Well. Where do we start with 'Deep Inside' Originally released in the golden NYC House era of 1993, this 5 tracker literally smashed everything in sight. And still does now! The epitome of an evergreen, all-time classic release. Masters At Work Louie Vega and Kenny Dope were on a major roll in this era, producing, remixing, dj-ing and everything in-between, these guys put in ridiculous work. They are joined on this EP by a roll-call of names and collaborators, Erick Morillo engineering the title track Check. Maurice Joshua on co-production duties You got it. Vocals by Ms. Barbara tucker They're there. Killer, rock hard drums Stacks of Soul Masterfully chopped up Disco samples All present. Serious stuff. Sometimes a record just manages to capture and distill the true essence of what this is all about and 'Deep Inside' is one such record, it bears all the hallmarks of golden era MAW, all the signposts of what was happening in NYC's clubs in the early to mid 90's were there within it's grooves. You know a record is good when it's still being, quite literally, hammered nearly 25 years later! Now, remastered, and reissued with the full involvement of Strictly Rhythm this seminal piece of NYC House history is made available again with all original, full sleeve artwork intact as per the 1993 original. This one's a straight up essential for any self-respecting dance aficionado. You know what to do!
Spectral Bounce’s latest offering comes direct from Norway, courtesy of Anders Hajem — co-founder of Boring Crew Records. To date, the Oslo producer’s previous releases have been vessels for the exploration of myriad dance musics, seeing the artist fluently turn his hand to soulful house, dub techno and 2-step.
SPEC07 — the Myr EP — is a much more focused affair, finding Hajem in techno mode across 4 potent cuts typified by undulating drums and swelling echoes. Despite its emphasis on percussion, atmosphere has not been sacrificed for rhythm: vivid FX and meticulous attention to detail bring these tracks to life beyond the context of the dancefloor. This is music that can be stepped into and explored, productions that reward repeat listens.
Opening at full throttle, “Myr” is a jackin’ percussive workout, harnessing punchy drums for maximum effect. Its pulsating low-end runs in tandem with trembling synths that perpetually reflect and refract in the stereo field. Atop its rolling drums, hardgroove-inflected “Sprett” utilizes timestretched vocals, cavernous reverb and ecstatically quivering tones, elevating this 2000s-era framework to new heights. “Existence” brings things to a deeper and more hypnotic place: delays are turned up, siren calls reverberate and timbres ebb and flow. Hajem goes more chasmic still on “Concussion”, hitting the brakes for a much slower cadence and allowing space for a truly expansive listening experience. Heady and mystical, entrancing and otherworldly — listen close enough; beneath the dizzyingly shifting pulses and rattling drums you’ll hear incantations, while bass tones pulse in the depths.
SPEC07 — immerse yourself!
Credits:
Art by Susanne Janssen
Mastering & Cut by Marco Pellegrino @Analogcut
Words by Cameron Leaf
out of Stock
Last delivered 3 months ago available to reorder, subject to availability
B. Chamber (Stratum A), by B. Close, is the first full length solo release by Los Angeles-based multi-disciplinary artist Brian Close. The first of two volumes assembled from some thirteen hours of music produced by Close while residing in Connecticut from 2021-2025, B. Chamber (Stratum A) offers a vivid, fractal afterimage of a prolific, specific time and space in the artist’s oeuvre.
After leaving New York City early in the pandemic to a farmhouse in the countryside with dedicated spaces for multiple sound stations, Close developed an intensive daily practice of melding with the machines. The vast, pastoral backdrop of rural CT provided inspiration and contrast for his ongoing investigations into dynamic, poly-rhythmic electronic music. The sounds on B. Chamber (Stratum A) range from the machine-modeling of acoustic instruments and natural environments to the utterly unhuman, spinning on the axis between crystalline, pointillist precision and shifty blown-cone distortion. Close’s atypical interpretations of rhythm, noise and other undefined musics land in a hybrid zone of their own.
Throughout B. Chamber (Stratum A), Close’s productions are in perpetual motion. Foxtrot’s shifting hi-hats and disembodied voices rise like cicadas propelled by glitching machines and tangled rhythms, Many Drive draws momentum from dubby stabs and twinkling atmospherics. Character Community’s nimble, drifting snares and erratic static are uplifted by swelling synths, and Mpan’s modular mining forgoes drums but is no less propulsive for it. Acre Voices’ seasick pads and deft drum patterns tap an energizing nerve, and closer 5D Bow’s ambush of pummeling machine gun fire spirals into the tryptamine palace and emerges completely rinsed and refreshed.
Equally powerful in the club as in the outdoors, in the headphones eyes closed or on the move, B. Chamber (Stratum A) grants an immersive temporary trip on B. Close’s unique wavelength, with Stratum B to complete the picture in the summer of 2026.
Brian Close (b. 1979, NYC) uses the cold logic of mathematics to trigger states of total sensory displacement. Close co-founded multiple AV studios to explore the "hypnotic"—a ritualistic practice of motional-graphism and improvisational sound. His work is a study in synesthesia and the architecture of trance, using geometric precision to dissolve the sense of time. It is a digital-visceral experience built on heavy logic, designed for large-scale immersion and timelessness.
Close is one half of Georgia who have released records on Palto Flats, Firecracker Recordings, Meakusma, Youth, OOH-Sounds and EM Records, and have a long-running residency on NTS.
B. Chamber was written, produced and mixed by Brian Close.
Mastered by Rashad Becker.
Artwork by Brian Close.
Emerging artist Beifer presents his highly anticipated debut album "constant.transition": an eclectic fusion of electronic music with strong influences from dubstep, garage and drum&bass, enriched with captivating jazz elements. This cross-genre work takes listeners on a journey through dark atmospheres and avant-garde soundscapes, brought to life by the artist's complex percussion layers and interesting chord structures.
