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Transversales is very glad to announce the release of « Unreleased & Rareties » spanning 1972-2002, revelatory collection of short and secret music by electronic music pioneer, Jean SCHWARZ. He served as an engineer at the CNRS in the Ethnomusicology Department of the Musée de l'Homme in Paris, and was a member of the Groupe de Recherches Musicales (G.R.M) from 1969 to 1999.

This compilation allows us to discover some of unreleased rarities from Jean Schwarz’s personal archives and unpublished recordings which were composed for the dance, screen or the performing arts.

Remastered high-resolution audio transferred directly from the original master tapes.
Exclusive liner notes. Deluxe LP with printed innersleeves & OBI

Driving anywhere in Texas can cost you half a day, easy. For example, it'll take you over four hours just to get from R&B singer Leon Bridges' hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you're in. And it's all baking under the Texas Sun that lends its name to Bridges and Khruangbin's new collaborative EP. "Big sky country, that's what they call Texas," Khruangbin bassist Laura Lee says. "The horizon line goes all the way from one side to another without interruption. There's something really comforting about that." On Texas Sun, these two members of the state's musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas' past, present, and future-a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys boot-scooting at Billy Bob's in Fort Worth, the chopped-and-screwed hip-hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multicolored melange, purple hues as vivid and unpredictable as one of the state's rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, Texas Sun is guaranteed to get you where you're going-especially if you're in no particular hurry to get there.

Reissue of one of the Ultimate Soukous banger !

Originally recorded in 1992 in Paris , « Eki Bis « is a party classic. The chorus « 100 % 100% » became a common expression all over the world helped by the hypnotic guitars of the maestros Diblo Dibala and Rigo Star and a smashing uptempo electro acoustic drum beat.

Le Cobra de Sundama is a famous singer from Kinshasa (Democratic Republic of Congo ) who composed more than 12 albums backed by great band such as Empire Bakuba , and was considered as The voice like Kofi Olomide or Papa Wemba mixing lingala and French street expressions.

After many concerts and tours allover the continent , he finally settled in Angola . The B side features a Dj / radio edit with the addition of few electro synths . Produced in Paris by the great producer Jacky Toto and now officially licensed.

Remastered by The Carvery and pressed on limited 500 Deluxe vinyl copies

Ixona ist das zweite Album des Chicagoer Komponisten Conor Mackey unter seinem Pseudonym Lynyn. Lynyns meisterhafte instrumentale Elektronikkompositionen, die hauptsächlich mit Hardware erstellt wurden, greifen auf eine Vielzahl von Einflüssen zurück, darunter Drum and Bass, Dub-Techno und Acid, und tauchen den Hörer in eine Umgebung ein, die sowohl weitläufig als auch überraschend intim ist. Während komplexe Breakbeats durch körnige Texturen und pointillistische Schwärme huschen, entsteht dieser Ort, der kein Ort ist, und erstrahlt. Als klassisch ausgebildeter Musiker und Komponist hat Mackey mit einer Vielzahl von Partnern zusammengearbeitet, von Symphonieorchestern bis hin zu Popsängern. Er spielt Gitarre in der Avantgarde-Jazzband Monobody und hat mit seinen Labelkollegen NNAMDI und Warm Human von Sooper Records Platten produziert. Tagsüber schreibt er funktionale Musik, die von neurowissenschaftlichen Prinzipien geprägt ist, für eine spezielle Streaming-Plattform. Mit seinem Projekt Lynyn taucht Mackey tief in die glitzernden Details fein gearbeiteter Maschinenmusik ein: wie sich Cluster künstlicher Fragmente zu lebendigen Bewegungen zusammenfügen können. Mackeys Arbeit ist geprägt von den dichten, treibenden Feinheiten von IDM-Künstlern wie Aphex Twin und Squarepusher, deren Einfluss auf Lynyns Debütalbum lexicon (Sooper Records) aus dem Jahr 2022 deutlich zu hören ist. In den Jahren nach der Veröffentlichung von ,Lexicon" vertiefte sich Mackey in den Minimal-Dub-Techno der Jahrtausendwende von Künstlern wie Pole, Basic Channel und Deepchord. Das Album ,Loop-Finding-Jazz-Records" von Jan Jelinek hatte besonderen Einfluss auf Lynyns nächste Schritte. ,Es ist ein Album, bei dem man sich richtig in die Couch sinken lassen kann. Es ist extrem weitläufig, aber es fühlt sich sehr nah an - sehr eindringlich, aber gleichzeitig beruhigend", sagt er. ,Es gibt diese kleinen Vinyl-Klicks und -Knackser, und die Percussion besteht aus Mikro-Sounds, und dann gibt es diese Ebenen von Pads und Loops im Hintergrund. Auf Ixona habe ich versucht, diese Komponenten in den Stil zu integrieren, an dem ich seit Jahren arbeite."

Moton Records celebrates its 50th release!

We are proud to announce our 50th release sees a return for The Mighty Zaf, who did Moton 38 back in 2018 - our biggest selling Moton release to date. After four years of inactivity, largely due to the passing of best friend and genius engineer Phil Asher, Zaf has teamed up with Linkwood and created a spellbinding EP every bit as good as his previous Moton release.

‘Things Could Be’ is gospel soul funk killer and was made before its original creator Quincy Jones passed away recently; ‘Connect Here’ is one for the disco funk boys; ‘Gee Oh Dee’ is an obscure left-field disco gospel banger.

Moton’s fiftieth release promises to be special!

DJ Feedback

Colin Dale - I love this 3 tracker. In a sea of so many faceless and monotonous tracks this EP stands head and shoulders above the rest. Music drenched in soul, blues from a more innocent age from back in the halcyon days of black music. Music to ease your soul.

Rocky x press 2: Another mighty 3 track ep of killer cuts from Moton. Perfect companion to the Ghosted Edits 49th release. Loving all 3 edits but Things Could Be is a worthy a side and definitely my favourite. A tribute to the late Quincy Jones and a little nod to Phlash on the label. Class all the way. Massive props to Zaf and the Moton crew.

Jeremy Underground: Uplifting outro that takes you to a higher dimension!

Norman Jay: Does some justice to Q’s work..

The Éthiopiques series returns! Essential archive recordings from an extremely fruitful period in Ethiopian music.

Before “Swinging Addis” took over the world, there was Moussié Nerses Nalbandian — the Armenian-born composer who shaped modern Ethiopian music. Mentor, arranger, and pioneer, he laid the foundations of Ethio-jazz.

This Éthiopiques volume revives his forgotten legacy, recorded live by Either/ Orchestra First issue ever with new exclusive photos and in depth liner 8-page insert.

“Ethiopian jazzmen are the best musicians that we have seen so far in Africa.
They really are promising handlers of jazz instruments.”

Wilbur De Paris
(1959, after a concert in Addis Ababa)

አዲስ፡ዘመን። *Addis zèmèn* **A new era.**
The time is the mid-1950s and early 1960s, just before "Swinging Addis" bloomed – or rather boomed – onto the scene. Brass instruments are still dominant, but the advent of the electric guitar, and the very first electronic organs, are just around the corner. Rock’n'Roll, R’n’B, Soul and the Twist have not yet barged their way in. Addis Ababa is steeped in the big band atmosphere of the post-war era, with Glenn Miller's *In the* *Mood* as its world-wide theme song, neck and neck with the Latin craze that was in vogue at the same period. Life has become enjoyable once again, with the return of peace after the terrible Italian Fascist invasion of Ethiopia (1935-1941). The redeployment of modern music is part and parcel of the postwar reconstruction. *Addis zèmèn* – a new era – is the watchword of the postwar period, just as it was all across war-torn Europe.
The generation who were the young parents of baby boomers** were the first to enjoy this musical renaissance, before the baby boomers themselves took over and forever super-charged the soundtrack of the final days of imperial reign. Music is Ethiopia's most popular art form, and very often serves as the best barometer for the upsurge of energy that is critical for reconstruction. Whether it be jazz in Saint-Germain-des-Prés or the *zazous* who revolutionised both jazz and French *chanson* after the *Libération*, be it Madrid's post-Franco Movida, or Dada, the Surrealists and *les années folles* that followed World War I, the periods just after mourning and hardship always give rise to brighter and more tuneful tomorrows. Addis Ababa, as the country's capital, and the epicentre of change, was no exception to this vital rule.

