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“In The Mix: Volume 1” is the first vinyl compilation of artists that have performed in one of New Orleans most beloved record shops - NOLA Mix Records. Though these aren't live recordings, they capture the spirit and soul of both the shop and the Crescent City itself. You’ll hear everything from Jazz and Funk to Hip-Hop, House, and Latin — all infused with the unmistakable energy of New Orleans.
The artists included on this 10-track compilation are: Flagboy Giz, Troy Sawyer and The Elementz, Water Seed, Santero, ET Deaux, Alfred Banks, Connie Price & The Keystones, A Lovely Triangle, Lisbon Girls, Loucey, Bo Dollis Jr., Hasizzle and more…

Music never exists in a vacuum — every scene and sound evolves from the non-stop exchange of ideas between different groups and cultures. Traditions get passed down from one generation to the next, and then individual heads take influence from their own unique perspective. Sometimes, certain people strike upon fusions that spark massive new movements, but even those rarest innovations came from somewhere.

Jon E Cash knows this more than most — the legendary beats he started putting out at the turn of the millennium had their own disparate roots and influences which he had the motivation to put together into a sound he called sublow. There wasn't any other reference point for this music — when he took the first white labels of 'Drop Top Bimmer Kid' into Blackmarket Records in Soho, London, he had to describe it to a puzzled Nicky Blackmarket and J Da Flex as being, "between garage and hip-hop."

Playing catch-up in 2004, Rephlex Records nodded to sublow when trying to introduce a wider audience to the sounds which had been tearing up the London underground. "Grime. Sublow. Dubstep... It's Music. Different people call it different things depending on when they discovered it." But Jon E Cash's sound was rooted in more than the UK garage that had dominated the clubs through the late 90s, reaching way back to his pre-teen days when the first waves of hip-hop culture crossed the Atlantic and broke in the UK.

25 years on, it's a fine time to reflect on the impact of the music Cash made at the turn of the millennium. History looks back favourably on what he and the Black Ops crew were doing with sublow in the early 00s. The timing meant it ran in parallel with what was happening over East with Pay As U Go, Roll Deep et al, and of course there was crossover. Every DJ and every MC was on the hunt for the best beats they could find. But there's a whole different swagger to sublow — a different web of influences, a different intention and so a different outcome. It's still there in the beats Cash is making more than 20 years later — his 3dom Music label is carrying upfront productions with that sublow DNA coursing through their veins. Whatever the beat or the tempo, the drums are still hard as nails, and the bass is tuned for maximum rave damage.

Back in 2022, Is It Balearic? Recordings founders Coyote (AKA long-serving producers Richard Hampson aka Ampo and Timm Sure) took time out from releasing music on their own labels to deliver a near perfect mini-album on Phil Cooper’s similarly mind-ed NuNorthern Soul imprint, Everything Moves, Nothing Rests.

A superb exploration of their trademark sound, where gentle downtempo rhythms and nods to dub came cloaked in colourful ambient chords, sun-bright melodic motifs, organic instrumenta-tion and quirky spoken word samples, Everything Moves, Nothing Rests deserved a sequel. So, three and a half years on, the duo has delivered just that: a fine six-track EP that offers an even deeper and more atmospheric exploration of their signature sound.

It is a sonic approach that should now be familiar to Balearic en-thusiasts the world over. Aside from delivering a steady stream of singles, albums and remixes on their own imprint, Hampson and Sure have also showcased their skills and loved-up musical mis-sives on International Feel, Music For Dreams, Needwant, MM Discos and Citizens of Vice.

The Higher The Sky, The Deeper The Ocean, their hotly anticipated NuNorthern Soul return, is named in honour of a quote from Ped-ro Alonso’s documentary series On the Ship of Enchantment, an extended voyage in which the Money Heist movie star meets healers and masters of ancestral medicine across his native Mexi-co.

