Beats Vinyl New Releases - News

Soundway presents Circus Underwater’s 1984 self-titled masterpiece. Remastered and extended to a double LP, this deluxe version includes six unreleased tracks unearthed from the original ¼” tapes, and presented with an insert, including never-before-seen photos and the fascinating story behind the music.

Featuring artwork from Grateful Dead collaborator, David Lundquist, the album encapsulates a unique moment in time. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embark on a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippie San Francisco.

The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminate in an odyssey that seamlessly bridges the gap between the spaced-out creativity of the 70s and electronic music of today

Following the success of his label debut - the raucous 'Bun & Cheese' EP - Dudley bassline stalwart DJ Pantha - is back with a full-length LP. 'The 140 Archives' sees Pantha prove his prowess in harnessing a sound which captures the genre in its antecedents whilst resembling something altogether new. Funky rhythms and rude melodies energise the first two tracks before the half-time 'Vibez' represents a slightly darker, more contemplative take. Elsewhere, Grime's influence lives through 'Four By Niche' and the title, claps and chopped choral vocals of 'Blackberry Riddim', whilst the gunshot-happy 'Emmerdale' and 'Protein Shake' represent bassline at its most playful.

Fiesta Soundsystem arrives on the burgeoning YUKU imprint with a fiercely experimental and timeless album - "Sinking" - which simultaneously draws on the nostalgic complexity of IDM and breakcore while leaning heavily into the future on the artist's own unique terms.

Let the synths take you away if everything gets too much.

We’re going on a little journey to a remote island surrounded by colorful §ourishing coral reefs. Before you get there you’ll just have to dive deep into the wavy dark ocean before you reach the coastline. At first this might seem dangerous but the beams of light get more and more visible as you finally dive up. You feel the warmth of the water and you start hearing waves rolling along the coastline. Finally, you reach the warm beaches of an island where everything is that you need.
The rich and healthy vegetation and rare species are welcoming you like you lived there your whole life. And after taking your time you feel the strength in yourself rising again, being able to move forward with hope, love and compassion

Introducing Cutcross, created to champion the melting pot of basscentric sounds teetering around 140 bpm. Heading up the concept are Sicaria & Mia Koden, two DJs who have set out to explore and expand on the possibilities of these sounds whilst spotlighting underground artists.Cutcross is therefore their next step in supporting the forwardthinking music that they've drawn for when curating sets.

CXT007 brings forth the final release on the label: linking up two UKbased favourites in the 140-sphere. With a heavy-weight solo track each - longtime Sicaria Sound set staple 'Gruffa' by Nova alongside Taiko's punchy 'Pastorius' - the flip of the record then introduces two dynamic collaborative efforts which perfectly interlace melody and bass.

Repress !

The Sound Of Vast imprint offers up a retrospective collection of cuts from Shinichiro Yokota this October, entitled ‘Ultimate Yokota 1991-2019’.

The twelve-track ‘Ultimate Yokota 1991-2019’ collection traverses through Yokota’s emotive and playful house sounds, employing infectious synth hooks, analogue drums, soulful vocals and an underlying positive energy throughout. Here we take the initiative to shine a light on one of Japan’s unsung heroes of House for those who may be unfamiliar with his impressive back catalogue, the compilation will be hitting shelves from the 21st October 2019.

Shinichiro Yokota: “In the late 80s my obsession towards House music began and the biggest influence I had was through Soichi Terada. I went to his house almost every week, and watched him perform his magic with synthesizers, samplers, and sequencers. I soon learned how to use them as well and started producing a variety of tracks. Many of the tracks produced during this time were released on CD or vinyl through ‘Far East Recording’. This project ‘Ultimate Yokota’ is a careful selection of tracks from the early 90’s which haven’t been released on vinyl ever. It is my 30 years chronicle. ‘TOKYO 018’ is a track Soichi and myself collaborated on for the first time in 15 years. Not the tracks on this record is produced with Soichi but it’s safe to say that all my tracks have been influenced by and ‘created’ together with him.

Soichi Terada: ‘’Amongst the 90's Japanese house music that’s been re-evaluated in recent years, many people are highly recognizing "Do It Again". One thing that comes to my mind which I contribute to this song's producer, Shinichiro Yokota, is the excitement and cheers of the audience when I perform it in my live show. With just 7 notes of refrain making the dance floor really pop up. Thanks to that I had the opportunity to do over 120 live shows in various European cities. Many people mistakenly think "Do It Again" is Soichi Terada's work because of the wrong credits on YouTube, but at least those of you who love this record will be reaffirming the beautiful sound that Shinichiro Yokota is creating. And Shinichiro Yokota, you "Did It Again"! That's what you are feeling.’’

