Cerca:lo moon

Two Piers proudly announces the upcoming release of Bridges Towards Open Spaces: Circadian Rhythms 1967–2025.

This new collection brings together a wide range of artists and styles, weaving immersive sonic landscapes that explore a connection between natural cycles and the rhythms within.

Featuring artists such as Brian Eno, Moebius, Roedelius, Meat Beat Manifesto, Fun Boy Three, Daniel Avery, and Spectrum, the compilation moves fluidly between shimmering ambient textures and raw, straight-ahead garage rock.

Bridges Towards Open Spaces: Circadian Rhythms 1967–2025 follows in the footsteps of Two Piers acclaimed previous releases, Night Train: Transcontinental Landscapes 1968–2019 and Music for the Stars: Celestial Music 1960–1979, continuing the label’s exploration of expansive, time-spanning musical journeys.

“I wanted once again to shape a compilation around a time period, this collection is a nod to my days behind the counter of a record shop, the people I met and the styles of music that was played and I was introduced to. Some are from that time, some are of the style/feeling, that I can associate & with the friends I met there; from the early shift to the late shifts as the tempo rose throughout the day and the neons of London started to buzz”

The album will be available on Limited Vinyl and CD in May, arriving just in time for the longer, warmer days and the shifting light of the Seasons Sun.

Celebrating a decade since its live debut, Detroit-based artist Rebecca Goldberg announces the first-ever vinyl release of her original score for A Trip to the Moon, the iconic 1902 silent film by Georges Méliès. Composed in 2016, Goldberg’s reimagining of the groundbreaking film—originally titled Le Voyage dans la Lune—translates early cinema fantasy into a minimalist electronic soundscape shaped by synthesis, texture, and composed foley.

Goldberg’s approach honors the wonder and theatricality of Méliès’ vision while grounding it in Detroit’s lineage of forward-thinking electronic music. The score premiered in Paris in 2016 with live performances at Silencio, the club founded by David Lynch, and at Bar à Bulles, located above the legendary Moulin Rouge. The Paris events were produced by Why So Serious Productions and marked a rare convergence of experimental electronic performance and historic cinematic space. Goldberg also presented the live score in her native Detroit, reinforcing the transatlantic bridge that has long shaped her conceptual record projects.

Now, ten years later, the score will be released for the first time on vinyl in a limited edition of 300 copies. The pressing captures the nuance of the original live compositions while offering listeners a new way to experience the interplay between silence, rhythm, and sonic illusion. As with Goldberg’s previous conceptual 12" releases, the vinyl format serves not only as a medium but as an artifact that preserves and reframes cultural memory.

A delve into the murky avenues of sonic territories, exploring off-grid zones & askew worlds – Daisy Moon leans harder into her 4/4 vision in this dancefloor-ready EP – the first release for Off-Kilter.

Each track pulses along to its own singular logic, with Daisy’s distinctive voice and vocal manipulations playfully drizzled throughout, marking an elegant collision of her sonic worlds.

Spirit Princess is a breakneck peak-time explosion – club-ready and bouncy with a pulsing bassline fit to burst from the subs of any system underpinning waves of textured ambience, nagging synths and granular gusts of found sound.

Fuelled with late night techno energy, Grain Pip offers a heads down counterpoint to the title track, while the B side serves up different energies again. Perhaps the most playful track on the record – The Stuff – demonstrates Daisy’s cheekier side as a producer and person, as inspired by a summer of fun with friends on festival dancefloors: a house banger stuffed with melodic stabs, pitched vocals and swung hats, made for the joys and follies of the 3am dancefloor. Drop Cycle rounds things off with a trippy, rolling excursion of delays and warped synths.

Dizzying sonics and relentless dancefloor energy with razor-sharp precision and uncompromising force.

Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

Fides Records proudly presents the second last chapter of its 10-year anniversary series: X6. Here, the narrative pivots toward groove and immersion between Detroit-rooted sounds, jazz-infused flair, glitchy futurism, and deep dub meditation. This chapter highlight the label’s love for movement, texture, and long-form atmosphere.

Side A opens with Fireground’s “Aquaria”, a sexy, bouncing techno cut carrying old-school Detroit spirit and harmonic fluidity: funky yet refined, shaped by the Italian duo’s live-set mentality, live improvisation and vintage synthesisers. Human Safari’s “Havanas” follows, merging jazz and techno through a standout trumpet solo and lush groove work, carving out a vibrant, genre-crossing mood that feels both bold and effortless. Closing the side, 1morning’s “You Heard Me The First Time” delivers early-2000s techno DNA with a modern edge: glitchy rhythms, unpredictable sequencing, and a playful sense of tension-and-release.

Flipping to Side B, Macedonian master Stojche leads with “Perpetual Sin”, a dub techno lesson in restraint: evolving through spacious layering and emotional subtlety until it fully envelops the room. The record closes with Z.I.P.P.O & Mareena’s “Moonchild”, a tribal, dub-infused deep techno immersion where percussive drive meets meditative energy—an internal journey built for big systems and late hours.

Produced by Masters At Work (Kenny Dope and Louie Vega).