There’s naturally a meditative and slightly psychedelic sound to much of The Higher The Sky, The Deeper The Ocean, which offers a subtly varied exploration of Coyote’s style and influence. Yearning, soft-focus opener ‘Muted Beauty’ – the kind of immersive, effects-laden and sample-sporting ambient bliss found nestling on Fila Brazillia albums of the mid 1990s – is followed by the similarly gentle ‘Go All The Way’, where delay-laden acoustic guitars, spo-ken word snippets and gaseous chords stretch out atop a languid, slow-motion groove.

‘A Drop in the Ocean’ picks up the pace a little via a glorious hat-tip to turn of the 90s ambient house – all dub-wise bass, heady deep house sonics, spaced-out chords and half-buried references to sunrise-ready Balearic synth-pop records of the late 1980s. Late psychedelic guru Terrence McKenna appears in sampled form on ‘Dolce Far Niente’, a tabla-driven drift and musical hallucination which conjures mental images of lying in the Mexican desert, gazing intently at a starry sky.

In contrast, ‘Riviera Sound’ is a chunkier, brighter and more sun-splashed affair – all deep, dubby bass, sustained piano parts, punchy downtempo breaks and the duo’s trademark ambient pads – while superb closing cut ‘No Coincidences’ fixes jazzy double bass samples, twinkling keyboard motifs, subtle acid lines and Latin-laced percussion to a street soul-adjacent beat.

Heady, impeccably crafted and thoroughly enveloping, The Higher The Sky, The Deeper The Ocean is Coyote at their dazzling best. It marks another significant chapter in their ever-evolving musical journey.

We here at TSTD are longtime fans of UK producer/musician/Label maker MATT HUGHES. For a few years he is delivering tasteful, deep, dubbed reworks for Too Slow To Disco, some in Edit form, but also his 2 official remixes for Goodvibes Sound on The Sunset Manifesto 2.
Both new TSTD Edits on this 7 inch are slow disco masterworks, he is giving the originals his trademark deep, warm versions. Who is the guy….?
Matt Hughes is a music producer from the north of England. A purveyor of all things funk, soul, disco, jazz and house! Most recent releases have been with Outcross Records, Bubblegum Pop, Editorial and Too Slow To Disco. A large number of Matt's works have been released under the MAM project with Miguel Campbell remixing the likesof the Climbers, Deadmau5 and Flight Facilities, as well as putting out releases via Wolf+Lamb, Future Classic, Hot Creations, Outcross Records, BPitch Control and Editorial Records to name a few.
Among his most notable collaborations are works with Derrick McKenzie, drummer of Jamiroquai; Drop Out Orchestra, Art Of Tones, amongst others. Each of these collaborations has allowed him to explore new musical dimensions, enriching his characteristic sound with diverse and fresh influences.

With a musical style deeply rooted in disco, funk and jazz, Monsieur Van Pratt combines classical elements with contemporary touches, creating a sound experience that is both nostalgic and innovative. His work not only stands out for its technical quality, but also for its ability to connect emotionally with the listener, making him a central figure in the evolution of modern dance sound.

In the late 2000s a sprawling catalog of what is now genre-defining music was emanating from an unlikely place. Cleveland, Ohio has a broad reputation for many things, but in the aughts, psyche-expanding Kosmische wasn’t necessarily Cleveland’s calling card… until Emeralds. The trio of John Elliott, Steve Hauschildt, and Mark McGuire had released a profusion of limited-run cassettes, CD-Rs, and vinyl titles that had been passed around basement shows and then migrated to niche music communities online, creating a unique kind of murmur, even in the height of the DIY blog era. Three kids from the rust belt were crafting a distinctive and truly far-out strain of music on their own terms in the Midwest. They were flipping lids in wood-paneled basements and circulating around the underground with soaring sounds stylistically indebted to deep German electronic music pioneers and released with the ethos and twisted fervor of renegade Midwestern noise freaks. After several releases garnered a die-hard fandom in niche circles of internet/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I’m Here? was it.

mp3s of this album; they can finally get a fresh copy on vinyl. Does It Look Like I’m Here? became a hallmark that would carve a path for an entire scene. Ghostly International is thrilled to reissue the album, remastered by Heba Kadry, including 7 bonus tracks exclusive to the digital album and CD. The limited edition 2xLP includes extensive liner notes by Chris Madak (Bee Mask).

