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On the day of Eid al-Fitr (Sugar Feast), Sonhouse Records released Grond, a brand new record, produced by Faisal Chatar and 'Yong' Yello Staelens.

Grond (soil) tells the tragicomic story of a Moroccan brother and sister who take over their father's funeral business and want to modernise it. Instead of repatriating Belgian Muslims to their country of origin and burying them there according to Muslim traditions, they decide to import the holy soil.

Western and Arabic sounds, combined with hip-hop beats are mixed in a refined way. Faisal and Yello produced twenty songs that immediately make you long for summer. In Brussels, Tangier or simply elsewhere.

Faisal Chatar and Yello Staelens:
"Grond is about the clash between traditional Moroccan values and Brussels city culture. We tried to translate that by combining Moroccan instruments like Krakebs and Qanuns with thick hip-hop beats. It sounds as if Timbaland is eating a merguez sandwich in a Molenbeek snack bar while Aznavour sounds through a distorted FM radio."

In this context Jeroen Swinnen and David Martijn needed to find a musical concept to go hand in hand with the story. They opted for a string quartet and an arsenal of old analogue synths (of the series’ era). Thé perfect match as it turned out. Emphasize the beauty, hope and respect on one hand. Translate the elusive, unjust feeling that is addressed in the series on the other. Apart from these 2 central instruments, an old muted upright piano, played by Jeroen, and a guitar, played by David, were also used to express emotion even more.

Rosita is a cheerful, well-liked woman with a fiery desire to have children. Those around her find it irresponsible because she can barely take care of herself. When Rosita does manage to become pregnant, she chooses to keep her pregnancy a secret.

David Martijn, guitarist and synth player in the electro-rock band GOOSE, wrote the music for the full-length album 'Holy Rosita'. His experience as a composer for projects such as 'De Dag', 'War of the Worlds', 'De Twaalf', and '1985' contributed to Martijn's desire to challenge himself again to come up with a fresh, distinctive sound, as he does with every project.

"My initial feeling was that I would have to step far out of my comfort zone to let the music tell this delicate story. I soon felt that the music needed to be light and open, in contrast to the uncertain and complex reality in which Rosita finds herself. Therefore, it seemed like a good plan to keep the score very close to Rosita and much less focused on her surroundings or reality. The music had to be, as it were, a reflection of the thoughts and feelings playing out in Rosita's mind. That is often hopeful, determined, lively, sometimes a bit naive, and at other times very lonely, sad, and uncertain." - David Martijn

The second season of the funny and heartfelt fiction series by Flo Van Deuren and Kato De Boeck takes us along as Bibi and Ama move on to the next chapter of their lives and into their new, unexpected home: an old daycare building. With school no longer providing structure and their wallets running on empty, they dive headfirst into adulthood.

This results in eight new episodes that, like the main characters, have grown up, yet remain just as hilarious and moving as ever.

With the second season of Roomies, the show’s award-winning music makes its return. This time with a powerful soundtrack featuring Eefje de Visser, Ategha (Ahlaam Teghadouini) & Mickael Karkousse (Goose), Maria Iskariot, and Porcelain ID.

“(Tijdbom) Tikkend” is a dark, electronic track that feels like a constant run: sometimes away from the other, sometimes right toward them. It captures the feeling of running out of time, losing each other, and wanting to reconnect. That push-and-pull dynamic felt like a perfect fit for Roomies, where relationships, drama, and fun are always intertwined. - Eefje de Visser

“Whatever Happens” came together in a very organic way, and you can hear that in the track. Raw, genuine, and effortless. What’s unique is that we hadn’t even met until a few days before. Ahlaam walked into the studio and said, “I’ve prepared something.” That opening line alone was fantastic and immediately showed confidence and courage. “Perfect,” I thought. Then we turned the volume up to maximum, and I listened as Ahlaam sang right by my ear. Instant goosebumps! - Mickael Karkousse

The series, written and directed by Flo Van Deuren and Kato De Boeck, tells the story of Bibi and Ama, two lesbian girlfriends in their twenties.

Hoping to become a better version of themselves, they move in together at a flat in Brussels. Each in their own way, but under the same roof, they come to new insights: life has no manual, love even less and themselves even less so. The result is an intimate series full of humour and familiarity.

Musically the series is coloured by an exclusive soundtrack and homegrown songs: 7 female or non-binary artists from Belgium were asked to write a song. Lara Chedraoui & Patrix, Juicy, Miss Angel, Tessa Dixson, Oriana Ikoma, Ana Diaz, SPACEBABYMADCHA and Mick Lemaire crept into their musical pen. The series also features existing songs by artists such as Martha Da’ro, Aili, B1980 and Fatal Error to showcase a maximum of local musical talent.

“The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions—the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder.

“Two songs established the spine of this music. Songs I’ve always loved, it seems even before I’d heard them. The first one, and the source of the title is ‘You Belong to Me’ by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it’s also a beautiful mid century romance—and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth.

“The second song is ‘Promised Land’ by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he’s safely arrived in the new one.

“The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open.

“The cover is a photo of my mom—one I never saw when she was alive. With the headscarf and that excited, nervous expression, she looks about to embark on a journey. Ready, finally, to cross the tarmac and board the Silver Plane. “Wishing safe travels to all.” — Mark N / Pan•American



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Mantra is the first single from The Bluebeaters' upcoming album, due for release in 2026. It is an unusual track in the band's discography, reminiscent more of The Clash's Rock The Casbah than Jamaica. It is a track with a 4/4 beat without the classic Jamaican syncopation typical of The Bluebeaters.

"It's a challenge to the background that has always driven the band. The album will not be entirely in this direction, but we decided to release this single to broaden our range of expression."

Produced by singer Patrick Benifei, aka Pat Cosmo, together with the solid rhythm section of The Bluebeaters, Count Ferdi on drums, Cato Senatore on guitar, Danilo Scuccimarra on piano and organ, and Paolo Parpaglione on saxophone.

It is the first in a series of singles that will form the backbone of the album.

Sung in Italian, Mantra is an original song written by Pat Cosmo.

The B-side is a dub, an instrumental version mixed by Ezra, producer, artist and our co-producer for all the tracks that will be released on the new album.

He has collaborated on many productions that are part of the Caribb Roots world, including Casino Royale and The Uppertones, as well as his own Dub Pigeons.

His studio is the NoMad Studio, located in the San Salvario area of Turin.

A modern psych classic!

This album was released in 2017 as free download packs with the band encouraging fans to create their own physical copies with provided templates.

From the band's post accompanying links to different digital packs:
"This album is FREE. Free as in, free. Free to download and if you wish, free to make copies. Make tapes, make CD’s, make records. ... Ever wanted to start your own record label? GO for it! Employ your mates, press wax, pack boxes. We do not own this record. You do. Go forth, share, enjoy."

SILENCER's merciless emotional firestorm "Death – Pierce Me" is one of the few albums truly deserving the designation ‘cult’. From humble beginnings in the extreme underground, it rose to become a widely acclaimed masterpiece with a massive following.

To celebrate the album’s 20th anniversary, Lupus Lounge reissues this pioneering depressive metal milestone in lavish editions worthy of its legacy. "Death – Pierce Me" will be available as a 48-page hardcover CD book edition including a bonus track, and as part of a complete box set featuring a gatefold vinyl edition, a 12" version of SILENCER’s 1998 demo, and additional bonus materials.

When SILENCER released their sole full-length album under the same title as their 1998 demo, the time seemed ripe for an emotionally devastating strain of black metal incorporating doom elements and expressing bleak emotions of bereavement, loneliness, and despair. This emerging subgenre became known as ‘depressive black metal’, sometimes more extremely labeled ‘depressive suicidal black metal’.

Around 1998, this movement coalesced around Swedish acts SILENCER and SHINING, alongside Quebec’s MALVERY and US band XASTHUR, drawing influence from earlier pioneers such as Norway’s STRID and Germany’s BETHLEHEM.

While SHINING gained notoriety, SILENCER faded into obscurity, surrounded by rumor and legend. With only one historical interview, no live performances, and no follow-up album, the band became mythic. Through word of mouth alone, "Death – Pierce Me" continued to grow in stature, culminating in an IMPALA Silver Award in 2021 for 20,000 verified European sales.

POISON IDEA’s momentum hasn’t slowed down one bit; this is still their brand of loud, potent powerthrash. Slightly more metal than in the past but the accent here is on the force and fury. Scorching. Each song on War All the Time flows into the other in a natural sequence for maximum impact and the whole thing blows over before you know it, but everything stays in your head, banging against the walls of your frontal bone. All this makes a good album, but what turns War All the Time into an amazing album are the lyrics and their delivery. Jerry A took the negative side of the world around him and expressed it in detail, rendered with words that can be read in a universal manner, expressing everything trivial and worthy of our puke in a language better suited to talk about the beauty of life. And those words remain as true to this day as the band’s riffs are brutal.

Critically acclaimed American producer Tomu DJ (Pitchfork, Dazed, NPR++) debuts on sound as language with her fourth album, 'antagonist.' Recorded in the artist’s Oakland, California home throughout 2025 using only a digital piano, her intention for the album was to “free myself from conventional notions of electronic music”. This is perhaps seen clearly on standout tracks “loose interpretation” and “careful deliberation”, which in their cinematic splendor evoke the beauty and thoughtfulness of classical music. Even so, 'antagonist' is “not intended to be like classical music, rather a stream of consciousness akin to spoken word poetry”. It is easy to see what she means on tracks like “antagonist” and “dance” which weave familiar elements into personal narratives of loneliness, perseverance and redemption. Despite its specific sonic palette, 'antagonist' fits right in with Tomu DJ’s discography, continuing to build on the musical ecosystem she has thoughtfully tended to over the course of the last decade.

