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The 10th release on ALIM Music, a stone-cold classic, has been reborn. Gil Scott-Heron and Brian Jackson’s The Revolution Will Not Be Televised, the iconic song of protest and Black Consciousness, has been reimagined and revitalised for a new generation. With new lyrics and vocal performance from Black Thought, a reworked and bassline-heavy production by Masters at Work, Brian Jackson has recreated an absolute masterpiece.

Originally taken from Gil’s poem as performed on his Small Talk at 125th & Lenox and then released as a proto Hip-Hop song featuring Bernard Purdie’s drumming on the 1974 Pieces of a Man album, this new version updates the track’s original powerful lyrics to include references to the propaganda of Fox News, social media tropes, live streaming, taking the knee and modern day consumerism. Delivered by Black Thought in his imitable style and accompanied by Brian Jackson’s incisive jazz flute, these new lyrics represent a Black Liberation call to action for today’s world.

Louie Vega and Kenny Dope’s production gives The Revolution Will Not Be Televised a dancefloor edge that embraces a Jazz Hip-Hop flow with the absolute clarity of the message. Taken from Brian Jackson’s forthcoming and aptly titled BBE Music album, Now More Than Ever, The Revolution Will Not Be Televised will unite Boomers, Millenials and Gen-Z in its multi-generational cross-over appeal bringing the original Gorillas together with Neo-Soul and Hip-Hop heads of today.

Originally released in 1995, Message From Home is a captivating fusion of hip-hop grooves, African rhythms, and spiritual depth, showcasing the unparalleled artistry of jazz saxophonist Pharoah Sanders. Produced by the legendary Bill Laswell, this album brings together a remarkable ensemble of musicians, including kora virtuoso Foday Musa Suso, keyboardist and vocalist Bernie Worrell, acoustic bassist Charnett Moffett, electric pianist and vocalist William Henderson, guitarist Dominic Kanza, and keyboardist Jeff Bova. Tracks include the mystical jazz hypnotic groove “Our Roots (Began in Africa)” plus five more mesmerizing soundscapes.
Now, for the first time since its original 1995 release, Message From Home is reissued on Music On Vinyl.

Alkaline is sound forged in FM — metallic surfaces, syncopated pulses, and cinematic structures. An alternative path that doesn’t reject acid, but moves into a realm less warm, more mineral, more futuristic.

With CT012, Cosmic Tribe takes the Alkaline Sound into the uncharted: music as a tool for deep-space and hidden-dimension exploration. Each track is a fragment of an expedition beyond known frontiers — charting invisible territories, intercepting signals from other worlds, and navigating encounters that alter the course of the mission.

From EC13 and Calagad 13 comes a radical, visionary approach: not just tracks to hear, but cinematic sonic devices designed to remodel the listener’s inner architecture, ignite their imagination, and expand the very map of perception.

A work of meticulous sound and mastering, paired with exceptional artwork, presented in a strictly limited edition of 150 copies on crystal-clear transparent vinyl.

Lepidoptera - the scientific name for butterflies, meaning "scale-winged" - is also the title of the seventh studio album by renowned music producer, bestselling author, ecologist, and knowledge mediator Dominik Eulberg. More than just an album, Lepidoptera is an artistic manifesto: a celebration of butterfly diversity and a profound ecological statement. Set for release via !K7 Records, Lepidoptera blends his signature sound with an urgent ecological message. It marks the pinnacle of a music career spanning over three decades. Eulberg"s fascination with butterflies began in early childhood and has since become a lifelong passion. Drawing from years of experience as a producer and DJ, Eulberg presents his most technically ambitious work yet. At the heart of Lepidoptera are twelve native butterfly species, handpicked by Eulberg from the 3,700 known species in his homeland. Each track is inspired by one species, shaping the album"s structure and grounding its creative focus. The result is a richly textured and immersive journey that moves fluidly between pulsating, danceable rhythms, ambient soundscapes, and orchestral flourishes.

2025 Repress

Sean McCabe’s impressive Good Vibrations Music is back with its 3rd vinyl instalment and features 4 heavyweight, tried and tested soulful cuts.

Kicking off the 12 Inch is the Black Sonix & Sean McCabe Extended Mix of ‘Rise’ from the Matsiko World Orphan Choir, a moving and heart-felt orphan choir group based in Liberia. The choir is an initiative that aims to provide education and break the cycle of poverty for vulnerable children around the world. With a strong message embedded throughout and given the 5-star production treatment, ‘Rise’ has already been heavily pushed by a wide array of artists including Daniel Steinberg, Red Rack’em and The Shapeshifters.

Next up is Sean’s lush piano-laden remix of ‘Baby Don’t Make Me Wait’, from David Bailey and MissFly. David is a firm favourite amongst the London house music community and regular across labels such as Idris Elba's 7wallace, Makin Moves, Rhemi Music & Unquantize. MissFly is widely renowned for her soulful serenades and ability to write songs 'on the fly' in the studio as well as being found regularly on tour with the likes of Thelma Houston, Andrew Tosh, and The Notorious BIG. Sprinkled with luscious piano undertones and subtle string lines. With support from the likes of Dave Lee and Natasha Diggs.

On the flip is ‘Got It Bad’ from Ellis Aaron & Sean McCabe. Built on a rocksolid foundation of late-night, swing-heavy beats, ‘Got It Bad’ bubbles and froths with creamy Rhodes, lush organ swirls and a bassline that moves and grooves in all the right places. Ellis’ warm and rich soulful vocals are the perfect complement to that unmistakeable sound Sean has become renowned for. Early adopters include Ash Lauryn, Ralf GUM, and Mr V.

Rounding off the EP is Last Nubian’s ‘Dance Together’ which beautifully blurs the lines quite beautiful between Deep House, House and Broken Beat, Josh’s strikingly soulful vocals pair harmoniously with the lush, musical backdrop spear-headed with an abundance of Rhodes, soothing string & synth riffs and a tight, rhythmic drum arrangement that simply refuses to let your feet rest!

JESUS LOVES SKYLAX #1 A divine transmission from the underground. For this first volume of our new JESUS LOVES SKYLAX series — an homage to the one and only Todd Edwards — we’ve gathered a celestial selection of true believers. UK legend Tom Carruthers sets the tone with '2 You' — raw, jacking machine soul echoing the stripped-down euphoria of ’86 warehouse sessions. Byron The Aquarius follows with 'Aquarius Voyage', a spiritual jazz-funk odyssey that fuses Alabama roots with Detroit depth. Floorfillers’ original anthem 'Sting The Floor' gets a rapturous rework from Omri Smadar, injecting ecstatic peak-time energy into the mix. On the flip, the mysterious duo X & Ivy rise high with two heavyweight cuts — “Ground Floor” and “Frankincense” — maximum house for discerning dancefloors, already championed on BBC Radio 1 and signed to Life & Death. Finally, our beloved Italian craftsman Alessio Collina closes with “Winter Sea,” a deep, emotional glide through timeless house textures.Vinyl only. No digital. No surrender. JLS01 – a message of faith, groove, and uncompromising love. ✝ JESUS LOVES SKYLAX ✝.