'Collaboration is stimulating, it's in my blood.' Thus speaks Brian Jackson and his philosophy for making music and it's indeed collaboration that runs through this amazing album of reimagined and revisited songs from his artistic past. Featuring artists such as Black Thought, Rahsaan Patterson, Josh Milan, Moodymann, Omar, J. Ivy and others and being produced by Masters At Work, Now More Than Ever takes the enduring classic tracks that Brian made with Gil Scott-Heron and places them in the now over nineteen tracks and across a triple vinyl LP or double CD.

Songs such as Lady Day & John Coltrane, The Revolution Will Not Be Televised, Home Is Where The Hatred Is, Winter In America, The Bottle and more soundtracked a generational movement of Black Consciousness in the 70s and 80s. As Brian says, 'This album is one way to connect to what we were about in the 70s; we were about change and this is part of the lineage of resistance. These tracks mark a period of time when resistance was essential and now a younger generation has picked them up.'

'As young men in their twenties we (Brian and Gil) just wrote about what we saw and were feeling and people interpreted these songs in ways we never thought about but as Sly stone said the song comes from me but it's for you.' This statement from Brian perfectly sums up the collaborative nature of Now More Than Ever and the relevance of these songs in a contemporary perspective can be perfectly summed up by the songs themselves. The formidable stable of artists contributing to each track and the excellent production from Louie Vega and Kenny 'Dope' Gonzalez make this album an event in itself. However, these songs are there to be enjoyed as a canon or as individual masterpieces, whether on the dancefloor or on a home system. ‘Now More Than Ever’ just has to be in everybody’s music collection.

/// First track, Symmetry, debuted on BBC Radio 6 New Music Fix, 10th February: "A beautiful, beautiful album" /// I got my life back. On 17 February 2025, 1024 rays of ultra sound converged at an operation table in Bern, Switzerland, and disconnected a noisy circuit on my brain. 90% of the manifestation ceased – of a disease that I no longer wish to mention by its name. During the same period, I completed my new album: Self Help Manual. I’ve read more current research about the nameless disease than my neurologist, who despite that I didn’t follow his advice on suitable treatment, called me after the successful operation: a brave, brave man. I have composed the music in the same way as in my previous album – Songs for the Nervous System – through layers upon layers of improvisations in dialogue with my synthesizers, most of which are the same age as me. I made the majority of the songs in my studio in the remains of Old Hagalund in Solna. I edited the recordings in my bed during the waking hours of clarity at night. Some songs – NAC, Ketosis, Overkill – were recorded in the basement of my childhood home in Skutskär, in Norduppland, where I’d returned to be nurtured by my retired parents – who during a night when I couldn’t turn over in bed, or pull the blanket over me – made a list of what would happen to my belongings. To my friends who have stood out with me despite my disease, I want to state: you will not inherit me yet. On the new album, the electric bass takes on a leading role. ESG and Liquid Liquid have been important when I reinvented my baselines, limited and liberated by my poor fine motor skills. Plasma is my homage to Summertime Rolls by Jane’s Addiction, that I listened to frequently in my youth. I guess that no one will hear the resemblance. In several songs, the Fender Rhodes plays an important role, a magical instrument that I bought shortly after my diagnosis over a decade ago, and for a long time didn’t dare to touch out of respect for Herbie Hancock and Fela Kuti. A couple of songs draw inspiration from the Horn of Africa – Inner Nile and Delta. At first, subconsciously in the reverb-drenched Inner Nile, then more consciously in Delta. I’m sorry it doesn’t swing the right way, but it was my attempt to return to the cradle of humanity. Longevity is possibly my favourite. The melody is played by an arpeggiator that I controlled by pressing down different keys in an exhilarating sense of freedom. One song in particular, the second track – One – has caused friends to associate freely: one thought it sounded like Patrick Cowley, another like Sly & Robbie meets Kraftwerk, a third like Air – Moonlight Safari. I made one song just before the surgery: opening track Symmetry. It’s the mightiest and most minimal song. I made one song after the surgery: finishing track Self Help Manual. My previous medication pump is heard through the microphone of my Ovation Magnum. It’s the most hopeful song on the album. I took the cover photos with my Hasselblad during walks in Tokyo suburbs of Ōmori and Kamata more than ten years ago. It was something about the faith of the traffic cones that fascinated me – born in the same streamlined form, they had over the years become increasingly individual and lovable. The mixing was finalized by Christoffer Roth in the newly built Studio Dubious in Nacka. Rashad Becker, who in an interview said that he listens as much with his mouth as with his ears, mastered the album at Clunk in Berlin. Right now it feels like anything is possible. My recovery is perhaps a small step for mankind, but a giant leap for me. I hereby leave the music to you. Joakim Forsgren

Now into its sixth year, NuNorthern Soul’s Summer Selections series has become a popular annual fixture. Like its predecessors, 2026’s edition showcases a variety of Balearic dancefloor workouts, sensual soundscapes and tracks tailor-made for poolside sun-down sets.

As usual, Summer Selections Six is a vinyl-first affair, offering wax enthusiasts a chance to cop killer cuts set to feature on a swathe of forthcoming NuNorthern soul releases – including some that would otherwise be unavailable on physical formats.

