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DJ Ron's forgotten classic 21st Century finally gets the release it deserves, arriving on 12" black vinyl alongside a brand-new Bladerunner remix Originally recorded for DJ Ron's debut album Quintessence back in 1997, Hospital Records proudly welcomes it back into the world in style. The A side carries the original in all its glory. 21st Century is a timeless and futurefacing weapon - analogue at heart, hand-controlled automation and carefully curated sounds take you centre stage, giving it a unique, personal texture and depth that has lost nothing with age. Flip it over and Bladerunner steps in with an equally powerful B side remix, bringing his own vision to a track that was always ahead of its time. Born and bred (and still resident) in Hackney, career-long Rinse/Kool FM DJ, the first jungle/ D&B artist to record an Essential Mix for BBC Radio 1, host of the London Something podcast and more, DJ Ron is a multi-faceted creative and an uncontested foundational figure within jungle and drum & bass. This 12" is long overdue. The first time that DJ Ron's '21st Century,' taken from his unsung debut album, will be available digitally & physically alongside a fresh remix from Bladerunner. One for the heads - this one is all about flying the flag for DJ Ron, one of the foundational figures of jungle and drum & bass.

Hardt Antoine returns to Crosstown Rebels with emotive new release ‘One More Night’, featuring Charlotte OC. Set for release on 24th April 2026, the French-Jamaican artist links with the UK singer-songwriter, backed by a remix from Echonomist.

A warm, late-night glow pulses through ‘One More Night’, as Hardt Antoine returns to Damian Lazarus’ Crosstown Rebels for his first original release on the label, adding to his captivating remix of Henri Bergmann & Wentink’s ‘Guardian Angel’ in 2024. Anchored by Charlotte OC’s striking delivery, the track draws on the pull of classic disco and modern club sensibilities, balancing introspection with pure dancefloor drive.

On remix duties, Greek DJ/producer Echonomist reshapes the original into a blissful voyage, layering skippy rhythms and shadowy textures for an emotive late-night ride. Rounding out the release, ‘Dreamstate’ offers a complementary original from Hardt Antoine, leaning further into his melodic instincts with a fluid, atmospheric groove.

Hardt Antoine’s output and sound draws on his French and Jamaican heritage, weaving house, techno, soul, and 80s influences into a sonic identity defi ned by rich melodies and groove-led songwriting with recent releases on the likes of Innervisions and KompaktMeanwhile, Charlotte OC brings her distinct vocal talents to Crosstown for the very first time. Following a return to her hometown of Blackburn and a renewed creative focus, her recent work leans into raw, self-assured songwriting, blending vulnerability with strength - qualities that sit at the heart of ‘One More Night’.

Broadcasting from the Portuguese interior, SARaMAGO returns to Carpet & Snares with four more cuts of deep and streamlined technoid house. ‘Flowing’ matches a jacking beat to addictive 90s organs and acidic accents, while the moody, metallic ‘Inner Peace’ evokes the classic UK techno of Stasis or Luke Slater. On the flip, the pulsing bassline and robot vocoders of ‘The Blackbox’ evoke Belgian body music, but housed in a contemporary groove. Saramago closes out the EP with the quirky electro-funk banger ‘Smile’, which is sure to raise exactly that on the dancefloor.

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.

Foxbam Inc is building up a fine head of early steam and after featuring the likes of LFO's Gez Varley and Mark Archer, that looks set to continue into 2026 with this latest various artists EP. It's a white knuckle ride through panel beating techno fervour, starting with Foxtrot's 'Tartam Tripper', which could be called paint stripper, it's that caustic. Collision lays down flat, hard, distorted drums on 'Plop Projekt', Egebamyasi offers up a stuttering, bass-driven club take on an unmistakable 80s electronic classic and Minimum Syndicat's 'Tunnel Chase' is a slower, darker, more foreboding closer that carries serious weight and a soot-black atmosphere from which there is no escape.

With RAUF001, Rauform Records steps out of the gate with a clean, floor-focused statement from label owner Markus Homm: The Cross, a 12" built for late-room pressure, long blends, and sound systems that love detail.
Homm’s writing here is all about restraint and intent: deep house warmth shaped by minimal discipline, tight drum architecture, and dub-leaning space that breathes without ever losing momentum.
Pressed on black vinyl and made for selectors who value depth over drama, The Cross marks a confident first chapter: timeless tools, finely engineered, quietly powerful.

