Playlists

Bring home Freya Skye's live fan favourite "bad taste" on 7' translucent red vinyl. After performing the song for audiences across the globe on her sold-out Stars Align Tour, Freya is releasing "bad taste" for the very first time as an official studio recording. This collectible is a must-have for every Skylight -- get yours before it's gone

2026 Repress

For the 004 release we teamed up with roots singer 'Kojo Neatness' delivering that true Kingston reggae vibe. Vocals wererecorded in the mythical 'Caveman Studio' in Jamaica with the help of the great late Nazamba.

'Everyone' was Recorded in Tokyo, Japan over two days in late September 2025. The album musically chronicles Greg Foat's first tour of Japan. The album was commisioned by Tokyo based clothing Label 'Everyone' and is a fantastic mix of Ambient, Jazz and Electronic music genres

Each track celebrates a special memory of the tour, from the opener 'Shirahama Beach' home to the wonderful FFKT festival to the playful 'Lake Haruna Boat Ride'.

The album also features Tokyo based jazz musicians Kensuke Miyaki on Baritone Saxophone and Bass Clarinet and Yoshihiro Kaneko on Double Bass. Limited to 700 vinyl copies only with obi strip.

Holic Trax presents its 36th release, featuring Tuccillo.
On the A-side, “Eves Sky” returns, a track that was played on the terrace at DC10 Ibiza in the early 2010s. Now reissued on a full 12” cut,
the one-sided pressing allows the low-end bassline to be pushed to its maximum.
On the B-side, “Percussholic” and “Musicly” are included.
The former was previously vinyl-only, while the latter was released digitally.
Both tracks are now brought together on the same format for the first time.
A three-track house EP

Josmans Mixtape-Klassiker Matrix erscheint erstmals als Vinyl auf Diggers Factory.
Die 2016 veröffentlichten neun Tracks verbinden introspektiven Rap mit melodischen Strukturen und prägnantem Storytelling.

Celebrating the 30th anniversary of its original release, Night Song returns in a special edition on rose leaf green coloured vinyl. A Grammy Award nominee, the album captures the extraordinary meeting of the legendary Nusrat Fateh Ali Khan and Canadian guitarist, producer and composer Michael Brook, whose atmospheric soundscapes provide the perfect setting for Nusrat’s ecstatic, transcendent vocals.

With Nusrat’s legacy continuing to reach new audiences following the landmark 2024 release of the unearthed archive recording Chain of Light, Night Song remains one of the defining cross-cultural collaborations of its era. This anniversary edition includes a printed inner sleeve with updated liner notes and photographs.

DJ Support: Dj Harvey, Bicep, TEED, Sarah Story, Joe Goddard, Make A Dance, Dj Subaru, Demi Requismo, Horsemeat Disco, Greg Wilson, Crazy P, Justin Strauss, Sean Johnston (ALFOS), Masilmiliano Pagliara, Red Rack’em Jordan Nocturne , Gina Breeze, Heidi Lawden, Eugene Whang, Neil Diablo, Gina Breeze, Marcel Vogel.

After a mysterious hiatus, one of The essential edit labels of the 2010’s has returned just as inexplicably as it disappeared..

The previous 4 volumes now change hands with private collectors for $$ .. These limited run edits will no doubt sell out in similar fashion..

The A side see’s the most dance floor oriented but often over looked track from Bjork’s album Debut receive the DJ edit it always needed . A2 a unique rework of a very rare nrg record that started out like as Aerobics accompaniment album..

On the Flip B1 take Turn toward the Funk , PBR giving the heavy dub treatment to one of The Whispers most criminally ignored tracks. Rounding things off the B2 drifts into the work of wonky, sleazy Italo.. Magari uses the little understood “wrong speed” technique to sublime effect, combined with some extra synth work it delivers a an entirely different track…one for the heads..

"Fragments of Light" documents seven years of creative dialogue between Purl (Ludvig Cimbrelius) and Ecovillage (Emil Holmström & Peter Wikström). Their journey began with a spontaneous meeting in Los Angeles during October 2019, evolving into a transcontinental process where Ludvig refined ideas during Sri Lankan train journeys while Emil and Peter furthered their ambient dreaming in northern Sweden. Sonically, the album inhabits a space between pop ambient and new age—combining atmospheric textural depth with accessible melodies, while also carrying forward the contemplative nature central to the artists' work and personal lives. Ecovillage, who has collaborated with many revered artists (such as Laraaji, Carlos Niño, and Fennesz), here pour their own deep sensibilities into the ever widening river of Purl—this initial, ambient-rooted alias of Ludvig Cimbrelius. Featuring original, hand-painted artwork by Steven Jackson and delicate mastering work by Ludvig for a special limited physical edition released via his own LILA लीला imprint, “Fragments of Light” carries the hallmarks of an ambient classic-to-be. The album fits naturally alongside works by artists like Brian Eno, Harold Budd, and Hiroshi Yoshimura, as well as contemporary artists who bridge the ethereal with melodic sensibility.

2026 Repress

High Roller Records, Black Vinyl, 425gsm heavy cardboard cover, insert, poster

„Christmas Cocktail Jazz“ verbindet Weihnachtsklassiker wie „I’ll Be Home For Christmas“, „Winter Wonderland“, „Let It Snow“ und „Baby, It’s Cold Outside“ mit entspannten Jazz-Arrangements. Mit dabei sind u. a. Stephen Kummer, The Lori Mechem Quartet, The Jeff Steinberg Jazz Ensemble und Beegie Adair. Die Vinyl-Ausgabe enthält zusätzlich Cocktail-Rezepte und eignet sich damit als stimmungsvolles Weihnachts-Geschenkprodukt.