To begin, is It Balearic? label regulars and Rotation Sound System crew members Wrekin’ Havoc turn their attention to NuNorthern Soul favourite B.J Smith’s 2014 cover of Outkast’s ‘Prototype’. Their take, which will be featured on a forthcoming collection of reworks of Smith’s NNS material, places the long-serving producer’s beautiful, beguiling vocals atop lo-fi 80s electro beats, moody pads, squelchy synth sounds and far-sighted electronics.

Up next is label newcomer Sasha Foam, a fast-rising Lisbon-based DJ/producer whose Memoria EP is set to land digitally soon. ‘Curios’, his contribution to Summer Selections Six, is a propulsive and ear-catching affair, with joyful synth melodies, rushing piano riffs and cheerful TB-202 style acid tweaks rising above a crunchy, drum-machine driven mid-tempo groove.

Rounding off side A is ‘Call To Wind’, a rootsy, warming and sun-baked slab of Balearic dub gorgeousness from Strictly Dub Records founder Saimon AKA Roots Artefact. The track, which marks his first new material since last year’s NuNorthern Soul debut Different Perspective, is one of the many highlights set to be featured on the Estonian’s forthcoming Rocking Boat EP.

Turn to the flipside and you’ll find three more inspired, immersive treats. Dan Dub Lounge, Muzka and Simon Sheldon being their Visions of Light project back to NuNorthern Soul with the borderline genius ‘ReBorn Slippy’, an exotic, intoxicating and sitar-laden slow-motion instrumental cover of the Underworld favourite taken from their soon-come collection of ‘mild pitch’ takes of dance and electronic classics.

To complete another stellar Summer Selections 12-inch label founder Phil Cooper platforms two recent additions to the roster. First is Potteries-based producer Andrew Wright AKA Lonely Deckchair. Wright offers up ‘Adaflo’ from his forthcoming debut album. Atmospheric and magical, ‘Adaflo’ is a simmering, slowly unfurling fusion of poignant pianos, minimalist beats, shuffling bass and tumble-down chords.

Then there’s Aussie artist Perth Lewis, whose first two self-released albums (Moments In Time and Distance Between) were recently reissued by NuNorthern Soul. The Sydney-based producer is set to release a new EP, Cherry Moon, soon, and ‘Monolith’ is taken from that collection. Deep, dubby and beguiling, it sees Lewis pepper a head-nodding, effects-laden beat with spacey sonics, cascading piano motifs and some seriously sparkling synths.




[d] B1: Visions of Light -

Very limited numbers, orders will need to be confirmed.

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.

Wasylyk writes in a room, in his native Dundee, full of “half broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.

Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.

The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write some- thing that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

7 Inch Vinyl in Picture Sleeve

Jazz legend Grady Tate steps into silky soul territory on this essential two-sider. Both tracks — long sought-after by collectors and selling for over £300. The tracks showcase Tate’s smooth vocals and tight production, blending jazz sophistication with soul warmth. The A Side is a hyper rare version of Jon Lucien’s Lady Love, where the B Side is his version of Van Morrison’s Moondance - essential soul. Remastered and Redesigned labels and sleeve.

UK Street Soul, electronic, Deep House

After enticing tastemakers and fans the world over with her 2-track junket into street soul, Be Loved / What Could Happen, Kuzco doubles down with the after-hours antidote. Bound to Be presents the final two tracks to complete the 4-track EP, plus 2 remixes from Ladymonix and Black Moonchild.

Ladymonix delivers an uncompromising scat dub of Be Loved - a niche and signature style to emerge from the Detroit underground that Ladymonix champions. This one is strictly for the house dancers. The B-side features "Waaalk" and "Ha Ha Ha", a sultry and energetic jaunt into ghetto tech and electro. If it wasn't already evident, Kuzco is clearly making a stand and representing the FLINTA and queer club spaces that she embodies.

The B-side is perfectly complemented by an outstanding remix from Detroit powerhouse Black Moonchild - a superbly deep and hypnotic techno groove reminiscent of UFO activity over the Motor City, with bleeping electronic signals passing through jittery hi-hat and drum passages, married with Kuzco's saucy spoken word.

Real heads with good memories and a lifelong love of good grooves might remember that the original mixes of 'Disco Glory' first appeared on DJ Garth's Wicked imprint in 1996. Top DJ dogs like Danny Tenaglia, Francois K and Doc Martin all used to drop them on the regular and ensuing remixes even made their way onto Sony Pictures' 'Groove' soundtrack. The DJ Garth & ETI mixes have long been out of print, so fetch a pretty penny on the second-hand market, which means it's great news that the 30th anniversary is marked with a fresh return to wax. The Acid Rock mix is psychedelic and trippy, the Look To The Moon dub is a dark and dubby tech sound that could be brand new, and the Ye Olde Organ Grinder mix has a moody and retro house charm.