With great experimentation and a desire to break new ground in electronic music, Beifer has created an album that captures the listener's attention with its unique textures and unconventional soundscapes. Each track is an exploration of musical possibilities, with Beifer masterfully blending a wide variety of genres while creating a cohesive and infectious atmosphere.
The album also features notable collaborations with renowned musicians. Wanja Slavin, Moritz Stahl (Ark Noir/Lyder) and vocalist Enji have collaborated with Beifer to add an additional dynamic and layered dimension to the album. Their unique talents and empathy blend seamlessly with Beifer's vision, opening up new worlds of sound for the listener. Beifer has managed to push the boundaries of electronic music and make an impressive artistic statement with his debut album.
"constant.transition" is the first release on the newly founded tunnel.visions label. Starting as a event-series, the three members of the electronic alternative experimental jazz band Ark Noir have made it their mission to present progressive, contemporary music that includes acoustic and electronic instruments, takes up compositional and improvisational concepts and thus breaks down the boundaries between academic and autodidactic practice.
Over the past year, Ark Noir has featured Beifer several times at concerts and brought the music of "constant.transition" to the stage with live instrumentation. The program was enthusiastically received by the audience.
out of Stock
Last delivered 7 months ago available to reorder, subject to availability
‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
“Ireland’s buzziest new band” - The FADER
“Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
“They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
CD housed in a cardboard wallet with lyric and photo insert.
LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.
out of Stock
Last delivered 7 months ago available to reorder, subject to availability
Marking their 51st release, long time label collaborator and friend Owain K returns to 200 with a brand new solo 4 track EP, Kinematic Equations.
Having joined 200 back in 2012 with the “Colonius EP”, a lot has happened in that time. With 50+ releases on the imprint and Owain setting up his own blog and a label under the Innate banner. However, some things remain - mutual friendship, a shared love of underground Electronic music and Kölsch!
15 years on the Welsh rooted, Bristol (UK) based artist delivers some of his best music to date in the shape of the “Kinematic Equations”. A four track journey into astral electronics that weave together his take on deep space sounds, fused with a healthy dose of dubby aesthetics that are close to the label’s heart.
Starting with the rhythmic pulse of ‘Axial Shifts’ on side A, chords steadily arc into life as the intensity rises and falls, all whilst keeping a measured trajectory. Drifting into the ether, ‘Open Cluster’ fills the zone where heavy sub meets filtered percussion to a rounded 909 kick, set with dreamy atmospherics and shimmering delays.
On side B ‘Eta Aquarid’ blazes a powerful trail to machine-like rumbling and evolving pads which burst brightly over the course. Last but not least, the magical aura of ‘Ghost Of Jupiter’ appears - a fusion of glimmering melodies that float over driving bottom end and steady percussion, bringing the EP to a perfect conclusion.
Written and produced by Owain Kimber
Mastered by Emanuel Geller at Salz Mastering
out of Stock
Last delivered 4 months ago available to reorder, subject to availability
Scandi figurehead Per Hammar switching things up for the Kalahari debut.
No stranger to a curveball, as demonstrated here. The dub techno donny goes anthemic, bouyant and triumphant on the first one, full frontal techno tessellations for the rest.
Flashes of braindance, the groove militant where it’s required and he goes liberal with the samples. Earworm potential and sound sensitive inclinations on display, as we’ve come to expect, but always on the front foot. Rude, direct and never at risk of taking itself too seriously.
Time-stretched modulations and head-spinnin’ flourishes of hauntological detail underpin the insistent technoid throb. A masterful balance between dancefloor utility, dubwise dynamixxx and sheer variety.
Absolutely zero bloat, every track a stone-cold killer. Proper ruff ’n’ ready torque.
out of Stock
Last delivered 4 months ago available to reorder, subject to availability
Impatience is thrilled to present Leaving Memory, the latest album-length work by Piper Spray and Lena Tsibizova. Leaving Memory is a searing distillation of the duo’s ouevre - it’s eleven prismatic electronic seances combining for a mind warping wormhole with it’s own internal (il)llogic, where pop, ambient, and industrial music convene beneath a rugged HD of digital processing and brain fog. Equally rosy with nostalgia as it is ominously forward looking, Leaving Memory defies easy categorization and makes for an astounding, confounding listen.
By turns violently abrasive and disarmingly touching, Piper and Lena deploy sounds that fracture and disintegrate, burn up and explode, synthetic supernovas that give the record an unmistakable, inimitable texture. Song structures often abide by their own blueprint - heading in one direction before making an abrupt dive elsewhere. Bursts of vibrant colour lurk below layers of grayscale noise. Unidentifiable voices deliver secret messages from the murk. When rhythm’s emerge they ground the tracks to some unknown terrain and invigorate.
Lame Line veers towards the sweeter end of their spectrum, a hazy plaintive repetition increasingly lashed with friction, before Exit erupts with clanging rhythm and shards of distortion. Diagnosis is an almost sweet alt-pop song, Lena’s vocals yearning beneath a dubby shuffle, while Keeper Of The Void’s possessed incantations open up to a ripping, fried climax. Beryl Grey releases the pressure gauge, a gently lilting drift arpeggiating as the sun sets, and Lost Cars sweats through claustrophobic drones and bird song before the clouds part on a serene scene. Leaving Memory closes with Shin, offering a genuinely sweet resolution and a gentle landing back down to earth of either footsteps or fireworks, swelling synthesized horns and woodwinds, a kiss on the cheek for making it out the other side.
On Leaving Memory, Piper Spray & Lena Tsibizova share their uniquely discordant take on freaky music for unsettled minds, an intensely energized set that offers a deeply evocative, unimaginable otherworld for adventurous ears.