**Two generations of Nalbandian musicians**
Nersès Nalbandian belonged to a family of Armenian exiles, who had moved to Ethiopia in the mid-1920s. The uncle Kevork arrived along with the fabled "*Arba Lidjotch*", the** "*40 Kids*", young Armenian orphans and musicians that the Ras Tafari had recruited when he visited Jerusalem in 1924, intending to turn their brass band into the official imperial band. If Kevork Nalbandian was the one who first opened the way of modernism, pushing innovation so far as to invent musical theatre, it was his nephew Nersès who would go on to become, from the 1940s and until his death in 1977, a pivotal figure of modern Ethiopian music and of the heights it. Going all the way back to the 1950s. Nothing less. And it is Nersès who is largely to thank for the brassy colours that so greatly contributed to the international renown of Ethiopian groove. While the younger generations today venture timidly into the genealogy of their country's modern music, often losing their way amidst a distinctly xenophobic historiographical complacency, many survivors of the imperial period are still around to bear witness and pay tribute to the essential role that "Moussié Nersès" played in the rise of Abyssinia's musical modernity.
Given the year of his birth (15 March 1915), no one knows for sure if Nersès Nalbandian was born in Aintab, today Gaziantep (Turkiye/former Ottoman Empire) or on the other side of the border in Alep, Syria... What is certain is that his family, like the entire Armenian community, was amongst the victims of the genocide perpetrated by the Turks. Alep, the place of safety – today in ruins.
Before Nersès then, there was uncle Kevork (1887-1963). For a quarter of a century, he was a whirlwind of activity in music teaching and theatrical innovation. *Guèbrè Mariam le Gondaré* (የጎንደሬ ገብረ ማርያም አጥቶ ማግኘት, 1926 EC=1934) is his most famous creation. This play included "ten Ethiopian songs" — a totally innovative approach. According to his autobiographical notes, preserved by the Nalbandian family, Kevork indicates that he composed some 50 such pieces over the course of his career. This shows just how much he understood, very early on, the critical importance of song as Ethiopia's crowning artistic form. Indeed, for Ethiopian listeners, the most important thing is the lyrics, with all their multifarious mischief, far more than a strong melody, sophisticated arrangements or even an exceptional voice. (This is also why Ethiopians by and large, and beginning with the artists and producers themselves, believed for a long time — and wrongly — that their music could not possibly be exported, and could never win over audiences abroad, who did not speak the country's languages).

Last but not least, one of Kevork's major contributions remains composing Ethiopia's first national anthem – with lyrics by Yoftahé Negussié.
Nersès Nalbandian moved to Ethiopia at the end of the 1930s, at the behest of his ground-breaking uncle. Proficient in many instruments (pretty much everything but the drums), conductor, choir director, composer, arranger, adapter, creator, piano tuner, purveyor of rented pianos,... he was above all an energetic and influential teacher. From 1946 onwards, thanks to Kevork's connexion, Nersès was appointed musical director of the Addis Ababa Municipality Band. In just a few years, Nersès transformed it into the first truly modern ensemble, thanks to the quality of his teaching, his choice of repertoire, and the sophistication of his arrangements. It was this group that would go on to become the orchestra of the Haile Selassie Theatre shortly after its inauguration in 1955, which was a major celebration of the Emperor's jubilee, marking the 25th anniversary of his on-again-off-again reign.

At some point or other in his long career, Nersès Nalbandian had a hand in the creation of just about every institutional band (Municipality Band, Police Orchestra, Imperial Bodyguard Band, Army Band, Yared Music School…), but it was with the Haile Selassie Theatre – today the National Theatre – that his abilities were most on display, up until his death in 1977. To this must be added the development of choral singing in Ethiopia, hitherto unknown, and a sort of secret garden dedicated to the memory of Armenian sacred music, and brought together in two thick, unpublished volumes. Shortly before his death (November 13, 1977), he was appointed to lead the impressive Ethiopian delegation at Festac in Lagos, Nigeria (January-February 1977).

His status as a stateless foreigner regularly excluded him from the most senior positions, in spite of the respect he commanded (and commands to this day) from the musicians of his era. Naturally gifted and largely self-taught, Nerses was tirelessly curious about new musical developments, drawing inspiration from the very first imported records, and especially from listening intensely to the musical programmes broadcast over short-wave radio – BBC *First*. A prolific composer and arranger, he was constantly mindful of formalising and integrating Ethiopian parameters (specific “musical modes”, pentatonic scale, and the dominance of ternary rhythms) into his “modernisation” of the musical culture, rather than trying to over-westernise it. It even seems very probable that *Moussié* Nerses made a decisive contribution to the development of tighter music-teaching methods, in order to revitalise musical education during this period of prodigious cultural ferment. Flying in the face of all the historiographical and musicological evidence, it is taken as sacrosanct dogma that the four musical modes or chords officially recognised today, the *qǝñǝt* or *qiñit* (ቅኝት), are every bit as millennial as Ethiopia itself. It would appear however that some streamlining of these chords actually took place in around 1960. It was only from this time onward that music teaching was structured around these four fundamental musical modes and chords: *Ambassel*, *Bati*, *Tezeta* and *Antchi Hoyé*. A historical and musical “details” that is, apparently, difficult to swallow, especially if that should honour a *foreigner*. Modern Ethiopian music has Nersès to thank for many of its standards and, to this day, it is not unusual for the National Radio to broadcast thunderous oldies that bear unmistakable traces of his outrageously groovy touch.

After over a decade in the shadows, the mysterious and elusive Creative Use return to their secret headquarters for brand new manoeuvres.

Freshly kitted out with new prescience, flair, and a Maestro Echoplex EP-3, they deliver Creative Use 11 via newcomers, Powerhouse Jim & The Fitness Centre, direct from their dojo in the North of England.

The trio of delights offer something for all discerning DJs and collectors alike. This EP won’t be around for long, so we advise to buy or cry.