Soul Jazz Records’ long out of print classic ‘Studio One Funk’ collection is being re-released in three new one-off limited-edition coloured pressing 18th anniversary format editions!
Firstly, a heavyweight special limited edition one-pressing only red 2xLP vinyl + download. Secondly, there is also a new special limited-edition one-off pressing edition red-pressed CD enclosed in jewel case and slipcase. And thirdly there is a very limited unique new one-off pressing red-cased cassette format (200 copies only)! 18 years on from its original release Studio One Funk remains one of our Studio One releases most in-demand titles and like all our earlier special coloured editions is sure to sell out fast!
Studio One Funk is made up of rare and unreleased Reggae Funk from the vaults of Studio One. Ever since the birth of Funk in America, the sound has been an ever-present ingredient in the melting pot of Studio One’s musical output.
The music on this release is a combination of originals, US covers and versions of existing Studio One cuts. Jackie Mittoo shows his appreciation for Booker T and The MGs, the studio group at Memphis’ famous Stax Records with ‘Hang Em High’, itself a cover of a film soundtrack by Dominic Frontiere. Incredibly this version has never before been released. Booker T’s super-funky ‘Melting Pot’ is also covered by the little-known Underground Vegetables.
Other versions include Isaac Hayes’ classic Blaxploitation soundtrack ‘Shaft’ again by Cedric Im Brooks track - another unreleased gem, straight from the tape master. Motown gets a look in with Alton’s stripped-down version of the Spinners classic ‘It’s A Shame’, written by Stevie Wonder and Syreeta.
James Brown is apparent in spirit with the JBs-inspired groove on the super rare cut “Now” by Lee Arab. Lloyd Williams similarly does a fine Kingston-style version of the hardest-working man in showbusiness on ‘Reggae Feet’.
Version-wise, we have ‘Idleberg’, Cedric Im Brooks tough instrumental cut on Horace Andy’s seminal ‘Skylarking’. The little-known Prince Moonie gives us a rare DJ cut of another Horace Andy classic, ‘See A Man’s Face’.
Pablove Black’s cut of Sidewalk Doctor (A/K/A Poco Tempo) is one of a handful of Studio One releases featuring Augustus Pablo’s trademark instrument, the melodica, played by Black himself.
Add to these original cuts from Studio One’s heavyweight session players including Leroy Sibbles, Jackie Mittoo, Leroy Sibbles, Eric Frater, Leroy ‘Horsemouth’ Wallace, Richard Ace, Vin Gordon and more and you have one of the finest selections of reggae and funk you will ever hear.







"This collection goes deep into the Brentford Road vaults and unearths a rake of previously unreleased gems alongside hard to find classics. Heavy and inspirational, totally unique and essentially timeless." Straight No Chaser
"An absolute treasure trove for the collector as well as being great for the ears and feet. Jackie Mittoo's 'Hang Em High' is worth the price of the album on its own." Echoes
"A superb collection that shows how much many Jamaican musicians were influenced by the heavy funk belting out of American studios from the early seventies onwards.” Touch
"The most satisfying listening experience so far in the Studio One series." The Wire
"Rare and unreleased grooves from Jamaica's house of excellence." Mojo

8-Tracks features eight essential classics selected from the Pink Floyd’s 1971 – 1979 era. The track list includes the instantly recognisable hits ‘Money’, ‘Wish You Were Here’, ‘Another Brick in the Wall, Part 2’, ‘Time’ and ‘Comfortably Numb’, alongside earlier cuts in ‘One Of These Days’ and ‘Wot’s… Uh The Deal’, as well as an exclusive full version of ‘Pigs On The Wing’, previously available only on the 1977 Animals 8-Track cartridge release. The track sequence has been edited by Steven Wilson for a continuous listening experience. 8-Tracks documents the full measure of Pink Floyd’s transition into their breakthrough era, propelled into superstardom throughout the 1970s. The eight-year period this special release celebrates encompasses music from some of the band’s most successful and celebrated records ever. 1971’s Meddle, 1972’s Obscured by Clouds, 1973’s The Dark Side of the Moon, 1975’s Wish You Were Here, 1977’s Animals and 1979’s The Wall. 8-Tracks offers a brilliant insight into this incredible period of creativity. A starting point for new listeners to discover the depth and breadth of Pink Floyd’s peerless album catalogue, as well as a carefully curated collection for longtime fans to appreciate.

8-Tracks features eight essential classics selected from the Pink Floyd’s 1971 – 1979 era. The track list includes the instantly recognisable hits ‘Money’, ‘Wish You Were Here’, ‘Another Brick in the Wall, Part 2’, ‘Time’ and ‘Comfortably Numb’, alongside earlier cuts in ‘One Of These Days’ and ‘Wot’s… Uh The Deal’, as well as an exclusive full version of ‘Pigs On The Wing’, previously available only on the 1977 Animals 8-Track cartridge release. The track sequence has been edited by Steven Wilson for a continuous listening experience. 8-Tracks documents the full measure of Pink Floyd’s transition into their breakthrough era, propelled into superstardom throughout the 1970s. The eight-year period this special release celebrates encompasses music from some of the band’s most successful and celebrated records ever. 1971’s Meddle, 1972’s Obscured by Clouds, 1973’s The Dark Side of the Moon, 1975’s Wish You Were Here, 1977’s Animals and 1979’s The Wall. 8-Tracks offers a brilliant insight into this incredible period of creativity. A starting point for new listeners to discover the depth and breadth of Pink Floyd’s peerless album catalogue, as well as a carefully curated collection for longtime fans to appreciate.