Demon Records are proud to present Osmium Deluxe - the first recordings credited to the funk-rock ensemble Parliament-Funkadelic.

Since its re-release in 1990, Osmium has been distributed numerous times by various labels in America, Europe and Japan under alternate titles – including Rhenium and First Thangs. A number of these reissues have featured material that was not included on the original album, such as unreleased tracks and singles that were taken from the same time.

This in-demand, black-vinyl version of the Record Store Day 2024 sell-out compiles together everything from that period 2 LPs and includes; the full Osmium album, the single sides that never made the album, unreleased tracks, demos and jams – all of which made their debut vinyl appearance as one package in 2024.

Many of these recordings are still as far-out as they sounded when first released. However, the tracks here represent the genesis of what would become P-Funk and the entity that would give the world ground-breaking albums Maggot Brain (1971), Mothership Connection (1975), and One Nation Under a Groove (1978). An essential addition to anyone’s collection.

Manilla Road's »The Courts Of Chaos« album was originally released in 1990. It was the band's last release for Black Dragon and also the last release before the band temporarily split up (if we do not take 1992's »Circus Maximus« into account, which was actually supposed to be a solo album). All in all it was a very tough time for Manilla Road. When he was still alive, Mark Shelton commented in an exclusive interview: "Yes, you are correct with all of that. Our releases were not selling as well as they had years before and it seemed like metal in general was having a hard time surviving the times that followed the conversion to CD technology. Right after Manilla Road broke up, I started putting together a solo project that accidentally turned into a band. So we named it Circus Maximus and signed a deal with Black Dragon but they decided to release it as a Manilla Road album because they thought it would sell better. »The Courts Of Chaos« was the last album that was a real Manilla Road project on Black Dragon." “»The Courts Of Chaos« was a tough album to get done because the atmosphere within the band was tense, to say the least”, continued The Shark. ”We all knew it was going to be the end of an era and that this line-up would most likely never do another album.” Although »The Courts Of Chaos« might not be the strongest Manilla Road effort, Mark did not consider it a “throwaway album” whatsoever: “It does not seem to get mentioned as much as many other albums of The Road. But when it does come up, it seems like that person is really sold on the project being one of our better ones. It does, in my opinion, have some really killer songs on it. 'Dig Me No Grave' is still in our show. It's always a challenge to play but I love doing that one live and it still seems to appeal to our audience. “ Another highlight on »The Courts Of Chaos« is "DOA", a cover of a Bloodrock number. Manilla Road were not known for playing too many covers. Mark Shelton explained: "I grew up in that era and yes, I love that old stuff and could be called a collector of sorts, I guess. This was the only cover song that Manilla Road has ever put on an album. We chose this song because it was the only one that all three of us could agree upon. I wanted to do some obscure hit from the old days and turn it into a Manilla Road style song. I'm still fairly fond of the version and still like to listen to it every once in a while."

"FEELING FULLY YOURS" PRE-ORDER ONLY EDITION:
Heavyweight Vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Bandcamp Limited Edition 30 pages paperback booklet printed on "Favini Tintoretto Bianco" 350 gram cardboard / "Watoji" Japanese hand-bound with black cotton / hand painted cherry red fore-edge / Full interview to Jym Marks by Tony Higgins printed on 90 gram "Fedrigoni Constellation Snow"/ full album lyrics printed on 90 gram "Favini Seaweed Paper"and exclusive full format B&W picture printed on high quality photographic paper, Books front cover printed on 300 gram Moldmade paper.

In den letzten zehn Jahren haben sich Portrayal of Guilt als feste Größe in der extremen Underground-Musikszene etabliert. Mit unerbittlich konsequenten Veröffentlichungen wie dem orchestralen Albtraum ,Devil Music" aus dem Jahr 2023 und ganzjährigen Welttourneen mit Bands wie Deafheaven, Uniform und Pg. 99 haben POG zweifellos ihren eigenen Weg eingeschlagen. Seit ihrer Gründung lassen sie sich nicht in eine bestimmte Kategorie stecken. Das Trio mischt Elemente aus Black, Death und Nu Metal mit Crust, Screamo, Powerviolence und Hardcore, wobei ,The Beginning of The End" die Genregrenzen weiter verwischt. Die Band hebt die verstörende Disharmonie in den Album-Highlights ,Ecstasy" und ,Human Terror" auf die nächste Stufe, mit KoRn-ähnlichen Gitarrendissonanzen, gnadenlosen Death-Metal-Tiefen und eindringlichen gesprochenen Passagen, die selbstbewusst die Grenze zwischen ,Life is Peachy" und ,Scum" überschreiten.