Shadowman ist das gleichnamige Debütalbum des neuen britischen Trios um den Alt-Blues-Rock-Musiker John J Presley, den Produzenten Ben Hillier (zu dessen Referenzen Top-Acts wie Depeche Mode, Blur, Elbow, Villagers und Editors zählen) und Danielle Perry, Radiomoderatorin und Jury-Mitglied des Mercury Music Prize. Die Aufnahmesessions verliefen schnell und intuitiv: Kein Stück benötigte mehr als drei Takes, und das musikalische Spektrum ist weit gefächert und reicht von wuchtigen Gitarren bis zu cineastischen Orchestrierungen, von Bläserarrangements im Stil eines New-Orleans-Trauermarsches bis zu motorischen Drumcomputern, von vielschichtigen Gesangsdialogen bis zu Momenten von Post-Rock-Intensität. Die Studiomusiker Pete Wareham und Marcus Hamblett verliehen dem Werk mit ihren einzigartigen Saxofon- und Bläsertexturen zusätzliche Farbe und Tiefe. Für die technische Umsetzung zeichnet Dan Crook (Killing Joke, Black Grape) verantwortlich. Das Album erzählt Geschichten von Hochzeitssängern, der Intensität der modernen Welt und der Sommersonne.

Drei Jahre nach ihrem von der Kritik gefeierten Album „On The Inside“ kehren Gotts Street Park mit ihrem neuen Album „Somewhere Between“ zurück. Mit dabei sind Celeste, Matt Maltese, Rosie Lowe, Pip Millett, Sofia and the Antoinettes, anaiis und Olive Jones.
Das neue Album markiert einen stilistischen Aufbruch und schlägt im Vergleich zu früheren Veröffentlichungen neue Wege ein. Inspiriert von emotionalem Folk und Americana – mit Künstler:innen wie Blaze Foley, Jessica Pratt und Big Thief, die während der Entstehung des Albums in Dauerschleife liefen – verbindet „Somewhere Between“ die charakteristische Produktionskunst des Trios mit einer neuen, spürbar wärmeren Klangästhetik. Klassisches Songwriting trifft dabei auf die außergewöhnlichen Stimmen einer hochkarätigen Gästeliste.
Ihre Vorliebe für analoge Produktionsweisen übertrugen Gotts Street Park ganz selbstverständlich auf den modernen Americana-Sound des Albums. Die stilistische Entwicklung war dabei keine bewusste Entscheidung, sondern ergab sich organisch aus ihren gemeinsamen Hörgewohnheiten – allen voran Josh, der sich intensiv mit Neil Young und weiteren Künstlern der frühen 1970er-Jahre beschäftigte.
Für „Somewhere Between“ versammelte sich das Trio gemeinsam mit den Gastvokalist:innen in einem Raum und ließ die Songs in einem intuitiven kreativen Prozess entstehen. Inspiriert von der Musik von Gotts Street Park entwickelten die Sänger:innen ihre Texte ganz organisch. „Mit GSP zu schreiben, ist immer eine große Freude“, sagt Rosie Lowe. „Ihre Musik ist so emotional, dass die Songs scheinbar wie von selbst entstehen.“

Die französischen Brüder Carl und Renaud alias Jersey verbinden UK-Rock-Energie, 2010er-EDM und French Touch zu einem emotionalen, live-orientierten elektronischen Sound. Nach gefeierten EPs, Arbeiten mit Justice und Phoenix sowie Shows bei Coachella, Portola und Primavera erscheint mit „Nothing’s Fake“ ihr Debütalbum – zwischen explosiven Electronic-Tracks, Pop-Hymnen und introspektiven Momenten.

„Oklahoma Toad“ von 1970 war Dave Frishbergs Debüt als Sänger und Startpunkt seiner gefeierten Karriere als Pianist, Sänger und Songwriter. Die Neuauflage präsentiert erstmals auf Vinyl den vom Künstler freigegebenen Producer’s Mix aller zehn Originaltracks. Eine Bonus-7" ergänzt „Peel Me a Grape“ und den bislang unveröffentlichten Schoolhouse-Rock-Outtake „A World Without Verbs“.

Ferdi bekräftigt seinen Status als innovativer Künstler, der den Jazz und sein Image revolutioniert.
In einer Zeit, in der alles dazu bestimmt scheint, konsumiert und anschließend vergessen zu werden, setzt Ferdi auf die Beständigkeit kreativen Schaffens. Sein Album entstand aus der Überzeugung heraus, dass Kunst ein kostbarer Raum bleibt: ein Ort der Erkundung, der Vermittlung und der Emotion, an dem jedes Detail das Ergebnis eines geduldigen kreativen Prozesses ist.
Mehr als nur eine Abfolge einzelner Tracks versteht sich dieses Projekt als ein in sich geschlossenes Gesamtwerk, in dem die Musik mit anderen Ausdrucksformen in einen Dialog tritt und so eine gemeinsame künstlerische und emotionale Suche weiterführt.
Schon lange fasziniert von der Figur des Malers, wollte Ferdi verstehen, was einem Werk seine Kraft und die Fähigkeit verleiht, einen bleibenden Eindruck zu hinterlassen. Diese Auseinandersetzung führte ihn nach und nach zu einer klaren Erkenntnis: Es ist nicht die Komplexität, die uns berührt, sondern die Aufrichtigkeit, mit der sie einer Form von Einfachheit dient.
Von dieser Suche geprägt, ist das Album zugleich eine Hommage an seine Mutter – eine Möglichkeit, all jene zu würdigen, die im Stillen unsere Sichtweise, unsere Vorstellungskraft und unsere Sensibilität prägen.
Nach dem Erfolg seines Debütalbums „TAKE 01“, das Platz 126 der französischen Top-Album-Charts erreichte, präsentiert Ferdi nun ein unwiderstehliches und mutiges Album und bestätigt damit seinen Status als innovativer Künstler, der den Jazz und sein Image revolutioniert.