Piper Spray and Lena Tsibizova have been producing music together since 2020. Leaving Memory is the first to be presented in the LP format. Piper has previously released music via Orange Milk, Hausu Mountain and Gost Zvuk, as well as his own Singapore Sling Tapes label. Lena works predominantly as a photographer, and together Piper and Lena have released music via radio.syg.ma and Kartaskvazhin. Both make music as part of Air Krew, who have released music on the Echotourist and Motion Ward labels. They’re both currently based nowhere.
Leaving Memory was written, produced and mixed by Piper Spray and Lena Tsibizova, and mastered by Sergey Podluzhniy. Cover photo by Lena Tsibizova, design and layout by Justin Sloane.
out of Stock
Last delivered 7 months ago available to reorder, subject to availability
“Fever” and its Dub version “Influenza Dub” were released together around 1974 (exact year unknown but it has been
registered for copyrights in 1974 & 1972) on 7” vinyl on the Upsetter label, under the name Suzan Cardogan in Jamaica only…
This is therefore the very first release on 7” vinyl of these two Reggae masterpieces outside of Jamaica and it is the first
reissue of the original Jamaican single on 7” vinyl, finally making these two exceptional and popular tracks available again in their original iconic format.
The original Jamaican pressings are now quite rare, expensive and highly in demand among collectors and Reggae enthusiasts alike.
out of Stock
Last delivered 7 months ago available to reorder, subject to availability
Especial is delighted to reprise the label’s relationship with Osaka’s acid master, Akio Nagase. Following his debut, Global Acid EP and follow up African Acid EP covered a range of influences, all with the heavy dose of Roland TR-303, here he completes a trilogy of EPs, culminating in a homage to his love of dub reggae.
Having made reggae influenced dance music under the Makedub alias for decades, here he takes it a step further, utilising a knack for catchy hooks and acid lines, while fusing reggae and live desk-dub mixing.
I Love Smoke, a chant, the stand-out, those classic vocals flowing in and out with a 3AM (Eternal) bump. Riotously expounding the virtues of smoking ’Mari Jane’, the hypnotic stoner vibes are wrapped around Nagase’s meditative and dancefloor heartbeat.
Night Time High Acid swings, the low-end rumble and kick build before the TR-303 and harmonica lead interweave, samples and sirens encase in an ethnic, tribal slo-mo dub flow.
Things shift with the 4/4 bump of Creation Dub. A call to rise wrapped in the warmth of Dub House beats. Melody and dub flow, no need for 303. Vox are space echo’d to the limit. Keys stab, horns call, slip side away.
To finish, Harmonica Dub is just that. Heavy mouth organ solo, the blues calling atop a dub-techno stepper beat. Rimshot, stabs, echo. All encompass that psychedelic flavour of Akio. Dub, Love and Respect. Thank you Mr Kikumoto for the acid, thank you Mr Nagase for beats
out of Stock
Last delivered 40 days ago available to reorder, subject to availability
As the meteoric rise of reggae began to captivate listeners around the globe in the 1970s, innovative artist Augustus Pablo emerged as vital creative force pushing the genre forward. An important figure in the Jamaican music scene during this remarkable era, Pablo was not only a skilled musician but an influential producer who shaped the sound of countless classic recordings. While his instrumental work and legendary dubs remain essential, Pablo was also responsible for iconic vocal tracks from a wide range of local talent, many of which were released on his own label Rockers. Now, Nature Sounds is proud to present Rockers United!, a collection of classic and rare vocal selections from the Rockers archives, all produced by Augustus Pablo. Deeply rooted in hypnotic, bass-heavy instrumentation, the album features remastered audio transferred from the original master tapes, with vocals by Jacob Miller, Delroy Williams, Hugh Mundell, Tetrak, Junior Delgado, Earl Sixteen, Spliffy Dan and more.
Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.
Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.
EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.
This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!
out of Stock
Last delivered 4 days ago available to reorder, subject to availability
B' ROOTS SOUND SYSTEM presents the first release of its record label -NORTH&SOUTH Reggae Label-. A 12inch worked with Sergio López aka Japu, from Lana Studio in Linares (Jaén-Andalusia-Spain).
A version of the original riddim by N. Bailey with the voice and lyrics of Natty Nature. 'Keep up the vibe', a song full of powerful melodies, where the lyrics refer to creating a harmony between the music and the listener through the vibration of the instruments, the voice and each sound element. That is, keeping the energy and creativity awake in perfect balance.
On the other side, Jorge Dopico contributes his art in 'Trombone vibe', to keep the energy at its highest until the end of the album. A trombone line that delights anyone who loves the most melodic and instrumental reggae.
All this, supported by the respective Dub Versions, by Sergio López aka Japu, from Lana Studio. Providing the riddim, production, mixing and mastering of this sensational first work.
Group Rhoda returns to Dark Entries with Phase 5, a new LP of synthesizer-driven art-pop. An integral member of the West Coast electronic music scene, Mara Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. Barenbaum’s songcraft is at once stylistically diffuse and laser-focused, a synesthetic approach that allows her to effortlessly glide between genres and soundworlds while centering her singular poetics. On Phase 5, her fifth LP as Group Rhoda, we find Barenbaum waxing nondualistic. Lines between fairytale and fact, between nature and art, between subject and object all dissolve under contemplation.