In den letzten zehn Jahren haben sich Portrayal of Guilt als feste Größe in der extremen Underground-Musikszene etabliert. Mit unerbittlich konsequenten Veröffentlichungen wie dem orchestralen Albtraum ,Devil Music" aus dem Jahr 2023 und ganzjährigen Welttourneen mit Bands wie Deafheaven, Uniform und Pg. 99 haben POG zweifellos ihren eigenen Weg eingeschlagen. Seit ihrer Gründung lassen sie sich nicht in eine bestimmte Kategorie stecken. Das Trio mischt Elemente aus Black, Death und Nu Metal mit Crust, Screamo, Powerviolence und Hardcore, wobei ,The Beginning of The End" die Genregrenzen weiter verwischt. Die Band hebt die verstörende Disharmonie in den Album-Highlights ,Ecstasy" und ,Human Terror" auf die nächste Stufe, mit KoRn-ähnlichen Gitarrendissonanzen, gnadenlosen Death-Metal-Tiefen und eindringlichen gesprochenen Passagen, die selbstbewusst die Grenze zwischen ,Life is Peachy" und ,Scum" überschreiten.

Over the last decade, Portrayal of Guilt have solidified themselves as a pillar in the extreme underground music scene. With relentlessly consistent releases like 2023’s orchestral nightmare Devil Music, and year-round world touring with the likes of Deafheaven, Uniform and Pg. 99, POG have unquestionably carved their own path.
Defying accurate categorization since formation, the three piece blends elements of black, death and nu metal with crust, screamo, powerviolence and hardcore, with the bands forthcoming LP …The Beginning of The End” continuing to further obscure genre lines. The band takes the unhinged discordance to the next level on album standouts “Ecstasy” and “Human Terror”, with KoRn-like guitar dissonance, punishing death metal lows, and haunting spoken passages confidently riding the line between Life is Peachy and Scum.

Old Skool Hip Hop,Electro & Funk compilation.

It's with great pleasure that we present the 100th release of Quintessentials! Happy 100! Started in 2008, Quintessentials` slogan was and still is "deep, raw and real". On the way to the 100th release, we discovered talents like (just to name but a few...) Anton Zap, Baaz, Ugly Drums, Mat Chiavaroli, Simon Hinter or The Black Fan, as well as featuring established producers like Luke Solomon (as Lukatron), Borrowed Identity, Alton Miller, Simoncino, Soul of Hex, Felipe Gordon, Javonntte, KRL, Andy Ash or Ralph Session. Quintessentials has never just released stricly one type of music, but put together cool tunes from the House spectrum: Deep House, NY House, Detroit House, Acid House, Chicago House....or do we wanna call it just "House music"? This classic old school 6-track compilation features again a multi house culture and fuses present and past! Quite essential we think!

Increasingly essential US artist Ben Hixon drops sublime deep house EP on Kai Alce's faultless NDATL Muzik. The six classy tracks will appeal to those who appreciate the subtleties of the classic Midwestern sound.

Ben is a Texas-born, but Brooklyn-based artist who has become a firm favourite of true deep house heads in the last year or so. He has put out several EPs on Dolfin, all of which find a perfect sweet spot between immersive atmospheres and late-night drive. Dusty analogue textures and frayed edges define his drums, while the subtle details are intelligent and add effortless emotion. He is a perfect fit for NDATL Muzik, the Atlanta label that has long been a flagbearer for well-crafted house grooves like these.

'Taping' kicks off with heavy kicks that swing under gentle chords that are perfect for after dark. There's a persuasive bump in the beats that will get early evening dancers primed and ready for more. Next up we have 'Y Do U Get So Nervous' - a mastery of sampling with nagging vocal hooks, cascading piano keys and wet finger clicks all adding soul to another low-key but all-consuming groove. 'Area Code 336 Phone Rings' is a higgledy-piggledy tapestry of toms and stuttering kicks with vocal fragments to match - the thrill is the looseness of it all. The smouldering and meandering 'December Blackout' is for gazing off it into the distance at the busy yet muted jazz keys that twinkle like faraway stars. 'It's Like A Vision' picks up the pace with more closely stacked kicks but still oodles of cuddly warmth and smudged synth work, before '0823' ends with a decidedly heavy feel - spare, lump drums unfurl beneath forlorn synths that feel utterly bruised and heartbroken.