Nach dem Demo MMXXV aus dem Jahr 2025 legt der in Mailand ansässige Musiker Gabriele Gramaglia das erste Album in voller Länge seines neuen Projekts Lugubrious Garment vor: „In The Wide Vale Of Uncreated Night“. Bekannt für seine Arbeit mit Cosmic Putrefaction, Vertebra Atlantis und zahlreichen anderen Bands im anspruchsvollen Extrem-Metal-Bereich, gründete Gramaglia Lugubrious Garment als Ventil für eine bösartige und instinktive Art von Death Metal, getrieben von unbändigem Momentum, rasender Aggression und kompromissloser Rohheit. Auf „In The Wide Vale Of Uncreated Night“ bricht dieser anfängliche Impuls in eine weitaus gewaltigere und voll entwickelte Bestie aus.

Lugubrious Garment behält das vielschichtige Songwriting bei, richtet diese Komplexität jedoch direkt auf das totale Chaos. Raue, abrasive Gitarren wühlen sich durch hämmernde Rhythmen, während gequälte Vocals heulen und kreischende Soli die zerrüttete Landschaft zerschneiden. Doch hinter dieser scheinbar zügellosen Gewalt verbirgt sich ein präzise konstruierter Angriff: Riffs kollidieren in halsbrecherischer Geschwindigkeit, das Tempo wechselt zwischen hämmernder Wucht und plötzlicher Beschleunigung, und Momente des klassischen Heavy und Speed Metals blitzen auf, bevor sie wieder verschlungen werden.

„In The Wide Vale Of Uncreated Night“ lebt von diesem Zusammenprall aus Präzision und Brutalität. Ein unaufhörliches Gewitter aus messerscharfen Riffs und wahnsinniger Energie, das keinen Stein auf dem anderen lässt.

"Beirut City Pop" vereint zehn Aufnahmen aus der libanesischen Privatpress-Kassettenszene der späten 1970er und 1980er Jahre. Diese Songs, die von kurzlebigen Bands und Studioprojekten entstanden sind, bewegen sich zwischen Disco, Pop, Soul, Jazz, Bossa, Rock und AOR. Viele davon wurden während des libanesischen Bürgerkriegs produziert, zu Hause kopiert und nur im Freundeskreis und in lokalen Gemeinschaften verbreitet, wobei einige ausschließlich auf handkopierten Kassetten erhalten geblieben sind. Viele der Musiker waren über Ziad Rahbanis "Bypass Studio" miteinander verbunden, arbeiteten projektübergreifend zusammen und teilten eine gemeinsame musikalische Sprache. Inspiriert von der Genremischung des japanischen City Pop spiegelt der Titel sowohl den Klang als auch den Geist dieser Aufnahmen wider. Mit Künstlern wie Stephanie Stephanou, Force, Games, Andromeda und Walid Itayim dokumentiert "Beirut City Pop" eine eng verbundene Musikszene, deren Kreativität und musikalische Kameradschaft trotz außergewöhnlicher Umstände Bestand hatten.

Mit „GAMER“ veröffentlicht CG5 sein bislang ambitioniertestes Album. Zwischen Pop, Rock und elektronischen Einflüssen widmet sich der YouTube-Star Gaming, Internetkultur und Fantasie und verbindet hymnische Hooks mit cineastischer Produktion und seinem charakteristischen, energiegeladenen Storytelling.

Mit „Wax“ schlagen die schwedischen Rocker Åskväder ein neues Kapitel auf: Erstmals ist Saga Flygare Täll als Sängerin und Gitarristin dabei. Das dritte Album verbindet bluesige Riffs, skandinavische Rock-Energie und große Hooks und richtet sich an Fans von The Hellacopters, Thundermother und Turbonegro. Begleitet wird der Release von einer umfangreichen europäischen Marketingkampagne und mehreren Musikvideos.

Mit über 500 Mio. Katalog-Streams und einer kompromisslosen Mischung aus Punk, Rave, Metal und Breakcore haben Machine Girl eine internationale Kult-Fanbase aufgebaut. Das Fan-Favorite „The Ugly Art“ erscheint nun erstmals überhaupt auf CD und Vinyl – und damit erstmals regulär als physisches Album.

Mit über 500 Mio. Katalog-Streams und einer kompromisslosen Mischung aus Punk, Rave, Metal und Breakcore haben Machine Girl eine internationale Kult-Fanbase aufgebaut. Das Fan-Favorite „The Ugly Art“ erscheint nun erstmals überhaupt auf CD und Vinyl – und damit erstmals regulär als physisches Album.

Der US-Produzent Devonwho kehrt mit „TV2“ zurück und verbindet wonky Instrumental-Hip-Hop, G-Funk und tiefe, elektronische Klangwelten zu einem neuen Doppelalbum.


D.Side
Logo Etching

Einige Alben schlagen ein wie ein Blitz, andere entfalten ihre Wirkung über Jahrzehnte hinweg. Robert Lester Folsoms Kultalbum Music and Dreams, ursprünglich 1976 im Eigenverlag erschienen, feiert sein 50-jähriges Jubiläum mit einer besonderen Neuauflage.
Die 50th Anniversary Edition präsentiert das remasterte Originalalbum erstmals zusammen mit den bislang unveröffentlichten Reel-to-Reel-Demos auf einem Doppelvinyl. Geprägt von Folsoms Liebe zu den Beatles sowie Songwriter-Größen wie Neil Young, Joni Mitchell und Crosby, Stills & Nash, verbindet Music and Dreams zeitlosen Folk-Pop mit jugendlicher Sehnsucht, Melancholie und großer musikalischer Vision.