2 x LP Red & Blue (Half & Half Effect) Vinyl in Gatefold Sleeve

The Bloods and Crips’ debut Bangin’ on Wax (1993) — which we reissued in 2023 to an incredible reception — inspired us to dig even deeper into this iconic catalogue. The follow-up, The Saga Continues, originally dropped only on CD in 1994. Now, for the first time ever, we’re proud to bring it to wax — pressed on solid Blue and Red vinyl, of course. This concept was a pivotal moment in West Coast gangsta rap, uniting members of L.A.’s two most infamous sets. Crips from Compton, Watts, and Long Beach, and Bloods from Inglewood and Los Angeles auditioned for the project, with the sharpest MCs selected for the final lineup. All proceeds from the original Bangin’ on Wax album went toward improving local schools and parks for the community’s children. Over 30 years later, the lone CD pressing regularly fetches £50+ on the secondary market — and now the album finally arrives on vinyl. Sleeker in production and delivery, this record carries that true G-Funk swagger, tipping its hat to Warren G, Snoop, DJ Quik, and even Dr. Dre.

Milkcrate Mondays always deal in unabashed dancefloor fun, but that never comes at the expense of style and quality in celebration of the party of the same name's open-minded ethos. On the A-side, Spinobi delivers a dancehall-leaning refix of 'My Boo', reshaping the familiar hook with punchy rhythm and bass weight. The flip belongs to Palomo, whose 'My Boo' cumbia edit turns the freestyle classic into a rolling Latin groove built for late-night sets. Mastered by resident DJ Satin, this is another gem that continues the collective's tradition of crate-digger creativity and genre-crossing selections aimed squarely at moving the room.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

Internationally acclaimed producer INKSWEL makes a vibrant return to his house and club foundations with a powerful new 7 track EP. Featuring reworks from ANTON ZAP & SEAN McCABE and a never heard before collaboration with the late great ERIK RICO.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

Multi Culti seasonal balance returns with Equinox III Kicking things off Guadalajara-based Bofo Dab (known for their blog 'Drops a Banger') does what their name suggests. This one has been getting caned by the Keinemusik crew, legions of phone-holders' shazam-prayers will only now be answered. It's a restrained big-room horn-loaded banger. Mehmet Aslan slides in to the proceedings with an awesome FM-sounding heads-down slice of clubby introspection. Long-time cult-hero Gilb'R of Versatile records fame spaces out the side with a deep, sparkly, live synth jam. On the flip, Mytron brings a fun stripped-back cover of a stone-cold classic with Higher (state of consciousness, that is). Brazillian hotboy Niev sounds right at home on the label with the aptly titled 'Professor Banjo.' Yuki Miyauchi lends an ethereal 90s bleep-inflected chunk of vibe with 'Donkey Conga.' Finally, fellow Japanese but London-based DJ Himitsu drops the deep, rollicking 'Waterfall.'

This album brings together key tracks from Doug Carn recorded for Black Jazz Records in the 1970s.

Doug Carn is one of the most-important (and least-recognised) forces in the creation of the canon of 'deep and spiritual jazz music' - full of powerfully emotive intensity, consciously-uplifting lyricism and addictively beautiful melodies.

All of his LPs during this period have since achieved cult classic status including 'Infant Eyes', 'Adam's Apple', 'Spirit of the New Land' and 'Revelation'.

Aside from his songwriting and keyboard skills, many of the tracks here feature the stunning and powerful 5-octave range vocals of Jean Carn (later Carne), his wife at the time.

Musicians featured on this album include Alphonse Mouzon, Charles Tolliver, Henry Franklin, Michael Carvin, Walter Booker, Ronnie Laws and others. Aside from Carn’s compositions there are also striking interpretations of music by Lee Morgan, Miles Davis, John Coltrane, McCoy Tyner, Bobby Hutcherson and Wayne Shorter.

Black Jazz became one of the defining labels of independent and conscious jazz music in the 1970s alongside other important labels such as Strata-East and Tribe Records. As well as this Best of Doug Carn release, Soul Jazz Records are also releasing a Best of Black Jazz Records collection at the same time.