After releasing their third album, Maintenant Jamais, and touring in Europe, the United States, Canada, and Mexico in 2025, Population II now announces Gimmicks, a new synthedelic rock EP.
Blending vocal and instrumental tracks, Gimmicks is a companion piece to the Montreal band's latest full-length. It's an extension of the electronic sounds we explored on Maintenant Jamais, with tracks like “13 1 3 1” and “Poudreuse Blues, explains Pierre-Luc Gratton. Even though we added upright piano and fuzz bass to some of the songs, our number one rule for this project was: keyboards and synthesizers, first and foremost! This is why they decided to ditch the guitar completely on these new songs, once again demonstrating the extent of their versatility.
Rhythm-wise, the use of a drum machine allowed the musicians to push their own boundaries and take this exercise in style to a higher level. It made us rethink our rhythmic habits and add bursts of intensity by experimenting with timbres and sound dynamics. The result is an EP at times unsettling, at times dreamy, but perfectly calibrated, where constraint gives way to ingenuity, freedom, and friendship. Although prog and krautrock fans will recognize the influence of Syrinx, Tangerine Dream, and Cluster, Gimmicks is, above all, the affirmation of a band capable of looking back to move forward.

Whenever Emily Nenni is onstage, she welcomes everybody to the dancefloor. The California-born, Nashville-based singer-songwriter wants the honkytonk to be a place of escape, where fans can shed their troubles for a few hours and feel safe and free. “I’m always watching the dancefloor and making sure everybody’s being respectful.” Or, as she sings on the supremely funky title track to her new album Movin’ Shoes, “Here’s where you dress for you and dance the way that you want to.”

Movin’ Shoes is an album about how we treat each other and how we treat ourselves. Confident in its touchstones and compassionate in its insights, Movin’ Shoes eloquently and wryly blends southern soul from Memphis and Muscle Shoals with southern rock from Macon and outlaw country from Austin. Making Movin’ Shoes was a process of discovery for Nenni. Musically she found all new ways to combine the disparate artists she loves so much, and lyrically she found all new ways to relate to herself and to others. “We should at all times acknowledge and accept the fact that we’re imperfect people,” she explains. “We all make mistakes and we should all rethink the way we go about things. I am flawed. Everyone around me is flawed. But that’s not a bad thing. It just means we’re all human. This album is about making mistakes and learning from them. I’m always trying to put that into my songs.”

Whenever Emily Nenni is onstage, she welcomes everybody to the dancefloor. The California-born, Nashville-based singer-songwriter wants the honkytonk to be a place of escape, where fans can shed their troubles for a few hours and feel safe and free. “I’m always watching the dancefloor and making sure everybody’s being respectful.” Or, as she sings on the supremely funky title track to her new album Movin’ Shoes, “Here’s where you dress for you and dance the way that you want to.”

Movin’ Shoes is an album about how we treat each other and how we treat ourselves. Confident in its touchstones and compassionate in its insights, Movin’ Shoes eloquently and wryly blends southern soul from Memphis and Muscle Shoals with southern rock from Macon and outlaw country from Austin. Making Movin’ Shoes was a process of discovery for Nenni. Musically she found all new ways to combine the disparate artists she loves so much, and lyrically she found all new ways to relate to herself and to others. “We should at all times acknowledge and accept the fact that we’re imperfect people,” she explains. “We all make mistakes and we should all rethink the way we go about things. I am flawed. Everyone around me is flawed. But that’s not a bad thing. It just means we’re all human. This album is about making mistakes and learning from them. I’m always trying to put that into my songs.”

2026 Repress

Humanity from Japanese saxophonist and composer Kazuki Yamanaka contains both turbulence and tranquillity, freedom and discipline, an embracing of uncertainty with a deeply spiritual sense of resolution. The recordings were made in a single day in New York City with a team of extraordinary musicians. He"d already established a firm creative partnership with bass legend Cameron Brown and award-winning pianist Russ Lossing over the past year during their time as recording artists in NYC, and he renewed his fruitful association with outstanding drummer Billy Mintz (Lee Konitz, Charles Lloyd, Alan Broadbent) to complete the quartet. These three have been vital to Kazuki"s compositions that tell the story of his enforced absence from the scene during the pandemic and how he sought to centre himself in the midst of the disruption through contemplation and the development of an inward strength.

Test press approved.
Dancefloor certified.

Âsan’s second EP Go Nuclear is an eruption. This four-track follow-up stands as the aftermath — the exhale after prolonged internal pressure.   

Side A unfolds inward. Two tracks built for the mind — hypnotic, immersive, almost dissociative in their pull. The opening piece, Picktooth, is a slow-burning ascent. It builds in increments — pressure accumulating in cycles.The impact feels intangible rather than physical. Gradual pressure and tension that keeps rising, rhythm locking you into a state that feels almost uncomfortable, but controlled.

AFTER DARK is the latest project from French producer Onra, conceived as the soundtrack to an imagined late-night film. Entirely self-produced, the album continues the sophisticated R&B and Modern Soul direction explored since his 2010 classic Long Distance and 2018's accomplished Nobody Has To Know, focusing on late 80's / early 90's inspirations.

Structured like a film unfolding between dusk and dawn, After Dark moves through themes of intimacy, urban solitude, distance, and quiet indulgence. Analog synthesizers, tight drum programming, understated basslines, and selective live saxophone textures shape a cohesive body of work that favors mood and narrative over excess. The sequencing reinforces its cinematic intent, opening and closing with intro and outro pieces that frame the record as a cohesive night-time narrative album.

Over 20 years since emerging in the mid-2000s from the beat scene, Onra has steadily evolved from sample-based Hip-Hop production toward polished, song-oriented projects rooted in contemporary R&B and Funk. With After Dark, he delivers one of his most focused and refined statements to date: a mature, immersive album built for late hours, and attentive listening.

Dr. Emma Dayhuff explores the depths of her musical experience that developed from her time in Chicago studying with the many gifted musicians of the city. This Live recording features her musical comrades switching effortlessly from Avant-Garde, Blues, and Modal styles.
A powerful line up featuring Kahil El'Zabar on Drums, Percussion, and Vocal chants, The incomparable Dee Alexander swaying on Vocals and The gift virtuoso Isaiah Collier on Tenor Sax and Piano. Led by Dr. Emma Dayhuff on Bass and several original compositions. The recording reflects the deep connection shared amongst the musicians, that was developed over years of experiment, trust, and growth.

Good Kid ist keine typische Rockband; sie sind wahrscheinlich der größte Indie-Act, von dem du noch nie gehört hast. Was als Projekt von fünf kanadischen Informatikstudenten begann, die sich von ihren Aufgaben ablenkten – Nick Frosst (voc), Jon Kereliuk (drums), Michael Kozakov (bass), David Wood (git) und Jacob Tsafatinos (git) –, entwickelte sich rasant zu etwas viel Größerem und einer riesigen globalen Community, die Menschen willkommen heißt, sich so zu zeigen, wie sie sind. Mit vier erfolgreichen EPs im Gepäck liefert Good Kids Debütalbum "Can We Hang Out Sometime?" die energiegeladenen Hooks und innovativen Riffs, die zu ihrem Markenzeichen geworden sind, und wagt sich gleichzeitig mutig in neue Gefilde vor. Langjährige Fans finden hier die typischen Good-Kid-Kracher, die sie lieben, aber auch die Band, die in ihrem bisher rauesten Werk neue Soundfarben, Rhythmen und Wendungen erkundet. Produziert von Grammy-Preisträger John Congleton (St. Vincent, Wallows, Lana Del Rey) in Los Angeles.

Good Kid ist keine typische Rockband; sie sind wahrscheinlich der größte Indie-Act, von dem du noch nie gehört hast. Was als Projekt von fünf kanadischen Informatikstudenten begann, die sich von ihren Aufgaben ablenkten – Nick Frosst (voc), Jon Kereliuk (drums), Michael Kozakov (bass), David Wood (git) und Jacob Tsafatinos (git) –, entwickelte sich rasant zu etwas viel Größerem und einer riesigen globalen Community, die Menschen willkommen heißt, sich so zu zeigen, wie sie sind. Mit vier erfolgreichen EPs im Gepäck liefert Good Kids Debütalbum "Can We Hang Out Sometime?" die energiegeladenen Hooks und innovativen Riffs, die zu ihrem Markenzeichen geworden sind, und wagt sich gleichzeitig mutig in neue Gefilde vor. Langjährige Fans finden hier die typischen Good-Kid-Kracher, die sie lieben, aber auch die Band, die in ihrem bisher rauesten Werk neue Soundfarben, Rhythmen und Wendungen erkundet. Produziert von Grammy-Preisträger John Congleton (St. Vincent, Wallows, Lana Del Rey) in Los Angeles.

Inner Balance kicks off a new series of split EPs under the rubric ‘Dialogues’, featuring two adept
producers from Italy and the UK. On the A, Emanuele Barilli brings summery house grooves on
‘Roots’ and ‘Unknown Na’, drawing on the tried and tested deep house templates of Charles
Webster and catapulting them into today’s dancefloor. Transverse Recordings founder Scott
Andrews takes care of the flip with classy jazzy house in the vein of vintage Larry Heard on
‘Willerminstral’, before the refined, loopy minimal house of ‘Renegade’ closes things out. It’s yet
another well-rounded EP in the superlative Inner Balance catalogue, ready to lift dancers to a higher
plane.

LA-based producer Real Bad Man and Detroit rapper Boldy James return with their third collaborative album, Conversational Pieces, out now via Real Bad Man Records. The project features the singles “Come Back Around” featuring DC polymath dreamcastmoe, and “It Factor” featuring El-P. Their creative chemistry has never been clearer: this new album sees the duo pushing into fresh sonic territory through an expanded production palette that Real Bad Man continues to evolve and experiment with.

Recorded immediately after their 2022 album Killing Nothing and revisited in 2023 following Boldy’s serious car accident, Conversational Pieces is a deliberate, reflective body of work. It captures two distinct periods in the artists’ lives—documenting their growth as musicians, fathers, and long-time collaborators. The album’s artwork, along with the accompanying single art, draws inspiration from Rorschach inkblot tests—abstract visuals that invite interpretation and spark conversation, mirroring the album’s introspective nature.

'Like the sharpshooting carnival contestant who knows that the winning practice isn’t to aim for the red star itself, but rather to shoot out a perimeter around the star and thus remove it, Old Saw have historically dealt with forms by tracing their boundaries rather than going for the target outright. If the first three records hinted at but never touched song-shaped forms, The Wringing Cloth makes at least glancing contact while retaining the layered haze and drawl that threads their sound together.
'Contrary to the often-used ambient tag, Old Saw shows up here in a markedly active and sculpted form — manipulating, unwinding, and pivoting with a strange and warped precision. What has always been uncanny about this music is that it arrives in a state at once familiar and obscured, like a memory weighed down with sensory information but no identifying details to place it.
'The Wringing Cloth walks off further into that geographical dream without time or language until it’s just a speck of light.'