Seit fast 35 Jahren beschreitet Eddy Louiss einen ganz eigenen musikalischen Weg, stets mit seiner eigenen Band und – mit der möglichen Ausnahme von Stan Getz – ohne nennenswerte Zusammenarbeit mit anderen Jazzgrößen. Als André Damon daher am Abend des 17. August 1988 auf die Idee kam, ein Duo mit Michel Petrucciani auf das Programm zu setzen, übertrafen die Ergebnisse seine Erwartungen bei weitem. Das Zusammentreffen dieser beiden großartigen Musiker fand im „Petit Journal Montparnasse“ statt: drückende Hitze, ein vollbesetzter Saal und fast 300 Menschen, die vor der Tür stehen blieben, enttäuscht darüber, dass sie das Konzert nicht besuchen konnten. Francis Dreyfus und ich waren davon besessen, dieses außergewöhnliche musikalische Erlebnis noch einmal aufleben zu lassen. Michel Petrucciani, der ständig um die Welt tourte, war jedoch selten verfügbar. Im Juli 1993 standen sich Michel und Eddy beim Montreux-Festival anlässlich einer „Dreyfus-Nacht“ erneut gegenüber – in einem prächtigen „Summertime“, bei dem die offensichtliche Chemie zwischen diesen beiden großartigen Künstlern bereits voll zur Geltung kam. Das lang ersehnte Wiedersehen fand schließlich am 31. Mai 1994 in der Maison de la Radio vor einem aufmerksamen Publikum aus Freunden, Musikern, Künstlern und Journalisten aller Fachmedien statt. Nach einem herzlichen und – oh, wie begeisterten – Empfang durch alle Anwesenden wollten Eddy und Michel ihre Zusammenarbeit auf Tonband festhalten, was an drei magischen Abenden im „Petit Journal Montparnasse“ am 14., 15. und 16. Juni 1994 gelang. Hier ist die erste Schallplatte, die aus diesen Abenden hervorgegangen ist.

HoYoverse und Laced Records präsentieren den offiziellen Soundtrack zu „Zenless Zone Zero“ auf Vinyl – eine fesselnde klangliche Momentaufnahme von New Eridu, der letzten Stadt in einer Welt, die von den „Hollows“ verwüstet wurde. Während das Cover-Artwork Agenten wie Yixuan, Miyabi, Anby und Nicole in den Vordergrund rückt, geht die Musik über einzelne Charaktere hinaus und fängt die allgemeine Atmosphäre des Spiels ein.

Erhältlich als 2LP mit 25 remastereten Titeln aus dem Urban-Fantasy-Action Role Playing Game von HoYoverse - mit dabei sind unter anderem Mr.mo, Philip Strand, Sion Tsuji und YMIR, sowie als erweiterte 4 LP Sammler Edt. mit 49 Tracks, vom San-Z STUDIO kuratiert, die Charakter-EPs (darunter „pinKing“ und „Burning Desires“), dynamische Kampfthemen und den entspannten Groove der „60%“-Reihe vereint.

Silva Screen Records freut sich, die Veröffentlichung von „Beneath Painted Skies: Music from the Studio Ghibli Movies“ anzukündigen, einem neuen Album von London Music Works und Nick Squires, das die außergewöhnlichen musikalischen Welten einiger der beliebtesten Animationsfilme würdigt.

„Beneath Painted Skies“ erscheint im Oktober 2026 als physisches Album und ist eine symphonische Neuinterpretation von Titeln aus dem Studio Ghibli. Es vereint eine umfassende Sammlung von Themen und Musikstücken aus den Filmen des Studio Ghibli – von der windumtosten Wunderwelt von „Nausicaä aus dem Tal der Winde“ und dem fliegenden Abenteuer von „Das Schloss im Himmel“ über die zarte Nostalgie von „Nur gestern“ der emotionalen Erhabenheit von „Prinzessin Mononoke“ bis hin zur traumhaften Schönheit von „Chihiros Reise ins Zauberland“ und „Das wandelnde Schloss“.

Das Album ist eine Hommage an die bemerkenswerte emotionale Bandbreite dieser Musik: zarte, idyllische Melodien, hochfliegende Orchester-Themen, intime Charakterstücke und Momente stiller Besinnung. In der gesamten Sammlung verleihen London Music Works und Nick Squires diesen beliebten Werken eine reichhaltige, filmische Sensibilität und fangen dabei das Gefühl von Flug, Erinnerung, Kindheit, Verlust, Staunen und Magie ein, das diese Musik über Generationen hinweg nachklingen lässt.
Die Trackliste umfasst mehr als vier Jahrzehnte legendärer Animationsfilme, darunter Musik aus „Mein Nachbar Totoro“, „Kikis kleiner Lieferservice“, „Porco Rosso“, „Das Grab der Leuchtkäfer“, „Ponyo auf der Klippe am Meer“, „Der Wind steigt“, „Als Marnie da war“, „Die Legende der Prinzessin Kaguya“, „Auf dem Poppy-Hügel“ und „Der Junge und der Reiher“.

Mit Darbietungen von London Music Works und Nick Squires bietet „Beneath Painted Skies“ eine wunderschön gestaltete Reise durch eine der bezauberndsten Landschaften der Filmmusik.
























[x] d6. Ask Me Why [Mothers Message] (from "The Boy and the Heron")
[y] d7. Fine on the Outside [Vocal Version] (from "When Marnie Was There")

Three decades since Global Underground began defining what a superstar-DJ mix album could sound like, this anniversary release breaks from the format entirely. Instead of just one artist focus, the focus is on the decadal number: here there are 30 artists, 30 new exclusive tracks - and no mixing. Guy J, Rodriguez Jr., Quivver & Dave Seaman and an unexpected Nadia Ali/Frankey & Sandrino pairing headline the tracklist, compiled to represent the current state of the progressive-house lineage. Collector's edition aside, the standard triple-vinyl set on purple, orange and aqua vinyl is the one you wanna own.