The songs on Phase 5 are perpetually in-between states, deftly shifting form at the blink of an eye. With sleight of hand, “Field Tone” transmutes from brooding John Carpenter-esque electro into vocoder-driven space disco. “Dragon Pine” darts from cosmic dub to cybernetic dancehall and back again. The uptempo darkwave-leaning number “Aeolian Crossing” dissolves into the void, like sand falling through one’s fingers, like a retreating wave. The cover artwork for Phase 5 is by Shawn Reed, and features purple lilies and light refracted through water. All songs on this album were mastered by Ruud Lekx. The digital version of Phase 5 will be released via Katabatik, a label and sound system that Barenbaum has had close ties to for the past decade.
Quickly following March’s The Fool - our label debut - Sa Pa reveals his new album Ambeesh on Short Span.
Coming five years after In A Landscape, and nearly a decade since his debut Fuubutsushi, Ambeesh pulls together a previously hidden body of work.
Written between 2014-2019 and long held in reserve awaiting the right moment for release, the album has often been grouped conceptually as a follow up to his FORUM debut. There’s a strong through line connecting the unique language and liveliness of ambient, layered field recordings, and dub techno found in those earlier records, as well as the seamless skydive through pressure formations found in the Enter Sa Pa production mix, which hinted at several of these tracks.
These pieces have taken time to surface and fully catch the light, but there’s still little else that compares. It’s a cache of some of his deepest and most texturally thrilling music, some of which have been rattling around in our ears and minds and conversation for years and have now found the right home and time. Forward thinking and singular in its combination of atmosphere; Ambeesh can press on the body at the right volume, and moves in thrust and riposte with the listener’s circadian rhythms. Sa Pa continues to dissolve the border between club-informed experimentation and intimate headphone listening.
Ambeesh also marks the artist’s return to Australia and the beginning of a new phase.
Mastered by Miles. Digital release of Lexanconical mastered by CGB @ Dubplates & Mastering.
Art from The Designers Republic.
out of Stock
Last delivered 7 months ago available to reorder, subject to availability
Killer set of six from Picture aka Central aka Natal Zaks.
Speedy, flighty stuff. Filter dials turning, little licks, sometimes small vocal hits. Zephyr and pressure. Some midwestern techno vivre carrying the whole thing along. If you've caught any of the Picture records from the last few years you might know the momentum at play already, a mix of breezy euphoria and deeper, dubbier minimalist force.
Combining a live and impactful improvised energy with Nat's signature twinkling production that has always been in a class of its own. Club tools as well as multifarious instruments of levitation. You could have the 38 most productive minutes of your life with it spinning as your soundtrack next to you.
With a career spanning over 50 years, Earl Sixteen is one of the major artists in the history of Jamaican music. He has been produced by some of the biggest names in the business, from Studio One to Jah Shaka, Lee ‘Scratch’ Perry and Mad Professor. Earl Sixteen has always stood out for the accuracy of his performances and the smooth depth of his voice.
Today, in collaboration with Switzerland most active studio group of the last decade, The 18th Parallel, he presents his new single ‘My Son’, written by the genius lyricist Marc Ismail. The lyrics touch on the harsh reality of the younger generations in Jamaica who grow up in precarious conditions and, in some cases, have no choice but to turn to crime. Here, the elder's voice urges young listeners to take a hard look at themselves and weigh the consequences of their decisions.
The message is enhanced by Earl Sixteen's performance and the extraordinarily powerful rhythm section of The 18th Parallel. B side features a scorcher dub by Westfinga: 'Hear My Dub'. A masterpiece of contemporary roots reggae!
A true hot stepper and one of the best of its kind, this 1984 masterpiece from Ini Kamoze is heavy, real and authentic. It was actually Jamaican born artist Cecil Campbell's debut album and features spacious, slow motion dubs that invite you deep within their cavernous drums. The chattery percussion, echoing hits and loose percussion all make a real mark. "World-A-Music" has a beat fans of Damien Marley will recognise, and "General" features some of Campbells more vulnerable vocal work. For fans old and new, this is a perfect roots album with a unique perspective.
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
From time to time Fortunea Records gives us the chance to highlight and welcome new faces. And this one is Petals In Sound!
Louise Baldwin is a UK-based producer and DJ. After over a decade of living, working and partying in South East London, she relocated to Crosby in Liverpool. Following a number of years experimenting with music production, she finally found her groove during the 2020 Covid lockdown. In October 2020, she released under her moniker the well-received debut EP 'Palace’ on Boyanza Records, gaining support from the likes of NTS Radio and the Sloth Boogie Radio Show. Many releases on labels such as Closer To Truth, Dirt Crew and Inhale Exhale followed.
Louise playfully attacks the fabric of deep house, pushing and pulling the genre into modern territory with clever and precise production techniques. And now she will release her first vinyl record on the Austrian imprint. The ‚Days‘ EP includes 4 original tracks and a remix by the Vienna-based dj and producer Dzc.. Hypnotic rhythms and well crafted deepness defines this record.
Petals In Sound’s ‚Days’ EP will come out on december 19th. All tracks have been mastered by Patrick Pulsinger. The vinyl is limited to 200 copies and there will be no repress!
out of Stock
Last delivered 3 months ago available to reorder, subject to availability
After Differently (released in 2024), The Tighters (Roots Reggae) are back with a
new showcase album: Lovely Love — a celebration of unity, spirituality, love, and
freedom.
Side A brings together the vocal versions, while Side B features the dubs. The album was mixed and dubbed by Roberto Sánchez at A-Lone Ark Muzik Studio (Spain) and mastered on tape by Dr Charty at Bat Records Studio (France).
Recorded at Jah Jazz Studio with Julien “Yout” Barker, Lovely Love captures all
the spontaneity and strength of the band.
The album unfolds like a spiritual and emotional journey: from the meditative
Countryside to the love song Lovely Love, and the radiant Worship the Sun. The high point comes with Africa Will Rise, a true freedom anthem performed by the legendary Jamaican duo Keith & Tex (on the Lovely Love riddim).
