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Anthems (ultimate Singles Collected) is an album by Armin Van Buuren, released in 2023. Anthems (ultimate Singles Collected) includes a.o. the following tracks: “This Is What It Feels Like (feat. Trevor Guthrie)”, “Not Giving Up On Love (vs Sophie Ellis-Bextor)”, “We Are Here To Make Some Noise”, “Communication” and more. The album is a Coloured Vinyl, High Quality, Insert trance 2-LP.

Marja Ahti is a Swedish artist living in Turku, Finland. She works with found sounds, objects and electronics, creating auditory assemblages that reveal a profound sensitivity to sound’s tactile potential. This new record sees her palette expand to include more recognisable acoustic instrumentation, albeit working in collaboration with musicians who are already reconfiguring how those instruments can sound.

Touch This Fragrant Surface of Earth has its roots in a tape piece presented at Lampo in Chicago. Ahti then started working with Isak Hedtjärn (clarinet), Ryan Packard (percussion) and My Hellgren (cello) at the electronic music studios (EMS) in Stockholm. Incorporating recordings from those sessions, Ahti presented a new iteration of the work at the Seventh Edition Festival for Other Music in February 2024 with the trio performing live on stage whilst Ahti helmed the mixing desk, spatialising a specially made tape part through the INA GRM’s Acousmonium speaker orchestra. The piece has since gone through several further iterations before arriving at the version we have here on the LP's B-side where immense bass pressure and high frequency tones buffer restless amplified breath and scrape that folds over itself with extraordinary dynamics and subterranean activity before giving way to gorgeous resonant forms and passages of ritual purpose and sheer, unmistakeable beauty.

The A-side is Touch This Fragrant Surface of Earth’s gentle double. Still Life with Poppies, Mirror and Two Clouds offers a companion reconfiguration of Ahti’s resynthesised percussion sustain and the same recordings of Hedtjärn and Hellgren from EMS, but here they’re nestled in a sonic landscape of calm and restraint that gives them a wholly other character. Ahti also draws on older recordings she’d made of Sholto Dobie’s diy pipe organs and uses these to create repeating patterns and flourishes of sliding pitches that emerge unexpected out of cycling passages of Ahti’s clear struck metal, destabilising electronic interventions and minimal piano figures.

Marja Ahti: “I’ve been fascinated with the kind of elemental quality the sounds I'm using have such as airy sounds or earthy, wooden sounds. These qualities can also be found in wind instruments and percussion and the musicians I worked with on Touch This Fragrant Surface of Earth are really good at enhancing these qualities in their playing. I wanted to have this connection between found sounds, field recordings, or pre-recorded sounds, objects, and material, and see where these sounds might meet each other, and hopefully blend is a natural way without a divide between instrumental music, or acoustic music, or electronic music. But also, when you bring in people they come with their personalities and their ideas which is also energizing and brings surprising things into the collaboration that I couldn't come up with myself. I was really interested in making this a proper collaboration and not just coming up with the piece and giving it to them. We had the sessions at EMS where we could share ideas and Isak, Ryan and My could bring in their own ideas. Making recordings there gave me time to process these ideas and to also approach them in the same way that I would work with any other sound.”

Editions Mego presents Bosko, landing exactly 30 years after the initial General Magic flights into the fantastic; the legendary first Mego release, a collaboration with Pita whereby all sounds were harnessed from the buzzing, drinking, humming sounds of fridges MEGO 001 General Magic & Pita and a 12” with Elin called Die Mondlandung (The Moon Landing) MEGO 002 which embarked on a minimal techno template so austere and strange it was one of the historic progenitors of austere and wonky rhythms alongside Sakho and other European explorers.