Certain paths necessitate and call for one singular long sequence in order to arrive at a fully formed conversation or reasoning. Nothing seems to broadcast it more clearly than the trajectory Brussels based Italo-Vietnamese artist Nguyễn Zen Mỹ embarked on during the last decade as Radio Hito.

After a string of highly cherished and sought out tape releases, Radio Hito’s new album ‘L’uso e gli attributi del cuore’, co-released by Maple Death & Meakusma, unfolds with devastating
clarity, a profound balance of depth, minimalism and emotional grounding. A ten-sequence song cycle for voice and MIDI soundfonts adapted from the 2021 book by French poet Claude
Royet-Journoud.

Written and recorded between January 2023 and August 2025, the cycle evolved through nearly 80 live performances from Galicia to Kazakhstan before arriving at its recorded form. Set to an Italian libretto adapted from Royet-Journoud’s text ‘L'usage et les attributs du cœur’ (POL, 2021), the work revisits the tradition of the 19th-century Lied — art song built on existing poetry— transposed into a radically economical contemporary setting: voice and Casio CTK workstations.

"I was interested by this incompleteness CRJ mentions - by the ‘suspension’ of meaning questioning readability and intelligibility. I ‘resisted’ to CRJ’s texts since I met him and got to know his work. … It seems to me that when playing the songs, I submit an object to be completed by the audience."

Radio Hito’s distinctive approach to setting poetry to music — spare arrangements, strophic repetition, and a voice suspended between recital, fm transmission and canzone — creates a language of its own, reaching new heights on ‘L’uso e gli attributi del cuore’, songs that are formally rigorous, emotionally restrained, and shaped by the discipline of sustained live performance, interlocking into a coherent cycle.

Rather than illustrating the poem, Radio Hito approaches it as a space of suspension. Royet-Journoud described poetry as a “profession of ignorance” where meaning remains incomplete; these songs extend that trembling state, allowing repetition, digital timbre, and restraint to hold the text open.

Often misread as minimal synth or romantic chanson, Radio Hito’s practice is rooted instead in the lineage of the art song and song cycle: open structures, close attention to language, and a live performance economy that pushes the voice at the heart of the stage. The choice of accessible keyboard workstations — light, portable, and embedded in contemporary popular culture — replaces the historical piano.

Radio Hito creates fantastical, mirage-like songs, intimate yet elusive. Her music is forlorn chanson for the digital age; bringing her haunting and beautiful vocalisations into conversation with MIDI soundfonts and humble-yet-deep casio compositions. Music that strides for simplicity, yet lands miraculously within an entire new universe, a uniqueness achieved from like-minded spirits such as Ghedalia Tazartès, Savina Yannatou & Lena Platonos, Dorothy Carter, cycles that trickle down into estuaries.

“Radio Hito's set is superb. Sitting on the altar steps with a synth, her fabulously expressive vocals colour sparse, pensive compositions.” The Wire

Call it soulful dream pop, proto-trip hop or downtempo jazz - "Tender Rain" is the follow-up LP to the successful "This Is" album and continues to deliver Ghia's unmistakable sonic magic. On this release, the band shares a selection of previously unreleased vocal songs alongside instrumental pieces, all carried by their trademark chilled and almost meditative atmosphere. Most of the recordings date from the early 1990s, while early demo versions of "New Love" and "Teardrops in Your Eyes" may reach back as far as the late 1980s.

The album opens with the title track "Tender Rain," where smooth vocal jazz harmonies merge effortlessly with soulful pop elements. The track originally appeared only on CD in 1993 on the small Mikado label run by renowned German guitarist Ulli Bögershausen. The band recalls that the piece was first pre-recorded using MIDI equipment and a Tascam 16-track recorder before being completed in the studio with drums by legendary drummer Mickie Stickdorn (Carsten Bohn's Bandstand, Cyklus, Elephant, Lake), percussion by Corinna Ludzuweit, and the final touch-Lisa Ohm's remarkable vocals.

At the time, Mikado was also looking for instrumental material for radio and synchronization use. They selected the track "Tropfstein" for a sampler CD and requested more pieces. In response, "und recken ihre schlanken Glieder" (roughly translated as "and stretching their slender limbs") was composed especially for the project, as Frank Simon remembers. Both tracks appeared on the now rare Mikado sampler CD under the alias z. Zt., short for "zur Zeit" ("at present" or "these days").

Several further pieces in a similar vein were created during this period, including the previously unissued "Auf unserm grünen Sofa," "Reise bei Nacht," and "Was ich Dir noch sagen wollte." These tracks are beautifully crafted downtempo pieces featuring smooth, jazzy piano lines combined with touches of ambient and New Age aesthetics. "Auf unserm grünen Sofa" stands out in particular and will likely resonate with all downtempo enthusiasts. Lutz Boberg recalls that many of these recordings were captured during a single afternoon in the studio, fueled by spontaneous ideas and creative momentum.

On tracks such as "Teardrops in Your Eyes," "New Love," and the haunting Dark Spirits Mix of Ghia's song "What's Your Voodoo?", singer Lisa Ohm delivers soulful pop performances with her clear and captivating voice. "Change Your Sex," the third track previously featured on the Mikado sampler, leans more toward late-1980s funk and was aimed at radio and DJs at the time. Its subject matter was relatively daring for the period, telling the story of someone contemplating a change of sex "to get rid of the troubles."

Together with "This Is" and "Curacao Blue", "Tender Rain" forms another essential chapter in the rediscovery of the band's work. More than thirty years after their creation, these recordings still sound strikingly fresh, reflecting a unique style that in many ways anticipated the rise of trip-hop in the early to mid-1990s.

Sergeant ventures deeper into the chaos, occasionally emerging with something dangerously close to catchiness.

Symbols further explores the technique the band calls “dj-shadow-in-reverse”. Instead of digging for samples, they dig through themselves. Things are cut apart and glued back together: kraut drums, plunderphonics fragments, dance floor killers and dub chambers. This time, the wreckage has rhythm and the rhythm has an opinion. Ferre sings through the songs like he’s looking for an exit and having a great time not finding it. Somewhere in there, a flute appears: it sounds slightly worried about the bassline. But the band is more in charge of its plot than ever before. Sergeant finds bliss in losing it over and over again.

‘Their ability to harmonize together is stunning, their reedy voices coming together and pulling apart amid delicate fingerstyle guitar and concertina deployed in just intonation, which imparts a deeply resonant, almost glowing harmonic presence. It’s all quite subtle, and if you only listen to the way the voices of Cater and Rasten blend you might even miss it—but the full sonic spectrum is what distinguishes and, in certain ways, connects it to traditional practice… Although the album is pure balladry, unfolding with exquisite patience, each song contains nifty little flourishes or instrumental elements that set them apart, such as the slide guitar and wheezy bass harmonica on For the Ear That is No More, or the slow peal of trumpet on Death and the Lady, courtesy of Rasten’s partner in Pip and Oker, Torstein Lavik Larsen. (Peter Margasak, Nowhere Street).
‘All done with such grace and elegance, without a note wasted or any required. Wonderful… faultless and deeply considered’ (Glenn Kimpton, KLOF).

Three high English and Scottish ballads, and three original settings of European folk tales.
Matt gatefold cover; gloss spot varnish.
Check it out!

Released in 1979, Tete Mbambisa's Did You Tell Your Mother delivers the ultimate blend of African groove with American modal grace, making it one of the all-time classic albums of South African jazz. With Mbambisa presenting original compositions at the piano alongside Basil "Mannenberg" Coetzee on tenor sax and flute, the acoustic quartet featured here is rounded out by Zulu Bidi from the band Batsumi on bass locking in with Dollar Brand drummer Monty Weber. This 2026 reissue presents a flat transfer of the master tapes with album artwork restored using illustrator Hargreaves Ntukwana's original ink drawing.

A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career took off. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's solo recordings from the 1970s, produced by Rashid Vally for the independent As-Shams/The Sun record label, document his creative peak as a recording artist and have contributed to earning him an honorary doctorate and a place among the figureheads of South African jazz history.

“Estonian cultural theoretic Tõnis Kahu once said that Black Metal is men seeking for masculinity while their bodies lack the capacity to catch up and are lagging behind. In the age of microplastics and low-testosterone, Tapetud Rott is asking for ancestral guidance from George Michael. Each day with the growing pains of maturity they can only dream about living somewhere so happy-go-lucky and tranquill as the city that once provided the suitable breeding ground for giving birth to such an agressive and theatrical expression that could mark its cadaverous polar opposite. The mask they now so falsely wear is one seeking for Vitamin D inside the heart of a deceased Rat.”

Limited Black 7-inch Vinyl

Music by Robert Nikolajev & Mikk Madisson
Recorded in Tallinn

Mastered By The Bastard

2 long shot of french Tribe Hardcore. Efficient Dj tool. Good kick and good luck !

"K8A a.k.a. Kaethe Hostetter is a New York–based violinist. composer, and bandleader, whose work grew out of eleven years living and collaborating in Ethiopia. As a founding member of Debo Band and QWANQWA, Hostetter has been performing Ethiopian music for over two decades, and her solo debut, Woradj Alle, builds on this legacy by reimagining Ethiopian songs through live-looped violin and electronics.
"The album unfolds as a hypnotic, ritual-like performance that expands the instrument into an immersive sonic landscape, that refracts Ethiopian classics through dub, psych rock, and avant improvisation. It is not fusion, but transmission - music that blurs memory, place, and time.
"This collection of musical vignettes is based on my time in Ethiopia, the place I called home for 11 years", Kaethe explains. "The phrase 'Woradj Alle' is one of the first colloquial expressions I learned upon arriving in Addis Ababa, used on public transportation, simply meaning 'let me off right around here'. In choosing this name, I invite you to join me on the rickety minibus journey through my time in Ethiopia, and step off 'the bus' into scenarios, atmospheres, and soundscapes that describe moments I experienced, people I met, and other lasting impressions, striking and mundane."