The debut of Miami's MIA arrives with 8 synthy, introspective, party tracks delivering her signature sound: intimate funk built for dancing or a night in. After many sold-out 7"s and a global following, MIA steps fully into orbit. In a gatefold sleeve, IN THE

Cory Wong's eagerly awaited new studio album, Lost In The Wonder! The collection spotlights Wong's remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. Lost In The Wonder further affirms Wong's enduring love of musical collaboration, boasting a truly eclectic range of guest artists that includes Taylor Hanson, Devon Gilfillian, Stephen Day, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Benny Sings, Theo Katzman, and Magic City Hippies.

When I first heard YELKA play I thought to myself: “I’d like to play in that band.”

In the meantime I have realised that it would not be as easy as I imagined. The fluffy easy sound that gets created is so particular that it would not be so easy to execute those exact sounds of the band. This is mostly due to the unconventional harmonies of the guitar. Daniel himself said he is content with the guitar and added an extra one on almost all of the songs. Which I, as a fan of Daniels anarchic approach to playing, love.

Also Yelka’s groovy smooth bass playing is in the forefront of the album once again. Her sound bounces through the guitar riffs as if it's the most common thing on earth. Once Yelka adds her vocals to the songs, that’s when they almost become pop and reminiscent of Velvet Underground.

Christians drums hold these two together through the track list, with a fun Krautrock and jazz influenced style. Everything was recorded live and it sounds fantastic!

The 6th track of the YELKA album "Jeans" is a highlight with the piano support from Federico Corazzini, who adds lush open jazz chords to the incredible intricate harmonies of the band. Arne Bergner (Studio Popschutz) who is once more responsible for the production of the album, also added a beautiful choir arrangement. The finishing touches completing YELKA´S wonderful sound as always added by Norman Nitzsches Mastering (Mokik Studio).

From top to bottom an amazing album: "King of the World" (Steely Dan cover), a pop song with a fantastic keyboard solo from `the one and only Dan Ra´ alias Daniel Nentwig (The Whitest Boy Alive), "Moon for Now", an atmospheric jazz-ish tune, to "Walking Whispering", a strong 9-minute guitar heavy number... I think there are more than two guitars in this one.

American indie rock/pop/jazz whatever - school (after all, it's the third album in the band's America trilogy) and yet above all Berlin, in its most likeable and perhaps even coolest form.

Masha Qrella

Claus Voigtmann has built his reputation away from excess, favouring precision, patience, and a deep understanding of the dancefloor over trend-led movements. Emerging from a punk background, his approach to music carries that same raw intent, translated into rolling, groove-led sets that blend movement with a stripped-back sense of pressure and release. As co-founder of the influential Toi.Toi.Musik party series, he helped shape one of London’s most respected underground movements, while later channelling his focus into his label Subsequent - a platform for more exploratory, long-form expression that has found its way into the crates of DJs including Zip, Ricardo Villalobos, and Sonja Moonear.

Having already landed on Enzo Siragusa’s FUSE imprint in 2023, remixing the label boss’s ‘Laughing Tones’, and after featuring heavily across the brand’s global events for years, his ‘Elevate’ EP distils his ethos into four direct, function-led cuts. Built with clarity and intent, the record reflects his commitment to music that works in the room first and foremost, resulting in a collection of tracks shaped by experience rather than excess, and where every element serves a clear purpose.

‘Bass Tool’ brings low-end pressure and tightly wound percussion, setting the tone from the off , while ‘Loading Complete’ leans into a more cosmic roll, layering shifting textures over a forward-driving framework. On the B-side, ‘Sidequest West’ keeps the focus in the sub-bass realms while still maintaining focus on groove and flow, before the title cut closes the release by opening things out, balancing weight and space in a way that reframes the EP’s direction and journeys into the late hours.

We’re thrilled to present Volume 2 of ‘30 Years Of Freerange’. Six more, brand-new and exclusive tracks from a variety of label regulars including Fouk, Aroop Roy, Coflo, Fred Everything, Matt Masters & Radic The Myth

Three decades in, Freerange doesn’t look back - it expands. 30 Years Of Freerange - 30 tracks from 30 artists across Five EPs. A slow-burn rollout culminating in a beautiful boxset meticulously assembled to outlast trends, algorithms, and short attention spans. A handpicked cross-section of the Freerange continuum from artists who’ve shaped the sound alongside up and coming voices pushing it somewhere new.

Wacho is Kabul Fire Records" newest of talented beat makers who"ll be sure to serve all lovers of instrumental hiphop productions more than well. With his debut album "Simplicies" he offers his very own synth heavy take on lo-fi & boombap instrumentals and creating atmospheric sounds that will always have you trip in between earth and the moon.

Quartier Celeste is a unique project in today’s landscape: here’s Premier Voyage, an album that goes beyond music to offer a complete universe, almost an autonomous mythology, which unfolds through music, lyrics, videos, and a collection of visual artifacts.