‘Cataclysm’ is a poignant call for revolution of both politics and consciousness, conveyed through ten distinct songs written and produced by Zanias between 2020 and 2024. Each piece of music inhabits its own aesthetic universe and rhythm, featuring elemental fusions of coldwave, italo disco, witchhouse, trance, breakbeats, hyperpop and even a touch of drum and bass. The unique amalgamation is best described as post-industrial ethereal wave, of Zanias’s very own signature. The subject matter grapples with how to move forward through times when civilisation and the entire ecosystem of the planet feel like they are on the brink of total collapse, while gazing back over hundreds of thousands of years of human survival in total awe of how far we’ve come. The lyrics aim for a balance of vulnerability and poetic strength, as the audience is beckoned to “thread the power through the pain”. While darker atmospheres are conjured through the sound design and instrumentation, the album ultimately directs itself steadfast toward the glittering sheen of hope. As the tempo ascends through the course of the album’s tracklist, so too does Zanias’s deep attachment to our sacred humanity and refusal to give in to despair.

‘Cataclysm’ represents an ambitious defiance of genre tropes in pursuit of pure artistry, with a potent political message delivered with assertive fervour and playful sincerity. Additional production was contributed by mixing engineer Trey Frye, best known for his work in the band Korine, and the album was mastered by Alain Paul.

“Blending traditional Afrobeat with ‘70s deep funk and soul jazz, this release transcends genres while delivering a vital message of inclusivity and love.”
— Justin Turford (Truth & Lies)

"The godfather of Afrobeat delivers probably his best album since the legendary Ghetto Blaster band that was produced by Chris Blackwell. Legendary musicians from the Afrobeat Scene , what a beautifull tribute to Hilaire Penda !'
— Mario Orsinet (Monkuti ,Seun Kuti)

DJ Support: DJ Harvey, Kelvin Andrews/ Balearic MIke (Down to the Sea and Back), Howler (Pikes/Totem Projects) Joe Morris (Shades of Sound/Pikes)

New vinyl only 4 track EP of reinterpretations on the fledgling Oswego Music label, from the mysterious Lovehandles.‘Unrequited Dub’ sees a quintessential eighties tune and Larry Levan favourite reframed as an epic 11 minute balearic slow jam- with scarce copies available digitally getting plays in recent months from Kelvin Andrews/ Balearic Mike (Down to the Sea and Back), Howler (Pikes/Faith/Totem Projects) Joe Morris (Shades of Sound/Pikes) and even Mr Harvey Bassett seeking out a copy. One for sunsets and heartbreak. Next up-‘Stars before the Sun’ is a recut of a thrift store Hare Krishna disco funk cut. WIth solina strings, drum breaks and a positive message to live for now. ‘Crystal Lites’ first on the flip; heads to the disco. Versioned here with whacked out pinging delays and reverbs. It’s been reworked before, but never like this. ‘It’s a Long Shot’ second on side two, is a 12” mix that never was- an eighties Balearic drum machine pop favourite,extended for djs. Its ethereal vocals, minor keys and spaced out fx perfect for late nights and early mornings. ‘The Drum-Set (skit)’ rounds things off here- a short and sweet reminder of the international, multiracial origins of rhythm. Perfect for mixtape intros and interludes.

Perhaps you've chanced upon a Number Station, unwittingly as you scour the shortwave bands, and heard a cold, disconnected voice repeating simple commands endlessly into the ether. Or maybe you've scanned past a series of bleeps and pips, or pockets of noise, thinking nothing of them, as you seek a favoured music station. These are messages, to those who know how to receive them, and are able decode them in their various forms and configurations.

Shropshire Number Stations - Recordings of Covert Shortwave Radio Stations charts the covert shortwave radio stations broadcasting silently through the air around us, to aspirant agents in the fields of Shropshire, UK and the counties which surround it. These two continuous sides include recordings of 19 such lay-stations, captured by Eric Loveland Heath at various points over the last few years. The true nature of these amateur networks may never be known, nor might their cyphers ever be revealed. These are recordings of their activities, made conceivably for the sake of posterity alone, offering a glimpse into clandestine worlds otherwise obscured from view.

A bit of backstory behind this release, I first met Hilton (Jack Horner) at an event in 2012 that took place in a venue called Crucifix Lane (also known as Jack's, now defunct due to expansion of London Bridge station). He's good friends with Krome & Time who were performing that night and I remember chatting with him about jungle (I was still a very eager young lad that was in his first year of raving and very keen to talk about jungle/hardcore/d&b to anyone that would be willing to endure it!) and he mentioned that he used to make jungle in the 90s. I asked who he was and when he told me he was Jack Horner, I went mental because I was a big fan of the 2nd release on Spectrum Records (The Hoover & I Got This Feeling) and to actually meet the person behind those tunes was a really special situation for me to be in.

Unfortunately, I was too shy to get any contact details for him and I never saw him again or knew anyone that had a way of getting in touch with him. That was until very recently, when he had started attending Distant Planet events in London & I got the chance to meet him again, only to be shocked by him telling me that he had been following me & my music and was a fan of me & my label! This time, I made sure that I was able to get contact details for him, I was not going to make the same mistake as last time!

Last December, he messaged me asking if I would be up for doing a remix of The Hoover & I was quite unsure about doing it because of how much I really enjoy the original and feel like it does pretty much everything it needs to do with the sounds used. But, I thought it would be worth a try so I gave it a go and Hilton really liked the outcome (which was a huge relief ????), even though I was a bit too scared to change too much of it haha.

He then asked if I would be interested in releasing it on Future Retro London, which I'd never considered doing because I thought he would have had his own plans for it but I was willing to try & see if we could make a release out of this. I messaged Dwarde & Kid Lib to ask if they'd be up for doing remixes of the same tune (at the time, we only had access to the samples from The Hoover) and they both were and they did great work taking the original track in different directions, each in their own way.