The initial return of the playful and mystical Austrian outfit General Magic came with the 20th year anniversary vinyl reissue of their classic debut Frantz eMEGO 010. A record so audacious and playful it still baffles as much as it entertains. At some point whilst working on this reissue GM’s Ramon Bauer and Andi Pieper were spurred on to rummage around with ideas and tools once more and after more than two decades of inactivity sonic sorcery was conjured once again. Live shows in honour of Peter Rehberg were performed in Vienna and London. Softbop, a limited risograph collaboration with Tina Frank came with the first new recordings as a digital download came out discreetly online. The first full length album following Rechenkönig in 2000 MEGO 032 “Nein Aber Ja” released in 2023 on Finlay Shakespeare’s GOTO Records on CD and cassette. An ongoing series of mix tapes online further highlights their interests encapsulating a new found angle on electronic mayhem. All of these elements retain the wildly eclectic and ecstatic glow that only they can harness and hand out to an unprepared world.

Now, we have General Magic’s second official full length comeback recording, Bosko. The new album is initially notable prior to the needle hitting the wax or the cursor identifying a track due to the artwork. Made by long term collaborator Tina Frank, this is Frank’s first analogue artwork, with a painting of a happy/nervous machine thing hovering in a landscape of no discernible identity. It’s quasi science fiction hovering amongst the potential for fun. Suited to the music? Natürlich.

Bosko sees Bauer and Pieper update and reframe their original investigations with a fresh supply of head scratching, heart racing tunes that hit the inexplicable with a wild mesh of drums, pianos, synthetic voices and all manner of immaterial sonic play. Startling sonics shock the ears on Club Duchamp which sounds like a conversation between synthetic adult ants in an environment still in development. Elfer features vocals supplied by a female-ish voice who, whilst grappling melody, has trouble executing a firm identity. Noorenhalt catapults along a mainframe of syncopation so unwieldy it feels like the voice, which is utterly alien, provides the only comfort. Seite 5 inhabits a fuzzy zone where a synthetic Horn of Jericho type ambience competes with rhythms never quite sure of who they are. Rise of the Ombré raises the spectral dread. Is this Science Fact? Absolutely nothing within Bosko is predictable.

The amount of change in the miasma of existence and the things we touch in order to make things has shifted so exponentially we are at the point where minds are starting to glaze over. All of this makes the return of the always original, always surprising, always fresh and exciting General Magic totally in tune with the artificial intelligent apocalyptic age we currently inhabit. The tools may have changed but the wonderfully warped gaze of Bosko offers a fresh new vision of perplexing funk and robotic punk.

Russell Haswell and Florian Hecker have both a long history with Mego/Editions Mego. Individual releases have peppered the Mego catalogue since Haswell’s Live Salvage 1997->2000 cd release (MEGO 012) in 2001 and the debut Hecker release IT ISO161975 (MEGO 014) in 1998.

The individual exploration of sonic phenomena by these two practitioners has resulted in both being highly regarded for their uncompromising approach to sound as matter. Russell Haswell and Florian Hecker came together as a collaborative duo with the now-legendary record Blackest Ever Black, somewhat inexplicably, on the classical imprint of Warner Brothers.

In 2025, Hecker and Haswell return with a new album featuring the two-channel edit produced initially for their UPIC DIFFUSION SESSION #23, performed as a live diffusion across 8-channels at the X100 Festival, Berlin, 2023, celebrating the 100th anniversary of Xenakis' birth.

This record furthers the duo's exploration of Xenakis's UPIC system as the sole instrument. The UPIC is a computer music system that generates sound from visual input. The original intention of the system developed by Xenakis was to make a utopian tool for producing new sounds accessible to all, independent of formal training. One can locate footage of Xenakis and a group of children making drawings for the system in the 70's.

The duo set off experimenting with a diverse array of hand-drawn images to feed the UPIC system including news photographs of disasters and atrocities, "food porn" through to depictions of the natural world and microscopic images of molecular structures (including 'the blackest ever black'). The resulting eccentric audio from these images is claimed by the artists to heighten synaesthesia and is as mysterious as it is baffling.

Throughout UPIC DIFFUSION SESSION #23 frequency clusters move and morph in the most unusual manner, shifting and stretching into shapes that hint at some kind of magical process. What starts out deceptively simple soon unravels into a large array of sonic mayhem. Symbolic jet planes are shredded by a swarm of insects, a metal bowl howls into the void, a tiny tin toy crawls into a thicket with the resolute aura of a black hole. A burning geyser of laser forms liquid shrapnel. This is sound as an alchemical process, a constant chimerical flow into the netherworld and is the net result of the decades long radical investigations by the two artists involved. UPIC DIFFUSION SESSION #23 is a direct, rich and rewarding listen for those willing to invest time into the outer limits.

