Search:mi el

Another haul of hard hitting house gems from Duster Valentine’s debut album pressed to vinyl for the first time.

A love note to formative years in the ‘80s and early ‘90s, off his chops at The Haçienda and other legendary Manchester clubs, it’s a masterclass in demonstrating the flavours-within-a-theme that emerged from the Chi, 313, and NYC during that pivotal era, and would light the touch paper of a UK club revolution.

In Duster Valentine’s hands the sound is presented stripped to salient fundamentals, prizing the sound before it went commercial, ranging from sampler-knuckling garage-house stabbers thru haughty canter and plushest, pendulous grooves. He homes in hard on that point when hip hop and electro gave way to house in the Todd Terry-via-Pal Joey style jam »Getting’ Dub«, and gives a big salute to Chez N Trent’s rugged, chord-riding haughtiness via Levon Vincent in »Hit Me From Behind«.

»Strobelight Honnies« leans into the sound’s deepest ends with perfectly weighted bassline, cold drums and sublime string tension dubbed with hypnotic elegance, where »The KatG Chord« follows with shimmers of Anthony Shakir via Michael J Blood. Suffice it to say they’re all perlers and bang on the £ if you know what’s good.

WRWTFWW Records unleashes the first ever release of legendary post-disco, funk, soul and electronic UK trio Imagination's cult album Night Dubbing in (well deserved) double LP format. The limited edition full-length comes with pristine audiophile treatment and luxurious packaging : a 45rpm and Half Speed Mastered DLP housed in heavyweight silver cardboard sleeve.
Imagination's singular 1983 album Night Dubbing is a refined deconstruction of black British soul and club pop, filtered through the deep studio and mixing techniques of dub music. Elegant, restrained, and, in its very own subtle way, radical, the record reshapes choice selections from the group's stellar catalogue into an immersive and out-of-this-world listening experience.

The special mixes on Night Dubbing are built on time and space. Basslines elongate and dissolve. Vocals appear, vanish, and reappear like ghosts. Drums fall away into vast silences, while echoes, tape edits, and precise engineering manoeuvres smoothly slide across the stereo field, revealing themselves like magic over repeated listens. Far from simple extensions or 12" versions, Night Dubbing treats the studio itself as an instrument, opening new dimensions of sound.

Often cited as a foundational record in the genesis of the house genre, the album also features the historic Larry Levan remix of "Changes", a Paradise Garage anthem that helped shape the direction of club music for decades to come.

More than 40 years on, Night Dubbing remains a seminal work. Its influence continues to echo through contemporary dance music, offering a blueprint for how pop could be transformed into something darker, stranger, more physical - a timeless sound that drifts effortlessly from the dancefloor into space.

Important note : it sounds amazing played on 33rpm too !

For several decades Norway has had a healthy tradition for prog, psych and jazz fusion – yet, there's something very different about the ensemble that is Fra Det Onde (”From Evil”). The group is comprised of one of Europe's finest jazz drummers Olaf Olsen (Needlepoint, Motorpsycho, Bigbang and others), bassist Rune Neergaard (Bushman's Revenge, Exoterm) and trumpeter Erik Kimestad – one of the brightest young stars in current Scandinavian jazz. And they have a secret weapon in the form of sonic wizard Emil Nikolaisen, known for his pioneering noise rock in Serena Maneesh, as well as a collaborative album with Todd Rundgren. He's currently a member of The Brian Jonestown Massacre. Emil not only contributes Farfisa and weird electronics to the group's free flowing streams of sound, he's also responsible for the innovative album mix that expands the ensemble's vision into new and astonishing territory.
Smilet Er En Flyktig Tilstand is one of those rare records that manage to absorb the spirit of the past and transform it into something new and exciting. Listening to the suite that makes up most of the album, one can sense the cosmic energy of 1970s Don Cherry, or the sonic adventurism of Can in their prime – but Fra Det Onde pushes these aesthetics into the extreme. Labels such as ”fusion” or ”psychedelic jazz” don't really come close to describing the rush of energy and kaleidoscopic sonics that's taking place on this record.
Vinyl-only, limited to 500 copies, no digital release.
File next to: electric Miles Davis, Can, Don Cherry.