Around the time of making The Hoover, Hilton made another tune with similar samples called After The Pain, which was never released, but he still had the tune. The problem is that he only had it in the form of a cassette recording, which wasn't very good quality and probably would not be easily cleaned up for release. So, I decided to remake the tune from scratch, using the samples I had from The Hoover, as well as sourcing & recreating other sounds used. I was able to remake the whole tune arrangement & then Kid Lib mixed it down to make it sound more sonically similar to how it would have sounded when it was originally made back in 94/95.

Anyway, story time over, big thanks to Hilton for his co-operation & assistance on making this release happen, to Dwarde & Kid Lib for their remix work & a special shout going out to Hughesee for going through Hilton's collection of floppy disks to find & record the samples for The Hoover.

Two of Australia’s own legends Dr Packer & Yogi deliver an instant classic with ‘Heavy Vibes’. Reworking the disco track by the Montana Sextet aka Vince Montana Jr. who was primarily known for founding Salsoul Orchestra and his work with the MFSB and their track ‘Love Is The Message’, heard throughout ‘Heavy Vibes’.

David Penn & KPD join legend Kurtis Mantronik for a 2025 update of Kurtis’ 2011 release ‘Get Down’, sampling Brick’s 1977 disco record ‘Ain’t Gonna Hurt Nobody’.

Evissimax and Protopapa present a "double face" vinyl record that reimagines the 70s and 80s sounds of one of Italy's musical legends: Loredana Bertè.
"Fare l’amore" comes from Bertè's scandalous and psychedelic debut album (1974). Evissimax's unique style preserves the song's message of freedom, bridging generations united by shared ideals and explosive energy.
Protopapa, a DJ and a key figure in Italy's LGBTQIA+ community and electronic music scene, has previously remixed tracks by Raffaella Carrà, Ricchi e Poveri, and Ornella Vanoni. His remix of "La goccia" is a return to his roots, giving the track an electro makeover that blends with the original's rock essence. The remix incorporates hints of UK garage and classic house samples, staples of his DJ sets.

Joaquin Joe Claussell readies the ‘Raw Tones’ LP on Rekids this June.

The first LP since 2008’s ‘Corresponding Echoes’ on his Sacred Rhythm Music, Joaquin Joe Claussell arrives on Radio Slave’s Rekids for ‘Raw Tones’, a nine-track excursion through the sound of his exquisitely soulful house music.

Originally released on uber limited cassettes, the music within ‘Raw Tones’ caught the ear of Radio Slave, aka Matt Edwards, who messaged Claussell, a friend since remixing Edwards’ Machine project in 2012, and convinced the legendary producer that the music needed a wider audience and, so, ‘Raw Tones’ the LP is here.

Introspective opening cut ‘Lock Down’ draws for breathy strings and swirling pads, followed by the hypnotic and low-slung ‘The Blame Game (Table Top Idea)’, which sees jazzy keys float around carefully crafted dubbed-out ambience and subtle, whispered vocals.

‘Break Free’ ups the energy, bringing a wonky bassline under decisive, machine-like drum hits while both spoken and sung vocals interplay throughout. ‘You Mutha Fuka’ brings rock-solid drums and thick bass underneath delayed vocals before the dreamy chords and twinkling keys of ‘Way Back Then’ close out the B-side.

The gorgeous ‘Air We Breathe (Revisited Cassette Demo)’ marries rolling percussion across live bass and softly drawn-out pads, followed by an instrumental version of ‘Break Free’. The final side of vinyl sees the extended trippiness of ‘If It's All In Your Mind Let It Out’ lead into the floaty low tempo closer ‘Hallucinations Ejaculations’.

Joaquin Joe Claussell, co-founder of Body & Soul with Francois Kervorkian and Danny Krivit, continues to run his Sacred Rhythm Music record label and curate the Cosmic Arts community centre in his hometown of Brooklyn, NYC.

Thompson Sound and Dubquake Records team up to offer O.B.F-style versions of iconic roots & rub-a-dub tracks from Linval Thompson's label. Gems from the 70s and 80s that’ve been reworked by Rico O.B.F using original recordings. Each release comes with a reinterpretation of the original vocal, dubs, and a mix with our dearly missed Nazamba pon the version!

After 'Curfew', 'Sweet Sensimilia' and 'Evening Love', here's 'Guide & Protect', the very last scorcher in this series: a reimagined version of Michael Prophet's 'Guide And Protect You', taken from his iconic self-titled album.

Special guest Mark Iration jumps on his own cut, 'Protection'. Prophet and Mark trade verses as if side by side, capturing their connection. A celebration of Prophet’s legacy. Protection brings together reggae’s past and future.

On 'Raw Born Reggae', Nazamba flows with absolute groove. It's a preview of his highly anticipated posthumous album, 'A Message from Zion', set to release in November.

This is the story of a Telegram audio message suddenly poured and cast into the materiality of a vinyl record. Is it a correspondence archive? Above all, it’s a field recording, a moment bit torn from everydayness, where Androo found some fresh air in a church in Sardinia and started playing the organ. Next we’re in Naples, and Androo is playing a tiny instrument as we can hear sporadically the street hum in the background. This was all recorded on an already too old iPhone during the summer of 2023. As always, oscillating between heterogeneous elements, the album builds bridges between a radical and strangely romantic musique concrète (so slightly reminiscent of particular Luc Ferrari pieces), drawing inspirations from American minimalism, as well as traditional Sardinian music (which Androo listens to every morning), and a special kind of gospel-modal-jazz. Mostly, this is a very personal album (or its script), the fragments of a journey with no makeup. This is what it is.

credits
produced, played, recorded, mixed by androo

Fruits Records proudly presents ‘Let Peace Reign’, the brand new instrumental single by Nat Birchall and The 18th Parallel.

Hailed by Gilles Peterson as ‘one of the best musicians in the UK’, jazz and reggae saxophonist Nat Birchall has grabbed listeners attention with his soulful sound and inspirational spiritual music. He has produced some of the finest vintage roots reggae instrumentals including majestic works with Vin Gordon and Al Breadwinners. His ethereal tone reminiscent of reggae giant Cedric ‘Im’ Brooks (Light of Saba) is the perfect match to The 18th Parallel raw and heavy sound.

Recorded fully live on 2-inch tape by the Swiss rhythm section, the session captures the raw, authentic energy of roots reggae at its purest. With warm, organic tones and a timeless feel, ‘Let Peace Reign’ not only pays homage to the greatest days of instrumental music and to the golden era of reggae recording, but also send a much needed message to a troubled world: Let Peace Reign. Pressed with care on 7-inch vinyl, with a super heavy dub mix on B side by French duet Dub Shepherds, this release is more than just a record – it’s a tribute to the culture of collecting records, preserving sound, and sharing vibes across generations.