Mind bending UK influenced Rave meets Electro ep by scottish producer Crossover Network who makes his second appearing on the dutch label.

Influenced by the vibrant Caribbean community and the reggae sounds that permeated his environment, Danny Red was drawn to music at a young age. His journey began in the 1980s, but it was in the early 1990s that Danny Red truly started to make his mark in the reggae scene. Rise to prominence was marked by his unique voice and his commitment to the Rastafari movement, which heavily influenced his music. In the 1990s, as dancehall began to dominate the reggae scene, Danny Red stayed true to his roots reggae origins, focusing on socially conscious themes and spiritual messages.

Known for his powerful vocal delivery and a profound lyrical approach, Danny Red’s music often explores themes of cultural identity, social justice, and spiritual awareness. Here teamed up with south Italian collective Mystical Powa to bring lyrically rich and musically vibrant single. Exploring Rasta believe in holy place called Mount Zion that awaits for each good person. Backed with highly popular anthem horn piece entitled Kunta Kinte played by Eddie T-Bone. Both tunes comes with tuff dub versions ready to mash up all dances worldwide.

Amoul Bayi Records continues its mission of discovering and showcasing West African artists. After introducing talents such as Daba Makourejah and Saah Karim, the Dakar-based label returns with a new release from one of the most soulful
voices in Gambian reggae: Royal Philosopher.

"Thank You Jah" is a song of gratitude, carried by the emotive and distinctive voice of Royal Philosopher. With humility, he expresses his thankfulness for the talent he has received, the path he has walked, and the strength that has guided him along the way.

Built on a dynamic Digi Roots riddim produced by Yared and mixed by Rootical45, the track provides the perfect space for his voice to shine. The refrain – “Thank you Jah for giving I talent” – echoes like a personal prayer and a universal message, able to resonate beyond belief systems.

Royal Philosopher is a Gambian singer whose powerful and precious voice is shaped by spirituality, African heritage, and musical commitment.

Born in Banjul, he first discovered his vocal gift in a church choir, where he developed a heartfelt and sincere expression. He fell in love with reggae through the voice of Garnett Silk, whose intensity and devotion deeply influenced his path. He began his journey with the group The Royal Family, before pursuing a solo career, releasing music with consistency and authenticity.

Today, he presents "Thank You Jah", a single produced by Amoul Bayi Records, imbued with gratitude and faith, true to his artistic vision: sincere, elevated, and deeply connected.

Designed both for turntables and streaming platforms, the single will be released in digital format and on 7" vinyl. The artwork is by renowned Senegalese graffiti artist King Mow.

Founded by Karigan and Organiks (The Roots Makers), The Earliers consists of 5 musicians and two singers. Sebah's voice will not go unnoticed, since he is part of a family of singers for whom soul is no longer a secret: a real pleasure for the ears! He has been singing for more than ten years in the emblematic French ska/reggae group "100Gr de Têtes". Musician from father to son also, Congo Lion is bringing a very rich background from his Congolese origins and a very tribal universe in his musical style. A perfect blend between the soul and early reggae period which makes the show of "The Earliers" a true tribute to the roots of reggae.

Saxophonist, flautist and producer Chip Wickham casts a formidable shadow across the worldwide jazz landscape. Originally from Brighton, but now dividing his time between the UK, Spain and the Middle-East, he has made a name for himself with a series of beautifully crafted solo albums that draw equally on the hard swinging spiritual jazz of Roland Kirk, Yusef Lateef and Sahih Shihab, alongside the music of British jazz legends such as Tubby Hayes and Harold McNair and the more contemporary sounds of Jazzanova, Kyoto Jazz Massive and Robert Glasper. His close working relationship with Matthew Halsall’s Gondwana Records has spanned close to two decades (since he played on Halsall’s 2008 debut ‘Sending My Love’) and has since released three standout releases on the label (the ‘Cloud 10’ LP, and the ‘Astral Travelling’ and ‘Love & Life’ EP’s). Once again returning to the heralded label, he now prepares to release his elegant fifth studio album ‘The Eternal Now’. Further exploring his penchant for hard-hitting soulful, spiritual jazz and modal hard-bop, it denotes an exciting new chapter in his much- revered discography, once which sees his unbridled artist flourish into new and fruitful pastures.