Der Einstieg in die Musik von Q Lazzarus erfolgte für fast alle über „Goodbye Horses“. Der Song tauchte erstmals 1988 in Jonathan Demmes „Married to the Mob“ auf, aber er sollte sich erst dann vollständig im Bewusstsein der Menschen verankern, als er 1991 in Demmes „The Silence of the Lambs“ wieder auftauchte. „Goodbye Horses“ fühlte sich an wie ein in sich geschlossenes Universum - traumhaft und völlig ungewöhnlich, ein sofortiger Klassiker, der die Zuhörer fesselte und neugierig auf die geheimnisvolle Stimme dahinter machte. Diese Stimme gehörte Diane Luckey, einer einzigartig talentierten Künstlerin, deren Musik ihrer Zeit voraus war und die letztlich zu Lebzeiten weitgehend unerkannt bleiben sollte. In Verbindung mit der Veröffentlichung des Dokumentarfilms „Goodbye Horses: The Many Lives of Q Lazzarus“ von Aridjis Fuentes veröffentlicht Sacred Bones eine Sammlung von Songs, die die gesamte Karriere von Q abdecken und die verschiedenen Epochen ihres Schaffens und die ganze Bandbreite ihrer Persönlichkeit zeigen. „Goodbye Horses“ ist die erste Musiksammlung, die den Segen von Qs verbliebener Familie erhalten hat, und hat die Besonderheit, ihre erste und einzige Albumveröffentlichung in voller Länge zu sein. Aufgenommen zwischen 1985 und 1995, spiegelt diese Fundgrube bisher unveröffentlichter Musik einige der interessantesten Facetten der Popmusik der letzten vier Jahrzehnte auf eine Weise wider, die sowohl versiert als auch wild eklektisch wirkt Das titelgebende „Goodbye Horses“ bleibt ein einzigartiges Stück gespenstischer New-Wave-Perfektion, und man könnte sich ein ganzes Q-Lazzarus-Album vorstellen, das sich um diese Ästhetik dreht, aber ähnlich den Gesangsikonen Alison Moyet, Annie Lennox oder Lisa Gerrard eignet sich Qs chamäleonhafte Stimme perfekt für eine Vielzahl von Stilen und Settings. Ihre Coverversion von Talking aHeads' „Heaven“ verwandelt den Song in eine aus voller Kehle gesungene Power-Ballade mit klimpernden Klavierverzierungen, während ihre Interpretation von Gershwins „Summertime“ wie eine dubbige Club-Reduktion klingt, die zu einem Grace Jones Stück der Nightclubbing-Ära hätte passen können. Tracks wie „My Mistake“ und „Hellfire“ flirten mit House-Musik und zeigen, wie frech und glockig Qs Stimme sein kann, wenn sie sich richtig austobt, während „Don't Let Go“ wie eine bombastische Radiosingle klingt, die Cher vor einigen Jahrzehnten hätte veröffentlichen können. Andere Songs wie „Bang Bang“ und „I See Your Eyes“ sind von einer gitarrenbetonten Alt-Rock-Sensibilität, die in einem Paralleluniversum auch auf MTVs 120 Minutes Show hätte laufen können. „Goodbye Horses“ verkörpert das Potenzial für so viele verschiedene Arten von Karrieren, die, aus welchen Gründen auch immer, nie vollständig verwirklicht wurden. Dass wir jetzt diese Songs in der Welt haben und ein klareres Bild von der Person dahinter, ist nichts weniger als ein Segen.

Mother Tongue keeping the pressure high and unleashing straight away the follow up to the deadly YJ Vol.1.
This second Yellow Jackets double A sider feautures Chicago’s royalty Ron Trent and the extra talented multi instrumentalist Other Lands.

Again one track per side and full powerful cutting to maximize the sound impact in pure YJ philosophy. Ron Trent ‘The Medi’ was actully constructed while riding trains and in hotel rooms through Italy, used as a secret weapon in special occasions…and we can hear why: a mind expanding suite that keeps evolving and going in places and spaces while constantly beating you hard! On the Flipside Other Lands brings things down to more abstract realms with the floating almost Kraut inspired jam ‘Matter’.

A very special release and a hint of what Yellow Jackets has in store for us in the near future…

Ideologic Organ freut sich, die brandneuen Aufnahmen von The Necks zu präsentieren, dem legendären australischen Trio, das sich durch die Umgehung musikalischer Klischees auszeichnet und gleichzeitig die Praktiken der Improvisation, des Jazz, des Post-Rock, des Ambient, des Minimal und der texturierten, ,klangbasierten" Musik erforscht und erweitert. Das neueste Werk dieses langjährigen Ensembles, Unfold, präsentiert sich als Doppel-LP mit vier seitenlangen Tracks. Das bewusste Fehlen von nummerierten Seiten gibt dem Hörer viel Raum, sich einzubringen, und lässt ihn seinen eigenen Weg durch die Klanglandschaft finden. Die kürzere Länge des Vinylformats ist für die Mitglieder des Ensembles kein Hindernis, sondern bietet ihnen einen kompakteren Horizont zum Nachdenken, in dem die zurückgelegte Strecke auf unmittelbarere und dynamischere texturale Aspekte neu ausgerichtet wird. Die Unmittelbarkeit von ,Rise" bestätigt diesen neuen Weg, während die traurigen Töne von Lloyd Swantons Bass um Chris Abrahams' kristallklares Klaviermotiv wirbeln und Tony Bucks Percussion den Prozess in erleuchtende Free-Jazz-Gefilde lenkt. ,Blue Mountain" bahnt sich einen Weg durch das klangliche Unterholz, wobei Soul-Orgel, rasselnde Percussion, Pfeifen und hüpfende Schallwellen um den Vordergrund wetteifern. ,Overheard" behält eine erhabene melancholische Aura, während Percussion und Keyboards sich gleichzeitig umarmen und auseinanderfallen, während ,Timepiece" als sanfte Geste weiterer Möglichkeiten dahinspringt. Wie genau The Necks ihre besondere Magie entfalten - so einfach es auch scheinen mag -, während sie sich immer weiterentwickeln, kann nur vermutet werden, aber ,Unfold" beweist einmal mehr, dass Regeln und Schulen gebrochen und zu Mustern und Rahmenwerken umgestaltet werden müssen, die sich von denen unterscheiden, die wir kennen.

Repress !

For the 10th installment of his Black Aroma Eps, Patrick Gibin leaves the edit duties to 3 masters of the scene: Red Greg, Specter and Luca Trevisi aka LTJ Xperience deliver 5 special edits for this release on Blend it! Records.

Modul Remixes #1 (incl. remixes by Ricardo Villalobos & Max Loderbauer / Patrick Pulsinger / Shahrokh Dini)

Als Beck 1994 mit seinem offziellen Debütalbum „Mellow Gold“ auf den Markt kam, gerade als Alternative
Rock zum Mainstream wurde, übertraf er schnell alle Erwartungen, als „Loser“ sich von einer abgelehnten
Demo zu einem allgegenwärtigen Hit entwickelte. „Loser“ zeigte Becks unkonventionellen Ansatz beim
Songwriting und festigte seinen Status und seine innovative Stimme in der alternativen Musik. Der Song
enthält ein Sample aus „I Walk on Guilded Splinters“ von Dr. John.
Mellow Gold wurde von Beck, Tom Rothrock, Rob Schnapf und Karl Stephenson produziert und von Tom
Rothrock und Rob Schnapf gemischt.
Nun erhältlich auf einer 180g schwarzen Vinyl.

« In Praise Of Nothing » is the debut EP of the brand new S.A.C.S 89 imprint created by Stephen & Charlou former founding members of OPAQ Records. S.A.C.S 89 stands for Society Against Conformist System and aims to defend uncompromising music. On this first record founders Charlou & Stephen provide 2 tracks each and 2 collaborations ranging from techno & EBM to synth-pop. An invitation to join their new system.

In the humid static of early-’80s Tel Aviv, Chromosome emerged like a wiretap from the future. Formed in 1981 by provocateur Rami Fortis and sonic instigator Doron “Shultz” Eyal, the group fused punk abrasion, new wave architecture, avant-garde dissonance, and Middle Eastern textures. Joined by David Gervai and Rona Vered, they produced a singular 12" EP on their DIY imprint TOV Production - now a collector’s treasure.
This reissue of the Chromosome EP resurrects a raw, percussive artifact that slips between English, Arabic, and indecipherable phonetics like a busted shortwave signal. Anchored by “Makhtub” and backed with incendiary tracks such as “Show of Terrorism” and “Gazolina,” it is a vital document of Tel Aviv’s underground, mapping out a borderless, feral lineage for Israeli music.

lim. 150 blue transparent 180 Gr LP + 7" + Poster / incl. Silent Servant Remix

A cross-cutting label exploring the boundaries between different disciplines based on deep listening and music research, Modern Obscure Music is set to release 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) on the 1st December, the new album from Dellarge.