Global Underground ist stolz darauf, diese wegweisende Veröffentlichung anlässlich unseres 30-jährigen Jubiläums präsentieren zu dürfen. Dreißig Künstler, dreißig brandneue, exklusive Tracks – zur Feier von dreißig Jahren, in denen wir euch die allerbeste elektronische Musik präsentieren. Auf „THIRTY“ sind einige der dynamischsten Künstler der Dance-Musik vertreten: Guy J, Rodriguez Jr., Quivver & Dave Seaman, Nicky Elisabeth, Yulia Niko, HotLap, Spencer Brown, eine ganz besondere Zusammenarbeit zwischen der legendären Nadia Ali und Frankey & Sandrino sowie viele weitere.

Pünktlich zum großen PROJECT PITCHFORK Jubiläum und der anstehenden Tour feiern zwei außergewöhnliche Veröffentlichungen ihre längst überfällige Premiere auf Vinyl: „First Anthology“ und „Second Anthology“. Zwei sorgfältig zusammengestellte Rückblicke, die nicht nur die Entwicklung einer der prägendsten Dark-Electro-Bands aller Zeiten nachzeichnen, sondern auch eindrucksvoll zeigen, warum PROJECT PITCHFORK bis heute nichts von ihrer Faszination verloren haben.

FIRST ANTHOLOGY Die ersten zehn Jahre einer außergewöhnlichen Band – von den visionären Anfängen bis zum internationalen Durchbruch. „First Anthology“ vereint die frühen Klassiker und Meilensteine von PROJECT PITCHFORK und dokumentiert den Aufstieg einer Formation, die den Dark-Electro-Sound nachhaltig geprägt hat. Ein eindrucksvolles Zeitdokument voller wegweisender Songs und zeitloser Hymnen.

Pünktlich zum großen PROJECT PITCHFORK Jubiläum und der anstehenden Tour feiern zwei außergewöhnliche Veröffentlichungen ihre längst überfällige Premiere auf Vinyl: „First Anthology“ und „Second Anthology“. Zwei sorgfältig zusammengestellte Rückblicke, die nicht nur die Entwicklung einer der prägendsten Dark-Electro-Bands aller Zeiten nachzeichnen, sondern auch eindrucksvoll zeigen, warum PROJECT PITCHFORK bis heute nichts von ihrer Faszination verloren haben.

SECOND ANTHOLOGY Mit „Second Anthology“ setzt sich die Reise nahtlos fort und umfasst die Schaffensphase ab 2002. Kraftvolle Elektronik, epische Klanglandschaften und eine beeindruckende Dichte an Klassikern machen diese Sammlung zu einem eindrucksvollen Zeugnis der ungebrochenen Kreativität von PROJECT PITCHFORK.

HoYoverse und Laced Records präsentieren den offiziellen Soundtrack zu „Zenless Zone Zero“ auf Vinyl – eine fesselnde klangliche Momentaufnahme von New Eridu, der letzten Stadt in einer Welt, die von den „Hollows“ verwüstet wurde.

Diese Sammlung enthält eine kuratierte Auswahl an Musik aus Versionen vor 2.0. Während das Cover-Artwork Agenten wie Yixuan, Miyabi, Anby und Nicole in den Vordergrund rückt, geht die Musik über einzelne Charaktere hinaus und fängt die allgemeine Atmosphäre des Spiels ein.

Die vom San-Z STUDIO kuratierte Trackliste vereint Charakter-EPs (darunter „pinKing“ und „Burning Desires“), dynamische Kampfthemen und den entspannten Groove der „60%“-Reihe.
Mit Genres, die von Metal und 90er-Jahre-Anime bis hin zu Lofi und EDM reichen, spiegelt sie die kühne und vielseitige Identität des Spiels wider.

In Kombination mit einem maßgeschneiderten Cover-Design ist diese Veröffentlichung sowohl ein Sammlerstück als auch eine lebendige Erweiterung des Zenless Zone Zero-Universums.

2026 Repress

What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.

Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.

Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.

The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.

The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.

Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.

The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.

And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.

Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.

This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.

2026 Repress

On Left At Sunset, Tornado Wallace taps into those fragile, glowing moments after a long night in the club, when the lights come up just enough, the bass softens, and the first hint of morning slips through the windows. Time feels suspended.
The lead track Asahi Ga Yondeiru (“the morning sun is calling”) captures that feeling perfectly. Built around Courtney Bailey’s gentle vocal, it drifts somewhere between late-night house and early morning reflection. It is not about the peak. It is about what comes after it. That quiet euphoria when you realize the night gave you something you will carry back into the real world. The rest of the EP stays in that same emotional zone: warm, slightly melancholic, but full of light. These are tracks for the very last dance, when the floor is half-empty, hearts are wide open, and every sound feels a little more meaningful. Not an ending, really. Just the beginning of whatever comes next.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

The Mannheim homie ManooZ has been releasing some fab tunes for over a decade on labels like Chiwax, Selections, Local Talk or just recently Chicago’s own Star Creature, but there’s no stopping. A true house lover, ManooZ dedicates his „Rhythm of motion EP“ to Chicago House! The a-side represents the jacking side of Chicago with raw and hypnotic grooves and stripped-back basslines. Just listen to „rhythm of motion“ and „mode six“! The b-side goes deeper with a more soulful approach and strings and melodies all over! A perfectly balanced release by the one and only ManooZ!

In the begining there was jack! And in 2026 there’s still jack!