A beautifully crafted record, ‘The Eternal Now’ is a heartfelt ode to submitting oneself to the practice of creating art, and the freedom that’s derived from letting go. Speaking on his journey to bringing it into the world, Chip explains “The Eternal Now is a creative place where time has no purpose. A place where the past and the future don’t exist. A place where an artist can create something that is timeless and relevant. Writing this album has been a deliberate journey of exploration and drive into the furthest reaches of creativity. An attempt to push myself artistically into new spaces using new colours and new energy”. On how he approached this record in comparison to his previous offerings, he divulges ‘I had to be playful and take risks. It has taken longer than any other album to make and it has been so worth it. I have been drifting and taking the road less travelled as well as not looking back. I’ve enjoyed being on the outside and the freedom it has brought me to create something new and fresh and relevant and timeless.’

Re-issue of the long out of print Virtual Geisha album by Japanese Telecom (aka Dopplereffekt / Der Zyklus) first released in 2001. A further exploration of the culture and technologies from the land of the rising sun by Heinrich Mueller on the successor to the Japanese Telecom EP. This time the inspiration is more adult and Manga orientated and even goes a little more 'poppy' with Y.M.O insprired tracks. On Virtual Geisha there's also a first glimpse of the directions he'd take his other projects in the future on tracks like 'Enter Mrs. Suzuki' and 'Japanese Matrix'. While still keeping true to his Detroit Hi-Tech Machine Funk roots with Electro anthems like 'The Making Of Ultraman' and 'Beta Capsule'. Remastered and re-issued for the first time since its original release. Essential!!!

After seven years away, Detroit's supergroup 3 Chairs aka Kenny Dixon Jr., Marcellus Pittman, Rick Wilhite and Theo Parrish, returned in 2013 with 'Demigods', a superb EP that now gets repressed. Known for their loose, free-flowing jam style, the collective blended their distinct individual influences into four unique tracks. The title cut delivers raw, dynamic acid, 'Elephant Ankles' radiates Parrish's jazzy, polyrhythmic soul, '6 Mile' channels Moodymann's mechanical edge with playful bass and 'Celestial Contact' drifts into minimalist, atmospheric territory. The release captures the crew's spirit of freedom and experimentation and proves this cult outfit can craft music that's as fun to make as it is to hear. It's the sound of four producers at ease yet still pushing new creative edges.

Myd’s “Mydnight” second album on Ed Banger Records, influenced by his DJ Experience over the last three years. Includes club-infused singles “The Wizard” , “Song for You” and “All That Matters is Not Gold” featuring Channel Tres and Trueno. Available on CD & Collector Double Yellow & Black vinyl.

DJ 3000 Redefines the Fusion of Detroit Techno and Albanian Identity on New EP Shotë
With over two decades of pushing boundaries, DJ 3000 returns with Shotë — a striking new EP that reaffirms his place at the crossroads of Detroit techno and global rhythm. Out soon on Motech Records, Shotë is a four-track, limited-edition release pressed onto 12” vinyl with vibrant jacket artwork that reflects both his cultural heritage and sonic evolution.
Named after a traditional Albanian folk dance, the title track Shotë anchors the record in deep, ancestral roots while remaining forward-facing, raw, and emotionally resonant. Shotë balances past, present, and future in equal measure.
“I’ve been making records for over 20 years, but I still approach every release like it’s my first. With Shotë, I wanted to honor where I come from without the music sounding nostalgic or dated. The culture’s in there, but the sound is timeless and alive.” —DJ 3000
Each track on the EP tells its own story:
• Shotë – a reimagining of a traditional Albanian rhythm, layered with tough grooves and hypnotic builds.

• Laya – built on hypnotic motion and rolling percussion, its haunting vocal textures hint at deeper rhythmic traditions.

