-life regression hypnotherapy, there is a concept known as “Life Between Lives,” wherein a sacred exchange of energy occurs between two souls in the spirt world, helping a spirit fully understand and forgive a being who hurt them in a past life. This exchange – called “passing the cup of sorrows” – became the unexpected inspiration for William Basinski’s first new album in six years.


While sinking deeper into the daily abyss of our collective negativity bias, William Basinski stumbled upon a video describing the spiritual hypnotherapy exercise known as “passing the cup of sorrows.” Fixed on the glow of a screen that projected mounting anxiety and cynicism at a seemingly interminable pace, Basinski found the testimonials of this fascinating therapeutic practice to be profoundly moving. He sat at his piano, translating the transformation of those traumatic memories of past lives into cathartic tears of the present day.
Channeling the quiet curiosity and asymmetrical patterns of pioneering 20th Century composer, Morton Feldman, Passing the Cup of Sorrows is a single 40-minute piece that employs a solitary piano and subtle electronics to truly haunting effect. It recalls fragments of traumatic memories and projects them as fractals in a slow-moving soft focus that’s as eerie as it is enlightened.

Full Range Motion co-founder 393AD returns to his own label with 'Known Universe EP', providing four more introspective modular-based jams using Perkons as the main rhythm box. The Amsterdam-based DJ, producer, and nightlife devotee opens the EP with 'Void' a percussive, rolling, and fluttering cut. 'Cluster', on the same side, is a devious tool in the right hands with its abstract groundwork and overwhelming single stab 3D sound design. Over on the flip, 'Wall' is straitjacket paranoia-techno in stripped form. Closing this EP is 'Filament', the name itself providing a vivid cosmic image for the track: intertwining, spiralling melodies connecting filmic scenes of interstellar dust.