VA – Parallel Sequences continues MixCult Records’ tradition of curating forward-thinking soundscapes for refined dancefloors. This four-track compilation brings together the finely tuned craftsmanship of Kirill Matveev, Genning, Overt, and Dawn Gab — producers with surgical precision and a deep understanding of space, groove, and sonic narrative. Together, they present a multi-faceted EP rooted in dub techno and tech house, designed with intention and built to navigate a wide emotional range throughout the night.

A1. Kirill Matveev – Never Losing That Track (Overt Remix) is a masterclass in momentum. It rises patiently yet confidently — perfect for steering the atmosphere toward something uplifting, with each element unfolding with deliberate purpose.

A2. Genning – Parallel shifts the energy into shadowy territory. Deep, dubby, and melancholic, it acts as a reset moment — cooling the air while preserving depth, tension, and forward motion.

On the flip, B1. Dawn Gab – Call Of The Wind moves between melodic phrases and swinging percussive patterns, offering a graceful push-and-pull that feels fluid, textured, and inviting.

Finally, B2. Genning & Kirill Matveev – Blueberry brings the release to its emotional peak with bright, expressive energy. Melodic and high-spirited, it is engineered precisely for a euphoric moment on the floor.

This EP is a toolkit for thoughtful selectors — designed to glide through introspection, propulsion, and release with clarity and finesse. Whether opening a night, shaping the arc, or closing with warmth, Parallel Sequences delivers depth, agility, and emotional charge in perfect balance.

This release is the new 2024 Classic Jungle Repress EP by Aphrodite & Amazon II showcasing the original and highly influential tracks from between 1994 and 1996 produced by DJ Aphrodite.

The "Phunk Investigation vs. James Senese" collaboration, specifically the track "E'na Bella Jurnata,"

is seen as a high-quality fusion of Italian Disco and funky house, praised for its driving beats,

70s disco melodies, and signature saxiness from the legendary Senese,

making it an instant anthem for clubs and Ibiza.

Reviews highlight it as a grand cru of Italian dance music, blending classic vibes with modern house energy,

a must-have for disco and house lovers.

Dino Lenny and Marco Capelli are the two people collectively known as Andrea Doria, a name known by many as that of an oceanliner which sunk in the Atlantic Ocean. Originally released in 2003, the official reissue remastered by Gianni Bini at HOG Studio is now available

Elevation, released in 1974 on Impulse! Records, finds saxophonist Pharoah Sanders expanding his spiritual jazz vision on an album that balances ecstatic expression with focused ensemble interplay. Produced by Ed Michel and recorded in 1973 across two live performances and a studio session, Elevation features a dynamic ensemble including Joe Bonner on piano, Calvin Hill on bass, and Michael Carvin on drums.

The album’s open forms, modal grooves, and spiritual themes underscore Sanders’s ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. Elevation comes towards the end of Sanders’ tenure on Impulse!— a cohesive and spiritually resonant statement that bridges the raw fire of earlier albums with a deeper, more spacious sound.

The album’s open forms, modal grooves, and spiritual themes underscore Sanders’ ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. Elevation marks the culmination of his Impulse! discography — a cohesive and spiritually resonant final studio statement that bridges the raw fire of earlier albums with a deeper, more spacious sound.

The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

a A1. Elevation 18:26
b A2. Greeting To Saud (Brother McCoy Tyner) 4:15
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1 | Elevation [18 26]
[b] A2 | Greeting To Saud (Brother McCoy Tyner) [4 15]
[c] B1 | Ore-Se-Rere (Nigerian Juju HiLife) [6 20]
[d] B2 | The Gathering [14 09]
[e] B3 | Spiritual Blessing [6 20]

DJ Support: Dimitri From Paris, Dave Lee, DJ Spen, Danny Krivit, Simon Dunmore, Seamus Haji, Grant Nelson, Brian Tappert, Opolopo, Cj Mckintosh, Tedd Patterson and more...