"What if, alongside the mainstream history of music, with careers and discographies spanning ten or fifty years from album to album, there was an underground, minority history, that of artists and projects with only one record? A flash, a burst of brilliance, a gem, but no follow-up, no repetitions, no decline.
"This will most likely be the case for this album by Amarante-Cerisier, a duo formed by Mauricio Amarante (RadikalSatan, Équipage, travelling companion of Canan Domurcakli and Austin Townsend) and Marine Debilly Cerisier (dancer, performer, writer, co-founder of alternative cultural venues in Marseille and Brussels), with these eight poetic songs in French having more in common with the visionary essence of certain songs from the early 1970s (Brigitte Fontaine-Areski, for example) than with the post-modernism of the ‘nouvelle chanson française’ of the1990s and 2000s.
"But – and this is undoubtedly no coincidence – this is also the case for two unique albums, which had no immediate follow-ups but which, 50 and 20 years after their release, inspired Mauricio and Marine's album and discreetly found their way into it:
"At the very end of the 1960s, Tchékov Minosa (Marine's grandfather) embarked on a journey to the East with his partner Brigitte de Saint-Preux, during which they were married ten times, in ten different traditions (in Kurdistan, among the Kuchi people of northern Afghanistan, among the Kalash people of north-eastern Pakistan, in Rajasthan,etc.). This three-year journey was documented in numerous articles in the European press, in documentaries, in a book... and on a double LP of traditional music recordings released in 1973 by Le Chant du Monde. And sampled today by Mauricio Amarante at the end of the track ‘Parfois’.
"In the early 2000s, Austin Townsend, a tall, bony figure, washed up on the banks of the Garonne River near Bordeaux, arriving from New Zealand. With a voice that was sometimes very Bob Dylan-esque, at other times buried in the gravelly depths of the low frequencies, he strung together contemporary blues songs on his only album, Introvenus (Potagers natures, 2007), beautifully accompanied in subtle tones on banjo and double bass by Mauricio and Cesar Amarante (alias Radikal Satan). Beyond this unique record, Mauricio played extensively with Austin in concert. And when his friend died in the spring of 2024, he received his guitar, used the instrument for some of the tracks on the upcoming Okraïna record, and decided to dedicate the album to him.
"In our conception of music, fleeting appearances, unexpected reunions, and timeless records outside the dictates of current musical trends thrill us more than overly well-planned career paths."

"In 1910, the illustrator George Herriman created the Krazy Kat comic strip. Ignatz, a vicious mouse, was Krazy Kat’s arch enemy, and his favourite pastime was to throw bricks at Krazy Kat’s head (who misinterpreted the mouse’s actions as declarations of love)
"Ignatz is the alter-ego of Belgian musician Bram Devens. Since 2005, he has released around 20 albums accompanied by guitar, in LP, CD or cassette formats, on labels such as (K-RAA-K)³, Ultra Eczema, Fonal, Mortaux vaches, Okraïna, among others. Ignatz has toured all over the world: Belgium, Germany, the Netherlands, France, Great Britain, Italy, Finland, Greece, Switzerland, Portugal, Lithuania, the United States, Japan, etc.
"Since the beginning of his journey as a singer-songwriter, Ignatz has played wonderfully and mysteriously with the combination of the similar and the unfamiliar, between the repetition and permanent reinvention with slight shift in accents... Now For two decades, when discovering his new songs, whether on record or in concert, his expressive and sonic universe can be recognized in seconds, and at the same time, he surprises every time. This is clearly also the case with ‘I Don't Know’, an album for which (after the cassette ‘Coffee, No Cigarettes’, Taping Policies 2017) he trades his guitar for the piano.
"In the mid-2010s, Ignatz inherited the family piano. As a self-taught musician, he explored the instrument and gave a piano concert in the small Flemish town of Geel, which was filmed by Jef Mertens (who also released the aforementioned cassette) and attended by Beata Szparagowska and Philippe Delvosalle from the label By the Bluest of Seas. After some years, it was in his home in Landen that Bram Devens recorded this haunted piano album, which is unlike any other piano record."

Frizzell & Duque's A Sorrow Unrequited moves with suspended patience, each LP piece built from simple melodic figures, each of which eventually thicken out to quiet overwhelm. Working outside their Zake/City of Dawn aliases, the pair realise a more diaristic exposure here, drawing their inspiration and track titles from Julia Frizzell's poems of the same name. 'We Once Believed We Owned The Sky' tone-sets the vibe with long, tidal swells of strings and synth, dissonances sparing but weighted, while 'Closer, Always Closer' moves in similarly tidal cycles, with momentary swellings and torn cellos fissuring through the overall sadness.

In eine Szene, die häufig von Schein und Dunkelheit dominiert ist, schickten die DESCENDENTS ab Mitte der 80er eine Portion dreckigen Humor, Songs über die junge Liebe und das junge Leben, unverschämt eingängigen Hooks, eine koffein-befeuerte Rhythmusgruppe und natürlich dem legendären Milo am Gesang. Es gab wieder Spaß im Punk. Das erstmals 2004 veröffentlichte Album ,Cool to Be You" zeigte, dass man erwachsen werden und einen ,richtigen" Job machen kann und trotzdem schneller und lauter spielt, als die nachgerückten Kids, die halb so alt sind wie man selbst. Es festigte ihr Vermächtnis als die Band, die den Pop" in den Punk brachte, ohne dabei die Punk-Kante zu verlieren. "Luckily, the only thing that has changed about the band is their switching of record labels from Epitaph to Fat Wreck Chords. Milo Aukerman, Bill Stevenson, Karl Alvarez, and Stephen Egerton continue to spit out hook-laden pop-punk with the energy and humor they have been known for since the early '80s. Like the Ramones before them, the Descendents' overall sound tends to be interchangeable, in the best possible way, with previous efforts. Why mess with a good thing? For instance, among these 14 tracks, "Nothing With You" can be compared to "Clean Sheets," while "Cool to Be You" and "Mass Nerder" are anthems à la "I'm Not a Loser" and "I Don't Want to Grow Up." - Zurück auf schwarzem und limitiertem farbigem Vinyl! Das entscheidenen Verkaufsargument: Jeder liebt die DESCENDENTS! Richtige Annahme, oder?

In eine Szene, die häufig von Schein und Dunkelheit dominiert ist, schickten die DESCENDENTS ab Mitte der 80er eine Portion dreckigen Humor, Songs über die junge Liebe und das junge Leben, unverschämt eingängigen Hooks, eine koffein-befeuerte Rhythmusgruppe und natürlich dem legendären Milo am Gesang. Es gab wieder Spaß im Punk. Das erstmals 2004 veröffentlichte Album ,Cool to Be You" zeigte, dass man erwachsen werden und einen ,richtigen" Job machen kann und trotzdem schneller und lauter spielt, als die nachgerückten Kids, die halb so alt sind wie man selbst. Es festigte ihr Vermächtnis als die Band, die den Pop" in den Punk brachte, ohne dabei die Punk-Kante zu verlieren. "Luckily, the only thing that has changed about the band is their switching of record labels from Epitaph to Fat Wreck Chords. Milo Aukerman, Bill Stevenson, Karl Alvarez, and Stephen Egerton continue to spit out hook-laden pop-punk with the energy and humor they have been known for since the early '80s. Like the Ramones before them, the Descendents' overall sound tends to be interchangeable, in the best possible way, with previous efforts. Why mess with a good thing? For instance, among these 14 tracks, "Nothing With You" can be compared to "Clean Sheets," while "Cool to Be You" and "Mass Nerder" are anthems à la "I'm Not a Loser" and "I Don't Want to Grow Up." - Zurück auf schwarzem und limitiertem farbigem Vinyl! Das entscheidenen Verkaufsargument: Jeder liebt die DESCENDENTS! Richtige Annahme, oder?

After months of working exclusively on his own repertoire, Matmatah is slowly recovering from his 30th birthday by returning to his first love: covering other people’s songs !
Because Matmatah comes from there, from the steamy atmosphere of bars and clubs.
Back in the day, they played loads of covers. Oh yes, they certainly did.
So why not put a few of them together on an album?
It’s a must, isn’t it?
Except that… There are many ways to record an album of covers.
The band could have taken the easy route and covered the songs they loved in their early days. But that would be to misunderstand these lads. They needed to come up with a proper concept to justify such a project.
They came up with two:
To tackle styles that are diametrically opposed to their own, so they could better make them their own.
To broaden their linguistic repertoire and experiment with different sounds.
The result is a rich, joyful and socially conscious collection of 20 songs, written between the 18th and 21st centuries and performed in no fewer than 10 European languages. A fine tribute to the continent’s diversity.
To spice up this project, they’ve brought in the whirlwind that is Fanny Gillard on vocals for ‘Eisbär’ and ‘Putain Putain’, the powerful voice of Morgane Mercier on the eerie ‘Alison Gross’, mentor Patrick Marie for a space-age ‘Kan Ha Diskan’, and the immense Kevin Camus on the uilleann pipes and whistle for ‘The Winner Takes It All’.
Matmatah takes a wild ride, travelling across Europe and through time, having fun and cheekily reworking songs he never imagined he’d play.
Find the lynx!

Tetragon ist das zweite Album des Tenorsaxophon-Virtuosen Joe Henderson beim Label Milestone, auf
dem er seinen Sound im Post-Bop-Bereich weiterentwickelte, bevor er sich später in seiner Karriere weiter
in den Bereich des Spiritual Jazz vorwagte, begleitet von einem Weltklasse-Ensemble mit Ron Carter, Jack
DeJohnette, Kenny Barron, Louis Hayes und Don Friedman.
Diese Jazz Dispensary Top Shelf-Neuauflage von Tetragon wurde von Kevin Gray aus den originalen Analogbändern (AAA) geschnitten, bei Fidelity Record Pressing auf 180-Gramm-Vinyl gepresst und kommt in einer
Gatefold-Tip-On-Hülle.

Bergsonist emerges on Dark Entries with Depths, a genre-bending 12-track LP of atmospheric and rhythmic excursions. For more than a decade, Moroccan-born Selwa Abd has been using the Bergsonist moniker to examine postcolonial identity and speculative temporalities across disparate media, including sound, image, video, and installation. She is also a key figure in New York underground music, fostering mutual aid and community support through her platforms Pick up the Flow (PUTF) and BizaarBazaar. On the 2025 album ASL أصل ⴰⵙⵍ, Bergsonist explored her Amazigh heritage using field recordings captured in Morocco. With Depths, her sixth LP, she continues the project of ancestral reconnection through sound. Abd notes: “I really use making music as therapy, not as a precious act, more as an energy release that makes me feel alive.” Depths overflows with this excess of vitality.