After their acclaimed collaborations with Oku Onuora (Balance) and Jah Myhrakle
(He is Haile) in 2025, The Tighters continue their path with this new opus, asserting
their identity within the international reggae scene.
A sincere album, blending rich musicality with a powerful, deeply relevant message.
Following on from the first KMS Sampler, PDD in conjunction with Armada Music & BEAT Music Fund return for Volume 2 in the series. Once again mining the delights in the expansive catalogue, Volume 2 showcases four more essential cuts. Up first is the classic MK Mix of R-Tyme’s – Use Me. Next up on the A side we have the legendary pairing of Chez Damier and Ron Trent with their remix of Inner City – Share My Life. On the flip, the D’Pac Dub of Dionne opens the B side and then rounding off the EP is the second Inner City track, this time remixed by another Detroit hero, Carl Craig.
Just like Volume 1, the audio has been lovingly remastered by AIR Studios and their team of celebrated engineers, fully utilising their mastering knowledge. Another brilliant volume from KMS!
out of Stock
Last delivered 7 days ago available to reorder, subject to availability
Flickering in ultraviolet, there is an elusive place where blue pill meets red, ups become downs, and day merges with night. Those liminal spaces where anything is possible is where you’ll find Nightbus and their hypnotic debut album Passenger. Doom, uncertainty, and opportunity lurk in the shadowy corners of their murky existence with stops at disassociation, co-dependency, and addiction before reaching its final destination - a glimmer of hope.
The in-between of Nightbus’ own Gotham lies where Manchester’s city pulse meets Stockport’s outer realm. An audio-visual entity formed among a musical family of friends, freaks, and foes in messy mills and after hours on dancefloors alike, their sound bleeds from tension where collective creative forces are bound together and collide with the fallout of being torn apart. Before even playing a show, their So Young released single ‘Mirrors’ – a knowing nod of respect to some well-known gloomy Northerners - may have made old school indie heads shimmy at shows in Salford’s The White Hotel but also signalled the duo’s knack for offering listeners a Bandersnatch approach to hitchhiking their own personal Nightbus in whatever direction they choose to take. “Everyone can have their moment with our songs; the music is our response to who we are as young people, living in the city full of this energy right now,” they say.
Whilst reverb hefty melodies and dread-filled loops embody isolation from writing at each of their home studio set-ups, magic happens in the ether across 90s trip-hop, indie sleaze and electronica; Jake’s production layers Olive’s pop sentimentality with drums and samples whilst tales of a cast of faceless characters place Olive as puppet master; her severed self’s perspective manipulating their stringed limbs at arm’s length to see how their stories play out when scenes reflecting her own lie close to the bone. “It’s a bit fucked; like having this out of body experience with a made-up movie running through my head,” she says. “As I write I can see they’re all from a similar world, but they allow me to explore different feelings without giving away part of myself.”
Recorded at The Nave in Leeds with producer-engineer Alex Greaves (Heavy Lungs, Working Men’s Club), surprise and danger lies in every crevice. Brooding whispers turn to chants on 6-minute opus ‘Host.’ Improvised when performed live, its immersive shift in tempo leads to hefty dub courtesy of Jake’s pedals. Even then, you won’t know shit’s hit the fan until its mid-point reveal when ominous bass blasts a thunderous soundtrack as its protagonist defiantly walks away after committing the perfect crime. “It makes you wait, and more songs should have sirens,” Olive grins.
Leaning deeper into alter-egos via the video game-psychological horror of a Silent Hill dystopia, the band’s Fight Club moment ‘Angles Mortz’ turns its literal translation of death angles on its head as it reflects upon kink and internalised shame reincarnated as pride. Elsewhere the ice cool ‘Landslide’ is a Requiem for a Dream about the addiction of being in a band; ‘The Void’ explores co-dependency and estranged relationships; and carefully selected samples revive house track ‘Just A Kid’ from the band’s early incarnation. Passenger’s every direction is to face challenges head on. “That is what’s so great about horror; you can see through predictable patterns so when the unexpected occurs it's more realistic and uncomfortable… I want to own the dark stuff!”
As for Passenger’s first single, the pulsating ‘Ascension’ is a spiralling deep dive into death, suicide, and legacy around who or what we leave behind. A noughties club banger by way of NYC beats - ergonomically designed for those who like to stay out a little too often and too late - it throbs like a house party’s partition wall as the literal levelling up undergoes a neon transformation; blue glitching to pink, diffusing the white construct of the Nightbus Matrix. “It really does feel like the end of something and was purposely written that way,” they say, “the ascension is like a firework going off!”
With wheels in motion, Nightbus has become a movement surpassing sonic realms. Between shows from Porto to Brighton taking in The Great Escape, Rotterdam’s Left Of The Dial and Paris’ Supersonic; DJing; remixing; guesting (BDRMM’s Microtonic album); and even enlisting talented like-minds to craft a 3-part queer coming-of-age music video series which ties in with a new ‘hyperpop’ phase in the evolution of their popular Nightbus Soundsystem club night, heads are now being turned from sports brands to high-end fashion designers. “There are things we can’t reveal just yet,” tells Olive, “but we’re excited about the direction this beast we’ve created is heading.” As the album philosophises and asks one ultimate question; what does it truly mean to be ‘Passenger’? Nightbus may not claim to offer a definitive answer, but it might make you feel a bit better about those demons.
London based experimental producer and composer "Leifur James" announces his return with news of a six date EU tour and the release ‘Wise Old Man’. The first single taken from his highly anticipated second album ‘Angel in Disguise’, which is due for release on the
24th April 2020 via "Night Time Stories" - Sister label to the coveted ‘LateNightTales’.