‘Falling Backwards’ is the debut album from Him & Earl via Wah Wah 45s, serving up a mystic brew of desert blues, English folk, Americana and stirring southern soul, with tentacles stretching out into psychedelia and prog, across 11 hot and hazy tracks.

Singer-songwriter Olly Him and DJ, producer and composer Wyndham Earl both have deeply-dug roots in the south coast of England, with the former making his name as a solo artist before exploring his soulful folk/prog sound with a number of live acts, and the latter collaborating on albums and sharing stages with Bonobo, Khruangbin, Alice Russell and TM Juke, having remixes released by Tru Thoughts and Mr Bongo Records and releasing his solo projects on his Time Spun imprint.

The pair first met in 2015 when Wyndham produced some songs for now defunct hypnotic Afro-folk outfit Creatures Of The Deep, of which Olly was a founder member. They instantly clicked, but after the group broke up it was a few years before serendipity brought them back together; a chance encounter at a gig saw them begin hatching plans to make a full album under the name Him & Earl with Olly writing the songs and Wyndham arranging and producing the project.

After so long floating in the creative ether, the connective power of these songs has been strikingly immediate. The debut Him & Earl live show in early 2026, before any tracks had even come out, blew Olly and Wyndham’s expectations out of the water as their five-piece band found themselves toe-to-toe with a sellout crowd – a sweaty room full of happy music fans, on an otherwise bleak January night, throwing shapes to live percussion showdowns, losing themselves in psychedelic guitar and bass wig-outs, and singing along to choruses they’d never heard a note of before.

Since then, the first two singles “Bottled Up” and “Away” have had high profile airplay from the likes of BBC 6 Music’s Huw Stephens and Cerys Matthews, and Radio X’s John Kennedy, adding to widespread tastemaker and specialist support around the world, as excitement builds for the album.The LP’s introspective and philosophical lyrics are brought to life by a sonorous yet strangely uplifting sound palette that morphs by stealth into a darkly propulsive, psychedelic and bluesy trip.

Opening song “Away” taps straight into a key theme of the record – journeying, in both a physical and mental sense, and the quest to move on and embrace the unknown – and its sunny guitars, trumpet and violin barely even hint at the tumultuous sonic adventure that’s set to unfold. A stronger indication comes in the title track,“Falling Backwards”, as its elegant web of staccato finger-picked hook, fluid piano melodies and strings unfurls into a six-minute exploration of what Olly describes as “going through every day normality while feeling close to chaos and like things could fall apart at any moment… when there is a myriad of different things holding everything together and if one thing goes wrong everything can fall apart around it.”



“Better Days” swiftly restores a sense of upbeat calm, with lively Kora and Afrobeat-inspired guitar licks, atmospheric trumpet and a harmony-clad mantra of hope on the horizon; the folky “Bottled Up” continues that blissful notion with undulating finger-picked guitar, earthy clarinet counter-melodies and celestial murmurations of delicately plucked strings. The magnetic pull toward more mysterious horizons comes via the dusty twang of Wild West-esque guitars on “Open Road”, a nomadic journey of self-discovery through spacious sonic plains embellished with eerie flickers of flute and clarinet. This leftward turn gathers pace in the trancelike

psych-prog depths of “Preside”, an instrumental cut at the album’s pivotal halfway point. Hypnotic, guttural desert blues-infused riffs on “Inside” channel the feeling of a psychedelic or spiritual trip where, in Olly’s words, “something clicks and you understand things on a different level – it makes you see inside yourself and see things in a different way.” “Shadow overhead” brings a lighter touch to a darker subject – the feeling of paranoia and being locked away from the world – drawn from Olly’s own experience and also his years of working in and around mental health.