Veteran Italian DJ Corrado Alunni makes his debut on Groove Culture 7 with “Any Time” and “Soul Groove” . Both tracks are floor-filler, packed with incredibles guitars grooves, Chucky bass lines, evil Rhodes chords, funky saxophones and flutes loops. A must Have for funky Lovers!

The Scythe is a collective of rappers united around commonality in sound and skills as MCs, headed by ringleader Denzel Curry and including familiar collaborators A$AP Ferg, Tia Corine, Bktherula, & Key Nyata. Comprised of its five members and rooted within a budding scene of modern and cross generational hip-hop, The Scythe picks up the banded spirit of Denzel's foundational Raider Klan days while continuing his futuristic takes on old school regional rap (Memphis, Houston, Miami), heard most recently on King of the Mischievous South. Combining Denzel's energetic style with classically gritty, southern sounds, the project centers hip-hop's core across eras, paying homage yet ushering in a rising new guard.



a 1. THE SCYTHE | Denzel Curry Feat. TiaCorine, FERG (II)
b 2. LIT EFFECT | Denzel Curry Feat. Bktherula, LAZER DIM 700
c 3. PHONY | Denzel Curry Feat. Juicy J, Key Nyata, FERG (II)
d 4. MUTT THAT BIH | Denzel Curry Feat. 1900Rugrat, Key Nyata
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

Soul singer supreme, Jalen Ngonda and producer/veteran keyboardist, Victor
Axelrod join forces to deliver the collaboration we all needed- the impossibly soulful, reggae banger “All About Me”.

Having worked together on the sessions for Come Around and Love Me, Axelrod recalls being inspired by the similarities between Jalen’s voice and a young Bitty Mclean. He had the beds to a track already recorded, but needed the right singer. With Jalen on board, the two wrote the lyrics and recorded the vocals in one night.
Written from the perspective of an arrogant lover, the track’s party-forward swing and stellar vocal performance make for a pop-forward gem poised to be massive on both the soul and reggae scenes.

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

Dialling it back to the early ‘90s yet with a firm foot still in the future, MAXIMILIAN takes on two of tracks with analog sounds and for a double dose of echoed and extended in all the right spots - deliverance.

A record label focused on excavating the outer fringes of new House Music, EVIDEON Studio records have got their digging hats on to bring you exclusive heat and those rarer than rare that have been in your wants list.

Two of the UK’s finest party-starters Dub Pistols and the Freestylers team up on ‘Enter The Sound’ to bring you an album of high-grade & high-pressure, bass-heavy cuts. Enter the party, Enter The Sound!

The album is a sonic journey through their diverse influences, blending genres like Reggae, Ska, Breakbeat, Jungle, Hip Hop & Trip Hop. It’s a celebration of their shared musical roots and evolution.
 
The album features an all-star lineup of guest artists, including Johnny Osbourne, Tippa Irie, General Levy, Too Many T’s, Horseman, Belle Humble, Scarlett Quinn, Tenor Fly, MC Spyda, Persona, Harry Shotta  and of course, Seanie T.

Bobby and Martin Boer started experimenting with music in a small bedroom in their parental house in an apartment building on the 4th floor.
The brothers brought together rapper Da Smooth Baron MC and singer Peggy “The Duchess” to form their stage act. The first single “Can’t Help Myself” was released in 1990 and became an international hit in 1991.
multiple international hits were produced as 2 Brothers on the 4th Floor. Gradually changing the style from Eurodance into happy hardcore.
Singles like “Fly (Through the Starry Night)”, “Come Take My Hand” and “Fairytales” were international bestsellers and topped charts all over Europe.
The Very Best Of 2 Brothers On The 4th Floor is available as a limited edition of 1500 individually numbered copies on crystal clear vinyl and includes an insert.

DJ Support: Gilles Peterson, Osunlade, Lakuti, Sean McCabe, Craig Smith, Marcia Carr + more

JuJu Muzik presents “Counting Clouds,” the newest work from Chicago house pioneer Harry Dennis, whose poetic influence spans over three decades and legendary projects like Jungle Wonz, The IT, and Fingers Inc. Featuring an exceptional lineup of remixers & producers - Rob Redford & Damian Charles with a contemporary soulful rework that nods to classic Chicago, Rude Boy Rupert delivering a broken-beat-infused UK underground twist, Mark Hand with his warm jazz-rooted depth and Julian Garnett offering a signature JuJu Muzik interpretation—the release bridges Chicago’s foundational spirit with today’s global house movement, celebrating the genre’s past, present, and future.