Tracks like “Trust the Current”, “Depths”, and “Underwater World Pursuit” showcase her singular take on diasporic techno-futurism, where James Stinson-esque atmospherics meet Moroccan rhythms. Elsewhere, “Again” and “Higher” push into coldwave territory, with icy arpeggios and electroid beats dancing beneath Abd’s ethereal vocals. But the dancefloor is not to be neglected: “Breakthrough” and “Ode to Life” spring forth with the kind of skewed peak-hour energy that only Bergsonist can bring. Artwork for Depths was designed by Eloise Leigh, and incorporates photographs by Abd and Greg Zifcak taken in Morocco. Also included is a protection poster that features an Amazigh symbol used for warding off the evil eye. Depths is an album that achieves a rare balance of elegance and DIY ethics - it is truly an ode to life.

Salon Records is proud to welcome Lil Mark & Jason Hodges for the single Wait. Pure house anthem with a strong focus on groove and funky drums declined also in an instrumental version. Stuttgart based producer Anneke Laurent, known for his production with Markus Schatz under Neverm!nd, delivers a classy deep house version of Wait, while Moritz Piske & Antislash, long label buddies joined their forces to produce a badass remix, slightly more funky, minimal and full of off beat humour.

Zero Netcost returns with “Ten Years Later”: an elegant downtempo cut driven by delicate piano and a spellbinding vocal. To beef up the maxi, the legendary duo Bent reunites once again with Zero Netcost, delivering two remixes packed with warm, finely textured detail. And there’s more heavy company: Funki Porcini drops an instrumental version with an oblique, late-night twist. A vinyl made to glide from warm-up to after-hours without losing the thread.

Flashcore & Speedcore – Serygraphied sleeves – 300 limited & numbered.

with 2 tunes from NO-TEK 20.

RIPIT is back with a new LP after 3 years spent mostly on the mesmerizing collaboration between THE ÅNGSTRÖMERS- his duo with FRÉDÉRIC ALSTADT -and the Haitian voodoo ensemble CHOUK BWA.

While Ripit is better known for his radical noisy breakbeat work, "A Church or a Factory" explores a more industrial, power electronic and noise ambient side of his synthesizer lust. The instruments abused on this record are: Serge modular, Knifonium and various eurorack modular. The A-side comes with 5 powerful synthetic industrial songs which feature each one a different guest vocalist. The B-side is a long ambient noise piece that will plunge the listener in an anxious meditation.

Ripit is the project of the French NICOLAS ESTERLE for almost 25 years. He explores electronic instruments thru distortion , ranging from industrial hardcore to breakcore, from doom hiphop to dusty dub. Beside his solo project, he's involved in various bands like SOLAR SKELETONS (with TZII), FUJAKO (with HHY) and more recently The Ångströmers.

On the guest side, there's a wild bunch of Nicolas' friends:
- PAUL-TERGEIST is the galactic moniker of PAUL BEAUCHAMP in his band SPACE ALIENS FROM OUTER SPACE;
- ANDREA EV is the lead member of 1997EV;
- ROBERT IMHUMAN and DIVTECH are members of the REALICIDE COLLECTIVE;
- TZII is a long-time road comrade of Nicolas and a touring freak spreading his music all over the world;
- ANDRÉ COELHO is known as METADEVICE and is the founder of the now-defunct SEKTOR 304.

The title "A Church or A Factory" refers to the Belgian countryside, wherever you are, you are at least surrounded by a church or a factory. As he just left the urban life of Brussels to escape to the French countryside, he is now lost enough not to have neither a factory nor a church in sight.

Silvana Rossi emerges from the new wave of Italo revivalists with a sound that feels both timeless and sharply contemporary, where vintage drum machines, analog synth lines and nocturnal romance collide with a modern club sensibility. Rooted in classic Italo disco but filtered through today’s underground circuitry, her music speaks directly to selectors navigating the space between wave, electro and slow-burning techno. The tracks carry a distinctly personal edge—melancholy, desire, and late-night introspection wrapped in icy melodies and hypnotic grooves. This is music made for dimly lit booths, smoke-filled basements, and DJs who still believe in storytelling through vinyl.

A seductive opener “Elixir Of Love” built on cascading arps and a steady pulse, romantic but restrained, like a whispered confession over a rolling bassline. Perfect for setting the tone early set. Tension-driven and emotionally charged, italo anthem “Breakdown” balances crisp electro rhythms with a sense of inner collapse. A cold wave-leaning cut that hits hardest when the lights stay low and the energy turns inward. Shades Of The Night – a cinematic slow-burner drenched in shadow and atmosphere. This one is all about texture and space. Walk In The Night, another italo classic on the EP, stripped-back and hypnotic, with a confident groove that nods to classic Italo while staying firmly rooted in modern club aesthetics. “Bad Girl” brings a sharper, more playful edge, driving, stylish, and slightly dangerous. A weapon with crossover appeal for electro and wave crowds alike. A versatile tool for both warm-ups and deeper moments. Emotionally direct yet sonically controlled lush pads and restrained vocals create a sense of distance that pulls you in “Don’t Leave Me”. A melancholic highlight for DJs who know how to play with tension.

Twenty Years Ago, Jan Jelinek's Debut Album Personal Rockwas Released By Source Records. Under The Pseudonym Gramm, It Brings Togethereight Tracks That Have Not Been Available On Vinyl Since Their Original Release.faitiche Is Very Glad To Announce The Re-release Of The Album: Personal Rockwill Appear As A Double Lp Featuring The Original Cover Artwork. What People Wrote About Personal Rock Two Decades Ago: "situated Somewhere Between Jelinek's Much Loved Loop-findingjazz Records, Farben, Move D's Conjoint Project And Atom Heart's Most Immersivework For Rather Interesting, It's A Late Night Album Full Of Subtle Productiontricks And Melodic House Structures That Belong To The Pre-millennial Idmheyday, But Which Transcend Its Overly-masculine Templates." (boomkat) "a Serene Little Masterpiece" (de:bug) "though Many Producers Have Pushed Forward Theclicks-and-cuts Style Of Experimental Ambience Developed By Germanexperimentalists Oval (among Others), Few Have Been Able To Matchtheir Knack For Making Abstract Cuts Into Pieces Of Undeniable Beauty. Janjelinek's First Lp As Gramm Is One Of The Precious Few, And It'sobvious From The Opener." (allmusic) "organized In Organic Structures And Minimal Movements, Thetracks Get Into Utopian States And Super-desirable Moods, Offering Superiorcontentedness And Dependable Taste Of The Kind Seldom Sustained For A Wholealbum. (...) Subway-escalator-soul." (spex)

Toneblind returns with its second release, welcoming 26-year-old Catania native Edo Ecker and his new EP, “Fall In Love.”

With one full EP already behind him, Edo steps confidently into his next chapter, presenting a sound that bridges eras with effortless ease. Rooted in the golden age of Italian house music yet
sharpened by a modern edge, Fall In Love blends Italo and Euro house influences with his distinctive melodic touch.

Warm, romantic synth lines meet crisp, contemporary production, while subtle Mediterranean nuances nod to his heritage — adding depth and character without overpowering the groove. The
result is a record that feels nostalgic yet current, intimate yet undeniably dancefloor-driven. With its second chapter, Toneblind continues to define its path — honouring timeless influences while spotlighting a new generation shaping what comes next.

Tied returns with its next vinyl-only release, timed for the spring and summer season. Mr Chic EP brings together four groove-led House & Tech House cuts from two emerging artists: three originals by Lose Endz, alongside a remix from Velvet Velour.

“Mr. Chic” opens with a smooth combination of tight drums, warm chords, and soft pads. Subtle ’90s House references sit within a modern, functional framework, resulting in a steady, floor-focused track.

Velvet Velour’s take on “Mr. Chic” introduces his characteristic swing and rhythmic phrasing. While retaining core elements, the groove and structure are reshaped, giving the track a more dynamic, driving feel.

“Churruca” moves deeper, built around a driving groove and evolving chords that gradually unfold into a Detroit-leaning progression. The arrangement develops patiently, creating a hypnotic, immersive feel.

On “Let The Acid Begin”, a rolling 303 line introduces a rawer edge. Vocal snippets and acid textures interact with a consistent groove, keeping the track direct and effective for later hours.

Across all four tracks, the EP stays grounded in groove and function—crafted for extended play, from warm-up through to more intense moments on the floor.

LP with printed Innersleeve with Linernotes by Eddie Piller (Acid Jazz) The compilation series “DJ's Choice” was launched in 2008 and has already enjoyed the participation of several high-profile curators, such as Keb Darge, Marc Hype, and DJ Suspect. A few years before the death of Unique Label founder Henry Storch in 2018, a DJ's Choice edition was created with his long-time friend and fellow DJ Eddie Piller. Unfortunately, it never came to fruition—as is so often the case, life had other plans, and sadly not all of them were pleasant. However, the idea was never completely forgotten, and with the help of Eddie and Henry's DJ partner in crime Sandra (Frollein Taube), a list of tracks that were on Henry's quick-select list for his sets was finally compiled.

Cloud Management return to Altin Village & Mine for a unique collaboration with New York writer and creative polymath Vivien Goldman.

A pairing spanning generations and geography, but with a musical overlap that is quite fitting in both process and result. Cloud Management’s jammy, improvisational approach to their dubby electronics blends well with Goldman’s idiosyncratic vocal style, which has its origins in the early days of post–punk and UK dub experimentalism. Cloud Management blend many historical aspects of German electronic music into something distinctly their own, while retaining a view well beyond those borders or any particular era. This approach fits well with Goldman’s deep multidisciplinary career, not easily defined because of its eclectic abundance across disciplines, yet always orbiting around music as its foundation.

When it comes down to it, these are great tracks created in the same way they sound: loose but refined, circling and turning inwards and outwards, back onto themselves. A dub of a dub of a dub, but never falling too far from the source — the minimalism necessary to deliver a direct, steady resolve and a gripping listen.

The B–Side of the record features three remixes by artists from across the globe, all with strong connections to the front line of dancehall, dub, and electronic music experimentalism. Longtime Equiknoxx member Time Cow from Kingston (Jamaica), delivers a version of »Quick Cover Up« that represents a major overhaul of the original. This remix strips away much of the looseness of the source material and leans into a lush yet slightly darker atmosphere, created by layered synths and a masterful use of underlying percussion and melodic stabs.