Exuberant horns lend hope to loosely looping suspense on “Blindside” (about being caught out by the unexpected, and searching for something to see or hear to pick you up again) and then mesh with urgent strings, low-slung guitars and subterranean bass on “Around Again”, which explores the modern fight to stay afloat amid the endless churn of information and distractions. Still plumbing the bassy, bluesy depths of this journey into the psyche, “You Can Only Know” is a dreamlike revelation about finding someone or something that helps to make sense of the world. Luminescent synths duck and weave, while a rock-solid bass riff is tracked by a soul-soothing four-part “hey hey” harmony, reassuring as a glowing lamp in the window at the end of a life-changing trip.

Ingo Hammer lands again on Industrial Lies with ‘Hammer to Fall’, the ultimate record for tough times.

As the apocalypse approaches, the mysterious European producer drops the hypnotic techno of ‘Lucky’ and the pulsating, bass heavy ‘Tenth Gen’.

Shifting focus, he delivers dubbed out sleazy disco on ‘Dirty Glow’ and explores gnarly, sewer electro with ‘Mind Control’

The world is burning and ‘Hammer to Fall’ is the soundtrack to the party at the end of the universe.

Limited edition of 100 vinyl copies.

Mastering by Tom Haunstein (Rand Muzik)
Artwork by Jonny Costello (Adult Art Club)

2026 Repress

The ongoing importance of this album is indisputable, essential both to techno and to Tresor. It is a history intertwined. This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact.
Originally released in 1994, 'Internal Empire' marks a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come.

Norwegian producer A:G heads up the debut release on Tanzform’s Algobub label with his signature dynamite energy. Rippling shades of acid, making this a fine example of modern electro sounds doing the damage on the floor this summer. His essential sound continues to evolve in recent years, and sets the label up for some exciting years ahead.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 10

A1) GusGus - Crossfade (Maceo Plex Remix) (Original Release 2014)

Released in 2014 on the German label KOMPAKT, this remix by Maceo Plex features Ten Walls-like horns, vocals, and pumping drums, making it a true Ibiza floorkiller. The vocals are by Konstantin Sibold. This remix was only released as a white label (Kompakt Exclusive) and has yet to have an official vinyl release. Despite this, it remains a favorite among DJs and clubbers worldwide, regularly played at festivals and clubs.

A2) Plaything - Into Space (Original Release 2001)

This groovy track, released in 2001, contains a sample from Sheila & B. Devotion's Spacer, with Nile Rodgers as one of the producers. The original trackSpacer is an iconic disco hit from the 1970s, and Plaything put a contemporary spin on this classic. The track was a hit in Belgian clubs in the early 2000s, often played by prominent DJs. It has since been released on various labels and remains a timeless favorite in the electronic music scene.

B1) Ion - W.B. (Original Release 2002)

This trance classic by DJ Ion was first released in 2002 on the Belgian label B². The track quickly became a beloved classic within the trance community. Danny Casseau, the producer behind this track, is also known for other legendary works, including the trance classic Ion 98 - Tructure, which had a significant impact on the trance scene. W.B. is a pure, old-school trance track, crafted in the way only tracks from that era were!

This vinyl is extremely rare and hard to find, making it a sought-after item for collectors and trance lovers. It is still played in the sets of DJs who cherish the older trance sound, and it fits perfectly in contemporary sets as well!

B2) Subaltern - Forever (Ledge Forever Remix) (Original Release 2007)

This club banger was released in 2007 on the French label Voices Records and was a popular track in well-known Belgian clubs like Illusion and La Rocca. The Ledge Remix added an energetic, infectious vibe that made it a true hit on the dancefloor. It received an official vinyl release in 2007, but it is now difficult to obtain. Subaltern's Forever remains an unforgettable club classic still appreciated by electronic music lovers.