Inspired by the scenic beauty of his studio's surroundings at Lake Pátzcuaro in Michoacan, Mexico, Alejandro Barba, aka Dellarge, delves deep into the depths of his artistic consciousness to craft a spiritual album that encapsulates the essence of the place. 'INRI' stands for Industria Nacional del Ruido Infinito (National Industry of Infinite Noise) and serves as a vessel for Dellarge's innermost self-expression and reflections on the potential of humanity.

A multifaceted artist and veteran of the music industry for over two decades, his latest musical creation is an intimate and personal album and a departure from previous Techno/EBM-orientated Dellarge releases. 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) offers a mesmerizing blend of ambient, futuristic, and industrial sounds that transport listeners into a realm of mysticism, futurism, and duality and stands as a testament to Dellarge's artistic growth and his ability to transcend boundaries, offering listeners an immersive experience that connects them to his world.

Drawing inspiration from numerous sources, Dellarge found creative fuel in books such as 'El Arte de los Ruidos' by Luigi Russolo, 'Manifiestos y Textos Futuristas' by F.T. Marinetti, and science fiction classics including 'Congreso de Futurología' by Stanislaw Lem, 'Neuromancer' by William Gibson, and 'Dune' by Frank Herbert. Musically, he delved into the works of Coil, Michael Bundt, The Threshold Houseboys Choir, krautrock legends CAN and Popol Vuh, early Kraftwerk, Arthur Brown, Yello, Esquivel, The Residents, and Hector Lavoe for inspiration.

When asked about the creative process behind the album, Dellarge revealed a disciplined routine that involved immersing himself in the sounds, focusing on minute details that connected with the vivid world he envisioned. Ethereal tracks such as 'Viento Androide' and 'Viaje al Sol' offer a glimpse of a hopeful future, while darker compositions such as 'Corpus de Sangre' and 'Toro de Falaris', explore the wickedness and compassion within humanity. Each piece in the album represents a unique sonic journey.

'Viaje al Sol', the first single to be taken from the album, is set for release on the 27th October, and is also available as an EP which includes a remix from Juan Mendez aka Silent Servant. The remix is also included on the digital version of the album and available on 7" vinyl alongside an exclusive reworking of 'Cascabel' by the founder of Modern Obscure Music, Pedro Vian.

Uluru is back with another Dibba production!
Italian dj and producer Dj Dibba open up to different sounds and surprise us with a contagious Uk Garage Remix.
On the flip, the producer from Albano Laziale (known as the italian Kingston) confirm himself as one of the reggae-hip hop raising stars with “Ego Skank”.

Pull up guaranteed!

Pressed on high quality black and transparent red vinyl (48 gr.)
Edition of 250, cut it loud and fat, highly recommended for big sound systems.

Holy Shit! A new player in town with 2 smart dancefloor classics.
Joyful A side with polish reggae mash up hero Dreadsquad with one of his most classic mash up.

The flip sees the debut of Albanian artist Toni Cicoria. All the way from Tirana, Toni take advantage of this long time classic Italian rap, and deliver a real SM Click experience.

2026 Repress

Rain&Shine proudly present ENERGIZE, a band out of Marin County, California in 1979. Previously unobtainable even for top DJs due to rarity, Rain&Shine gives this double A side modern soul/disco 45 an official re-issue treatment. About ENERGIZE (words by Dan Hays - Guitarist, Songwriter):

ENERGIZE came to age in a post-hippie era, where musicians went back to playing covers in bars. However Marin was still inexpensive and it was possible to pool money together to buy studio time.

That's how ENERGIZE formed - working musicians led by the superb producer and guitar player, Archie Williams (son of Archie Williams Sr - a passionate educator, WWII air force pilot and 1936 Olympic champion) Dan Hayes - songwriter and guitarist, and John Isabeau - lyrics and our executive producer.

John is now a successful Hollywood producer, Oscar documentary award winner, and resides in James Brown's former house in Las Vegas.

The record also features a hugely successful blues vocalist who has asks to remain uncredited. Archie, John and I now have grown children and a few grandkids as well and getting a kick that 40 years later, our self-produced record has found an audience. Far Out

Zweifelsfrei prägt Fritz Kalkbrenner den Sound einer ganzen Generation und bringt Dancefloors weltweit zum Beben. Nun kehrt er mit seinem neuesten Album Third Place zurück, welches zweifellos eines der ambitioniertesten und künstlerisch anspruchsvollsten Werke seiner Karriere ist. Mit Third Place nimmt Fritz Kalkbrenner seine Zuhörer mit auf eine tief immersive Reise, die die Schnittpunkte von Musik, Gemeinschaft und Selbstfindung feiert. Das Album schafft eine perfekte Balance zwischen euphorischen Höhepunkten und introspektiven Momenten. Inspiriert vom soziologischen Konzept des „Third Place“ – Orte, an denen Kreativität und Gemeinschaft aufleben – verkörpert das Album die Freiheit und emotionale Befreiung, die man in Clubs und Räumen der Gemeinschaft findet. Im Mittelpunkt des Albums stehen mehrere bereits vorab veröffentlichte Singles. ”Into the Night” hat bereits mit seinen erhebenden Chicago-House-Akkorden und dynamischen Grooves die Dancefloors weltweit erobert. Der Track fängt die Euphorie der Clubkultur perfekt ein und kombiniert Fritz Kalkbrenners gefühlvolle Stimme mit einem unwiderstehlichen Groove. Ebenso beeindruckend ist ”The Telepath”, das nostalgische Warehouse-Vibes mit treibenden Breakbeats verbindet und die energiegeladenen Live-Sets von Fritz Kalkbrenner widerspiegelt

Hands in the air, Uluru is back with another Reggae Hip Hop 7” Vinyl.
For the occasion we're so proud to welcome back legendary producer Jstar, this time in combo with Canadian reggae artist Dubmatix.
The duo deliver a punchy remix of the classic Scenario that will heat up the dancefloors during the upcoming summer.

Pull up guaranteed!

Pressed on high quality black and white vinyl (48 gr.)
Edition of 200, cut it loud and fat, highly recommended for big sound systems.

Produced by Jstar & Dubmatix

Hands in the air, Uluru is back with another Reggae Hip Hop 7” Vinyl.
For the occasion we're so proud to welcome back legendary producer Jstar, this time in combo with Canadian reggae artist Dubmatix.
The duo deliver a punchy remix of the classic Scenario that will heat up the dancefloors during the upcoming summer.

Pull up guaranteed!

Pressed on high quality black and white vinyl (48 gr.)
Edition of 200, cut it loud and fat, highly recommended for big sound systems.

Produced by Jstar & Dubmatix

Prick up your ears everybody: Uluru number 3 is ready to take off!

This time Little Beat More's sub-label Uluru, featuring highly acclaimed remix/mash up series, sees the participation of living legend Jstar.
The west London reggae hero delivered a smoothly bouncing rework of the classic “Eye of the tiger” by the Survivor, that originally gained fame through being the anthem of Rocky III.
The flip sees the debut of an Italian duo called “The Dynamates” (The Rebel and Dibba). They put their hands on another precious song that made history, namely “You got to love” from Candi Staton.
Pull up guaranteed!

Pressed on high quality black and yellow lime vinyl (48 gr.)
Edition of 350, coming with “hand stamped” vintage yellow paper sleeve.