• Lumni – from the Albanian word for “blessed,” it carries a spiritual weight wrapped in rhythm and resolve.

• Qilim – inspired by handwoven Albanian rugs, its detailed arrangement plays like sonic embroidery.

This EP is a continuation of DJ 3000’s mission: to merge deep roots with futuristic form. Shotë represents raw, focused techno that respects the past while refusing to stand still.

Introducing Hussain Bokhari and his debut album “Possessions” on Mood Hut Records. Hussain has been a close friend of the label for years and we’ve been quietly obsessing over his bedroom transmissions forever. With “Possessions”, we get a glimpse into the endless archives of a Vancouver underground legend.

Born in Bangkok but calling Vancouver home, Bokhari creates intuitively and freely, and you can hear it in the way "Pull Me Up" rolls out its plush carpet bedroom boogie, or how "Bangkok Boy"'s Thai vocals carry childhood memories across oceans and decades, while "Whatever Counts" sounds like Durutti Column moved from Whitworth Street to Cordova.

This is music for the spaces between - between cities, between eras, between yourself and the person you were, all held together by a minimalist studio setup and maximum heart approach that makes "Possessions" feel like an invitation into Bokhari'sparticular way of seeing.

‘Two taches intertwine. An EP born out of Demi’s visit to Melbourne during his AU tour, and Luke’s easily accessible studio based above an inviting pub, naturally the vibes were high after a couple of schooners in the summer sun.’
Life & Death welcomes a standout collaboration from Demi Riquísimo and Luke Alessi with the release of their new EP ‘Yes Bby’ landing 29 August 2025. Setting themselves the brief of, “upbeat rollers and a little bit of naughtiness,” the two producers blend their sonic identities on this club-ready two tracker, formed of ‘Basement Trash’ and title track ‘Yes Bby’.
“Basement Trash was actually the first track we wrote. A funky, fun, hypnotic groover thatlocks you in on the d floor, made for those late nights (or early mornings) in the “basement” of a grungy club. For ‘Yes Bby’ we wanted something that worked on a bigger scale. We dialled up the French rave synths, bigger builds, more drive in the groove and added a cheeky classic vocal chop for the hook.”
– Demi Riquísimo & Luke Alessi

Known for his genre-blending productions and distinctive edits, Semi Delicious head honcho Demi has steadily carved out his space in the scene, a respected tastemaker and Ibiza mainstay, while Luke Alessi has continued to establish a global profile over the last 12 months with major European and US gigs, plus releases on Shall Not Fade, SMiiLE records and of course Life & Death, making this pairing a natural fit.
Already receiving support from the likes of Chloé Caillet, Call Super, Moxie and more, ‘Yes Bby’ marks an exciting moment in both artists’ trajectories. For Demi, this EP also serves as the first in a new chapter, one that places him at the centre of a more collaborative space, setting the tone for landmark projects to follow on his own imprint later this year.
As one of dance music’s most respected tastemakers, Life & Death continues to shape the global underground through its diverse output, with ‘Yes Bby’ slotting seamlessly into the label’s catalogue of playful, sexy and forward-thinking club music.

Wishbone Ash reigned supreme through the 1970s — centered on inspired musicianship, joyful spirit and inventive songs. Their concerts were uplifting and their recorded work sublime. Argus remains a stunning high point in the band's startling repertoire. Argus was a 1972 tour de force, a hard-rocking masterpiece that has gone on to have a huge impact on rock bands moving forward. If you've never heard Argus, you've surely heard music that it inspired.

The British quartet's trademark harmony guitars became a touchstone for many: Thin Lizzy, Iron Maiden, Opeth, and Lynyrd Skynyrd have all acknowledged an Ash influence, and tracks such as Lizzy's "The Boys Are Back in Town," Maiden's "The Trooper," and even Steely Dan's "Reeling in the Years" all have twin-guitar moments that hark back to Argus. But Wishbone Ash were different from the start. They were never strictly a hard rock band; their soaring vocal harmonies and musical grandeur placed them close to progressive rock.