Slowly yet firmly blooming into focus, An Unfinished Rose is the new album from Australian duo Troth.

This is their first since relocating to Hobart, Tasmania and their introduction to Night School Records. With a detailed web of past releases on labels A Colourful Storm, Mammas Mysteriska Jukebox, Knekelhuis and Bowman’s own Altered States Tapes imprint, An Unfinished Rose is the group’s most realised and composed work thus far. While still drawing on the improvisatory and DIY practices that informed Troth’s beginnings, it points to a new incarnation of the duo’s music; an intentional language emerging from the fog of obfuscation and mists of uncertainty.

Over these 9 meditations on change, acceptance, renewal and rebirth, An Unfinished Rose finds Amelia Besseny and Cooper Bowman peeling back some of the roughhewn architecture that defined their earlier releases to reveal a masterful - if auto-didactic - use of space and melody. Composition and improvisation compliment and feed each other throughout, with locked-loop earworms providing the springboard for lines of clarinet or synth melody, and the negative space between chord clusters giving ample room for Besseny’s most confident vocal performances to date. Shaving off a little of the defining dissonance and tape compression of old reveals Troth’s music in radiant daylight, humbly accepting of its place in the world while yearning for better, more sympathetic modes of living. Leaning more heavily on acoustic instrumentation and post-production processes than previously, the result is a transcendent body of work infused with an almost zen-like presence.

Troth’s music exists in the border between forming and becoming, its goal to project a kind of preternatural beauty, leaving interpretation open to the listener. Field recordings, happenstance and improvisation may provide seeds for the duo’s compositions, particularly on Side A, but there is a deft touch of songcraft on show. Loam Loom Leaf Litter opens An Unfinished Rose, directly referencing natural cycles of life, death and regeneration, before the blissed-out drum machine groove of Gold Plum continues a discussion concerning the totality of nature and one’s place in it. Besseny’s vocal, swelling like an ocean churn in duet with itself is adorned with synthesised harp and a revolving synth pattern, conjuring plumes of medieval smoke. Thistle’s rounded, bass-heavy drums, nodding to the vast echo of dub, is a relatively new terrain for Troth. It’s propulsive and thumping, pulsing with a meaning and symbolism consistent with Troth’s past work, referenced overtly in Bessey’s lyrics - “Say it too much and it loses its meaning…”. Similarly, the sprawling modern-classical suite, Tides Reflected In Her Eyes, is intentional in its lyrical themes while traversing new ground, revelling in layers of bowed cello and vocal intonations. Side B’s 4 tracks feel like Troth’s most thoroughly accessible and affecting music to date. Leaning into their own detoured version of Synth Pop, Cocoonist explores downtempoisms via a crunchy low frequency synth, and dream-like, fuzzy trip-hop modalities, not unlike Besseny and Bowman’s other group, Th Blisks. Following on, Myrtle Mystes is an open and searching DIY pop song, forged out of drum machine, bass guitar and cello. (An) Unfinished Rose’s title-track is a clear stand-out, built upon an evocative rhythm sample that appears to change emotional resonance with each undulating repetition. Its cascading waves of affect, interjected with a subtle breeze of synth, bowed instrumentation and soaring, densely-layered vocals.

An Unfinished Rose is enveloping, warm, forgiving. Difficult, yet retaining a unique beauty. Troth’s music aims to celebrate the duo;s shared experiences of being in the world, despite the complexity often surrounding us all. Theirs is a message of hope and perseverance, learning and patience.

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.
You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left. So everybody, don't sleep, be critical.

10 years of the journey. 20th release.
This record is a message — to myself, to those I love, and to everyone who listens with an open heart.
Each track is a piece of my story:

My Life Is Beautiful — a reminder to see the light.

Be As You Are — to embrace yourself fully.

Spread Love — to give without fear.

I'm Only Human — to accept our flaws.

Sweet Baby — for those I love most in this world.

Thank you for growing with Memory Remains. This isn’t just music.
This is life.
With love and hope,
Kirill Kirik

MR XX early support: Green Velvet, Adriatique, Ilario Alicante, De La Swing, Neverdogs, Massimiliano Pagliara and many more …

Next up on the RNT 7” series - JKriv & Megatronic reunite to drop “Out Of Time”, a thunderous club track with an urgent message.

Building slowly at first with layered percussion, Meg’s spoken vocal dances poetically around themes of disillusionment and alienation with our modern digital age.

As the instrumen-tation opens up into stabbing synths and growling bass, the track climaxes in a repeated vocal chant.This maxi-single house 7” is prime for the club with a fresh instrumental on the flip. Play loud!

With two critically acclaimed compilations already under his belt, DJ / collector miche returns to Mr Bongo with the third instalment of his With Love series. Testament to his ever-expanding taste, Volume 3 isn’t just a subs bench call-up from the past compilations, it’s an evolution and progression casting the net deeper and wider than before.

Keeping true to the series, but with some fresh surprises along the way, this carefully curated compilation is a celebration of soulful, independently released music from across the globe, and the amazing (often unsung) musicians and vocalists that made these sublime records.

Across the third volume, miche explores a jazzier side of his tastes. “The deeper I went, the more I found myself gravitating towards jazzier music - not leaving soul behind, but following that same feeling into new territory”, he explains. Tracks like the gliding jazz funk found on Late Nite Music Band’s ‘Sundance’, or the glorious jazz-soul number ‘In Flight’ by Spectrym are shining examples of this.

That defining soulful thread of previous volumes is still in full effect throughout this latest edition. “There’s a healthy dose of impossible-to-find soul gems that have that unmistakable, heartwarming feel. Tracks like John Simmons' 'Ain't Nothing Like The Love', which I've adored ever since Zaf Love Vinyl played it, sit perfectly alongside records like Le Cop and New Way”, states miche.

The addition of some top-tier Turkish music showcases another side to his ever-broadening taste. Nükhet Ruacan's 'Gölge' is something unique, a floaty Brazilian-inspired gem recorded in Turkey and not what you’d typically expect from Turkish records of this era. 

It also wouldn’t feel right to leave out a stop in Brazil, with miche looking to the work of Carlos Bivar whose track 'Amargo Amar' carries that undeniable groove of samba-funk from Rio.

Spreading the With Love message far and wide the series has led to miche DJing across the globe, “from batucada sessions in Timisoara, to all-night sets in a club in Beijing, and even an eight-hour Root Down With Love stage takeover at We Out Here festival, joined by Danilo Plessow, Jeremy Underground, and of course, my mentor and buddy Rainer Trüby.”