ULURU 2020
“Mind Control, Modern Slavery”

Aer making everyone dance with "I'm Gonna Dance," Muzic Family Vs. Stylóo is ready to ignite the
dancefloors again with "Sweat," an adrenaline-fueled track that unites the tradi!on of Italo Disco with a
modern pop-dance sound.
At the helm of "Sweat" is Roberto Tura, one of the most influen!al producers in the Italian and
interna!onal dance scene. A key figure of 80s Italo Disco, Tura( has shaped !meless hits for ar!sts like Den
Harrow, Joe Yellow, Albert One, and Stylóo themselves, helping to define the sound of an era that s!ll
makes fans' hearts beat faster all over the world. With "Sweat," Tura( once again proves his ability to
merge the magic of those years with a modern, powerful sound, capable of winning over new genera!ons of
listeners and ge(ng everyone dancing.
By his side is Silvio Melloni, a top-level musician and arranger, who is now part of the historic band Ma"a
Bazar. Melloni brings his experience and musical sophis!ca!on to the project, cura!ng arrangements rich in
detail and nuance, where every element is calibrated to maximize the emo!onal and rhythmic impact of the
track. His ar!s!c sensi!vity perfectly matches Tura('s energy, crea!ng a winning combina!on of technique,
passion, and crea!vity.
The release of "Sweat" doesn't stop at the original version: two exclusive remixes are included to enrich the
project, promising to make the track explode on the most demanding dancefloors.
 Italoconnec"on Remix – The duo formed by Fred Ventura and Paolo Gozze( (aka Italoconnec!on)
transforms "Sweat" with their characteris!c touch: sonic elegance, pulsa!ng energy, and a refined
sound that blends dance-pop rhythms with the vibrant nostalgia of Italo Disco. It's an interpreta!on
that leaves no room for rest and pushes you to listen and move.
 A.P. Mono Remix – A.P. Mono infuses an 80s-flavored electro-disco soul: funk syncopa!on,
enveloping synths, and an irresis!ble groove. His reinterpreta!on turns the track into a true
energe!c vortex, perfect for making anyone who dances to it sweat.

Uluru is back with a new tasty pizza-focaccia 7” vinyl.

All the way from Italy, fellow producer RBL delivers 2 instant classics for all the b-boys and b-girls out there.

Get down on the floor and show your moves.

Pull up guaranteed!

Dolce Vita ist wohl einer der bekanntesten und eingängigsten
Songs aus den 80ern. 1983 stürmte er bereits die Charts und nun gibt es diesen guten Laune Song für alle Italo Disco Fans und Vinyl-Liebhaber auf farbiger 7“ Vinyl. Lassen sie sich von dieser kleinen
blauen Scheibe das Leben ein bisschen leichter machen und
zum Mitsingen und Mittanzen verleiten.

Possibly one of the best Mental Groove releases to date. Symbols & Sacrifice is raw, beastly, and savage — a cinematic and esoteric journey from the depths of Sindaco’s universe. A masterfully crafted experience across four sides, this release blurs the lines between ritual electronics, hypnotic repetition, and uncompromising raw techno. A powerful and immersive statement, pressed on audiophile-grade vinyl for full heavy sonic impact.

Under the name of Sindaco is hidden a complex yet mysterious project where different styles and cultures live together.Obscure kraut rock, no wave, black metal and Detroit techno collide in what can be considered songs more than simple tracks. All is played by Sindaco with analog equipment without the help of computers. All is driven to create the best soundrack possible. The idea is to avoid all the typical cliches of the contemporary electronic productions and push the boundaries into a new way of tropical futurism. Be involved by the unespected waves of sounds coming from another world!

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left.

So everybody, don't sleep, be critical.

Spiritual World's first archival 12" vinyl release from the UK’s free festival dub pioneers.

The Ullulators, an experimental dub and world music ensemble from Bath, UK, have long been associated with the UK’s free festival movement, tracing their creative lineage back to the mid-1980s. For the first time ever, two pivotal tracks from their early cassette-only discography—“Simply Conscious Dub” and “Eternal
Now”—are being issued on 12” vinyl, marking the first archival release on Spiritual World.

The A-side, “Simply Conscious Dub”, originally featured on the 1986 cassette Beyond the Gates of Ull, exemplifies the band’s signature fusion of weighty dub rhythms with expansive and euphoric electronics.
In contrast, the B-side, “Eternal Now”, drawn from the 1985 cassette Share a Calm with the Ullulators, ventures into more introspective sonic territory. Built on minimalist structures and ambient textures, it evokes the kosmische tradition and aligns with the spatial sensibilities of Manuel Göttsching’s E2-E4.

Together, these tracks not only showcase the group’s wide stylistic range but also underscore their forward-thinking approach to genre hybridity. This release stands as a unique document of a formative era in the
evolution of UK underground, dub, and ambient music.

Toni Braxton, veröffentlicht 1993, stellte der Welt Braxtons warme, samtige Stimme vor und etablierte sie als prägende Figur des R&B-Genres. Mit ikonischen Tracks wie dem Smash-Hit "Another Sad Love Song" und dem kraftvollen "Breathe Again" verbindet das selbstbetitelte Album mühelos sanften Soul, gefühlvolle Balladen und zeitgenössische R&B-Einflüsse. Die opulenten Produktionen, geprägt von komplexen Melodien und raffinierten Arrangements, zeigen das Talent namhafter Produzenten wie Babyface und Antonio Reid.

Secrets ist das zweite Studioalbum der US-amerikanischen Sängerin Toni Braxton und wurde ursprünglich 1996 veröffentlicht. Das Album markierte einen entscheidenden Moment in Braxtons Karriere, indem es R&B-, Soul- und Pop-Einflüsse miteinander verband und einen Sound schuf, der sowohl zeitlos als auch modern ist. Mit kraftvollen Tracks wie dem Grammy-prämierten "Un-Break My Heart" und dem sinnlichen "You're Makin' Me High" präsentiert Secrets Braxtons unvergleichliche stimmliche Stärke und ihre charakteristische emotionale Erzählkunst.

Los Angeles polymath Tyler, the Creator turns his past into vivid technicolour here on his latest offering. Narrated by his mother, the album unfolds like a scrapbook of childhood memories and adult reckonings, moving between swagger and nostalgia. Tyler's production - lush with horns, strings and jazz-inflected chords - recalls the warmth of Flower Boy but with the unpredictability of Cherry Bomb. 'Noid' wrestles with fame's paranoia while 'Hey Jane' confronts moral conflict with startling candour. 'Darling, I' and 'Like Him' offer soulful reprieves amid the chaos. Guest spots from Lil Wayne, Santigold and Lola Young expand the palette without distracting from Tyler's emotional centre. Messy but self-aware, this captures an artist still discovering who he is.

Wir setzen unsere Compilation-Serie “80s Techno Tracks” für alle Schallplattenliebhaber als Vinylausgabe fort.

Der Technosound der 1980er Jahre hat weiterhin viele Fans, die sich hier auf weitere Kultsongs aus den damals angesagten Clubs freuen dürfen.

Auf dieser Vinyl gibt es 8 handverlesene Techno-Klassiker in extra langen Versionen. MCL, Hypnopedia , Aircrash Bureau dürfen auf dieser Zusammenstellung nicht fehlen.

For all record lovers, we continue our compilation series „80s Techno Tracks“ in form of a vinyl edition.

1980s techno sound has more fans than ever, and they can look forward to a variety of cult tracks straight out of the hottest clubs of the glittering decade.

This vinyl features 8 expertly handpicked techno classics in
extra-long versions.
Get down to tracks by MCL, Hypnopedia , Aircrash Bureau and more!

Atom's first release for 2024 is a 3 track vinyl from label head Micropulse.