Mr. K tackles a pair of extended 80's instrumentals down into his characteristic tight, DJ-friendly 7" edits. First up is Klein & MBO’s Italo-disco landmark 'Dirty Talk'. The Milan-via-New York production trio’s 1982 cut has long been recognised as one of the foundational Italo records, its stark, tightly locked bassline and 808 groove a foreshadowing of pop and house sounds to come (indeed, a year after its release the groove was lifted almost wholesale for New Order’s 'Blue Monday'). Mr. K strips the original’s down to the essentials, keeping the irresistibly hooky synth pulse front and centre while trimming the fat for maximum impact.

On the flip is Supertramp’s surprise 1985 club crossover 'Cannonball', a dancefloor curveball still in regular rotation with the deepest DJs. Intentionally written to stay entirely in one key as an experimental exercise by the band, the track’s hypnotic drive unwittingly echoed the tough, four-on-the-floor sound of early house and, via the original 12-inch single’s epic ten-minute instrumental mix, slotted in perfectly alongside underground cuts of the era. Mr. K’s edit leans hard into the pounding keyboard and the bursts of brass crescendos that build on top of it, giving the sought-after instrumental version its first-ever appearance on 7-inch. Impressive sound quality on both tracks!

Armada Music and PDD proudly continue the brand-new A State Of Trance Classic Series, celebrating some of the most legendary and influential records in trance history. Following the success of Volume 1, Volume 2 once again dives into the archives to bring three essential trance classics back to life on fresh vinyl.

Kicking things off on Volume 2 is “Chicane feat. Moya Brennan - Saltwater”, a true trance classic that showcases the sound and energy that helped define the genre during its golden era. Originally released in 1999 on Xtravaganza Recordings, the track quickly became a favourite among DJs and trance fans, and now returns to wax as part of this essential new series.

On the flip is “Veracocha - Carte Blanche (Extended Mix)”, another highly regarded classic from the A State Of Trance catalogue. Originally released in 1999, the track has stood the test of time and remains a firm favourite with trance DJs and collectors, making its return to vinyl a welcome addition to the series.

Last but not least is “Insigma - Open Our Eyes (Original Mix)”, completing another carefully selected trio of timeless trance records. Originally released in 2000 on A Trance Communication Release, this classic perfectly captures the euphoric, driving sound that made the era so influential and continues to resonate with trance fans today.

Volume 2 continues the series in style, bringing together three essential trance classics on one piece of wax and making this a must-have for both long-time A State Of Trance fans and a new generation discovering these timeless anthems.

Bondage-Music proudly welcomes back Mihai Popoviciu with his latest EP, “Pick Up The Phone.” A familiar name on the label, Popoviciu returns with another refined selection of deep, groove-driven house music, combining his trademark rolling rhythms, warm basslines and subtle atmospheric elements.
With a sound that effortlessly balances depth,­ hypnotic grooves and dancefloor energy, Mihai Popoviciu has established himself as one of the distinctive voices of contemporary house music. “Pick Up The Phone” continues this signature approach across four tracks, delivering a focused and timeless club release.
For this edition, Bondage-Music presents the EP as a Limited Splatter Edition on 180G vinyl. Adding to its collectability, two tracks are available exclusively on vinyl, making BOND12086 a special release for DJs and vinyl enthusiasts alike.

“Let It Be Known” sits at a pivotal moment in Spice 1’s catalog — bridging the raw street energy of his independent Bay Area beginnings with the darker, more polished sound that would define West Coast gangsta rap in the early ’90s. This release captures the foundation of what made him one of the most respected voices to come out of the Bay Area scene.

Raised between Hayward and Oakland, Spice 1 helped shape the sound and attitude of West Coast rap during a period when the Bay was developing its own identity alongside Los Angeles. His delivery combined cold realism, street storytelling, and paranoia-laced lyricism in a way that influenced an entire generation of rappers across Northern California and beyond. At a time when gangsta rap was becoming national, Spice brought a distinctly Bay Area perspective — darker, more introspective, and rooted in the realities of East Bay street life.

This reissue highlights an important chapter in that evolution, featuring early versions of songs that would later become staples of his catalog. Tracks like “Ghetto Thang,” “187 Proof,” and “In My Neighborhood” reveal how Spice’s sound was already fully formed from the beginning. For collectors and longtime fans, Let It Be Known offers a rare look at the raw blueprint behind one of the defining voices of ’90s West Coast hip-hop.

On Rent Due, Chattanooga’s BbyMutha turns the pressure, exhaustion and absurdity of everyday life into a distinctly Southern rap record that could only come from her world. Raw, funny, confrontational and deeply personal, the album finds Bbymutha operating completely outside of the conventions of mainstream rap, filtering Southern tradition through the DIY spirit and fractured energy of the internet underground.

Across 15 tracks, Rent Due pairs heavy low-end and stripped-back drums with eerie, spacious production that draws from the darker lineage of Memphis and Southern rap without ever becoming nostalgic. BbyMutha's unmistakable delivery sits at the center of it all: deadpan one moment and explosive the next, moving effortlessly between money problems, motherhood, relationships, sex, frustration and survival with the same unfiltered humor that has defined her music from the beginning.

Production comes largely from Rock Floyd alongside Foisey, Paris Aden, Vile and Popstar Benny, while Lisha G, Vayda and Fly Anakin make guest appearances throughout the record.

Originally released digitally in April 2026, Rent Due captures BbyMutha at her most focused while retaining everything that has made her one of the most singular voices to emerge from the American underground: uncompromising, unpredictable and completely herself. Now available on limited edition vinyl!