Up next are Twin Cities, Minnesota–based Feel Free Hi Fi, who take on »Judge Judge.« The duo tighten things up, overlaying weighty vintage string synths and digi–flute melodies. This version feels designed for smoky, late–night dub sound system sessions, harkening back to dub’s foundations.

Last but not least is London’s Pat Orburn. Stripped way down, the remix rides an interplay between alternating minimalism and a more lo-fi but lush exuberance, somewhat reminiscent of a bossa nova–esque minimal synth sound. This version’s lo–fi pop sensibility provides a fitting contrast and completes an eclectic yet copacetic trio of remixes for the record.

Phantasy transports back to 1982 for a faithful reissue of the highly sought after ‘Fools Are Friendly’ from Xclusiv, carefully re-mastered from the original tapes.

The alias of sisters Karen and Maxine Berlinski, Xclusiv emerged inconspicuously from the London borough of Croydon with a sophisticated vision of cosmic disco pop, linking the suburbs with Soho’s neon-tinted nightlife. Decades later, and in close collaboration with the sisters, this highly sought-after record arrives lovingly reissued by Phantasy in its original, sensuous form.

Originally self-released on Le Maitre Music, a record label spun-off from their family-run fireworks and pyrotechnics company, ‘Fools Are Friendly’ has the irresistible sense of a radio hit that never was. A brilliant DIY reflection of the disco and soul that dominated the charts of the time, its glossy, primitive electronics echo the synth experiments of Giorgio Moroder or Didier Marouani, pioneers that were transforming pop music.

The extended mix provides an overture to the sisters’ twinned vocals, unfolding with delectable disco drama. In contrast, the Instrumental Mix lets the record’s blend of elements truly breathe, a synthesised version of Xclusiv’s irresistible vocal hook holding court between timeless arpeggios and subtle modulation.

Red Axes step into the fabric presents series with a release that feels both inevitable and deeply personal. Known for their hypnotic, psychedelic approach to club music, the Tel Aviv–based duo bring a narrative-driven sensibility that aligns seamlessly with fabric’s legacy of long-form storytelling and forward-thinking curation.

Across years of performances at fabric and other key global institutions, Red Axes have developed a reputation for sets that unfold patiently and unpredictably, drawing dancers into a world where groove, tension, and atmosphere take precedence over genre or trend. Their contribution to the fabric presents series reflects this ethos: a carefully sculpted journey that prioritises mood, momentum, and emotional depth, while remaining firmly rooted in the physical language of the dancefloor.

Formed by Dori Sadovnik and Niv Arzi, Red Axes emerged from Tel Aviv’s underground with a sound shaped by post-punk, acid, krautrock, and cosmic disco influences. Over the past decade, they have built a catalogue defined by raw textures, twisted melodies, and a distinctly human looseness, qualities that translate as powerfully in the club as they do on record. Their releases and remixes for labels such as Phantasy, Correspondant, Running Back, Dark Entries, and Permanent Vacation have established them as artists who consistently operate just outside the expected.

As DJs, Red Axes are celebrated for their ability to stretch time on the dancefloor, weaving obscure selections, unreleased material, and leftfield classics into slow-burning, trance-inducing narratives. This approach has seen them invited to venues and festivals including Panorama Bar, De School, Bassiani, Dekmantel, Sonar, and Primavera Sound, where their sets are defined not by peaks alone, but by the tension built between them.

With the forthcoming fabric presents Red Axes release, the duo deliver a statement that captures years of shared musical intuition and a deep respect for the club as a communal, transformative space. It is a mix that rewards close listening as much as physical immersion, a snapshot of Red Axes at their most focused, expressive, and uncompromising.

To mark the launch of their forthcoming fabric presents album, the duo unveil the lead single, “Hot Rod To Hell”, a bold reworking of Man Parrish and Roy Garrett’s 14-minute spoken-word electro epic, reimagined through Red Axes’ signature psychedelic lens.

Stripped back and refocused, the original’s narrative tension is transformed into a hypnotic, downtempo house track built for late-night immersion. A rolling, elastic groove anchors the track, while pulsing low-end, subtly warped synth lines, and tightly controlled percussion create a sense of slow, smouldering momentum. The spoken vocal elements drift through the mix like fragments of memory, lending the track a ritualistic, cinematic quality without overwhelming the dancefloor.

Dino Lenny returns to Rekids with the ‘Piano Lessons at Eight’ EP, complete with a Tal Fussman remix. It follows Lenny’s ‘Not About The Volume’ EP, released in December 2025.

London-based DJ, producer, vocalist, and Fine Human Records label owner Dino Lenny returns to Radio Slave’s Rekids with the ‘Piano Lessons at Eight’ EP 24th April 2026, alongside a remix from label regular Tal Fussman. The EP follows Lenny’s ‘Not About The Volume’ EP, which released late 2025, and won support from Laurent Garnier, Chloé Caillet, Catz ‘n Dogz, and more.

‘Piano Lessons at Eight’ centres Lenny’s own vocals over a dark, chugging rhythm that develops steadily, tracing a personal journey from formal piano training to the discovery of electronic music. The biographical thread running through the record gives it an identity that sits apart from purely functional dance music. Rekids regular and Survival Tactics boss Tal Fussman then provides the accompanying remix, a crunchy, percussive rework that brings his characteristic blend of deep house and raw techno to bear, adding melancholic piano stabs that add texture without crowding the arrangement. The outcome is focused, atmospheric, and built for extended play.

With releases on R&S, Diynamic, Innervisions, Crosstown Rebels, Strictly Rhythm, Bedrock, and his own Fine Human Records label, and collaborative work alongside Underworld, Missy Elliott, Wu-Tang Clan, and Madonna, Lenny holds a long-established position within both underground and mainstream electronic contexts. Consistently supported by Pete Tong, Solomun, Carl Cox, and Groove Armada, he maintains a presence that spans scenes without being defi ned by any single one. Since 2021, he has hosted Tomorrowland’s CORE radio show, platforming artists including Nina Kraviz, Ellen Allien, and DJ Tennis.

Billie Eilishs mit fünf GRAMMY®-Awards ausgezeichnetes, mit Multi-Platin ausgezeichnetes Debütalbum
mit den Titeln „bad guy“, „when the party’s over“ und „you should see me in a crown“ – WHEN WE ALL
FALL ASLEEP, WHERE DO WE GO? – ist nun als limitierte erste internationale Pressung auf babyblauem
Vinyl erhältlich.
Diese Schallplatte besteht aus BioVinyl, das zur Vermeidung von Klimabelastungen das üblicherweise
bei der Vinylherstellung verwendete Erdöl durch Altöl und Abgase ersetzt. Alle Verpackungen aus Papier
und Karton sind FSC®-zertifiziert und bestehen zu 100 % aus Recyclingmaterial. Die Druckfarben sind
naturbelassen und pflanzlich, der Glanzdispersionslack ist wasserbasiert. Anstelle von Folienverpackungen
werden wiederverwendbare Hüllen aus 100 % recyceltem Polyester verwendet.
Billie Eilishs Debüt-EP mit weltweit über 2,6 Milliarden Streams, darunter „ocean eyes“, „bellyache“ und
„idontwannabeyouanymore“ – „dont smile at me“ ist jetzt als limitierte, weltweit erste internationale Pressung auf transparentem Vinyl erhältlich.
Diese Schallplatte besteht aus BioVinyl, das zur Vermeidung von Klimabelastungen das üblicherweise
bei der Vinylherstellung verwendete Erdöl durch Altöl und Abgase ersetzt. Alle Verpackungen aus Papier
und Karton sind FSC®-zertifiziert und bestehen zu 100 % aus Recyclingmaterial. Die Druckfarben sind
naturbelassen und pflanzlich, der Glanzdispersionslack ist wasserbasiert. Anstelle von Folienverpackungen
werden wiederverwendbare Hüllen aus 100 % recyceltem Polyester verwendet.

Belgian electronic body-music pioneers A Split-Second deliver an expanded reissue of their influential 1987 debut Ballistic Statues, a landmark of the New Beat and EBM movement. Blending dark electronics, cold-wave tension and precision-driven sequencing, the album helped define a pivotal moment in the late-80s European underground.

This new edition brings together all tracks from the original album and enhances them with essential recordings from the same era, including the band’s complete 1986 debut EP (A Split-Second), the cult Smell of Buddha, and additional period material.

Pressed in a limited run of 500 copies (200 on clear blue and 300 on black vinyl) housed on a gatefold sleeve with a reproduction of the original lyrics insert, an exclusive poster and one postcard.

Ballistic Statues remains a defining statement—raw, innovative and far ahead of its time. This reissue brings together the core foundations of A Split-Second in one essential collection making it ideal for both long-time followers and new listeners discovering the band.

Schatterau’s third album, »Wir gingen durch leere Stunden« (We went through empty hours), sees the German duo blossoms with beauty and sophistication through a broad creative language.

This opus, presented in the form of vivid auditory tableaux vivants, explores the topography of memory as a landscape in constant motion – full of loops, feedbacks, and mirage-like distortions. Sounds climbing like vines over old walls, concealing details only to reveal new ones. Some pieces feel like fragments of a dream whose origin has vanished, others like displaced echoes of a day long gone.

Memories create paths that only become visible in retrospect – detours that somehow always lead back to oneself. Each track draws the listener into a different recollection, as if opening an old door. Inside, time behaves strangely: it jumps, stretches, and repeats.

»Wir gingen durch leere Stunden« ultimately presents Schatterau at their most experimental, complex and measured extremes, channelling ambiguous human emotional resonance ranging from melancholy to pure ecstasy.

Deaf Center travel through quiet pathways and grand boulevards in their fourth studio album “Through Time”.

Since their last full-length LP, “Low Distance” (2019), the duo has gradually shifted towards a more long-form electroacoustic sound which perhaps makes for their most immersive listening experience so far. Otto A Totland’s piano travels in less frequent rhythms than before, yet is felt even more as a relief in the quieter moments that contrast with Erik K Skodvin’s deep atmospheric worlds. There’s a searching quality within the record which feels like slow movements on the way towards something meaningful, capturing a sense of both peace and awe.