A1 / Micropulse - Midnight (160bpm, 45rpm)
Midnight serves up haunting voices over a stripped back and souped up 90s hard trance bassline at 164bpm.

B1 / Micropulse - Doesn't Matter feat. Ella (140bpm, 33rpm)
Doesn't Matter marks Micropulse's first experimentation at a lower BPM, with B1 at 140bpm featuring a short melancholic vocal hook from Ella Brown.

B2 / Micropulse - Entry (164bpm, 33rpm)
Entry retains the experimental style of earlier Atom releases and keeps melancholic but raises the tension with acid interspersed with muted plucks, pulses, and gated pads.

There will be an additional 50 "Collector's edition" copies available through the Atom website direct that include the new Atom label jacket inside a full artwork sleeve with a vinyl backed sticker.

"It's great to have reached Atom's 15th vinyl, thank you all for your continued support".

Tomos is no stranger to reinvention. Over the years, his sonic explorations have spanned genres, yet one thread has remained constant—his deep-rooted connection to house music. His earliest co-releases under the alias Vanguard were high-energy French House cuts, built on the foundations of crate-digging and sample collage, channeling the spirit of Daft Punk and the wider French electronic movement.

Now, 15 years later, he returns to those techniques with a fresh perspective, releasing his latest EP Soul Feels Good through the esteemed Noire & Blanche.

Soul Feels Good isn’t just a nod to the past—it’s a showcase of the vast influences that drive his ever-evolving sound. Tomos weaves together an intricate patchwork, merging the meticulous sampling techniques of his early career with a broader, more mature musical palette. The result? A genre-fluid blend of Jazz, House, Dub, Soul, Gospel, Broken Beat, Downtempo and Disco—stitched together with the finesse of an artist who has spent years honing his skills.

For listeners who appreciate the craft of sampling and fans of genre-defying, groove-driven music - Soul Feels Good is a record that demands attention.

*Repress*

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.
Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

Original Gravity Records announces a deadly new 7" from Boss Foundation, the fresh alias of producer and multi-instrumentalist Neil Anderson. Previously known as Woodfield Rd Allstars for his vintage Jamaican (predominantly instrumental) output, Anderson now moves forward under the sharper, more genre-focused name Boss Foundation—a banner that reflects the heavy, stripped-down, late-’60s Boss Reggae style at the core of his sound.

Side A: The Henchman

A tough, propulsive Boss Reggae instrumental driven by a fierce groove, The Henchman comes armed with vintage-style pistol-shot effects and a pair of unmistakable Dennis Alcapone vocal drops, giving the cut the swagger and tension of a lost 1969 sound-system special. Heavy, atmospheric, and tailor-made for selectors who favour harder-edged instrumentals.

Side B: Pressure Version

An organ-led version built on the riddim Anderson created for The Pioneers’ 2025 recording of “I Feel So Bad” (the Jackie Edwards classic). Featuring Abramo Riti on Hammond organ, Pressure Version offers a warm, melodic excursion that highlights the depth and movement of the rhythm—spacious, soulful, and crafted with the sensibilities of a classic late-’60s version cut.

Pressed in a strictly limited edition, this double-sided killer marks the official debut of Boss Foundation, signalling a powerful new chapter in Original Gravity’s ongoing commitment to era-authentic Jamaican sounds.

2026 Repress

The mashups to end all mashups. Fire up the Lowrider, crank the speakers – here’s two outrageously audacious cuts that put the ‘it’ in ‘lit’. Heavy vibes whichever side you blast.

DJ Support: Dr Packer, Aston Shuffle, Fdel, All Good Funk Alliance, Fingerman, Jordan Lee, Jsquared and Rackus.

vinyl only


The new storming 7 inch from Cedar Room Party, bring us the best of uplifting disco- house. Usual quality, providing two floor-focused tracks, perfect for many situations...

Cedar Room Party Edits comes back strong with two dance floor weapons.
Side A: “Baby” flips raw house energy into a positive, Latin-disco vibe.
Side B: “Love” delivers a killer jazz/funk edit.

Gothenburg-based Finnish pianist Joona Toivanen makes his We Jazz Records debut with his long-standing trio featuring Tapani Toivanen on bass and Olavi Louhivuori of Superposition on drums. Searching for new opportunities on the minimal side of acoustic groove-based free music, the trio introduces a single edit of a hard-driving album track to be, "Except For", and a fresh take on Terry Riley's "Keyboard Study No. 2" on the flip. Fans of introspective jazz piano plus minimalist modern composition take notice.

Over the past decade, East London artist Kojey Radical has cemented himself as one of the most creative and unique voices in British music. His debut album Reason to Smile (2022) was released to critical acclaim, and saw him emerge as one of the defining voices in UK culture. Now, the 32-year-old readies to release his second album Don’t Look Down.

“I wanted to make this album more personal and more honest,” he says, “we have to be able to accept that the messenger has flaws and all.

16-tracks long, Don’t Look Down, set for release on 19th September 2025, is a musically rich and deeply introspective reflection on the shifting tides, lows and joys that have passed through his life since his emergence into the public eye.

Sonically, the album provides the most experimental and eclectic music of his career, with influences ranging from golden age Hip Hop to disco, grime to Indie, Jazz to Ska. Together, these strings combine to give a pertinent insight into Kojey’s inner world, and a timestamp documenting the feelings, emotions and experiences that arise when many reach the milestone of their 30s.

“When you’re younger, certain ages seem so grown,” he says, “you feel like you’re supposed to have your life together and all figured out by 30. Then especially when you're in the spotlight you feel extra pressure to have it figured out because so many people are looking towards you.”

Don’t Look Down follows debut album Reason to Smile (2022). A critical success, it landed at No.11 on the UK Album Charts and was nominated for the Mercury Prize as well as two MOBO Awards. In the following year came a nomination for Best New Artist at 2023 BRIT Awards and Best Contemporary Song at the Ivor Novello Awards. He toured across the UK, as well as hitting the festival circuit.

This sense of growth was not limited to music. Kojey was tapped by the British Fashion Council to host the 2023 and 2024 editions of The Fashion Awards as his stock in music and wider culture continued to rise.

The album he says, is a reflection of “the experiences I’ve had over the past few years. That shaped the direction I took going forward. It’s given me the opportunity to tell new stories from newer perspectives. It was liberating, and it was very necessary to keep me in love with the process and to keep making music.”

The result is his most innovative album yet, a project where a sense of profound personal interrogation and introspection dance in union with the rich musical tapestry. Don’t Look Down is a story of purpose lost and then found, of what happens in the aftermath of achieving your childhood dreams, and the ranging flux of emotions that rise to the surface once the music stop

Megadeth have announced their final, self titled album, for release in 2026, via Dave Mustaine’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label. The campaign is anchored by the first single “Tipping Point”, multiple variants and exclusives and and a farewell tour has been hinted for 2026 “There's so many musicians that have come to the end of their career, whether accidental or intentional,” DAVE MUSTAINE says. “Most of them don't get to go out on their own terms on top, and that's where I'm at in my life right now. I have traveled the world and have made millions upon millions of fans and the hardest part of all of this is saying goodbye to them. We can't wait for you to hear this album and see us on tour. If there was ever a perfect time for us to put out a new album, it's now."

More dancefloor jazz gems from the Messin About label - two well loved classics back to back for maximum playability!

Producer/bassist Petter Eldh's celebrated Koma Saxo returns with a fresh single release on We Jazz Records, June 12. "Koma Mate" is a new look on "Koma Tema" from Koma Saxo's 2019 debut album. The track's anthemic quality remains, but with an extra 10% bangerism added for good measure. On the flip, Eldh invites Jameszoo to tear apart and reassemble Koma Saxo's elements, making for an extra tasty serving of spicy Koma Soup, filled with criss-crossing saxes and odd grooves. Lightning in a bottle, times two.