Repress !

4 more cuts of HARDLINE power. This one is for the sovvy soldiers. 2 darkside steppas and 2 bootlegs on the flip.

In 2021 Velocity Press published Who Say Reload: The Stories Behind the Classic Drum & Bass Records of the 90s, an oral history of the records that defined jungle/drum & bass straight from the original sources. The deluxe coffee table book has since sold thousands of copies and prompted many to comment that it should have an accompanying soundtrack.

Now author Paul Terzulli has compiled a Who Say Reload album. However, where the book focused solely on classics and anthems, the compilation takes a different route and offers up a selection of top-quality tunes from some of the scene’s most respected artists and labels.

Like the book, the album covers the genre’s nineties golden era, and the many styles of D&B are represented. Pioneering producers and crowd-pleasing favourites sit alongside a few sought-after obscurities by the unsung heroes of the scene. Most importantly, there are some absolute bangers!

The 16 tracks are spread over two volumes of 2 x 12"s, and there is also a 13-track digital version, taking you on a journey through music forged from raw breakbeats and basslines that soundtracked a culture of all-night raves, specialist record shops and pirate radio stations.

Jungle/drum & bass is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today. There’s still plenty of old music that might be “new” to some, and these tunes still pack as much of a punch as they did back in the day. That unique energy generated by a combination of breakbeats, bass and creativity never gets old.

Produced in conjunction with Above Board distribution. All tracks mastered from original sources and fully licensed. Mastering by Beau Thomas @ Ten Eight Seven Mastering. Liner notes from Who Say Reload author Paul Terzulli. Photography by Eddie Otchere. Artwork and design by Protean Productions.

Braindance is the second, highly anticipated, collaborative EP from Irish producer DJ Mudak 2000 and French producer FTL, landing on their new label as the debut release.

Produced in Dublin & Paris, the two prolific junglists have encapsulated the intricacies of modern jungle while still highlighting the emotive elements of yesteryear.

The first track "I Wanna" begins as a fantastically light, classic jungle track with piercing soul vocals that unpacks into a soaring brawl of amens and intense 808s. A great representation of the duality of light and dark elements which make this whole EP a standout.

A2 "Barriers" is a driving, high tempo club ready cut. There is absolutely no messing about with this one, in your face reese business for the peak timers. On the flipside, title track "Braindance" is a complex yet ethereal roller carried along by hovering staccato vocals that are contrasted with a deep cutting sub that will hit you in all of the right spots.

The final track "Chasing A Dream" lives up to its name as its emotive synth lines and Sad Boys-esque cowbells will fill you with the tangible feelings of want and passion.

"Good things come to those who wait", says Matt Harris aka Hyroglifics about the theme of his debut album, 'I'll Wait, I Guess', a personal journey to hope and healing reflected through 16 tracks of ever-evolving music and the stories that lie within them. "I believe that good things happen with time, however, I also wanted this album to depict the realities of waiting for something and how seemingly hopeless it may seem at times".

After committing to music full time after getting picked up by RBMA for 2016's Montreal academy, Hyroglifics has released key tracks and EPs on Critical Music, 20/20 LDN, Hooversound, and System. Written and recorded in Bristol before sessions in London and Los Angeles, where he now lives, 'I'll Wait, I Guess' is his most diverse body of work so far. Though led by the detailed drum and bass he's best known for, the album also includes tracks leaning towards grime, half-time, hip hop, techno and ambient music.

"I really wanted to create something that shows my range as a producer and artist", Hyroglifics explains. "My taste is always evolving, so it's hard to pin down a specific 'sound', as I really enjoy exploring the process of trying to create hybrids of genres."

Loosely inspired by the book "The Road" by Cormac McCarthy, ILUITEQ's fourth album, "Reflections From The Road," expands the novel's theme, where human beings are overwhelmed by an ordeal that completely changes the course of their lives.

Events that suddenly interrupt the "ordinary movements" of life in a new, unpredictable, and often dangerous way. A strong sense of motion permeates Reflections From The Road's ten tracks in a new and unexpected way compared to previous works by the Italian ambient duo.

With "Reflections From The Road," ILUITEQ explores new music territories, strongly contrasting pristine textures and glitchy sounds.