Volume 3 then, carries that message even further. It’s an eclectic but intentional collection, built for the music lover who wants to discover something new. Working just as well as a soundtrack to cook dinner to, as it does keeping a packed dancefloor moving into the small hours.

Ode To Native Tongues” attempts to capture the feeling of coming of age between the years of 1989 -1993 (and beyond) while listening and witnessing the legendary Native Tongues crew releasing timeless classic albums and singles. Told through the experience of seeing the early episodes of “Yo! MTV Raps”, a friend sharing De La Soul’s first album, sharing that album with my cousin who in exchange shared Queen Latifah’s music or finding out about “Bonita Applebum” by Tribe at my high school’s homecoming dance. Evoking nostalgia as well as tell a story of how this music served as the soundtrack woven into the fabric of my youth, my coming of age, was the aim.

Everything’s For Sale” was inspired partly by a story of an elderly couple who went brokhaving to pay for their medicine.“Everything’s For Sale” speaks to how the value of money permeates all facets of this modern life, and as such it seemed only natural for it to reach into my creative world. This time however I wanted to make a song that cross examined how this super ficiality has affected music culture, let alone how it has rendered some in our society invisible -- a clear sign of a society void of compassion. The Platurn beat with a moving guitar riff pushed this song further, providing me the cover of a funky beat to dive into a topic that might not normally move an audience. Part cheat code for slipping in a conscious message to the audience without raising the alarm of the listener who may not be expecting anything more than entertainment.

Veteran Japanese electronic music producer, AKIO NAGASE, a leading player in the Kansai underground music scene since the late 1990s teams up with Yukino Inamine, a gifted and young female singer from Okinawa who magically mixes traditional Ryukyu (Okinawa) folk songs with her sanshin (Okinawan Shamisen) playing into the modern age, to create this wonderful collaborative album, Yugafu ai KAJI. This album is set to be released on GLOCAL RECORDS, a record store/ record label run by Genta Minowa, an ex-staff at the record store, Disc Shop Zero in Shimokitazawa, Tokyo and who still continues to introduce a great selection of dubby, club music from his HQ in Harajuku.

AKIO NAGASE regularly organised parties at his own venue, as well as ran a record store of the same name while actively being part of the Kansai scene at legendary clubs such as Tsuru no Ma, Sound Channel, etc., the best of what was offered in the Kansai underground dance scene in the 2000s.

As an artist, he released his own productions out of labels such as Sound Channel and RUDIMENTS run by Minowa. His album, Make Dub was released in 2003 out of the label, Sound Channel featured an innovative, techno meets dancehall track, Dance Hall King which connected techno, acid house with reggae and dub. This album is an undiscovered gem whose sound still emulates freshness and originality today (my wish is for it to be reissued on vinyl!) After a brief hiatus of releasing music, he released the EP, Delusion out of Chillmountain Records, a label run by his friend, Ground in 2018 and at his own leisurely pace, he has been slowly but surely releasing material that oozes originality, expressed through a robust acid sound and a variety of elements such as afro and Ryukyu folk music that is then incorporated into the medium of dub. Recently, he has also started to gain international attention by releasing original material and remixes out of labels such as the UK label, Emotional Especial, etc.

For this album, NAGASE teams up with Yukino Inamine who brings her own distinctive singing and sanshin playing magic into this collaboration and they fuse electronic music sounds with Ryukyu folk songs to create this wonderfully imaginative album that has no precedence or equal. Apart from the song, Ishikawa Koiuta, all other songs are covers of Ryukyu folk standards that were handpicked by NAGASE from the repertoire of songs that Inamine regularly performs live. They met up when NAGASE was commissioned to remix one of her original compositions, Miyagi Kaigan that was released in 2023 and that evolved into a collaboration with a concept that mixed Inamine singing Ryukyu folk standards with a backing tracks produced by NAGASE. Whenever she went to the the Kansai area, she would work on the basic track material created by NAGASE at the dub master of Osaka, Soulfire’s studio, HAV who would then additionally edit her takes to create the finishing tracks.

This album, Yugafu ai KAJI opens with Shirahamabushi, a track that slowly builds with an interesting mix of slow acid techno and sanshin and then moves onto the easy-going electro dub of Tinsagu nu hana (it is actually a cover of the track of the same title that first appeared in the label sampler, Comuni ó n Especial that was released on Emotional Especial. NAGASE initially wanted to feature Inamine on vocals for this track but due to scheduling issues, it did not happen but with good fortune, the new version of this track is now included in this album). A side closes with the optimistic Balearic sounds of Tsuki nu Kaisha that converges immaculately with slow-mo steppers. It is also worth noting that the person who introduced NAGASE to Inamine was the Okinawa dub master, HARIKUYAMAKU. They met at a concert held by both him & Yukino Inamine hosted by BUN BUN THE MC at the venue, RAGGA CHANNEL. From this encounter, this album came into fruition and they also asked HARIKUYAMAKU to produce an earthy, traditional rootsy, dub version of Tsuki nu Kaisha that is included as the 3rd track on the B Side.

Ashimizubushi, the track that magically blends old school Chicago house ala TRAX with Ryukyu folk music starts off the B side and it carries on to an uplifting track with a Skaouse (ska + house) feel, Hounen Ondo. Inserted after HARIKUYAMAKU’s dub of Tsuki nu Kaisha, this album closes out with the song, ‘Ishikawa Koi Uta’, the only song written by Inamine who said that she wrote it after falling in love with chill-out music. It is an ambient dub track with a collage like flavour, reminiscent of early The Orb (remixed by Mad Professor) and the latter half of the track finishes off with a message presented by Masao Itokazu (her uncle) who received tutelage from the prior owner of her sanshin that Inamine plays, Moritomo Inamine (her grandfather).

Incidentally, the album title, YUGAFU ai Kaji is derived from an auspicious word from Okinawa, Yugafu which means fruitful year, happiness, prosperity and ai (indigo) is a word that Yukino found inspiration few years ago (she wears a Okinawan indigo clothing called kinonuno in the front cover of this album).

The unique indigo colouring produced by nature overlaps with the unique charm of the human personality, and she wanted to present that current along with the music so the name was integrated to ‘indigo wind’, and the two were connected to form the album title, ‘YUGAFU ai Kaji’.

The photo of the front cover was taken by a young, Uchinaanunishie—- (meaning a boy from Okinawa) 17 year old photographer named Ratio and the designer of this album is Anmonaito who is a childhood friend of Inamine who also did the artwork for her album, Miyagi Kaigan. And the mastering and cutting of this album was done by Rei Taguchi.