* very limited edition
GRANULAR POLYPHONIES SHOOTING THROUGH LIKE BOLTS

For over ten years, Brussels-originals ladr ache have dipped their toes and vocal chords in all matter of
musical mischief as only they know how. With éclats z, their latest recorded offering, new canons arise
that belong to no place or genre. Between the layers of chant, other voices turn up in old tongues and
secret languages, gliding alongside pipes and electronic warps, pulsing in time with the granularity of
choice. Recorded over two years in different times and spaces, the living textures that emerge are sonic
libations as much as modern lullabies, inhabiting zones of ancient passages and timeless exploration.

Trunk Records was started 30 years ago. It quickly established itself as a unique and highly influential label finding the unfound, the unthinkable and the forgotten sounds of the past. Here we celebrate 30 years of the label, by issuing amazing music it has not released yet. Of course we do.

Trunk Records began in 1996. It was the first label to issue non commercial library music to the public. It was the first label to chase, find and issue The Wicker Man soundtrack, the first to issue the sounds of computer keyboards and even announcements from train buffet cars.
Movements like “Hauntology” and “Folk Horror” all began thanks to the music issued by Trunk Records. And here we are, 30 years on, and we think it is time for a 30 years anniversary LP.
Unlike the 25th anniversary double LP, we are not issuing music we have issued before. Instead, here we are issuing music we have not issued before. What better way to sum up such an important and unique label better than continuing where we first began.

Tracks include some unreleased Roger Webb slow sex disco, scatty breakbeat library, psychedelics from Gabo Szabo’s backing group (The Advancement), groovy jazz from Pittsburg (The Silhouettes), Basil Kirchin’s unreleased electronic experimental thing (it is very much “a thing”). Some outsider singing from a hippie who lived in Drop City, a flexi disc selling you the Milton Keynes shopping centre and of course some improvised jazz for children’s dance workshops. And more too. And all on one LP.

To celebrate the 25th anniversary of Cormega's landmark debut, we're proud to present a special anniversary edition of The Realness, one of the defining releases to emerge from Queensbridge and East Coast hip-hop.

Originally released in 2001, The Realness features production from Havoc (Mobb Deep), The Alchemist, Ayatollah, Sha Money XL, Godfather Don, J-Love, Jae Supreme, Cormega and others, with guest appearances by Prodigy (Mobb Deep) and Tragedy Khadafi.

This 25th anniversary edition features brand new, reimagined artwork by Mr. Krum and includes "The Saga (Remix)" as an exclusive bonus track, making it the definitive collector's edition of this timeless classic.

Kampana brings to you two more reworks from Aroop Roy's legendary DJ Weapons series, on 7" for the first time. 'Visions' gives a disco lift to an obscure, but anthemic soul cut , with stunning vocals and classic sound.
'High Riding' is a funky rework that chops and splices the original sample into an infectious jazzy disco groove, building into an epic climax.

Limited Locked Club 12", one-time press only

Critics have claimed that the internet is flattening and homogenizing subculture, but whichever internet they're referring to does not include Locked Club. Watch a video of one of their sets and you'll quickly realize that something very different-and extremely unhinged-is going on in the post-Soviet rave scene before the FOMO punches you in the face, ceaselessly blistering industrial electro and techno punk from the irreverent, exhilaratingly wild underground of the other internet.

Revival House Project makes a triumphant return to Peppermint Jam with four essential, soulful house cuts. After months of intense anticipation and heavy ID requests, these highly sought-after tracks are finally receiving a proper, official vinyl release.

As a massive bonus, the record features the blockbuster collaboration AC Soul Symphony vs. Mousse T. – 'Dance To The Music' (feat. Kathy Brown), uniting two legendary forces on one unstoppable track!

KR3.022 DEATH/REBIRTH ONE - marks the launch of a new KR3 series built around split EPs, featuring original productions alongside reinterpretations or collaborative works by the selected artists. The first ACT reunites JK FLESH & ORPHX, reviving a collaboration rooted in a long-standing artistic connection. Having shared stages on several occasions, the project draws particular inspiration from their six-handed live performance at Berlin Atonal in 2016. Justin K. Broadrick, under his JK Flesh moniker, and Rich Oddie / Christina Sealey of Orphx, each contribute one exclusive original track, alongside a remix of the other's composition, exploring a very dark form of electronics; a collision of slo-mo, raw industrial power and crushing techno, standing in deliberate opposition to the relentless pace and overstimulation of the modern era, both sonically and culturally. The series will feature a unified visual identity, with each release sharing the same layout while being distinguished by different background colours and volcanic imagery created by longtime KR3 collaborator Federico Gagraglione.

Zodiak Commune Records presents Dogs Rule Outer Space by G303, the first entry in the label’s Limited Series. Six tracks of raw acid electro, including remixes by Ekman and Nasty Boxes. Raw, uncompromising electronic material with the underground character of Zodiak Commune Records.

There are collaborations that make sense on paper, and then there are the ones that feel like they were always going to happen. CHRIS STASSY and Interplanetary Criminal now bring their first recorded meeting to Up The Stuss with ‘Dangerous’, a four-track EP that sees two artists with unmistakable identities find common ground somewhere between house, garage, breaks and pure dancefloor energy. With the sounds of this collaboration having quietly made their way into the world long before the full picture was revealed, its arrival feels like the moment the pieces finally fall into place.

Across the EP, the chemistry is immediate. STASSY’s knack for infectious grooves and vivid synth work meets IPC’s breakbeat-driven energy and distinctly UK-rooted sensibility, with neither side disappearing into the other. ‘I Just Can’t Get’ sets things in motion with skippy rhythms, breakbeat drums and those unmistakable STASSY synths, before ‘Movin’’ accelerates the pace with punchy percussion and a more restless, breaks-heavy charge. ‘From The South Coast Mate’ pushes the meeting point further, bringing weighty low-ends and unmistakable UK touches while keeping both artists’ distinct approaches clearly in view. Title track, ‘Dangerous’, brings the journey to its natural conclusion. Bright and dark elements pull against one another as the two approaches lock into a shared rhythm, delivering a track that feels simultaneously euphoric, gritty and slightly unpredictable. It’s the clearest expression yet of what makes the collaboration work: two established sounds remaining entirely themselves while discovering what happens when those worlds meet.