"Phoenix" is the highly-anticipated, expansive next album in the musical evolution of alto saxophonist and composer Lakecia Benjamin, and first for Whirlwind. The album was produced by the multi- Grammy- award winning Terri Lyne Carrington and featuring a star- studded line up of specially curated guests; Dianne Reeves, Georgia Anne Muldrow, Patrice Rushen, Sonia Sanchez, Angela Davis and Wayne Shorter. The band comprises trumpeter Josh Evans, Victor Gould on keys, Orange Rodriguez on synths, drummer Enoch (EJ) Strickland, percussionist Nêgah Santos and bassist Ivan Taylor. Trumpeter Wallace Roney Jr., Rhodes organist Anastassiya Petrova and bassist Jahmal Nichols all join for one track each.

This album is a soundtrack for an unfinished science fiction film made in the Fylde coast area some time ago. The music is a behind the scenes journey exploring the movie and the central character Phocus, each track an exposition into the duality of actions, on and off screen.
Warped and detached audio set to atomic shot on video era visuals represents the atmosphere to this low budget thriller’s vivid running commentary.

The album arrives on heavy weight vinyl with screen shot artwork from the film. Audio mastering by Bola.

blue marbled vinyl

The album features 15 tracks, showcasing Bastien’s truly cinematic sound while exploring new sonic territories. The album touches on the melancholic funk drifting between voiceovers of longing and hurt, through surreal, hallucinogenic folk ballads. It’s the juxtaposition of these genres sewn together with ambient synth skits that really makes the album a musical journey. Playful and serious, as the album title suggests, Bastien manages to induce a rye smile with a tear in the eye.


In Seb’s words, “The album tells the story of a failed relationship, as the man narrators missing his other. Whilst he imagines her comforting him, before accepting the end of the relationship, and feeling that the love he feels, she never did.”

Sharing common ground with luminaries such as David Axlerod, Kate Bush, Roy Orbison, Madlib and The Delfonics; Keb plays guitar, trumpet, bass, drums, piano, flute and more Keb’s writing and recording approach is slightly unique. He explains a little about how his records sound the way they do...

“I have a lo-fi approach to recording, for me it’s about the moment, all my records are time capsules of a certain time in my life, so the sound of the recording is secondary. It’s all about heart, that’s all I’m interested in. If I get a melody I have to record it asap, if the mic isn’t plugged in I use the macbook mic, if I’m not by the computer I’ll record into my phone.

For me personally using/sampling other peoples music isn’t making your own music, using your own soul, showing your own heart, it's just my personal opinion. It’s not right for me. No slur on those that do. If there are any samples on my records, it’s me sampling me. For me, this means the music is mine. It’s ‘of me’. That’s really important for me, because I feel that’s where the honesty is. If my music sounds ‘dusty’, that’s why”.

This approach provides us with a wonderfully inclusive record. The album feels almost ‘performed’ to us, live, on each listen. Coupled with Bastien’s capacity to write music which is almost visual, the album is quite enveloping.

Bastien returns to Def Pressé with this new album after the brilliant, Holy Mountain. Released under the name Grandamme, with friend and collaborator Claudia Kane.

Chris Paul, aka Isotonik, is a legend within our scene for many good reasons....and 17 of those reasons feature on this incredible box set. As well as the chart topping classics Different Strokes and Everywhere I Go, this box set has the much sought after Grooverider remix, plus 8 tracks released in the early 2000's that never saw a vinyl release, plus three brand new tracks such as On My Mind - one of the best examples of proper new old skool to land this side of 2020.
All in all, this box set is an essential for any proper rave or old skool DJ!

Khidja continue to develop their tripped out vision with their first full EP for Hivern since 2019's 'Impossible Holiday'. In 'Something In The Water' the Romanian duo presents three new tracks that drift between genres and moods through open minded studio experimentation. "The Future Has Disappeared" and "Back To Vid" rely on contrasting sound palettes and a smart use of the stereo field to build up tension while 'Science of Ghosts' is an expansive number of galactic electro-funk. The 12" features a stripped out mystical remix by Azu Tiwaline while the digital release includes two extra oddball dancefloor cuts. Artwork by cm-dp.

Oleksandr Yurchenko (1966—2020) was a Ukrainian musician and illustrator. In 1990s and 2000s he took part in different bands from Kyiv, such as Electricians, Yarn, Blemish, Suphina’s Little Beast etc., and he also collaborated with Svitlana Nianio and Katya Chilly. Yurchenko is one of the brightest representatives of the Ukrainian independent scene in 90s. Meanwhile, he is one of the most mysterious musicians of this era, being a private person, especially in the late 2000s, when Oleksandr had to leave music because of his illness, but he focused on doing book illustrations and graphic works. In 2010s some of his early records were published, and he was asked for an interview, but he refused, suffering from a serious disease at that time. In April 2020, Oleksandr Yurchenko died, leaving behind a great musical legacy.