It all began with a revelation: the discovery of NASA’s sound archives, recordings collected during space missions to the outer
reaches of the solar system. What can be heard as we approach the Sun? What sound does a black hole produce when its electromagnetic activity is translated into audible frequencies? What does Jupiter's fifth moon whisper through the instruments of
a probe?

From track to track, we drift through an immense space — sometimes calm, almost meditative, sometimes shaken by cosmic storms. We encounter supernovas, cosmic rays, magnetic fields, stellar winds, and clouds of antimatter. The infinitely large rubs shoulders with the infinitely intimate: the fragile, close voice offers a human counterpoint to these titanic forces. The whole is mystical, contemplative, punctuated by bursts of noise, areas of shadow, and flashes of light amid vast areas of darkness.

GSQ – Gelatology is a sample-based instrumental hip hop project rooted in crate digging culture, built from jazzfunk, soul, prog-rock and world music sources. The release also launches Gelatology, a new Quattro Bambole
Records sub-catalog dedicated to limited-run, sample-driven vinyl-only releases.

RICE TBC

Songs Before Bed (2022) marks Otto Benson’s first physical release under his own name, following earlier
work under aliases including Memo Boy, OTTO, and Pudding Club.

Originally published as a digital-only release through Otto's own WNOADIARWB website and platforms on
New Year's Eve 2022, Songs Before Bed bridges the gap between the more experimental psychedelic
electronic works of OTTO and his most recent release, the acclaimed Peanut, released on NYE 2025.
Blending brief pop fragments with melodic bedroom guitar, droning ambient shoegaze textures, and blissful
IDM jaunts reminiscent of the Rephlex catalog, the album offers a seamless overview of Otto Benson's
genre-defying sound. Originally conceived as a late-night record, Songs Before Bed (2022) rewards
listening at any hour.

Remastered for vinyl by Stephan Mathieu and pressed on Sonopress EcoRecord, an environmentally
conscious alternative to PVC, special care was taken by Palto Flats and Otto Benson to make a sustainable
product without sacrificing sound quality.

Within the Echosphere, every Signal is a call to be understood. Chasm divides who we were from who we have become, Trace lingers in every step, even when the path is lost and Reverie binds our dreams to reality. We are the echo of our own thoughts, reflected into infinity.

‘Distracted’ is Thundercat’s fifth studio album, featuring contributions from an incredible cast of friends including A$AP Rocky, WILLOW, Tame Impala, Lil Yachty, Channel Tres, and a long awaited collaboration with the dearly departed Mac Miller. The record was primarily created in close collaboration with a new creative partner – the super-producer Greg Kurstin – plus Flying Lotus, Kenny Beats (Kenneth Blume) and The Lemon Twigs. In the six years since his GRAMMY-winning album ‘It Is What It Is’, Thundercat’s star has risen: playing stadiums worldwide with Red Hot Chilli Peppers with Flea naming Thundercat “the best bass player on the planet”; performing live with A$AP Rocky, Steve Lacy, Tame Impala, Gorillaz, Silk Sonic, Erykah Badu, Spinal Tap, Yo Gabba Gabba; collaborating with Haim, Smino, Kaytranada, Kamasi Washington and Justice. He also branched out into acting with a role in Star Wars: The Book of Boba Fett. His warm, playful presence is never too far away, and life’s all the more enlivened by it.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

Tom Misch’s long-awaited sophomore album Full Circle finds the London-based artist, songwriter, and producer at his most personal and honest. Exploring the moments that have shaped him over the last four years: family, friendships, nature, and celebrates the work of finding his way back to himself. Made during his time spent between London, Cornwall, Portugal, and Nashville with a focus on classic songwriting, honing a collection of eleven timeless songs including the previously released singles ‘Old Man’ and ‘Red Moon’. While Full Circle contends with some of quieter moments of the last four years, it remains optimistic and effortlessly listenable, anchored by unadorned vocals and a warm, analogue sound. And the beauty of Full Circle lies in the universality of its lyrics, inviting listeners to inhabit Tom’s world or trace their own path within it. Full Circle stands as both a reflection of his journey and a statement of ongoing evolution.

With their upcoming album Waves, Moonchild enters a bold new chapter. A deeply personal and emotionally raw project, Waves explores themes of grief, healing, resilience, and self-worth, eschewing the love songs that once dominated their catalog. "This album is about processing loss and stepping into your power," says Amber. "It's a lyrical departure, but it reflects what I've been going through these past few years."

The project also marks a return to in-person collaboration and a new embrace of sampling and sonic experimentation. The result is an album that feels more vulnerable and grounded than ever, while still pushing the boundaries of their signature sound.






f 06: Fear (Hey Friend) feat. PJ Morton






f 06: Fear (Hey Friend) feat. PJ Morton






f 06: Fear (Hey Friend) [feat. PJ Morton]

With their upcoming album Waves, Moonchild enters a bold new chapter. A deeply personal and emotionally raw project, Waves explores themes of grief, healing, resilience, and self-worth, eschewing the love songs that once dominated their catalog. "This album is about processing loss and stepping into your power," says Amber. "It's a lyrical departure, but it reflects what I've been going through these past few years."