Driving, melancholic electronica, ‘Wise Old Man’ is a nod to what can be expected of James’ second album, Angel In Disguise, showcasing a more experimental side to his production. Traversing through musicality, progressive synths and introspection, this first single unveils the producer’s distinct sound with disorientated vocals; speaking of the interplay between reason and emotion, the lyrics repeat “Wise old man in my brain, soul bursting through my veins”, opening the gates to this captivating electronically steered opus.
This news comes after an incredible few years for the artist. In 2018 saw James release his esteemed debut album A Louder Silence on Night Time Stories and follow up remix EP that championed upcoming electronic talent including Bruce, FaltyDL and Whities producer, Coby Sey, on rework duties; projects which captured the attention of key tastemakers including Resident Advisor, Pitchfork, Mixmag, Electronic Sound and Future Music UK.
An aesthetically driven artist dedicated to marrying powerful visual backdrops with sonic explorations, James teamed up with Hungarian director, Balázs Simon; producing the critically acclaimed, ‘Wurlitzer’ project which saw widespread support from the likes of Boiler Room, CLASH, Directors’ Notes, Motionographer, the UK and Berlin Music Video Awards, the London Short Film Festival, Dublin International Film Festival and more.
Angel In Disguise promises to explore the themes of love and loss through a masterful blend of harmonic vocals from James himself, nuanced electronic soundscapes and vibrant percussion -
punctuated by bespoke visuals, directed by Balázs Simon.
This exciting project is expected to make waves and see James
step up, exhibiting his discerning ear and painstakingly honed production craft on aseminal label.
out of Stock
Last delivered 9 months ago available to reorder, subject to availability
Brixton Heights Records proudly presents the brand new single ‘Am I the Same Man?’, a soulful roots-reggae gem featuring a heavyweight all-star lineup including: Mafia & Fluxy on drum and bass respectively, the Ital Horns on brass, Gussie Clarke on mastering and Gaudi on falsetto vocals + BVs, dub mixing, piano and co-production alongside The Brixton Heights Orchestra.
Drawing inspiration from the timeless instrumental groove ‘Soulful Strut’ by Young-Holt Unlimited, the track channels vintage soul through a deep lovers-rock lens. A fresh and earnest reinterpretation of Barbara Acklin’s 1968 classic ‘Am I the Same Girl?’, this version flips the narrative with an adaptation on the lyrics voiced by none other than Gaudi singing in falsetto, resulting with a smooth, dub-infused love song that combines classic soul and international reggae into a modern masterpiece.
Gaudi is not stranger to falsetto-singing and backing vocals, in fact he has lent his distinctive vocal talent to albums by reggae giants such as Steel Pulse, Horace Andy, Lee “Scratch” Perry, Don Letts, Johnny Clarke, Mad Professor, Hollie Cook, Michael Rose, Creation Rebel, Africa Unite, Awa Fall, African Head Charge, Lion D & Capleton.
Mixed and co-produced by Gaudi at his Metatron Studio in London UK and mastered by Gussie Clarke at Anchor Studios in Kingston Jamaica, ‘Am I the Same Man?’ is more than a cover version, it’s a heartfelt transformation that captures the emotional core of the original song while creating a whole new vibe that speaks to today’s lovers and soul seekers alike.
The B-side presents a meticulously crafted dub version by Gaudi, produced exclusively with analogue equipment and vintage studio hardware. The mix brings forward the intricacies of the original instrumentation and enhances the lyrical elements through spacious delays and warm, analogue textures. Last but not least, in order to maintain the highest level of authenticity and an organic sonic texture, all recordings were done at 432Hz, tuned to resonate naturally.
back in 2020, a collaborative project came out with a collection of psychedelic dub tracks that explored acid fields through low-pressure beats and choral vocals. it quickly became a favourite from hivern discs. we're now excited to be sharing a rare set of remixes from Shackleton, reworking three tracks from the original album. expect a dubby flow, faster rhythms and echoing layers. original artwork by juns castella artwork design by arp_rpm mastered by Beau Thomas distributed via Clone
out of Stock
Last delivered 8 months ago available to reorder, subject to availability
Astropolis Records — the label born from the legendary electronic French festival — celebrates a decade of electronic devotion with a generous and deeply emotional anniversary compilation - a bit late, but never short on flair.
This double vinyl gathers the many faces of the Astropolis galaxy: in-house artists, long-time companions of the festival, and rising voices from a perpetually vibrant French scene. Across 18 artists, listeners are invited on a sonic journey where rave legacy, electronic dreamscapes, and collective fervor intertwine — true to the DNA of a festival that’s never known boundaries.
The record opens with grace and wonder courtesy of Rone, whose electronic touch channels both the intimate and the infinite. Between electronica and downtempo, The Dolphin Ambassador bathes in luminous melancholy, offering a moment of calm before the storm. In the same contemplative vein, we’re proud to unveil one of the first productions from Célélé alongside Théo Muller: Drum and Drift, a subtle blend of dubby vibrations and sunlit textures.
Astropolis has always thrived on happy collisions — and this compilation is proof of it. The unlikely meeting between Mézigue and Swooh sends house spiraling into a g-tech vortex on Broken Roll To Venice, a playful burst of groove, hybrid energy, and cheeky mischief. The same spirit of alchemy fuels Belaria & Madben, whose Into The Void burns bright as a 90s rave-meets-EBM anthem wrapped in hypnotic trance. Zaatar & Trunkline bring raw intensity to Come Into The Light, a sweaty, visceral banger at the crossroads of techno, dark disco, and EBM.