The latter part of the album takes a different turn: fluctuating electronic rhythms over deep strings create an ecstatic yet haunting duality. It is the first time a guest musician appears on a Deaf Center record: British composer and musician Simon Goff joins with violin and viola in the finale, “Further”, a hypnotising piece submerged in layers of strings and drones.

The subject of time is an ambitious one, yet Deaf Center manage to balance the humble with the grand in great warmth as seconds become minutes, hours become days and time seemingly freezes as a still-life moment.

Relive three decades of Belgian clubbing history.

We're celebrating the 35th anniversary of Cherry Moon withan essential collection of the anthems that defined a generation. Hard to find tracks, classics and sounds from the underground combined in a splendid 10x12" Vinyl Box Set.

From the first beats of 1991 to the peak of the "House of House", this is the ultimate tribute to a legendary venue.

Ola Tunji is a young French quintet based in Brussels. Together, they explore the boundaries between spiritual jazz and free jazz, following in the footsteps of their great heroes John Coltrane, Pharoah Sanders, and Albert Ayler. At the forefront is the still only 24-year-old Ornella Noulet, whose saxophone playing can both rasp and soothe with the authority of a seasoned jazz veteran.

The band describes their music as collective meditations, in which they express love, compassion, joy, and serenity through improvisation. By making music together, they search for a deeper sense of humanity.

Their self-titled EP was initially released only digitally on Bandcamp, but it was immediately met with enthusiastic international acclaim, including praise from the American platform All About Jazz. Bandcamp itself also highlighted the release as a jazz standout. While awaiting their first full-length album, W.E.R.F. records is releasing this outstanding EP on vinyl for the first time.

Michael Forzza unveils Obscure, a two-track EP navigating the darker edges of atmospheric techno with precision and intent.

A) Obscure is a peak-time weapon built on powerful percussive drive and a commanding groove. The rhythm pushes forward with controlled intensity, locking the dancefloor into motion. As the track evolves, the rhythmic pressure gradually recedes, allowing a shadowed melodic atmosphere to emerge in the final moments, adding depth and contrast without losing its dark identity.

B) Torture ventures into a more industrial realm. Dense textures, mechanical tension and hypnotic repetition shape its core, creating a sustained rhythmic strain. Then, when the pulse finally withdraws, the structure opens into a striking melodic finale, transforming the track into a suspended, almost cinematic closing atmosphere.

With OBSCURE, Michael Forzza explores the fragile line between impact and introspection, pressure and release. A release crafted for intense peak-time moments and the shadows that follow.


Français

Michael Forzza dévoile Obscure, un EP deux titres qui explore les territoires les plus sombres de la techno atmosphérique avec précision et intensité.

A) Obscure est un véritable track peak time, porté par une puissance percussive affirmée et un groove implacable. La tension rythmique s’installe et maintient le dancefloor sous pression, avant de s’effacer progressivement en fin de morceau pour laisser émerger une atmosphère sombre et mélodique, apportant profondeur et contraste.

B) Torture s’aventure dans une dimension plus industrielle. Textures denses, tension mécanique et répétition hypnotique construisent une montée intense. Puis, lorsque la pression rythmique disparaît, le titre bascule vers une finale mélodique surprenante, transformant l’énergie brute en une atmosphère finale plus immersive.

Avec OBSCURE, Michael Forzza joue sur l’équilibre entre impact et relâchement, puissance et émotion. Un EP taillé pour les heures sombres et les dancefloors exigeants.

Das erste Album mit Originalmusik von den englischen Künstlern Flying Mojito Bros., die total auf Americana und Dance-Musik stehen. FMB hat dank seines einzigartigen Stils, der als Desert Disco und Outlaw House bezeichnet wird - ein neu definierter Americana-Sound, der von Poolside-Vibes bis zur Tanzfläche reicht -, eine wachsende Fangemeinde in den USA gewonnen. Das Album bietet eine hochkarätige Besetzung mit Künstlern wie Scott Hirsch, Will Worden und Rob Chaney (weitere werden noch bekannt gegeben!) und hat die Unterstützung von einflussreichen Persönlichkeiten wie Diplo, Phish, Pretty Lights, BBC 6 Music und KEXP erhalten. Just Passing Through zeigt die Entwicklung von FMB und kombiniert ihre charakteristischen Re-Edits und Remixe mit Live-Band-Aufnahmen. Es ist ein mutiger Schritt in ihrer Karriere, bei dem sie von den 1970er Jahren inspirierten Rock und elektronische Rhythmen mit Kollaborationen von Top-Musikern wie Shawn Lee (Young Gun Silver Fox), Joe Harvey-Whyte (The Hanging Stars) und Joe Stoddart (ABBA Voyage) verbinden. Dieses Album markiert ein neues Kapitel in der kreativen Reise von FMB und fängt ihre Erkundung der neu definierten Americana und den interkulturellen Rock-Austausch zwischen den USA und Großbritannien ein.

Obwohl es sich nicht eindeutig einem bestimmten Genre zuordnen lässt, hat ,A Way In" was von Afrobeat, Cumbia, Salsa, Jazz, Reggaeton und Soul - eine Mischung aus kraftvollen Rhythmen und geheimnisvollen Melodien, die Mitchum Yacoubs zweites Album in der Welt der Groove-Musik hervorstechen lässt. Zwischen synkopierten Dance-Tracks, ätherischen Klanglandschaften und gleichmäßigen Backbeats finden sich Geschichten über Angst, Liebe, Aufstand und Heilung. Zehn Tracks, die den menschlichen Geist offenbaren und feiern. Yacoub hat das gesamte Album selbst aufgenommen, produziert und abgemischt und damit den sorgfältig geschichteten Sound sichergestellt, den die Fans seines Debüts ,Living High in the Brass Empire" so schätzen. Wir treffen wieder auf Travis Klein, Bradley Nash und Wesley Etienne, seine unnachahmliche Bläsersektion, die man weder auf Platte noch auf der Bühne verpassen sollte. Mit den aufstrebenden Stimmen von Divina Jasso und Lourdes Iri auf der Hälfte der Tracks mangelt es ,A Way In" nicht an herausragenden Singles, die dich von morgens bis abends begleiten werden.

Antônio Carlos & Jocafi, das legendäre Duo aus Bahia, dessen Musik seit über fünf Jahrzehnten den Soul Brasiliens verkörpert, kehrt mit einer kühnen neuen Zusammenarbeit zurück: Jazz Is Dead 026. Beto Barreto von Baiana System stellte Adrian Younge und Ali Shaheed Muhammad vor, und die Begegnung war sofort von Magie geprägt. ,Als wir uns zum ersten Mal trafen, war es wie bei einer Familie", erinnern sie sich. Diese Verbundenheit veranlasste Younge und Muhammad, das Duo nach Los Angeles einzuladen, wo sie eine Handvoll Ideen mitbrachten und vor Ort neue Songs schufen - ein intuitiver, improvisatorischer Prozess, der die Philosophie von Jazz Is Dead ausmacht. Mit dieser Veröffentlichung bekräftigen Antônio Carlos & Jocafi ihre kreative Vitalität und bringen gleichzeitig einer neuen Generation ihren zeitlosen bahianischen Geist näher. ,Adrians Liebe zu Brasilien ist größer als die vieler Brasilianer", sagen sie und betonen, wie aufmerksam er zuhört, studiert und die Rhythmen, Geschichten und Gefühle ihrer Kultur vermittelt. Das Ergebnis ist ein Album, das eine Brücke zwischen dem Mercado Modelo in Salvador und der globalen Bühne schlägt und die folkloristischen Traditionen Bahias mit der analogen Seele von Jazz Is Dead verwebt.

A true hidden gem from the early days of the internet, TRANCEFELD’s “Love Song” finally resurfaces more than twenty years after its creation.



Originally composed in 2002 by the underground German producer, this cult deep house track, defined by its unforgettable bassline, psychedelic vocals, and delicate violins, now receives a long-awaited official re-release. It arrives alongside a brand-new single, “Echoes Within Silence,” a hypnotic tech-house journey that immerses listeners in a world of rhythm and emotion. TRANCEFELD’s timeless, Berlin-infused sound is back.

22Recordings pres: 2226002 . Total Network Only 350 Copies machine-numbered.

With spring and summer right around the corner, Small Moves returns with it’s 7th release, this time showcasing Sweaters distinct Philadelphia sound. After the success of the Post Play EP, this 5 track EP solidifies Sweaters place as one of the top producers in the US and beyond. From House to Tech House to Breaks, this EP has got every mood covered. With lots of early support, don’t sleep on this one!

Two turntables and a microphone. There is a truth in the clarity of that simple coda, a truth that also belies the breadth of what is possible within its confines. Sometimes you gotta get reminded. I Guess U Had To Be There, the new album from NYC rapper ELUCID and veteran producer Sebb Bash, is one of those ones. So fresh it sounds like it was made tomorrow, but bet money you could put this on in ’89 and get heads bopping.
There are moments in music when masters of their craft cross paths at the height of their respective powers—records like Madvillainy, Liquid Swords, Dr. Octagonecologyst, and Hell Hath No Fury—where the result is more than the sum of its parts. ELUCID and Sebb Bash find themselves in this heady, seemingly effortless ephemera on I Guess U Had To Be There. Everything is both familiar and groundbreaking. The beats shift and flip under ELUCID’s feet but he tightropes it all, delivery nimble as a mountain goat, producer and rapper moving in perfect synchronization. Some shining stars make memorable appearances: billy woods, Breezly Brewin, Estee Nack, Shabaka Hutchings. But this is a two-man show, and the duo keep the spotlight where it belongs. I Guess U Had To Be There is a captivating, convention-defying listen and a high-water mark for two of the best artists in the genre.

Matias Aguayo drops debut single on Rekids‘El Internet’ is a prelude to the Coméme founder’ upcoming album on the label. Chile’s Matias Aguayo debuts on Rekids with ‘El Internet’, the first single of his upcoming album on Radio Slave’s acclaimed label. Coméme co-founder Aguayo’s ‘El Internet’ is a dancefloor-tested, pumping and uptempo track with personal, intimate vocals phoning in.