First & Last is the debut outing of MC D alongside his partner in rhyme Audio MC. Fresh-faced schoolboy scions of Hijack, The Demon Boyz and Silver Bullet, and peers of the likes of Gunshot, Hardnoise and The Criminal Minds, the pair were taken under the wing of The Powerlords as part of the Powerpack crew (alongside Construction and Trouble), and were given the moniker 2XDEF. Brought to the attention of South London’s fledgling dance label Mendoza Records by producer DJ Fusion, this release would mark the the beginning of a longterm creative partnership between him and MC D, with Mendoza label-mate CSP called in for remix duties. Gritty, explosive and raw, the record stalled at the white label stage with only a handful distributed to radio and club DJs, earning it the status of underground classic. First & Last became exactly that for the short-lived crew.

Posh End Music boss Fear-E returns with his second album ‘Descent into Ascension (Snapshots of a Mental State)’ this February. Recorded during a period of withdrawal and isolation, the release serves as a diary of a mental state as the producer worked through a period of challenging mental health. Here, he hones in on his primary love of techno bringing in influences of Bangaltar-ish French house and disco and also pays homage to EBM originators Nitzer Ebb.

Incredible new production from TERRANCE MCDONALD following up his MIND OVER MATTER reissue. This blend of Chicago House and Detroit Techno is guaranteed to take over dance floors across the Globe. No wild BPMs here just the right vibe, sound, and feeling.

Chicago legend K. Alexi returns to Dark Entries with K.A. Posse’s Strkes Again, an EP of preleased unreleased acid and house mayhem. K’Alexi Shelby’s illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began to write songs and hone his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.”

Dark Entries previously reissued Shelby’s debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Strikes Again brings us six tracks recorded in Chicago between 1988 and 1990, which come courtesy of Mike Dunn’s personal archive. This record showcases the rawer, more immediate side of Shelby’s sound, with tracks full of overdriven 808’s, careening sirens, and dangerously funky breakbeats. “Imported Taste” brings Shelby’s signature deep pads to the front of wild congo-laced percussion. “Suckas Be Ready” is a slamming hip-house cut featuring vocals from MCD-TA, while disco-samples duel with crunchy 909s on the jacking “Muzic Box.” Strikes Back showcases the real underground sound of Chicago, where sonic abstraction meets full-body kinetics. The record comes housed in a retro-styled sleeve designed by Eloise Shir-Juen Leigh.

BICEP – das nordirische Duo Andy Ferguson und Matt McBriar – kündigt „CHROMA 000“ an, eine limitierte Sammler-Vinyl-Edition mit einer Sonderverpackung, die Tracks ihres Labels CHROMA zum Abschluss der Serie zusammenfasst und zwei neue Bonusversionen enthält. Sie umfasst zwei Schwarze Schallplatten (140g) mit maßgeschneiderten „Terrain6“-6-Wege-Hyperfarbdruck-Außenhüllen. Jede Einheit enthält außerdem eine 12-Zoll-Neon-Acrylplatte mit Lasergravur (eine von vier einzigartigen Versionen, die zufällig mit jedem Produkt geliefert werden), die alle in einer durchsichtigen braunen Mylar-Hülle mit Pantone-Siebdruck untergebracht sind. Wie bei allen visuellen Produkten von CHROMA basiert das Design des Boxsets auf der einzigartigen und unverwechselbaren visuellen Identität von CHROMA, die in Zusammenarbeit mit David Rudnick und seinem Terrain Studio entstanden ist. Diese basiert auf einem maßgeschneiderten visuellen System und einer Typografie, die sich durch alle Aspekte des CHROMA-Projekts ziehen, vom Artwork über die Pressefotos bis hin zu den visuellen Elementen, die von Zak Norman, dem visuellen Partner von BICEP LIVE, entwickelt wurden und die er in die unglaubliche CHROMA AV-, Licht- und Lasershow integriert hat. Die Veröffentlichung von „CHROMA 000“ bildet nur einen Teil des ehrgeizigen, weitreichenden CHROMA-Projekts von BICEP, das sich über fast zwei Jahre hinweg über ihr eigenes CHROMA-Plattenlabel, eine Reihe kuratierter Veranstaltungen und eine sich ständig weiterentwickelnde hybride DJ/ Live-CHROMA-AV-Show entwickelt hat, die rund um den Globus getourt ist und über 70 Shows vor mehr als 500.000 Menschen gespielt hat, darunter Prime-Slots bei legendären Festivals wie Glastonbury, Parklife und Coachella sowie zwei ausverkaufte Takeovers im Londoner Finsbury Park, Brighton Beach und aufeinanderfolgende jährliche Takeovers im Londoner Drumsheds mit einer Kapazität von 15.000 Besuchern.