"Koma Mate / Jagd (Feat. Jameszoo)" will be released by We Jazz Records on June 12 as a 7" single and digitally. True to We Jazz style, the 7" comes with an old school heat-pressed labels and a generic brown paper sleeve.

Alien Tropical: the perfect title for the second album by Servicio Al Cliente (Customer Service), the project of Colombian-born, Berlin-resident Juliana Martinez. If you were cannily seduced by the debut self-titled Servicio Al Cliente album, from way back in 2021, the wait for a follow-up has felt long, but Alien Tropical was worth the wait. Indeed, it feels like the perfect way for Michael Mayer’s Imara imprint to introduce itself to the new year: an album full of play and spirit, verve and sparkle, rich with pop spirit and with one eye smartly cocked toward the dancefloor.

That first Servicio Al Cliente album was a smart statement of intent, and a wonderful, unexpected turn from Martinez, who’d already been through plenty: being expelled from private music lessons,
training in law, joining a group named Las Palabras Correctas. 2021’s Servicio Al Cliente landed on the turntables of anyone with discerning radar (Ada included “Romántico” on her Connecting The Dots mix for Kompakt, for example). With Alien Tropical, Martinez works the sensual sway of her music even harder, building six luscious songs that twist chant-like repetitions into hypnotic mantras, each song the perfect confluence of melody and mystery.

When asked about Alien Tropical, Martinez pieces together fragments of memory: winter explorations, long road trips, navigating the highways and the heart. “I had been driving a lot at the time on the highway,” she recalls. “I depended on music I played in the car to manage my emotions and my thoughts on those long drives. Everything felt strange and unfamiliar on the highway, and I realised music was so psychological and my only tool to influence my feelings between highways and new places.”

So, the music becomes the narrative for where the body and the heart wants to go. That might explain the gentle yearning in Alien Tropical, and its eternal hypnotic, its sense of forever forward-motion, as though the music is flickering like the highway strip reflected in the rear-view mirror. But there’s also the skyward movement of the melodies, the way their loveliness lifts these six songs up through the clouds, like the helium balloons on the cover. From the sensual swelt

SuckaSide know how to twist a classic into new realms. This latest is further proof on their own self-titled label, starting with a flip of Brazilian-inspired gem. Drums gently break like waves, the vocals are intriguing spoken words, and there's a dark soul lingering in the air. On the flip is their take on downtempo delight which becomes a high speed drum & bass roller with light pads and elevating chords. The lazy trumpets from the original remain in place for that nostalgic touch.

The definition of the word 'fado' is technically 'fate', though the Portuguese meaning bound up with this term is more complex. The music itself can be fairly closely compared with that of Greek rebetika - also the American blues or the original working-class tango music of Argentina and Uruguay - and similarly takes it's common subject matter from the various cruel realities of the world. Though perhaps what distinguishes fado in character is it's often poised acceptance of the pains of life rather than protestation or resistance - as writer Paul Vernon says "It speaks with a quiet dignity born of the realisation that any mortal desire or plan is at risk of destruction by powers beyond individual control"

Death Is Not The End compile here a spine-tingling collection of fado recordings, taken from records issued in the mid 1910s through to the 1930s. The fado's Lisbon and Coimbra variants are presented here by some of the music's earliest recorded stars - spanning a time period leading up to the emergence of the fado's all-conquering star, Amália Rodrigues.

The first volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.
Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

For our next physical release, FERMA proudly welcomes Fragedis. A driving force in the local underground for over two decades, Fragedis is renowned for his eclectic, genre-blending, DJ sets and productions. Staying loyal to the craft and deeply committed to the culture, he is also co-hosting Healthy Summer in Crete, one of Greece’s most revered festivals for authentic rave culture.

This release features six tracks that perfectly encapsulate FERMA’s sound identity and forward-thinking vision. The A-side opens with “Teras”, an atmospheric piece with immersive vocals that lay the foundation for the journey ahead. “Thrust Reverse” cranks up the intensity with industrial-driven arpeggios, primed to ignite the dancefloor. Closing out the first side is a stripped-down reprise of “Teras”, reimagined by a legendary artist who has shaped the Athenian industrial sound – true name strictly confidential.

Flipping to the B-side, “Live in Lies” drifts into deeper territory, weaving atmospheric pads and trancey synth sequences for introspective, eyes-down moments. Bringing it all home, “Fasaries” delivers an electro spinoff that rounds out the release’s sonic character and journey.

We are beyond excited to share this release with you – play it loud, folks!

On his new album always centered at night, moby has once again conjured into reality a collection of heartachingly beautiful, tender-yet-defiant songs, made in collaboration with uniquely talented, soulfully aware, other-worldly vocalists. All the songs are love letters to the unrestricted and enchanting music scene of late ‘70s, early ‘80s New York that shaped Moby as a musician. The featured vocalists were given the same assignment: “Please don’t write anything commercial. Let it be weird. Let it be personal. It doesn’t have to make sense.”

“Because of that randomized freedom, I’ve been on the receiving end of so much genius work,” says moby. “And the result has been one of the most exciting, surprising things I’ve ever done as a musician, and it’s one of the most worthwhile things a human being can do: make tender, gentle, vulnerable music that’s a clarion call to act.”

Featured on this album are some of the most exciting vocalists of our time. Some are well-known - such as serpentwithfeet on the breathless daydream of a song ‘on air’, the jazzy soulstress Lady Blackbird on the haunting ‘dark days’, or the astounding poet and activist Benjamin Zephaniah on ‘where is your pride?’. Other contributors have been found in relative obscurity - such as friend and vocalist Brie O’Banion on the Cream cover ‘we’re going wrong’, or Sheffield poet laureate Danaé Wellington on the powerful ‘wild flame’.

“The goal for always centered at night is to do something uncompromising,” says Moby. “To make music that is emotional, atmospheric and potentially beautiful. And what better use of this weird privilege I have than trying to foster creative expression that has uncompromising integrity?”

comes in deluxe gatefold edition with lyrics sheets and colored vinyl limited to 500 copies

Early 20th century. Barbarism on an industrial scale. After the final shots had rung out Europe was left a husk, a shell to be rebuilt. And she did rebuild. Slowly, but surely, normality returned. Different zones. Different ideologies. One Europe. Yet not everyone was happy. Within this struggling continent there were those who saw the hand of authoritarianism at the wheel, past criminals ruling and lands being led back to dictatorship. The solution: the sub machine gun.From Reason to Ritual is Rude 66´s most ambitious album to date. Amsterdam´s premier electronic musician maps the rise and fall of terrorism over two slabs of wax. Gruesome naivety, one that led to countless deaths, is given an electro beat on the first record, 'Reason.' Warbling wave vocals from Ruud's wife Shaunna tell a bitter tale of paranoia and looming violence. That violence is truly realised on the second record 'Ritual.' Beats rain like shards of broken glass, constricted acid and echo as the enemy closes in for the final hollow defeat. An album that takes you from manifesto to death march.

Next up on Bruno Schmidt’s Assemblies Of God; The eagerly anticipated follow up to one of the most impactful leftfield records of 2023, Bauzer Vep’s The Gurner. Alexander Folonari brings us Gut Und Günstig under his brand new Sabber Mund Alias. Previously appearing under Shampoo Douglas and La Decima Vittima on Quest’s La Nota Del Diablo imprint, Sabber Mund takes a very different form. This music could be described as “Post-everything”, combining elements of dance music, with a punk-meets-folklore education.. Everything from straight Bach-informed dancefloor killers, to medieval lullabies. Across the board, custom no-wave themes from the get go. Hot tip!