His main work, “Count to 100. Symphony #1,” was documented in August 1994. Oleksandr used strings instrument of his own invention. Yurchenko took the longboard to make the instrument, installed guitar pickups and 4 strings, and played on it with a bow. It was lost in the 2000s, but the musician remembered that it looked like a long zither. The recording session was held by Oleksandr at home, using guitar delay effects, loops, and Oreadna portable cassette recorder. He tuned the instrument in a special tone, improvising on it for 25 minutes. This drone symphony can be compared with the works of such avant-garde composers as Glenn Branca. However, it sounds innovative, especially for Ukrainian music. Despite it, Yurchenko could not publish this work officially in the 90s and made only a few copies for his own friends. At the beginning of the 2000s, he decided to edit the original version of the symphony. Oleksandr tried to restore the recording a bit, using some effects to make the sound more massive and clear. At the end of the work on this project, Yurchenko left this version in his archive but decided to publish the original recording in the late 2010s.

“Intro” is the most mysterious recording from Yurchenko’s archive. Nobody could remember where and when it was recorded, so we can assume that it was made at the beginning of the 90s like a sound experiment because it was found on cassette tape with others recordings of the band Yarn. Also, there is a suggestion that it might be a Casio SK-1 sampler and some old Soviet keyboards.

Merta Zara was a family project of Yurchenko and his wife, Svitlana Neznal. They had only one home recording session in 1994. Oleksandr was playing an electric cello of his own invention, and Svitlana was playing on mandolin and singing. As a result, they recorded only one track, "Dress," which appeared on the cassette compilation "Skhovaysya" in 1995. Apart from it, they recorded a few instrumental playbacks, which were found on cassette tape in 2021. Yurchenko was a big appreciator and knower of Central Asia’s music, and it influenced his own music, including Merta Zara, where traditional music and his melodist skills are intertwined.
Playbacks were recorded in the beginning of 1995. It was also a home session, making instrumental playbacks for the album “Znayesh Yak? Rozkazhy” (Know How? Tell Me), recorded in collaboration with Svitlana Nianio. It should be assumed that Oleksandr used the same instrument and effects as he used during the “Count To 100” session. Some of these playbacks survived in his archive, but the rest of them were lost. The first one is an 8 minutes drone composition, which was played on a string instrument with a female voice on the background, and the second is the weird track where whirligig was used as an accompaniment. So, we can consider these recordings not only as playbacks but as Yurchenko’s solo stuff.

Solo recordings of Oleksandr Yurchenko, made in 1994—1995, are paying attention, especially in experimenting with sound, searching the new ways of creative freedom, and they give a possibility to learn more about the Ukrainian experimental scene in the 90s.

warehouse find !

Mr. Fingers second part of the Around the Sun series of albums!!! Larry Heard's (under his most notable monniker) continuation on the path from last years "Around the Sun part 1".

Encompassing all his influences from Jazz, R&B to Techno and Ambient these lush tracks with a feel that no one else expresses quite like him. No need to further elaborate... Larry Heard at his finest.

Neuauflage der 2017er remastered Vinyl-Premiere, diesmal auf 180g Eco-Doppel-Vinyl: Der Original-Soundtrack des legendären Playstation-Horror-Videospiels 'Silent Hill 2' von 2001, der stark von David Lynchs Twin Peaks-Serie inspiriert wurde.

Tom James Scott holds a unique position in experimental music. With a soft brush approach Scott, who currently lives on the North-West coast of England, has explored delicacy in music with a variety of sublime releases on a variety of labels. Predominantly known for gentle investigations of guitar and piano, Scott has shifted to incorporating different technology and tactics over time. All of this, either in performance or recording, is embedded with a spirit that is quintessentially his own. Nightshade is the latest in his expanding catalogue, one which ignites an alarmingly new take on his approach to music. Echo on Water initiates proceedings with the unmistakable sound of tape.