But they weren't strictly prog either: They had no keyboards, no real classical influence and weren't into side-long suites. Their roots were in the blues, and their calling card was twin lead guitars in harmony (played in the original lineup by Ted Turner and Andy Powell). Even the hardest Ash rockers — like "Blowin' Free," the most famous track from Argus — had an ethereal touch. They could rock the big stages, but they did it with subtlety and grace. This is reflected perfectly in the classic album sleeve by prog-associated designers Hipgnosis: The front cover shows a Greek sentry — the "argus" of the title — staring off into the distance. It's a mythic, old-world kind of image until you look closely at the back cover, and see that he's heralding the arrival (or perhaps watching the departure) of a spaceship.

Two worlds colliding. Exactly what the band and album were all about. By the time of Argus, Wishbone Ash were stars in England and cult heroes among Anglophiles in the US. What made Argus a step forward was its flow of moods. The songs don't run together, but there's an emotional connecting thread from the album's somber beginning to its heroic end. The band insisted at the time that lyrics were something of an afterthought: Shortly after its release, main lyricist Martin Turner told NME that he wrote them mainly to fit the mood of the music: "The music that was coming out was very English, very medieval, and the lyrics had to reflect that." Added Powell at the time, "The expression comes out in the guitars. We wouldn't play it if it didn't express something." Now, Analogue Productions has applied all of its vaunted craft and technical expertise to make this epic album shine! Two 45 RPM LPs pressed on virtually silent 180-gram vinyl at Quality Record Pressings make the remastered audio sparkle. Quieter lyrical sentiments and softer musical passages are rendered precisely, while majestic riffs and fist-waving anthems fully reveal the energy of the music! Argus isn't just another rock record — it's a journey through a sonic landscape rich with depth, emotion and technical prowess. It's the album that solidified Wishbone Ash as masters of twin guitar harmony. Discerning audiophiles will find Argus an essential addition to their record collection. It's a masterclass in sound engineering that fully captures the intricate interplay of dual guitars with pristine clarity and a warmth that only analog recordings can provide.

The rediscovery of Terry Callier is of the high points of in the history of Acid Jazz Records, who present the reissue of the 7” version of the song that started it all - ‘I Don’t Want To See Myself (Without You)’. A true classic of the modern soul scene.

‘I Don’t Want To See Myself…’ was the final release from Callier, whose career encompassed recording for Prestige, Chess’s Cadet label and Elektra, before this one- off single on the independent Erect label.

Despite the record fetching huge sums by the 1990s, his career had been largely unexplored, until Acid Jazz founder Eddie Piller decided to track him down. After several attempts, Eddie finally found him working as a computer programmer, and in July 1990 Acid Jazz reissued the single.

Over the next decade Terry resumed his recording and performing career, releasing new music, and was finally recognised for his brilliance as an artist. In 2006 Eddie found himself once more in conversation with Terry and they agreed on releasing a 7-inch version of the single, with an edit created by Andy Lewis.

This single is long since deleted, and now sells for upwards of £30, so with the full co-operation of his daughter Sundiata and licensed from Terry Callier Music, it is set for reissue in March 2025, backed with ‘If I Could Make You’.

*Re-press of first-time 7″ release / limited 300 copies red vinyl / Shipping from 11 August* If you were part of a clubbing tribe in 1994 – any clubbing tribe – you will have danced to the Ballistic Brothers astounding ‘Blacker’. A track on a mysterious 12-inch that no-one could quite work out if it was a 12-inch single of a cheaply packaged album (it was in effect a 12 inch EP), but in the end it didn’t matter. It provided any DJ with a guaranteed dancefloor winner. A sly mix of beats and samples, it is nothing short of an anthem, and with the full cooperation of the group, we are making it available for the first time as a 7-inch single. The Ballistics – Ashley Beedle, Rocky, Diesel and David Hill – went on to record a further 12-inch EP and two full-length albums, making them one of the cult names of 1990s music. On the flip of this seven is one of their most popular cuts, what at the time was an LP-only track ‘Cubafro Con Amigos’, which has been specially edited for this release. Following the sellout of the first-time 7″ in 2023, we are excited to offer a repress. Limited to 300 copies and pressed on transparent red vinyl in a black disco bag!