After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.

BanBanTonTon review:

On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.

Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.

Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.

Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.

Five years on from her debut on the label, Surgeons Girl returns to Livity Sound with an EP of explorative, synth-rich techno. In the time since A Violet Sleep announced Sinead McMillan's fulsome analogue sound, she's maintained a considered presence with live, hardware-rooted performance and a select handful of releases.
On A Moment To Machine EP, McMillan showcases a widescreen strain of techno that leans into the expressive, emotional weight of powerful synth composition while maintaining a fierce physicality tuned up for the club. 'Under This Space' and 'Razor's Whip' dart along upwards of 150 without sacrificing depth and subtlety, while 'Steps Right' and 'Silken Place' shelve drums in favour of cascading arpeggios. 'Rested' brings balance to the record with needlepoint rhythmic exploration and pensive pads, rounding out Surgeons Girl's ever-developing, highly personal approach to techno.

Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
The word 'classic' get's bandied around a lot when talking about certain records, artists, labels etc but rarely is it truly justified. In the case of the monumental slab of NYC deepness that is 'I'll Be Your Friend' we feel the tag is genuinely justified. Originally released in 1991 on the RCA label the track has been one of house music's most enduring anthems. Literally one of the deepest tracks out there, it's combination of Owen's vocals paired with the stellar production techniques of Def Mix's David Morales (and THOSE drums) is such a heady combination that the record crossed over so many scenes and to this day remains an evergreen staple in DJ's of all persuasions bags. Featured here we have all the original mixes (with the exception of the shorter radio edit) in their original forms. The record sounds as fresh as it ever did, the sort of track that never dates and will always fit into a set, the very definition of a classic.
Legitimately re-released with the full involvement of RCA records for 2017 and remastered from the original sources specially for Mint Condition by London's very own Curvepusher. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!.

Limited edition of 2000 indivudally numbered copies on crystal clear vinyl
In 1988, Soda Stereo released their fourth studio album, Doble Vida. This time, they got the help of none
other than Carlos Alomar for the production. The renowned Puerto Rican guitarist has a history of collaborations
with David Bowie, Iggy Pop, and Paul McCartney.

This collaboration introduced a variety of new genres and influences, including funk, soul, and R&B. After fully recording the album in New York City, the band entered a
new stage in their career, allowing them to break into the US market. The tour to promote the album spanned the entire American continent and the album sold a million copies worldwide.

It's counter intuitive perhaps to react to the increasing noise of the world, not by adding to it, but by seeking quiet. Or something close to it.

Arrival's debut EP does just that - assembling immersive aural environments and delicately detailed backdrops - setting the scene for the perfectly pitched deeply melancholic meditations of Britain's least known and most valuable guitarist, Kevin McCormick.