The project also marks a return to in-person collaboration and a new embrace of sampling and sonic experimentation. The result is an album that feels more vulnerable and grounded than ever, while still pushing the boundaries of their signature sound.






f 06: Fear (Hey Friend) feat. PJ Morton






f 06: Fear (Hey Friend) feat. PJ Morton






[f] 06: Fear (Hey Friend) [feat. PJ Morton]

Inspired by the Lunar New Year, "Ancient China" is a timeless auditory journey blending traditional Chinese musical elements with contemporary lofi beats. Across 24 tracks, live instruments like the pipa and xiao intertwine with modern production to create a soundscape designed specifically for focus and reflection. Presented as a limited "Jade Mist" double vinyl edition housed in a panoramic gatefold jacket, this compilation serves as the perfect peaceful companion to welcome the Year of the Horse.

Clear Vinyl mit blauer Marmorierung. Das luxuriöse Atelier Ryza (Original Soundtrack Trilogy)-Vinyl-Boxset enthält 45 Songs auf drei LPs, darunter die beliebtesten musikalischen Highlights aller drei Spiele. Jede Vinyl-Schallplatte steckt in einer polylined Innenhülle und befindet sich in vollständig illustrierten Covern mit Rücken. Das Set beinhaltet außerdem ein 24-seitiges Booklet mit Konzeptzeichnungen, Charakter-Artworks, Liedtexten sowie Liner Notes auf Englisch und Japanisch. Alles ist in einer hochwertigen, schweren Box verpackt, die diese Sammlung zu einem echten Must-have für jeden Fan des Spiels, seiner Kunst und natürlich der Musik macht, die immer ein wesentlicher Bestandteil des Erfolgs der Atelier Ryza Secret Trilogy war.Die Atelier-Serie ist ein JRPG-Franchise mit dem Thema Alchemie, entwickelt von GUST und seit 1997 laufend. Die ,Secret Trilogy" umfasst die Videospiele Atelier Ryza: Ever Darkness & the Secret Hideout (2019), Atelier Ryza 2: Lost Legends & the Secret Fairy (2020) und Atelier Ryza 3: Alchemist of the End & the Secret Key (2023). Sie ist die erste Reihe innerhalb der Atelier-Serie, die über mehrere Titel hinweg dieselbe Protagonistin zeigt. Die Geschichte folgt einem gewöhnlichen Mädchen, Reisalin ,Ryza" Stout, die die Alchemie entdeckt und gemeinsam mit ihren Freunden ein Sommerabenteuer erlebt, welches ihr persönliches Wachstum durch diese Erfahrungen widerspiegelt. Alle drei Titel im neu veröffentlichten Atelier Ryza Secret Trilogy Deluxe Pack bieten Verbesserungen hinsichtlich Bedienkomforts sowie zusätzliche Inhalte, um die ,Secret"-Reise weiter aufzuwerten.

Clear Vinyl mit blauer Marmorierung. Das luxuriöse Atelier Ryza (Original Soundtrack Trilogy)-Vinyl-Boxset enthält 45 Songs auf drei LPs, darunter die beliebtesten musikalischen Highlights aller drei Spiele. Jede Vinyl-Schallplatte steckt in einer polylined Innenhülle und befindet sich in vollständig illustrierten Covern mit Rücken. Das Set beinhaltet außerdem ein 24-seitiges Booklet mit Konzeptzeichnungen, Charakter-Artworks, Liedtexten sowie Liner Notes auf Englisch und Japanisch. Alles ist in einer hochwertigen, schweren Box verpackt, die diese Sammlung zu einem echten Must-have für jeden Fan des Spiels, seiner Kunst und natürlich der Musik macht, die immer ein wesentlicher Bestandteil des Erfolgs der Atelier Ryza Secret Trilogy war.Die Atelier-Serie ist ein JRPG-Franchise mit dem Thema Alchemie, entwickelt von GUST und seit 1997 laufend. Die ,Secret Trilogy" umfasst die Videospiele Atelier Ryza: Ever Darkness & the Secret Hideout (2019), Atelier Ryza 2: Lost Legends & the Secret Fairy (2020) und Atelier Ryza 3: Alchemist of the End & the Secret Key (2023). Sie ist die erste Reihe innerhalb der Atelier-Serie, die über mehrere Titel hinweg dieselbe Protagonistin zeigt. Die Geschichte folgt einem gewöhnlichen Mädchen, Reisalin ,Ryza" Stout, die die Alchemie entdeckt und gemeinsam mit ihren Freunden ein Sommerabenteuer erlebt, welches ihr persönliches Wachstum durch diese Erfahrungen widerspiegelt. Alle drei Titel im neu veröffentlichten Atelier Ryza Secret Trilogy Deluxe Pack bieten Verbesserungen hinsichtlich Bedienkomforts sowie zusätzliche Inhalte, um die ,Secret"-Reise weiter aufzuwerten.

After a long hiatus broken by their inclusion in Om Unit's final epic Acid Dub Versions set, Alter Echo & E3 step out once more with the four-track “No Peace EP.”