For CHRIS STASSY, ‘Dangerous’ marks the first EP to arrive on Up The Stuss under his new name, following the release of the euphoric ‘U know me’ on CCS, adding to this new chapter with a collaboration of serious weight. For Interplanetary Criminal, it adds another dimension to the Manchester artist’s ever-expanding take on UK garage, which has seen him become one of the defining forces of its current resurgence. It’s the sound of two worlds meeting at exactly the right point - and one that many have been waiting for.

After a brief hiatus and creative refresh, Radiant Records returns with a bang, courtesy of Belfast house aficionado Cromby. A producer who needs little introduction, Cromby delivers the label’s ninth release, showcasing exactly what he does best: colourful, groove-heavy house music built for the dancefloor.
Ignition kicks things off with winks and nods to post-Y2K UK breaks and electro house. The title track’s boshy bassline and driving drums provide the backbone for an irresistibly stomping peak-time cut with summer written all over it.

Pumping the tempo up, A2 Psy Op is a rapturous floor-filler that draws from dance music’s most playful corners without ever sounding pastiche or revisionist. Undulating basslines, infectious vocals and flirtatious synth hooks combine to create something that feels both nostalgic and strikingly fresh.
Taking things in a slightly toolier direction, B1 Money is classic Cromby. A nifty little dinger packed with razor-sharp percussion, “house” vocals, tightly wound subs, timeless stabs and an impeccable arrangement, it’s a hot tip for DJs and dancers alike.

On remix duties, Adonis resident and legendary legend Hannah Holland zeroes in on Ignition’s electro parts and dials the mood up to 11. The result is a Detroit-leaning electro banger that highlights her versatility as a producer and rounds off a highly playable return to the fore from Radiant Records.

High Roller Records, reissue 2024, black vinyl, ltd 300, lyric sheet, remastered by Patrick W. Engel at Temple of Disharmony

Your farmer grants you certain freedoms not because he cares about your liberties but because he wants to increase his profits.

Three years on from the release of his critically acclaimed second album as Tambores En Benirras, Graham Newby returns with album number two, a glorious celebration of the mystical, magical and life-affirming musical meditation on stretched-out sunrises and the breathtaking beauty of dawn.

Newby has more reason that most to cherish picturesque and soul-enriching sun-up moments. During the process of making second set Onda Horizontales, the long-serving Cumbrian DJ, crate-digger, beat-maker and producer’s sight deteriorated to such a degree that he was certified ‘registered blind’. As a result, new working methods were found, with Newby delivering widescreen Balearic visions as much from muscle memory and feel as the visual environmental cues that once fired his imagination.

Third album Alba Amba – ‘amber dawn’ in English – finds Newby in dawn-ready mode, serving up music to soundtrack stunning sunrises and those clear early morning moments where anything seems possible. It’s a simple idea, beautifully executed, with the artist once known as Gripper conjuring up a meditative and mesmerising mix of slow-burn aural colours, tactile textures, gradually unfurling chords, and heady melodic motifs.

Newby sets his stall out with the smouldering, pre-dawn bliss of the jaw-dropping title track, where reverb-laden female vocalisations and twinkling electronics usher in a golden dawn, before reaching for shimmering, sun-bright melodies, heart-stirring chords and undulating TB-303 lines on the ambient acid chug of ‘Bucanero Acido’.

Newby’s instinctive grasp of mood and texture comes to the fore on the drifting, soft-focus ambient dub head-nod of ‘No Se Me Pasa’, where strummed acoustic guitars, echoing vocal samples and weighty low-end warmth catch the ear, while his history of dusty downtempo beat-making – originally explored on his early 2000s releases for Grand Central Records – informed the dancehall-meets-trip-hop fusion of ‘Batalla De Etiquettas’.


With its epic, head-turning ambient intro, raw electronic bass, effects-laden hand percussion and slow, restless build, this triumphant closing cut signals the moment the sun has well and truly arrived above the horizon. It’s a genuinely stunning conclusion to a soul-stirring set.

Love Song 28 is a landmark South African deep house track produced by Pretoria-born DJ and producer Jullian Gomes. Originally released as a single in 2011 featuring the soulful layered vocals of Bobby, the track established Gomes as a prominent figure in the global deep house scene. An emotional deep house “ballad” for the fans of Lovebirds – Want You In My Soul, Hardsoul and Carroll’s – Back Together, Dennis Ferrer - How Do I Let Go, and the original of Solu – Fade.

Along with a duo of mixes from label boss AtJazz alongside Charles Webster rework, this is unmissable, especially as a limited-edition reissue on crystal clear glass vinyl in a picture sleeve.

xtal makes his debut on mule musiq with a four-track ep that explores the space between club functionality and left-field experimentation. opening with “off-axis,” warped electronic textures and elastic grooves subtly recall early-2000s dance music while retaining a distinctive sense of lightness. “ arches” develops a hypnotic atmosphere through intricate arpeggios and minimal rhythmic patterns, finding depth in repetition and subtle shifts. on “lilt,” warm dub textures and supple rhythms merge into a fluid, dreamy deep house excursion, balancing understated euphoria with an effortless sense of movement. closing with “morse signals,” fragmented synth phrases and playful rhythms evoke a kind of retro-futuristic communication, bringing together experimental instincts and dancefloor sensibility. moving freely between minimal repetition, dub-inflected atmospheres and off-kilter electronic rhythms, xtal makes a compelling first appearance on mule musiq, delivering a release full of unexpected details, musicality and understated eccentricity.