The cosmology existing in Yukino Inamine’s singing is fully amplified by AKIO NAGASE’s spacey, abundant with many ideas, dance machine beat~ambient music and all of these elements are organically linked by the adhesive effect of dub.

German duo FJAAK remain one of techno's most distinct and uncompromising acts. Their new four-track EP is a raw, intense journey that feels more like a series of live jams than polished studio tracks. This release, FJAAK012, fully embraces their signature analogue sound, delivering four powerful tracks designed to own both big and underground stages and the most demanding dancefloors on the globe. The EP opens with 'Inside Out', a stripped-back groove loaded with industrial energy. It blends breakbeats, jungle influences and hardcore licks, fusing genres and eras while keeping that unmistakable FJAAK intensity front and centre. Next, 'Rekorder' delivers intricate beats with a raw, live-jam energy, dropping rigid sequencing for pure groove. Its coarse percussion and shifting melodic layers create a dynamic flow packed with attitude and character. Flip the record and 'Don't Give A F' steps up the pace with racy rolling grooves and relentless drive. The track's multi-genre beats and piercing analogue tones build a warehouse-ready sound that commands attention. Closing the EP, 'Leave A Message' is a special, one-of-a-kind slice of groove-heavy individuality, standing out with its truly unique sound. It combines hard-hitting rhythms with raw, textured layers and sharp transitions that keep you moving from start to finish. Based in Berlin, Felix Wagner and Aaron Robig have crafted their sound since childhood, pushing boundaries since the late 2000s. Known for their rebellious spirit and hardware-only live shows, they've revitalised the club scene with electrifying performances and DJ sets. In 2024, their genre-defying album FJAAK THE SYSTEM merged UK breakbeat, techno, d'n'b, jungle and more, featuring collaborations with Modeselektor, Skee Mask, Red Eye and Spandau20 co-founder J.Manuel. It marked a bold new chapter for the duo. Now, in 2025, FJAAK build on that momentum with fresh music, global tours, and expanding label rosters. They continue to challenge club music norms and maintain their place at the forefront of electronic music innovation.

Swimming Paul's first album is available again as a new edition.



In the vibrant city of London, a talented French producer named Swimming Paul made his mark. While he had already spent several years producing music for others, Swimming Paul felt a strong calling to embark on his own creative project—one that would redefine the concept of dance music and infuse it with meaning.
Paul drew inspiration from the early days of house music, recognizing it as more than just a genre. It represented a cultural movement that united people from diverse backgrounds. Motivated by this spirit, Swimming Paul sought to create music that not only made people dance but also brought them together and conveyed powerful messages.
With each composition, Paul approached his work as an artist would approach a blank canvas. He poured his heart and soul into every beat, melody, and rhythm, meticulously crafting a sound that blended elements from various genres while bearing his own unique touch. His music pulsated with the infectious energy of a crowded dance floor, yet it also possessed the ability to evoke deep emotions and provoke introspection.
Swimming Paul’s vision extended far beyond mere entertainment. He aspired to establish a space where people could connect, express themselves, and find solace in the universal language of music. Every track he produced served as an invitation to embrace the present moment, to let go of inhibitions, and to discover the transformative power of music.

I think "Divide & Conquer" is so far the only tune on Future Retro London that I've signed after hearing it on social media. Friske posted a clip on his Instagram profile of a tune he was working on at the time and I instantly messaged him asking about the tune and what the plans were for it. He was making it with his own label, Requisite Music, in mind but thankfully was willing to let me have it for my label when it was done. The tune blew my mind when I first heard it, and I knew that it was something that I needed to release. I've been a big fan of Friske's music for years so it's great to finally have him on the label, alongside a remix done by Gremlinz & Rumbleton.

Around the same time as that, IJO messaged me on SoundCloud with a bunch of unsigned material, after I'd earlier expressed interest in having his music on the label. Of the tracks he sent me, two called "Glitter" & "Mark 11" caught my interest but out of curiosity, I asked him if he could combine the drums from "Glitter" with the melodies & sounds from "Mark 11" which he did and it sounded fantastic. I wanted to get someone to remix the tune and when I asked IJO's opinion on who he wants to remix it, he suggested Artificial Red, who I already had music coming on the label from, so it made sense to ask him, he was up for it and he's done a cracking version of "Mark 11".

Big thanks to Friske & IJO for their original tunes, to Gremlinz, Rumbleton & Artificial Red for their work on their remixes and to social media for actually being something useful!

As rRoxymore, Hermione Frank has been exploring the outer edges of the dance floor and producing music that goes beyond traditional genre boundaries for more than a decade. In that time she has covered plenty of ground from caustic and abrasive techno to long-form and immersive grooves, always with a focus on contrasting tempo, texture and tone. On previous albums she intertwined the electronic and the acoustic with elements of psychedelia and jazz. With Juggling Dualities, Frank takes a sideways look at New Age and Wellness culture.

Writing the album came about after many months of being unable to create during a complicated personal time which left her lacking inspiration, feeling creatively stuck yet emotionally uprooted. What helped was distance - taking time and space to disconnect from the struggle. That brought a different rhythm to life and a fresh perspective that allowed exploration without any expectations. A six-week surge of intense creativity followed in which the majority of the album was written. As she explains, "The record represents a journey of reconnection that conveys an underlying message of hope and healing at its core. I think it is my most honest
work to date."

Initially conceived as a New Age project but with a signature personal twist and some subtle humour, there is a familiarity to Juggling Dualities. It is warm and comforting with a sound palette that is refined but familiar - there are soothing signifiers and organic designs that nod to the motifs of New Age but passed through a more contemporary lens.

Juggling Dualities is an invitation to reconnect with yourself. It's music that encourages you to take a pause, be in the moment and reflect on the fact that no matter what challenges come your way, they shall eventually pass.

For our ninth chapter, X/Y/Secret hands the controls to Sira. Surfacing is a study in tension: grooves tight enough to steer a packed floor, yet spacious enough for long blends or sudden cuts. Each element arrives with purpose, opening pockets of air to breathe just before the pressure rises again. Both sides speak the same language while delivering different messages. Phil Berg distills the title track into a focus-sharpening remix, before Sira closes with a late-hour mover built to steady the room while the lights stay low.

Stix Records, a sub-label of Favorite Recordings, is back with "Disco Reggae Vol. 6", continuing the much-loved series that kicked off over a decade ago.