“El Internet” tells about walking through the city in hot summer nights looking for the perfect dancefloor and about moments in life where you feel (musical) freedom and change, revolutions in music and dreams in community, about YouTube, MySpace, Fotolog and about people who dance in their houses, yards and on the streets to primitive, raw, and direct music (like the rhythm of the track itself).” - Matias Aguayo

Chilean-born musician and DJ Matias Aguayo has been active for three decades, co-founding the Cómeme label in 2009 and releasing work on the likes of Kompakt, Pschent, Hard Fist, and Permanent Vacation. Beyond music, he has organised underground parties and led social projects, including a theatre production at Le Châtelet in Paris.

Radio Slave’s Rekids was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Hilit Kolet, William Kiss, Tal Fussman, Tiger Stripes, Harry Rimero, The Hacker, Sean Johnston, and many more.

Courtney Marie Andrews has long been celebrated as an artist who challenges herself, and who finds new interplays of Folk and Americana.. Also a vivid poet and accomplished painter, she brings a multidisciplinary richness to her work that shines throughout her 9th studio album, Valentine. Co-produced with Jerry Bernhardt and recorded almost entirely to tape, the album features complete in-studio performances that prize raw performance rather than perfection. It is Andrews’s most sonically explorative record thus far – she plays flute, high strung guitars, myriad synths, and draws heavy inspiration from her art outside of music. Her voice is gorgeous and acrobatic always, but on Valentine it finds a new depth, an assertiveness that brings new dimension to its biggest anthems and its softest moments. Written during a period of profound endings and new beginnings, Valentine is a vulnerable exploration of love vs. limerence. While anticipating the imminent loss of a loved one who would eventually recover, a new but uncertain romance began to develop. Rather than lift her up, the two emotional poles seemed to bleed into each other to sow doubt, trouble, even obsession. But through her own exploration of music and art, Andrews found a way to grow stronger inside this feeling. “I didn’t want to slink into my pain, I wanted to embrace it, own it” she says. The songs that emerged are devotional in their lyrics but defiant in their energy; it’s the very sound of a woman standing in her first wisdom. With Valentine, Andrews rejects the objectification of love, the love filled with gestures and objects instead of trust, mess, and growth. In doing so, she delivers her most beautiful and loving album to date.

REPRESS!

Exceptional music from Lance Desardi on his very own Legwork imprint.

Live Trax Vol. 1 is the first in a series of new releases that come from his live hardware sets. It’s rough & ready deep house that’s been road-tested on cultivated dance floors, including Heidigluhen, Block 9, Sunset Sound System and Love International.

Esbe returns to Cold Busted for a phenomenal new four-track EP, Sunset Girl. With previous releases on Dusted Wax Kingdom and Cult Classic, as well as his acclaimed Bloomsday and Late Night Headphones albums for Cold Busted, the Los Angeles-based multi-genre beat-maker is riding a wave. Sunset Girl is another exciting moment in Esbe's musical progression. The release starts quietly with the gentle, muted piano chords of "Special." A sparse hip-hop beat and subdued melodic layers round out the tune, cutting away to reveal a lonesome vocoder vocal. "Again" is as close as Esbe gets to a pop song, as a carefree male vocal and twinkling pianos ride over a crisp, solid rhythm track. More delights await on "Sunset Girl" with its simple piano line, reverby percussion hits, distant sax solo, and splashes of vocal collide in a sonic daydream. "I Want Love" closes things out on a vintage flavor, with echoes of a mid-century school dance reverberating into a modern day beat battle. Potent vibes all around.

Un-dinked pressing

A hidden gem from the Colombian coast resurfaces! Originally released in 1979 on the legendary Sonolux label and long sought after by collectors, Nemessio's Hey Hey finally gets a proper reissue. A funky slice of tropical Afro-Latin fusion, the track captures a moment of seaside magic that inspired singer-songwriter Victor Nemesio Lerma, better known as Nemessio, to write this love letter to the rhythms of Colombia's Pacific coast.

Licensed directly from Nemessio himself, this edition also features a fresh disco-flavored rework by Barcelona's GarcyNoise, designed with DJs in mind: more drums, extended breaks, juicy guitar licks and a killer intro/outro for the dancefloor.

OG copies are almost impossible to find. Now's your chance!

This is a super funk soul double A by The Supremes, a much wanted 45 that has never been released before. A: “Come into my life” is a timeless song that you feel you already know; stunning. A percussive groove loaded with samples and perfect vocals; this track wasn’t a chart-topping hit but has always been a club banger. B: “I Don’t want to be tied down” a sassy and uplifting vocal groove all about love and freedom, an utterly delightful b- side.

NOW That’s What I Call 70s Soul brings together 50 era-defining tracks from one of the most powerful decades in soul music, featuring classics from Motown legends, Philly Soul pioneers, smooth balladeers and funk innovators – all pressed across 3LPs on beautiful blue vinyl… Out April 24th!

LP1 opens with one of the decade’s most recognisable love songs: Al Green’s ‘Let’s Stay Together’, a US #1 and UK Top 10 hit that became his signature recording. It’s followed by Marvin Gaye’s ‘What’s Going On’, the socially conscious masterpiece and title track from his landmark 1971 album, and Diana Ross’ Ain’t No Mountain High Enough’, which topped the US chart and became her first solo #1. Stevie Wonder’s ‘Signed, Sealed, Delivered (I’m Yours)’ remains one of Motown’s most joyful recordings and comes before Commodores’ ‘Easy’ introducing Lionel Richie’s smooth ballad vocals. The side also includes Bill Withers’ timeless ‘Ain’t No Sunshine’, a Grammy-winning classic, and The Stylistics’ lush ballad ‘You Make Me Feel Brand New’, a UK Top 3 smash, before closing with Rose Royce’s beautiful ‘Wishing On A Star’, one of the most loved soul ballads of the era.

Flip the LP over and The Jackson 5’s ‘I Want You Back’ – the group’s explosive debut single opens the side. Smokey Robinson & The Miracles’ ‘The Tears Of A Clown’ became a UK #1 and is followed by The Supremes’ Nathan Jones’ showcasing the group’s evolving psychedelic-soul sound. Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, Chairmen Of The Board’s Top 3 smash ‘Give Me Just A Little More Time’ and The Trammps’ ‘Hold Back The Night’. The O’Jays’ joyous ‘Love Train’ leads to The Blackbyrds’ Walking In Rhythm’, before the side closes with the romantic classic ‘Always And Forever’ from Heatwave.

LP2 opens with The Temptations’ epic ‘Papa Was A Rollin’ Stone’, a Grammy-winning US #1 remains one of the most stunning recordings from the Motown catalogue, is followed by Isaac Hayes’ ‘Theme From “Shaft”’, an Academy Award-winner and a US #1 smash. More funk follows from Ike & Tina Turner, James Brown with one of his key tracks ‘Get Up (I Feel Like Being A) Sex Machine’, Edwin Starr’s powerful anti-Vietnam protest song ‘War’, and Sly & The Family Stone’s hugely influential ‘Family Affair’. The Delfonics’ sublime ‘Didn’t I (Blow Your Mind This Time)’ comes ahead of Billy Paul’s timeless ‘Me And Mrs. Jones’ which closes the side…the other side begins with the 1977 #1 from The Floaters with ‘Float On’, before the breathtaking vocals of Minnie Riperton on ‘Lovin’ You’. The Isley Brothers’ Summer Breeze’ and William DeVaughn’s ‘Be Thankful For What You Got’ have become enduring classics and are followed by a run of ‘80s pop-chart crossover hits completing LP2 from Detroit Emeralds, The Moments Raydio and The Tymes’ #1 ‘Ms. Grace’.

LP3 opens with the unmistakable voice of Barry White and his US #1 hit ‘Can’t Get Enough Of Your Love, Babe’, before Aretha Franklin’s ‘Until You Come Back To Me (That’s What I’m Gonna Do)’, delivers one of her smoothest performances. Al Green’s ‘Tired Of Being Alone’ and Gladys Knight & The Pips’ ‘Midnight Train To Georgia’ are followed by minimalist soul classic ‘Why Can’t We Live Together’ from Timmy Thomas, and the side closes with a trio of defining ballads:- George Benson’s ‘The Greatest Love Of All’ Diana Ross’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ and The Jackson 5’s ‘I’ll Be There’, their biggest hit…while over on the final side…Freda Payne’s #1 ‘Band Of Gold’, opens alongside Ann Peebles’ influential and much covered ‘I Can’t Stand The Rain’.Marvin Gaye’s sensual ‘Let’s Get It On’ became another US #1, while Harold Melvin & The Blue Notes featuring Teddy Pendergrass deliver the contemporary standard ‘If You Don’t Know Me By Now’. Three massive UK #1s are next…The Stylistics with ‘Can’t Give You Anything (But My Love)’, The Three Degrees’ peerless ‘When Will I See You Again’ and Deniece Williams’ ‘Free’. This amazing collection closes with two timeless ballads: Earth, Wind & Fire’s ‘After The Love Has Gone’, a Grammy-winning classic, along with ‘Three Times A Lady’, a huge worldwide #1 for the Commodores.


NOW That’s What I Call 70s Soul, 50 defining tracks from one of music’s greatest decades. Out April 24th.

Limited Silver Vinyl Repress!

Mexican brothers Soul Of Hex are back on Delusions Of Grandeur and deliver an absolute gem of an EP entitled Constellation. With recent releases on Underground Resistance (as Mano De Fuego) and an upcoming release on Kilometro 4.5 which features Mad Mike Banks and Kuniyuki it’s safe to say Soul Of Hex are keeping good company and have earned the respect they deserve through their talent, consistency and hard work.

Leading the charge we have Face Down which is an absolute barnstormer of a track which features a killer electric bass line and low slung dubby disco drums and twisted FX. Simple, powerful and funky AF!

Constellation is up next, picking up the BPM’s for a full on soulful piano house jam which features Javonntte and Mariana Phelts on vocals. Far from being a retro throwback, Soul Of Hex have successfully created a fresh and original slice of feel good, disco-influenced house music while doffing their caps to to the OG maestro Marshall Jefferson.

Next up is Dimension Spell which brings some full on funk vibes to the table courtesy of More Lotion’s heavy guitar work. Euphoric synth pads bring the deep ness while the stripped back beats and punchy Moog bassline ensure maximum dance floor pressure.

Closing out this brilliant EP we have Into The Night, a beast of a tune which fizzes with an understated energy thanks to it’s rolling, minimal groove. In your face syncopated Rhodes stabs skip around the disco drums while a repeating vocal sample brings that top line ear candy.