A four-piece band based in Tokyo.

Initially playing reggae/dub music, the band gradually developed into an innovative fusion of diverse musical influences, such as jazz, soul, psyche pop, new age, and exotica. A sound is based on groove and euphoria, with nostalgic melodies.

They have performed at iconic events in Japan such as Fuji Rock Festival, and also have been looking overseas since they performed in Canada(Toronto, Montreal, and Vancouver) in 2019. The new EP "Ramble In The Rainbow"(2024) is their first international release on the US label Peoples Potential Unlimited.

The work shows their musical maturity, drawing inspiration from Sun Ra, Lee "Scratch" Perry, and Yasuaki Shimizu.

A surefire Salsoul classic and comfortably one of the label's finest moments, the self-titled LP from The Strangers was originally released in that golden year of 1983 and is one of the greatest albums of the post-disco era. It’s one of Be With's favourite ever LPs and it's a complete honour to be giving it our reissue treatment.

Still strangely overlooked but not for much longer, The Strangers contains flawless tracks with truly top tier production and includes the eternal Paradise Garage favourite "Step Into My Dream."

Are they Strangers to us? Well, no, they shouldn't be. The Strangers were a US electronic-funk studio concept group comprising Edward "Tree" Moore, Howard King and Hubert Eaves III, all key members of Mtume and Gary Bartz NTU Troop and, in the case of Eaves, one half of D-Train.

Now I KNOW you're gonna dig this!

We kick off with the dope electro-funk of "Wanna Take Your Body" which features Gary Bartz on sax (!) and becomes more sensational and irresistible the longer it plays. The wonky super-bomb "Let Me Take You Home" has a punk-funk, post-Prince feel, driving and delicate all at the same time while "Show Me How You Like It" is pure FUNK, the groove just pure fire.

Side B is perfection. It kicks off with the NTS favourite "Love Rescue", a track so slick it positively SLAPS out the gate and, while it bangs throughout, the vocals and melodies elevate this to the status of EMOTIONAL POP.

Next up, "Step Out Of My Dream" swaggers forth, the undisputed masterpiece that was huge with the London DJs and UK Soul fraternity; it's not hard to see why. It's a gliding, smooth, soulful piece of once-in-a-lifetime magic.

Woody Herman Shaw war ein US-amerikanischer Jazztrompeter, Flügelhornist, Kornettist, Komponist, Arrangeur, Bandleader und Pädagoge. Shaw gilt weithin als einer der bedeutendsten und einflussreichsten Jazztrompeter und Komponisten des 20. Jahrhunderts. Das ursprünglich 1976 bei Muse Records erschienene Album „Love Dance“ gilt als eine der spirituellsten und zukunftsweisendsten Aufnahmen von Woody Shaw. Diese audiophile Neuauflage stellt den vollen Klangreichtum des Albums wieder her und fängt Shaws schwebende Trompetenlinien und das dynamische Zusammenspiel des Ensembles mit beispielloser Klarheit ein. Shaw leitet eine hochkarätige Besetzung – darunter Billy Harper, Steve Turre, René McLean, Cecil McBee und Joe Bonner – durch fünf ausladende Titel, die Modal Jazz, spirituelle Themen und Post-Bop-Intensität miteinander verbinden. „Love Dance“ ist ein Meilenstein in Shaws Diskografie und ein Muss für jeden Musikliebhaber – jetzt präsentiert mit der Tiefe und Detailtreue, die es schon immer verdient hat.

Tom Sharkett arrives on Discotecas hot on the heels of his DFA-released rework of LCD Soundsystem’s ‘Home.'

On the A side is Certamente, driven by a catchy hook — think Tom’s Diner reimagined for house heads — which is followed by an instrumental. On the flip, Pinballed drops into deep, low-slung territory — pure drug-chug at its finest, already getting road-tested on the dancefloor.

Introducing the highly anticipated first EP, ‘Flat Earth Mafia Edits Vol.1,’ by illusive underground artist, Flat Earth Mafia. This four-track vinyl release promises to take your turntable game to the next level with rave-ready dance floor edits for the club. The EP effortlessly blends breakbeat, bass, and rave tracks drawing on nostalgic vocals to create a euphonic journey for listeners.

Flat Earth Mafia remains shrouded in secrecy, allowing their edits to speak for themselves. With limited availability, don’t miss your chance to own a copy of this EP.

Phase O'Matic Opens the label with an EP dedicated to the 90s vibe.

For the second instalment of the Curio Cabinet gourmet-dub series, we bring you two fat slices of steppers’ delight, straight from the southern city of Toulouse.

Both are made by Stefan Dubs under the guiding light of his live project, Sòn Du Maquis. This project has deep roots in the free rave, micro-festival, and dub & sound system culture of his country. It’s also the name of his own label, home to his dub-infested productions; ranging from slo-mo jungle to droney steppers and blown-out trip-hop on a slightly medieval tip.

Staying true to classic sound system tradition, each side pairs the original cut with its own version.

First there is Tolosan Dub, a trancey bass meditation colossus with deep synth work moving around in the trees. Some early nineties UK digidub vibes are surely mashing up the dance here. The version workout slows things down a bit, taking you even deeper into the riddim... strictly warrior style !

On the B-side we've got Bonnefoï Dub, which is pure bass-bin filth with a rootsy harmonica touch and a raw clubby feel. This tune just screams to be played out loud on a proper sound system. The version is certified dance-floor gold, yet there are enough dubbed-out flavours going on for intimate headphone sessions or some mad home skanking.

MAXED OUT MAXI EP OF THE HIGHEST ORDER FROM TAPES, HONOURING JAHTARI'S 20 YEARS OF D.I.G.I.T.A.L. BUSINESS IN FINEST STYLE...LOADED WITH RIB-8-BIT PRESSURE!

Four digital dancehall scorchers with two accompanying 8-bit versions meticulously crafted with the soundsystem session in mind!

Tapes has been spreading wonky saturated riddim goodness since his ground breaking “Hissing Theatricals” EP in 2009. Now, after a brief hibernation in the northern spawning pools, he’s spinning up his reels once again to present a new killer set of amphibian friendly, nintendo-fied sound system depth charges!

The “Photos of My Frog EP” is croaking off with its oddly addictive namesake: a surefire pond party starter – Ribbit! Hopping along, the adorable but tuff “Cleat Skank” and its gameboy driven pollywog follow, swinging their 8bit melody lasso till the cows come home. Yeehaw!

“Ramp Up” on B is a dense and raw FM synth digi banger, sure to fry any nearby circuits, so best beware! “Back Cramp Riddim” then turns up the low end even more and swirls its drums and synths into the next delay vortex, warping into a pixelated 8bit conclusion.

Whatever your taste in insects there’s something on this record for any lover of vintage dancehall and amphibious wild life alike!

These are going to fly out - sticky tongues at the ready!

Those in charge of opening this vinyl saga are "Fat & Blind" these two artists from Cádiz better known as "Deibeat & Shemma" with their track "Mother F .... Breakbeat" published by the label "Weekend Breaks" in 2000 , a track that became an anthem and continues to resonate at every party, now remastered for this occasion.

6 song LP with 3 tracks in extended mixes w/ dub.

Long requested reissue of this 1981 Barrington album, featuring some tracks not available elsewhere, like "Full Understanding" as played by the great Jah Shaka. The whole LP is heavy stuff from the Radics + Scientist combination of the day, like all Barrington's classic early albums. This album has only been available very briefly a couple of times since its original release, and it's back here pressed from new stampers from the original mothers, which means you're getting a record identical to the original press. An essential album if you love the heavy sound of the early 80s.