With past releases on storied labels including ZamZam Sounds, Moonshine, Scrub A Dub, Lion Charge, LavaLava, and Khaliphonic, the duo opted to forego labels for this one, instead dropping the first release on their own AEE3 imprint.

The main mix of the title tune is a pounding dystopian slow-stepper collab with old friend & sparring partner Ishan Sound, dusted off and rebuilt after years on dubplate. Shot-through with stinging percussion, swirling with leaden atmospherics and dread truths, this one’s an absolutely uncompromising piece of supremely heavy steppers.

RSD’s remix opts for crystal clarity, extra layers of percussion, an emotional mid-range melody, and of course the huge bassweight Rob Smith is known & loved the world over for.

Om Unit’s “Kaliuyga Verse” recenters the tune on deeply spiritual indigenous wisdom spoken by Floyd “Red Crow” Westerman. This long-form rework fleshes out the instrumentation with classic UK dub percussion and FX, plus flute and much more, transmuting the original’s darkness into something magisterial and hopeful while maintaining absolute heaviness.

AEE3’s "Southeast Rock" closes the EP with a slower tempo meditation powered by a melodic bassline, chopped drums, dub tech stabs and righteous horns, an introspective ganja tune that will stay with you long after the runout groove.

The album was inspired by the dislocation Kennan felt upon returning, after several years
away, to the rustic neighborhood northwest of L.A. where she’d grown up: “Wandering through a place where my life once existed but where everything had quietly shifted with time.”

The music conjures a mood of distance, dust, and dazed emotion, alternately lulling and unraveling. From shuffling tumbleweed vignettes (“The Lone West,” “Romantic Strings”) to sepia-tone torch songs (“Shadows,” “Reverie”) to oblique keyboard meditations (“Moonlight,” “Rain”) , Kennan’s soundworld moves with a muted, murky beauty, like alluring shapes seen through smudged glass. In her hands, haze is a transformative property, liberating melody and memory into landscapes still untraveled.

After ten years 12 Inch Lovers has become a household name not only because of their parties but also because of the fantastic vinyl samplers they released over the past few years, which were sold out in no time and have become true collector's items.

They now continue in the same vein and once again bring a fresh and contemporary mix of hard to find, original house classics or even classics that never had a vinyl release.

These samplers should therefore not be missing from any 12 Inch Lovers collection.

"Gregor Salto" is at it again! Sampler 6 opens with that other and hard to find classic of his "Your Friend". A club classic that has won the hearts of countless clubbers and house fanatics around the world since 2009. And speaking of hearts; Belgian dj-producer "DJ Wout" released this beautiful and emotional remix of "D. Van Horn's" "Somebody Now To Love". A true trance classic and typical in sound for that period that you can find on A2.

On B1 we find a more recent track but which you can already say is a future classic. "MZ" from "Sascha Funke" is still played to this day by top DJs like Solomun and very hard to find on vinyl. A must have! Dutch producer "Karmon" delivered this catchy deephouse remix of "Fabo's" "Where I Stand" in 2012. You can find it on B2.

On C1 we find the beautiful "Andain" classic in the "Gabriel & Dresden Unplugged Mix". "Beautiful Things" was picked up by "Tiësto" at the time and has made it a true classic. Hard to find on vinyl.

"Moko" "Fly" on C2 is a very catchy and quirky track from 2010 that never had a vinyl release! Highly recommended!

D1 brings the dreamy and highly sought after "Today" from "POB & Taylor" in the "Seismic" remix after which we close with D2 with a true classic.

"My Moon My Man" by "Feist" is probably that record which remix is better than the original. "Boys Noize" was responsible for this in 2007 and the rest is as they say history.

DJ Support: Louie Vega, Dave Lee, Mousse T, The Brothers Macklovitch, Folamour, Bellaire, Moonboots, DJ Spen, Terry Hunter, Michael Gray, Dr Packer, JKriv, The Shapeshifters, Moplen, Melvo Baptiste, Saucy Lady, Tedd Patterson, John Morales, Maurice Joshua, DJ Minx, DJ Dove and DJ Disciple.

Big Love return with EP 7 in the A Touch Of Love vinyl series. Label head Seamus Haji kicks off proceedings with his popular ‘Disco Dreams’ feat Chicago legend Mike Dunn on vocals given a fresh new lick by Toronto’s jackin’ house master Hatiras. Shawn Christopher‘s 90’s house classic ‘Don’t Lose The Magic’ gets a sublimely soulful update from Chicago’s Emmaculate. On the flip side we have 2 French House veterans with Art Of Tones serving up the Chic inspired disco beauty ‘Hoping For Another Chance’ followed by Yass feat the vocal powerhouse Michelle Weeks on the disco driven gospel stormer ‘Hallelujah’.

Electro as its best! SS001 marks the first transmission from Serpiente Sounds, a debut 12" split that keeps it lean, direct, and floor-focused. Viewtiful Joe handles the A-side with two cuts that balance Electro snap and Detroit discipline: clean drum architecture, crisp low-end, and synth lines that feel both futuristic and functional. On the flip, Subversive brings two late-night weapons with a colder edge and a deeper swing. SS001 is a debut statement with zero filler, a compact toolkit of Electro/Detroit tools for the booth.