Any instrumentation is buried amongst the woozy sway of the medium itself, with its rough dynamics soon morphing into an overwhelmingly swirling mass of emotionally decayed sound. The movement of matter takes on a haunted shape with sounds looping and falling apart as the physicality of the medium holds it all together. The second track Blue Mist furthers this approach with its smeared haze of gorgeous emotion. This is deep exploration of ideas meeting matter. Wasting Stars takes up the entire flip side with the sound of tape recoiling a bit to allow the delicate glow of instruments to come more to the fore, with gentle effects that weave the musical matter. As a skewered take on Scott’s earlier piano explorations the atmosphere here is a subdued soundscape evoking the spiritual sadness found in the piano works of Gurdjieff/De Hartmann, with a modern lo fi angle.

Nightshade is a deeply effective journey and one of the most exquisite examples of Scott’s delicate approach so far. Two sides of form which inhabit contrasting yet complimentary clouds of sound communicating in an stunning emotional flow. As music with only trace elements of melody, Nightshade is a beautiful take on tools being used to explore paths both highly idiosyncratic, deeply moving and discreetly personal.

“Outline of Nature” is the debut album by Twilight Sequence (aka Matthew J Saunders) following the release of a 12” EP and 7” single on Castles in Space, and an EP on his own Bandcamp page.

“Outline of Nature” started as an experiment in building a modular synthesizer system and ended up as a voltage controlled outpouring of love for the natural world. Sylvan-born and pastoral-powered, sap-blooded and lightning-charged, this album grew out of the damp florescent corners of the woods, each note and sound, a fractal extension of their seedling sounds.

It was nurtured into being at The Twilight Research Centre, a studio facility situated on the border of Somerset and Dorset. During Covid lockdown 1.0. Says Mtthew,

"I spent the outdoor hours we were permitted, wandering through the centre's surroundings, in the green lanes, woodlands and corridors of the wilds with their wary and flickering inhabitants, beneath the distant eyes of the soaring buzzards and the hulking red kites. I didn't expect it, but it was in the quiet, ferociously vibrant dens of nature, that I found a deeply profound connection with the natural world. It once again made sense to feel as much a part of the woods as the trees were; I felt like a natural entity in its habitat again, not something I'd properly felt since running wild through the gullies, dells and fells of the Midlands as a child. And I became afflicted with a powerful urge to build strange electronic sound systems that were organic, chaotic, fractal and in some way reflective of the awesome natural systems that surround us and surround the centre. I plugged in the modular, and went searching for signs of life.

Adding to this, just before the lockdowns, I stumbled across a three volume nature encyclopedia in a local charity shop, called “Outline of Nature in the British Isles” by Sir John Hammerton. The sub-heading reads “A Comprehensive Photo-Survey of the Varied Life of Field and Hedgerow, Moor and Mountain, River, Pond and Sea”, and it's a stunning collection of grainy photographs, beautiful illustrations and wondrously poetic writing, some of which inspired track titles and of course, the album title. I also rekindled my love of Ladybird nature books such as the “What to Look for in Spring/Summer/Autumn/Winter” series, “Birds and How They Live” and “Butterflies, Moths and Other Insects”, rebuilding a small collection I had as a child and discovering numerous volumes new to me. Between the two literary sources, I had a rich well of imagery, writing and pastoral nostalgia to draw from; and coupled with the extended sessions of blissing out in my own heavily ecstatic awe descended on me in the sheer grandness of the wilderness, I set about enticing out of the woods an album of phosphorescent electrical music, abundant with comparatively microscopic, but persistent and wild life-forces."

Matthew J Saunders has been releasing records since the late '90s on labels such as Earworm, Static Caravan, SpaceAge, Ochre and others, before signing with 4AD with his band Magnétophone in 2000. He has collaborated with Pixie's/Breeders' Kim Deal and Kelley Deal, King Creosote, James Yorkston and Pete Kember (Spacemen 3, Spectrum, EAR) who joined the band as performer and manager. As well as Twilight Sequence and Magnétophone, he has released music as Assembled Minds, The Matthew Machine, Rapid Eye Electronics Ltd. (with collaborators Farmer Glitch and IX Tab), and Veil.

“Cinematic electronica embraces intelligent Indian infused beat making”.

Belgian beat collective Up High Collective return with their new album 'Koinonia.' Their second full-length comes five years after their debut album in 2018. For 'Koinonia' they have invited Belgian iconic drummer Lander Gyselinck (STUFF.) and several other guest musicians. The first single 'Koi' is available now, the record is set for release on Wednesday October 11 on vinyl, Bandcamp and via all digital platforms via San Kofa Rhythm Records.

"Going with the cinematic tides of sound: first single 'Koi' features compelling South-Asian sitar, imminent strings, drums by Lander Gyselinck and carefully constructed beat making."