C1) Lykke Li - No Rest For The Wicked (Joris Voorn Remix) (Original Release 2014)

Swedish singer-songwriter Lykke Li scored a worldwide hit with I Follow Rivers, but also had great success with the powerful track No Rest For The Wicked. The Dutch producer Joris Voorn gave his own tech-house spin to the track in his known style!

Voorn's remix keeps the atmospheric mood of the original but adds a new, dancefloor-friendly dynamic that makes it suitable for the electronic music world.

This is the first time this remix is being released on vinyl since the original release in 2014, making it a rare and desirable item for both collectors and DJs. Thanks to the powerful mix of melody and rhythm, this remix of No Rest For The Wicked remains a timeless favorite that has found its place both in clubs and in vinyl collections of music enthusiasts and DJs.

C2) The Roc Project feat. Tina Arena - Never (Filterheadz Luv Tina Remix) (Original Release 2002)

This Spanish dance track hit Europe in 2003, thanks in part to the legendary remix by the Belgian techno duo Filterheadz. Brothers Bert and Maarten Wilmaers, known for their distinctive techno sound, gave the track their own twist with strong beats and an uplifting bassline, creating a timeless club hit that was heard everywhere in the early 2000s.

The vocals by Tina Arena add an emotional layer, while the Filterheadz Luv Tina Remix has stood the test of time and still gets everyone moving. At 12 Inch Lovers parties, this track never goes unnoticed and often brings the night to a high point. This track is a must-have for both collectors and DJs who love a mix of emotion, energy, and a solid techno sound.

D1) Soul Syndicate - Inside Of Me (Steel Union Remix) (Original Release 1995)

Speaking of a trance classic, this one is a true gem! Inside Of Me was released in 1995 during the golden years of Belgian trance music on the legendary Belgian label Aquatic Records. The Steel Union Remix by Zzino is an absolute favorite among trance lovers.

With its iconic sound and unmatched energy, this track is a true ode to the Belgian trance scene. It remains an unadulterated classic that still makes an irresistible impact, not only at retro trance events but also in the sets of contemporary DJs. Since its release, this remix has been hard to find, making it an even rarer piece of trance history. A track that has stood the test of time and is a must-have for collectors and fans of old-school trance.

D2) Ken Laszlo vs. Disco Dice - Hey Hey Guy (House Dub) (Original Release 2003)

Ken Laszlo, the Italian singer who became globally famous in the 1980s with the iconic Italo-disco hit Hey Hey Guy, received a re-release in 2003 on the house label Dubmental. This version was reimagined by Disco Dice, who gave the track a fresh house vibe with a more modern sound. Belgian DJ Jean, known for his influence on the Belgian nightlife scene, introduced this track into the clubs and transformed it into a club classic.

This release, although released in 2003, is now very rare and hard to find on vinyl. It's a hidden gem that continues to withstand the test of time, making it a valuable collector's item for lovers of both Italo-disco and house.

D3) Icehouse - Hey Little Girl (Infusion Remix) (Original Release 2002)

The Australian band Icehouse released the iconic track Hey Little Girl in 1982 on the British label Chrysalis. This synth-pop track was a big hit and still remains one of the classics from the 1980s. The original track was later included in the remix album Meltdown in 2003, where the Australian duo Infusion created a contemporary electronic remix that gave the track a new dimension.

The Infusion Remix adds a modern, danceable twist to the original synth-pop sound. This version surprised both fans of the original hit and lovers of electronic music, remaining a sought-after track in DJ sets.

This track has been unavailable on vinyl since its original release in 2003, making it a rare collector's item.