French techno pillars Scan X & Electric Rescue deliver a masterclass in elegant machine soul on Lost In Time. When Manu Le Malin teams up with Kmyle, the result is as sharp as it is cinematic: Little Big Man pulses with dramatic tension, balancing raw emotion and restrained fury. Elsewhere, Oniris & Benjamin Rippert reconnect with the melodic techno spirit of the label’s early days on Sonate, guided by a craftsman’s sense of harmony.
For the machine lovers, Legowelt & Cuften resurrect the spirit of early electroclash on Liar, a carnal fusion of analog synths and DIY attitude. And for the diehard dancefloor devotees, KiNK finally releases a cult track from his live sets: Give Me, a breakbeat-meets-vintage-house stormer tailor-made for those late-night sweats.
This anniversary compilation reaffirms the label’s openness to new generations and hybrid sounds, while paying tribute to the techno roots that shaped its foundation. Like the festival itself, it embodies sincerity and collective energy — a small manifesto linking generations, aesthetics, and territories, celebrating roots without nostalgia and the future without bending to trends.
out of Stock
Last delivered 10 months ago available to reorder, subject to availability
Sometimes artistic genius can be hiding in plain sight. Innovators and sonic pioneers that are stalwarts of the 140 dubstep scene can be taken for granted with just how damn good they are.
With DDD favourite Abstrakt Sonance’s second LP on the label ‘Nature of Things’, he is taking his organic fuelled, harmonically intuitive, bass driven madness to new heights.
With his signature blend of primitive percussion, scattered chops and savage sub frequencies - Abstrakt’s record is an 11 track tour-de-force of production mastery, impish tendency and true artistic expression.
To single out particular tunes on the album seems a fallacious exercise, given the strength in-depth of the sequence of work - with guest appearances scattered in from producers Wraz., Coltcuts and Outsider, alongside the stunning vocals of Sahala and bars from the godson of grime, Saskilla.
Let us just tell you that each one will have you flying through the jungle like tarzan on speed, with enough adrenaline to fend off any silverback gorilla and emotional guile to lead a troop of chimpanzees.
Existential musings over the Nature of Things can be confusing at best - but with Abstrakt Sonance it equates to sonic and visual clarity.
Careful though, he could still pop you with the Snipa.
out of Stock
Last delivered 8 months ago available to reorder, subject to availability
Vesa-Matti Kivioja, aka Vesu's aka Torolf Stendik has been making waves as an integral part of the multi-faceted Ljudverket & Meltdown Deejays crews in his native Finland for many years. He is perhaps most recognised for his "List of Lizards" saga which began in 2019 on Brian Not Brian's Going Good imprint.
Tokage No Risuto, the third instalment in the lizard saga, sees Vesu's migrate deeper into the dub tradition. The beats have slowed down; the atmospheres thickened. Downtempo rhythms, ambient drifts, and dub-infused echoes weave through the landscape, joined at times by guest voices that shimmer and dissolve into the mix.
The 12-track album is available on a special edition cassette with a vibrantly riso-printed card housed inside a laser printed case, with a striking green cassette. Mastered for tape by Giuseppe Ielasi.
Tokage No Risuto has a number of guest appearances, most notably the legendary musical pioneer and woodwind instrumentalist Tapani Rinne of RinneRadio.
KEKOA THE ARTIST's second 7" EP features a cover of the 1991 dancehall smash "HOUSECALL" by SHABBA RANKS FT. MAXI PRIEST!
KEKOA THE ARTIST's second 7" EP from Mahalo Unlimited features a ragga hip-hop cover of the 1991 dancehall smash "HOUSECALL" by
SHABBA RANKS FT. MAXI PRIEST!
One of the most famous covers in the history of Hawaiian reggae is DIANE & DA BOYZ's cover of the same song, which has been updated for
2025 by California dub master Josh Cardinali (Stoney Eye Studios)!
Side B features a limited edition double-cider red vinyl version of the smokin' "FEEL GOOD" (Produced by Patrick Hizon)!
Hailed as "one of the finest ambient and dub techno albums around," Deep Ground earned Purl a place in the hearts of many lovers of the deeper side of electronica. Enthusiasts on Discogs describe it as "one of the best dubtech albums ever - hypnotic, mesmerizing & deep" - and compare it to luminaries like Biosphere and bvdub for its "warm deep calming sounds and atmospheres." Reminiscent of Wolfgang Voigt's GAS project, the seminal 2011 album by Purl (Ludvig Cimbrelius) is finally reborn in a remastered 3xLP vinyl reissue on LILA ART. Originally released on the revered Silent Season label based in British Columbia, this ambient techno masterpiece has continued to captivate listeners year after year. In many ways like a darker sister to 154's ethereal techno epic "Strike", Deep Ground echoes the misty forests and quiet expanses of Cimbrelius' youth in Sweden. As the artist reflects in a poem accompanying the release: "We are consciousness, rooted in the deep ground of being. The deep ground of being is where all things begin and end. The deep ground of being is eternal." This ethos permeates every layer of Purl's expression; crafting sonic sanctuaries that remain intimate while evoking the infinite.
Delicately remastered for vinyl by Giuseppe Tillieci (Neel) in collaboration with Purl. Limited to 300 copies worldwide.
out of Stock
Last delivered 10 months ago available to reorder, subject to availability
Harrison BDP stands as one of the true masters of that off-world deep house sound. Easily one of the most consistent producers, so having the Welsh wizard launch the first 12” on Jupiter’s Depth is iconic. The EP delivers it all — from deep, trippy journeys to pacey dub-techno rollers. No question, another Discogs relic in the making — 300 press, so move quick.
out of Stock
Last delivered 5 months ago available to reorder, subject to availability
“Detraex Corp arrives on Sagome to deliver a heady journey through experimental rhythm and dub-informed weight and release with their new album Live at Pompeii. The album, much like its Carlo Gabriele Tribbioli created artwork, represents a journey, a collection of sounds and emotions, sequenced to share with us, the listener, a variety of experience, and of memory, which are at once familiar and other.