Spearheaded by producer duo Koen De Petter and Renaldo Maria, this record is Up High Collective’s most ambitious music project to date and has been in the works since 2015. The name of the record - Koinonia is Greek for "fellowship" or "community" - refers to the intense and inspiring interplay between the collective and several musicians they invited to contribute.

Raw analog recordings and beats by the producer duo, brimming with imperfections and samples from original Indian music, laid the foundation for live studio sessions by Bert Cornelis, one of the few sitar players in Belgium, drummer Lander Gyselinck (Lander & Adriaan, STUFF.), double bassist Jens Similox (Orchestre Collone) and multi- talented bassist Boris van Overschee (Okon, Delv!s). From their intrinsic penchant for deconstruction, the live elements were cut up by the producers, heavily rearranged and presented as new sounds. After several sessions in their Up High Studio (Leuven), carefully constructed collages gradually started to form with all of its layers filling the deepest corners of the sound space.

The result is a record that balances perfectly between cinematic electronica with complex harmonies to get lost in and solid club oriented beats with crunching textures and off the grid rhythmic patterns.

"All of these songs share an underlying, invisible force bound by the intense interplay and mutual inspiration between us and the live musicians.

For the ninth release on Flat White Records, we welcome U.S based producer, rapper, singer and all-around artist, VRGO.

Located in Alabama, Anthony Jamal (VRGO) takes pride in basing his music on feelings and emotions, rather than targeting specific genres and audiences. Something that can be felt in his productions.

Just to keep the listeners on their toes, FW009 strays slightly from the usual sound of Flat White Records as the record features two original Hip Hop productions.

These are followed up by a more “true to form” raw house jam to complete what is a very versatile A Side.

On the flip are remixes by fellow Alabama resident, Byron The Aquarius as well as label boss, Flat White Chris. Some tracks from this EP will feature on a larger LP by VRGO in the near future, so keep your ears peeled.

marbled vinyl in 3 different colours

Four years on from the release of Astral Projection, ASC's last LP for Horo, a re-listen reveals a body of work that still sounds prescient and current, mapping out a simmering landscape that stood proudly on it's own in the crowded world of electronica.

Hiding in Plain Sight takes the musical baton left by Astral Projection and expands the environment. The two opening tracks (No Mask, A Whisper In Your Ghost) are sumptuous palette cleansers that paint the walls with bliss. As we continue on, mesmerising waves of melancholy wash over Grey Area themed constructions, sometimes jagged (No Mask, Dying Star, Centrifuge, Galaxies), other times propulsive (Dreadnought, Surface Encounters). Pensive, frozen constructions that come off as soundtracks to movies only James has seen pepper the LP (Overscan, Dying Star, Mirrored Sequence) while the centrepiece of the LP soars unbound over stuttered, sculpted breaks (Orbiting Neptune).

ASC's great gift is his ability to create worlds of music that are densely layered and complex and yet project a sense of perfect effortlessness while they assimilate into your psyche.

Hiding In Plain Sight is not so much a journey, as a destination. A rich, full bodied alien planet intricately designed to envelop your senses.

Tempo Records brings you another new sublabel called TempoSubs. Here we bring Brazilian DJ Andy and he describes the tracks his own words: "A: somente se alcana a sabedoria com ao. AA: a disciplina te leva onde a motivao no pode te levar." meaning something like "Change your mindset".

This beautiful crafted crystal clear limited edition vinyl 12" comes in a new designed Tempo Records high quality "Kraft" outer sleeve and a beautiful innersleeve. All tracks mastered by Stuart Hawkes of Metropolis Mastering, London.

2023 Repress

Kode9 und Burial melden sich mit brandneuer, exklusiver Musik auf einer Split-12" auf fabric Originals zurück. Sie folgt auf ihre 2018er Kollaboration für die historische Mix-Serie, die als letzte FABRICLIVE-Veröffentlichung die 200-teilige Mixed-Comp-Serie abrundete. Die limitierte Auflage erscheint als Clear Vinyl im luxuriösen Cover mit schwarzer Logoprägung auf der Vorder- und 3D-Logo auf der Rückseite.

Another quality gem on after 6 am in the rebound. Redeye - Resort Annexia from 1995 comes re-mastered.
Don't miss!

Hospital Records proudly present Unglued's debut album 'Interplanetary Radio', built from a melting pot of his funk, soul, hardcore, jungle, jazz and drum & bass influences.