Born in Jamaica, Reggae has always shared deep roots with Soul, Funk, R&B, and Pop from the US, and the island’s musicians have long mastered the art of reimagining iconic songs through their unique lens. With the Disco Reggae series, Stix Records proudly continues that tradition, serving up fresh reggae reinterpretations of timeless classics across various genres.
This sixth edition expands the selection with tributes to legendary artists like Roy Ayers, Patrice Rushen, Cymande, The Isley Brothers, Ramsey Lewis and Earth, Wind & Fire, to name just a few.

All covers on this volume were carefully curated by Charles Maurice, ensuring a cohesive and inspired selection throughout.
At the controls, it’s the same crew of friends as usual ; Taggy Matcher, Soul Sugar aka Booker Gee, and Mato, and this time, Mystic Jungle joins the gang with a killer Roy Ayers cover.

Get ready for a feel-good ride, perfect for dancing under the stars, cruising with the windows down, or just vibing with friends.

MY NAME IS DJ K-1 (Original Mix)
Keith Tucker Aka DJ K-1 comes back with his original minimalistic electro style with vocals and vocoder loveliness. The ep harkens back to his original K-1 Agenda ep days of the classic Direct Beat label which spawned the first of Tuckers many aliases. Tucker takes this first original mix into a more Kraftwerking style with his infections and Unforgettable vocoder work.

MY NAME IS DJ K-1 (DMX Krew Mix)
DMX Krew’s Ed Upton takes his stab at a more sample bass mix in step with Tuckers seminal work In the Detroit Techno Bass group Aux88. The DMX Krew never disappoint Upton’s bassline ads a dark menacing mix.

MY NAME IS DJ K-1 (Beat Mix)
A Loop bass mix of straight funk and vocal to blend and create that funky Detroit funk that mixes with anything.

MY NAME IS DJ K-1 (Detroit Jit Mix)
Detroit Jit mix has full vocal rap track with a message. Detroit Jitters and DJ’s will eat this up.

MY NAME IS DJ K-1 (SPOCK Mix)
Spacey minimal bassline with that eerie string that makes the floor move as SPOCK would say it’s logical…

MY NAME IS DJ K-1 (NAVI Mix)K-1’s takes this mix more in a bonus beat montage of echoes from the ever-present synth bassline that moves the beat in a hypnotic state with the help of NAVI

A pioneering force in African music, Jo Tongo has always been on top of the game. Since the late 60s he has been recording music under his early Jojo L'Explosif moniker. His debut album "Jo Tongo" was released 1976 on Fiesta/Decca and features classic tracks like Jangolo and Piani. Now, after decades of underground influence and global recognition, his second album Sa Discossa (1980) is re-released for the first time. Being an electrifying fusion of African rhythms, disco, makossa, reggae and funk it is reflecting his lifelong journey of musical exploration and cultural storytelling and claims its place as an essential recording in the Afro-disco movement.
Jo Tongo's music is inseparable from his life's story-a journey that spans continents, struggles, and victories. From his early years as a leading African musician before the global rise of Afrobeat, to his deep roots in classical training, and his time performing in France and Germany, his sound is shaped by a rich blend of influences. Having played in bands across Europe, from American military bases in Germany to the jazz and soul circuits of Paris, he absorbed the pulse of multiple musical worlds, creating a sound uniquely his own.
"My music is my life. I never saw it as a way to become a star-I am a simple man," Tongo explains. "I came into music to say something, to tell about life, to share my experiences with the world." His perspective on fame and artistry is deeply rooted in his Cameroonian background. "I wasn't interested in business. I wanted to build something with music, to create a sound that was mine."
But Jo Tongo's music has always carried a deeper message. His work reflects his strong political stance against colonialism, social injustice, and oppression. "I cannot stay silent while my people suffer," he says. "Music is a way to resist, to stand strong, and to remind people of their dignity and their power." Throughout his career, Tongo has used his platform to advocate for African identity and independence. His songs, layered with messages of social consciousness, have continued to resonate with younger generations who recognize the relevance of his words even today.
Sa Discossa is more than just a disco record. It embodies Jo Tongo's philosophy of resistance, identity, and celebration. The title itself is a blend of "disco" and "makossa," reflecting the seamless fusion of African groove and the dancefloor energy that defined the era. Tracks like Bunya, sung in his native language, carry messages of love, gratitude, and resilience-sentiments that remain as relevant today as they were nearly 50 years ago. As Tongo describes it, "Every day, give thanks and praise to your Lord. Every day, show me your love. Every day, let me show you my tender love."
Tongo's musical journey also took him through the world of reggae, inspired by his exposure to American and Caribbean artists. "At first, I didn't like reggae-it was too slow for me," he admits. "But then I heard Bob Marley, and I realized the power in its simplicity. The rhythm, the
message-it was all connected to something bigger." He later found himself embracing reggae as an essential part of his musical DNA. "I realized that my music and reggae shared the same roots. We are all connected, all telling the same story in different ways."
Having spent much of his career performing across Europe, Jo Tongo reflects on his connection with international audiences. "I've played everywhere-from Africa to Germany, from Paris to other cities in France and what I've learned is that music speaks a universal language. You don't need to know the words to feel the message."
Despite taking a step back from the stage in recent years, he remains open to new possibilities. "Music is like a fire-it never truly dies. I have a lot to say, and music is the best way to say it."
For Jo Tongo, music is more than entertainment-it's a language of truth, a testament to history, and a bridge between cultures. The rhythm of Sa Discossa lives on, stronger than ever. With Sa Discossa returning under the African Edge series on The Outer Edge label, Jo Tongo's legacy continues to resonate, proving that real music never fades.

Eko, or Eko Roosevelt, is a Cameroonian composer, pianist & vocalist. He was born in Kribi in 1946, the son of a local Tribal Chief. Eko developed his love for music at church, later pursuing his growing passionwith music studies abroad, first in Dakar and then in Paris. After concluding his studies in France he went on to a recording career and between 1975 - 1982 released a number of full-length LPs, 7" singles and albums on cassette, before returning to Kribi to take over the role of Tribal Chief from his father, a role he holds to this day.

While the name "Eko" may not be immediately familiar to all, his music will be well known to many, from the DJs to the dancers, the heads to the home listeners. Evergreen classics like “Kilimandjaro My Home”, have remained a mainstay in the record bags & USB crates of disco jocks since its release in the late 70s, while numerous of his other crossover Afro-disco gems have been bootlegged, edited and remixed by a seemingly endless number of both greater & lesser-known producers who have all paid tribute to his work. Eko Roosevelt’s position in the ranks of Cameroon’s great musicians cannot be overstated. As a composer, songwriter, pianist and singer he has influenced generations of musicians both in Cameroon and France and further abroad, while he has written & arranged for many of the Cameroonian musical community.