Ben Hixon's deft artistry makes these quiet, texture tunes irresistibly danceable yet emotionally profound.

'At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.
'In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

'Us, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender… Lancaster?) and the evergreen Steve McCall on drums.
'On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music!'

Black w/ Orange Splatter Vinyl. VALVE Videospiele und IPECAC RECORDINGS pflegen eine Partnerschaft, die fast 15 Jahre zurückreicht, als wir die PORTAL 2-Soundtracks veröffentlichten. Seitdem wurden einige der bedeutendsten Videospiel-Soundtracks veröffentlicht, darunter TEAM FORTRESS 2, DOTA 2 und die gesamte HALF-LIFE-Reihe. Diese gehören zu den meistverkauften physischen und digitalen Veröffentlichungen des Labels Ipecac. HALF-LIFE: ALYX wurde ursprünglich digital als Serie von 11 Kapiteln von 2020 bis 2022 veröffentlicht, und die physische Veröffentlichung vereint diese in zwei verschiedenen Formaten: 4CD-Falt-Digipak mit allen 72 Songs der Serie 2LP Gatefold 180gr Vinyl mit 21 vom Komponisten ausgewählten Songs sowie einer Download-Karte mit allen 72 Songs. Es gibt ein anderes Cover als bei der CD sowie ein 24x36-Faltposter. Die Standardvariante ist schwarz mit orangefarbenen Sprenkeln und die Indie Store-Variante ist orange mit schwarzen Sprenkeln.

Orange w/ Black Splatter Indie Exclusive. VALVE Videospiele und IPECAC RECORDINGS pflegen eine Partnerschaft, die fast 15 Jahre zurückreicht, als wir die PORTAL 2-Soundtracks veröffentlichten. Seitdem wurden einige der bedeutendsten Videospiel-Soundtracks veröffentlicht, darunter TEAM FORTRESS 2, DOTA 2 und die gesamte HALF-LIFE-Reihe. Diese gehören zu den meistverkauften physischen und digitalen Veröffentlichungen des Labels Ipecac. HALF-LIFE: ALYX wurde ursprünglich digital als Serie von 11 Kapiteln von 2020 bis 2022 veröffentlicht, und die physische Veröffentlichung vereint diese in zwei verschiedenen Formaten: 4CD-Falt-Digipak mit allen 72 Songs der Serie 2LP Gatefold 180gr Vinyl mit 21 vom Komponisten ausgewählten Songs sowie einer Download-Karte mit allen 72 Songs. Es gibt ein anderes Cover als bei der CD sowie ein 24x36-Faltposter. Die Standardvariante ist schwarz mit orangefarbenen Sprenkeln und die Indie Store-Variante ist orange mit schwarzen Sprenkeln.

Wondrous ethereal folk songs by a reclusive pen pal of Maxine Funke, first introduced to A Colourful Storm by Funke while sharing music and ideas during her Australian tour. Ghost faced pansies. A moth coloured cat. Cauliflowers, cabbages undying. I hear the spine of the dictionary crack. Is what they call a creature who only wakes at dusk. And turning backs. My afternoon has turned pitch black. For a trace. For a shape. I wipe the steam from the window like the bloom on a grape. Ghost faced pansies. A moth coloured cat. Light of stars long since died.

Tony Njoku returns with All Our Knives Are Always Sharp, a sonically expansive and emotionally charged second album that brings together a remarkable cast of black British voices. Featuring powerful collaborations with Tricky, GAIKA, Ghostpoet, Coby Sey, James Massiah Space Afrika and Labi Junior, the record serves as a landmark moment for Njoku, a culmination of both the singular musical style and nuanced, socially-engaged storytelling he’s been crafting throughout his career.

Rooted in themes of spiritual preparedness, cultural resistance and emotional clarity, the album unfolds through Njoku’s signature blend of electronic abstraction, falsetto-led songwriting and cinematic composition. It’s a work that cuts deep. Philosophical, political and personal, each guest brings a vital new layer to the conversation.





“ALL OUR KNIVES….” will be the first release on Tony’s new imprint ‘Studio Njoku’, which Tony says will serve as a space to facilitate his collaborations with his wider creative community. In addition the album will be pressed on heavyweight 180g vinyl limited-edition, with 300 copies worldwide. It will be the first run of physical production for Studio Njoku