"Live at Pompeii sets things off with the tone-setting Tykes of, where frazzled, shuffling drums meet sub bass weight and ketamine oud, sounding something like Wordsound’s Scarab leaving the 90s and entering the future. Tombaroli invites the head nods, clearly communicating the album’s intentions and inviting us to that party under that out-of-town bridge with its insistent percussion and pulsing weight.
"Other tracks, such as Bullet Holes, carry us further into a psychedelic alternative, with its lysergic fever-dream soundtrack to an unnamed mediterranean plaza, and No Minus’s sounding like a nascent, primitive distant cousin to Jeru’s Premier-produced Come Clean.
"Channel 83 firmly returns us to the club, weaving mystical soundsystem magic with its stunted horns and swirl of voice, driven forward with the most chest-rattling of stomps, before the album enters its finale, where the grimey judder of Expect Excerpt slides to a bleary-eyed half-speed, evoking the club which won’t let you leave.
"Mount Point eventually provides that release, an early morning sunrise of a track, with rich, slow trudge and post-club shimmer, before Landings Dub signals the end of the journey, a metallic elegy to what has preceded, and a contemplation of your upcoming repeat listen, and re-entry, to the world of Detraex Corp.”
Words by Daniel Magee
Music by Detraex Corp
Mastered by Giuseppe Ielasi
Artwork and Layout by Carlo Gabriele Tribbioli
out of Stock
Last delivered 8 months ago available to reorder, subject to availability
ENTER PLANET DUST goes full 80s Chicago for label head DONALD DUST’s new collaboration with Buenos Aires’ expert slinger of 12”s, knowledge-dropper of all things House, New Beat and dark Disco, and increasingly decorated Dance record vocalist GALA.
Working together halfway across the globe, the two have crafted a compelling single touching on the early sounds of icons like Matt Warren and Razz, with a healthy dose of Euro-Disco and heartbreaking threnodies from the mouths and minds of both parties. Flip the record over for a devilish dub and stomping beat-a-pella courtesy of the ‘Wicked Dub’ and ‘Beat This’ mixes.
Engineered and mastered by Loom Sound Studio’s KARL BARNES. Expect smouldering Spanglish vocals, tweeter-baiting fuzz and slamming synths, demand nothing less!
out of Stock
Last delivered 6 months ago available to reorder, subject to availability
For the first time since its 1980 release, Loredana Bertè's timeless anthem "In Alto Mare" receives an official remix courtesy of Disco maestro Dimitri From Paris. The renowned french producer known for his remixes of Jamiroquai, Chic, and Cerrone delivers a sophisticated nu-disco treatment, masterfully blending the track's original funk with his signature elegant touch, and propelling Bertè's powerful vocals to the contemporary disco scene.
out of Stock
Last delivered 4 months ago available to reorder, subject to availability
Pat Orburn serves up a wicked nine-track offering for Cassette Blair — a project built from pure resourcefulness and raw imagination. His vocals glide over synth-driven textures crafted from all around, including a battered Yamaha psr 175 keyboard that his flatmate rescued off the street. Pat leans into the beauty of imperfection, shaping found sounds through analog tools, tape warmth, and gritty modulation.
“good” marks the second release on Cassette Blair — a label founded by Gavsborg, dedicated to uplifting his extended global family of artists. True to its mission, the record feels communal, handmade, and deeply personal: a celebration of creativity that thrives outside of traditional studios, born instead from curiosity, friendship, and the joy of sound exploration.
“Good news. Good it’s out, good of Gav to help, all round completely good!"
- Pat Orburn
Digi- Cover art & Design by Pat Orburn (London, UK)
Cassette- Cover art & Design by Gavsborg, Sherice Bromfield & Pat Orburn (Kingston Jamaica & London, UK).
Mixed by Pat Orburn (London, UK).
Mastered by Mario “Syantis” Lawerence (Kingston, Jamaica).
Swedish DJ, producer and songwriter Johan Blende debuts on Hell Yeah with a journey to the heart of a grown-up dancefloor in the Med.
Blende is a master of mixing up retro 70s and 80s sound into modern dancefloor delights. He's been doing it for two decades on a wide range of cultured labels from Studio Barnhus to Eskimo, always with a rare charm and leftfield perceptive. With this EP, he taps into the magic of hazy afternoons turning into euphoric evenings by the sea.
'Off To Mallorca' jangles with taught bass notes and sunburnt vocals. Distant synths glow, the jumbled percussion injects just the right dose of ass-wiggling funk and this playful yet sophisticated cut builds toward a blissful rapture. 'Television' ups the ante with prickly acid panning about the mix over sleazy, low-slung drums. Tension simmers as edgy synth motifs stalk the groove and anticipation builds before the whole thing explodes into a cosmic disco payoff. It's raw, unpredictable, and perfect for when things start to get a little weird.
'Como No Brasil' gazes skyward and basks in a wash of shimmering melodies and breezy, wordless vocals that drift like clouds over layered, sun-drenched rhythms. It’s a dreamy, tropical float until a surprise acid storm rolls in and moves things from tranquil paradise to dancefloor hypnosis. Finally, 'Carousel Bagatelle' is a layered, late-night trip that feels both playful and introspective. Hypnotic synths swirl around screwy acid lines and supple, dubbed-out house drums that spin you into a daze.
Blende’s debut on Hell Yeah lands like a postcard from a perfect party - sun-dazed, acid-kissed and endlessly replayable.
out of Stock
Last delivered 4 months ago available to reorder, subject to availability