Here Canopy, with the benediction of Eko himself, officially reissues two of his works that have not been rereleased since their first outings. Stylistically the two songs straddle the line between Afro-disco, funk and pop, with a slightly Balearic, almost AOR sensibility.

“Phone Me Tonight” is taken from a 7” record that has barely resurfaced since it was self-released in 1981 on the “Eko Music’ imprint. The song is an uplifting opus that demonstrates Eko’s deftness for creating catchy songs that succeed in their songwriting prowess and melody crafting, both on and off the dance floor. It is a stripped back composition that employs the key elements to great effect. The groovy bass line is underpinned by a tight Afro-disco beat as Eko’s unmistakeable voice draws us in and with a masterful use of repetition and hooks, creates a song that feels familiar from the outset, while being brand new to almost all listeners. As the song develops, the synth lines lift the song higher and higher, culminating in a euphoric transcendence perfect for elevating the mood of any dancefloor.

“Take Me As I am Now”, is sourced from Eko’s first album, “Nalandi” which originally came out in 1975 on Dragon Phenix. Here we have another fine example of Eko’s ability to hone compositions that blend thelines between pop song writing and more loopy dance floor orientated structures. The vocal hook repeats throughout the song, with only minor variations, making the song feel comfortingly familiar from its early bars. An instantly appealing bass line sets the stage for the sleek guitars and taut horn arrangements. The end result is a feel-good balance of melody and groove that makes for a timeless feel with a positive message!"

Minos Announces the Return of Old-School Jungle with "Watch the Ride EP"

Producer Minos is bringing fresh energy to classic jungle with his new release, "Watch the Ride EP," on Jungle Slapperz. Aimed at longtime fans and newcomers alike, this EP captures the raw, rolling spirit of the 90s.

With tracks inspired by the golden era, Minos revives the complex, punchy breaks and signature sounds-like clapping snares-that define old-school jungle. His latest work signals a strong message: in 2025, the true jungle feeling is making a comeback.

Get ready-this ride is about to begin!

High-value dance record business once again from Studio Barnhus, as Austin, TX-based label debutant Fennec jams onto one slab of vinyl four cuts of the sort of dancefloor-driving yet warmly welcoming house music the Stockholm label is not NOT known for.
Amassing a cult following from his bedroom studio over the past decade, Fennec channels the sampler titans of yore to craft club bangers for tomorrow, from the instantly captivating dancefloor call-to-arms "Jaunt" to the
frisky yet contemplative "Grilled Romaine."

It’s been a journey, but thanks to the guys at Universal Music we are very grateful and privileged to bring you this fine piece of modern soul music on vinyl.

Both tracks, on the 7-inch, are taken from the MP3 only 2020 album “Vintage R&B”.
It’s an Anglo-Swedish affair, delivered to you by Swedish songwriters, composers and musicians, Henrik Wikstrom and Anders Lewen, together with UK producer Andrew Stannard.

Side A “Time to Make A Change”, features in Episode One of the 2023 BBC documentary “Fight the Power – How Hip Hop Changed the World”. A track to surely get the dancefloor moving.
After some deliberation of which track to include as a Side B, it was decided as a “Thank you” gesture to invite Universal Music to pick the song of their choice from the MP3 album. “Good, Good Feeling” was the proposal, a song title that is reflected in the composition.

The top side, with its driving beat and the strong vocal ability of Liverpudlian Tommy Blaize, is reminiscent of a Motown track at the peak of its popularity. After listening to the lyrics, it is understandable why this track was used in a “Civil rights” segment within a documentary. A timeless message that can be applied to many social and personal life situations. Listen to the tight musical arrangement. These guys know what they are doing. A track that will surely even get my ageing hips loosened up for the dancefloor. Don’t be tricked by the “paused” ending, a wonderful touch!

The title of the flip side, “Good, good feeling” is exactly that……… A “good feeling” song. Here, the tempo is lowered slightly and the sixties vibe here also leads to a more mainstream direction compared to the A side. Those floaty soulful tones from the UK’s Louise Marshall are very pleasant to the ears, lifting your spirits on any day of the week. Like the A side, get your earlobes in to that musical arrangement. There was no holding back with the broadness of musical instruments in the studio and I especially like the sound of the flute happily skipping throughout. Overall, an enjoyable easy listen.

Getting You Back to the Game of Life Records’ opening release, ‘Comme des mots’ LP is a journey through diverse sonic textures and energies from label-founder Lil Ronin.

Getting you back to the game of life is the headline of a physical and mental health therapy center. Casually popped in your conscience from an advertising board and let you in a strange place. But what is the game of life?
This label could be that space to get you back, to forget and perhaps find a form of youthful innocence again.

As a first solo project Lil Ronin freely experimented between different influences and genres that present his intimate universes, juggling with abstract, ballad and more dancefloor music, mostly recorded in Parisian suburb Alfortville between 2022 and 2024.

‘Comme des mots’ means ‘like words’ and evokes the ambiguous presence of his voice in the album, hidden in different characters, sometimes raving other times being conscious. Finally becoming a schizophrenic presence guiding you for the trip.

The cover follows the same ambivalence showing a typography with a distinct message that loses its readability in abstraction. The record also includes an insert with a childhood photo of Lil Ronin.

The LP was mastered in Paris by artist and engineer Krikor KOUCHIAN,
(past works for Simo Cell, Maoupa Mazzocchetti, Tolouse Low Trax…);
The design was created by sculptor artist and designer Marie-Mam-Sai BELLIER,
(past works for Erwan Sene’s JUnQ LP - PAN record, Zulu’s Hear The Sound Of My Feet - Association fatale etc.); The handmade drawings are by Vincent BENTOLILA (associated with the ‘Isengard’ label and parties in Brussels) ; The cover was handmade through silk-screen printing by the Lyon-based printer Olivier BRAL (whose past projects include Brigade Cynophile, Ateliers Dénudés, and Megabasse).

For the fourth release of Marseille-based label Planète 51, co-founder Apoteoz steps forward with his first full vinyl EP — a deeply personal and evocative collection produced throughout 2024.

Crafted with a strong sense of family and emotional resonance, Switch My Face EP blends hypnotic grooves with intimate storytelling. The title track “Switch My Face” features the voice of Apoteoz’s father, while “Et Toi” includes a touching vocal sample from his mother

The B-side presents a more recent side of his production, including “Echoes in Blue”, one of his latest inspiration — a deeper, more introspective journey that expands the emotional palette of the record.