Ausdrucksstarke Gesänge in freien Versen, begleitet von gleitenden Violinen, gehämmertem Santouri, Gitarre und Oud - die hybriden Klänge des Mittelmeerraums zu Beginn des 20. Jahrhunderts. ,Aman Aman" rufen die Sänger auf diesen Aufnahmen, deren Stimmen auf 78-U/min-Schallplatten aus den Jahren 1911 bis 1935 verewigt sind. Der Ausdruck bedeutet in etwa ,Gnade" und ist ein Ausdruck der Verzweiflung, aber auch der Freude und Bewunderung. Auf vielen dieser Platten wird die ganze Bandbreite dieser Emotionen auf einmal vermittelt. Einige dieser Künstler sind Legenden, andere sind in Vergessenheit geraten. Fast die Hälfte sind Sängerinnen, die einen großen Teil der Tradition des Cafe Aman ausmachen, aber in zeitgenössischen Veröffentlichungen nicht so stark vertreten sind. Alle waren von den Konflikten betroffen, die zur Kleinasiatischen Katastrophe von 1923 führten, sowie von den Zwangsmigrationen zwischen Griechenland und der Türkei davor und danach. Ihre Werke spiegeln diese Reisen wider - erschütternde Gedichte über den Verlust der Liebe und der Heimat, begleitet von einigen der besten Musiker der damaligen Zeit. Nach jahrelanger intensiver Recherche hören wir die präzisen, einfühlsamen und überwältigend kraftvollen Stimmen von Künstlern wie Antonis ,Dalgas" Diamantidis, Sofrouniou und Stellakis Perpiniadis, zusammen mit aufschlussreichen Aufnahmen von weitgehend unbekannten Musikern, deren Werke hier zum ersten Mal veröffentlicht werden. Die LP wurde von Jordan McLeod im Osiris Studio sorgfältig remastered und restauriert und enthält detaillierte historische und diskografische Anmerkungen von Stavros Kourousis sowie poetische Übersetzungen der Texte von Tony Klein. Gepresst auf hochwertigem Vinyl bei Smashed Plastic in Chicago und gemeinsam mit dem großartigen Label Olvido Records veröffentlicht.

Vohkinne is the alter-ego of Craig McWhinney, close associate and one of Southern Light’s foundation artists. The Way Of All Things is his first album in six years and provides a dystopian sonic journey into contemporary and modern techno that few artists can match.

Internal Collapse is an opening statement of intent; drone-infused and heavily cloaked dark ambient techno. Falling Knife is a chilling half step creation, providing a sense of murky sonics raining down from above. Unearthly Lights shifts gears as it traverses a more linear and magnetic path, while Disintegration diverts again with darker, squelching breaks.

C h r o m e s t h e s i a slows down the tempo but the morose and opaque feel of the album remains ever present, before War Paint is unleashed with a sense of urgency and high-octane intensity. Between Lives continues that intensity by unleashing its dark hypnotic breaks, before closing with the title track, perhaps for the first time on the album revealing a ray of hope amongst the dystopian energy that prevails on the album.

The Way Of All Things is more than a collection of tracks; it’s a look inside one artist’s view of the world, distilled into a singular and expansive archetype body of work.

Originally released in 1994, MSD - Moonboom is a true cornerstone of Irish dance music and one of the defining dancefloor anthems of the '90s. Fusing Techno, Progressive House and raw 303 energy, it became a staple on floors across Ireland and beyond, a track whose power has only grown with time. Now beautifully remastered and repressed on the newly launched CeltTribe label, Moonboom returns sounding bigger and sharper than ever. Created by Fintan McDonald alongside Dublin DJ Liam Dollard, with Paul Clifford and Peter Coss present during the original mixdown, the track was produced on a Tac Scorpion desk using Akai S1000 and S950 samplers, capturing the raw, hardware-driven spirit of early '90s dance music. Originally released on the Inner Conscience label, this reissue celebrates Ireland's underground dance heritage and is expanded with a strong set of 2026 remixes. The "Love Will Save the Day" Remix delivers a piano-led '90s House groove with nods to New York and Chicago, reflecting the deep Irish house sound loved in Cork and Waterford. The Lanzatech Remix is a tribal, acid-fuelled slammer driven by reworked piano, 303 lines and Detroit-inspired synth pads. Collie's "Midnight" Dub dives deeper into jazzy, hypnotic territory, while Ian's Techno Mix pushes Moonboom into darker, harder underground space with reimagined piano and vocals. A timeless Irish classic, respectfully reimagined!