"Amor y libertad" (1981) is the LP recorded by an erotic disco project fronted by actress and model Susana Estrada, with Josep Llobell (Oliver's Planet, Enterprise_) serving as the visionary producer working behind the scenes. From this album, we have selected two of its finest tracks to be reissued for the first time on 7-inch format. On 'Mi chico favorito,' Susana Estrada's sensual voice rides over a musical backing clearly inspired by 'Good Times' by Chic, likely via 'Rapper's Delight' by The Sugarhill Gang, making it just as irresistible. On the B-side, we release '¡Quítate el sostén!' as a single for the first time-a funky disco-rap anthem packed with feminist statements. On "Mi chico favorito," Susana Estrada's sensual voice is set against a musical backing clearly inspired in "Good Times" by Chic, most likely via "Rapper's Delight" by The Sugarhill Gang-resulting in a track every bit as irresistibly infectious as those classics . On the B-side, we reissue "¡Quítate el sostén!" as a single for the first time, an anthem filled with feminist declarations ("the time for girls has come_") and messages of sexual liberation ("let them say what they want, it's freedom-our freedom_"), which the singer delivers in a proto-rap style over a funky disco beat.

Incl. Pryda, Dexter Connection, Superfunk feat. Ron Carroll, Dave Swayze, Chris Bangs feat. Rita Campbell, Hyper Pearl, Daniel Bovie & Roy Rox, The Disco Freaks, The Mackenzie feat. Jessy



Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 9

A1) Pryda - Allein (Original Release 2012)

Pryda, the legendary alter ego of Eric Prydz, has earned iconic status in the electronic music scene with his refined productions and epic tracks. Under this name, he has released several hits that have stood the test of time, including Allein. This track is a progressive house masterpiece built around a sample from Polarkreis 18's Allein Allein and is infused with the characteristic Pryda sound: grand, hypnotic, and emotionally powerful.

With its timeless and universal appeal, Pryda - Allein has captivated fans worldwide. The track is an absolute floor-filler that forms a highlight in any DJ set. Notably, this iconic track has never had a vinyl release, making this edition extra special for both collectors and lovers of true electronic music history.

A2) Dexter Connection - Baby Be Mine (Original Release 2003)

Released in 2003, this delightful groover samples Michael Jackson's Baby Be Mine and Brothers Johnson's Stomp. The track combines funky basslines with a tight, rhythmic groove that immediately invites dancing. The nostalgic vibes from the classic samples provide a familiar sound, while the modern production gives it a fresh, contemporary twist. Ideal for DJ sets where you want to get the crowd in the right mood.

A3) Superfunk feat. Ron Carroll - Lucky Star (Original Release 2000)

This track needs little introduction. Released in 2000, with soulful vocals from Ron Carroll, it quickly became an iconic hit within the house scene. Lucky Star was the breakthrough single of Superfunk, a French house group,and sold over 500,000 copies worldwide. The track reached number 42 on the UK Singles Chart and has since become a staple in house and dance sets.

With its funky basslines, catchy melody, and infectious groove, it's a perfect mix of disco, house, and soul. The track includes a sample from Chris Rea's Josephine, adding to the recognizable and nostalgic vibe. Lucky Star became not only a floor-filler but also an anthem of the French house movement, alongside acts like Daft Punk and Cassius who dominated the world in the same period.

B1) Dave Swayze - Goldwave (24K) (Original Release 1996)

This 1996 trance classic needs little introduction. Goldwave is a timeless track that continues to resonate with trance lovers, thanks to the unique combination of dreamy synths, hypnotic rhythms, and epic build-up. The track is a true ear-candy and touches anyone who hears it. Originally released in 1996 on Belgium's DiKi Records, it quickly became a classic in clubs like La Bush, Illusion, La Rocca, and many more.

To this day, Goldwave is still played in the sets of many DJs, and remains a favorite at retro trance events. The track has stood the test of time and remains a key track for fans of old-school trance. It's a piece of electronic music history that makes people dream on the dancefloor with its dreamy Goldwave.

B2) Chris Bangs feat. Rita Campbell - Warm Weather (Ibiza BeachBall Vocal Mix) (Original Release 2000)

Warm Weather by Chris Bangs feat. Rita Campbell is a summery, uplifting track that perfectly evokes the atmosphere of Ibiza. The song blends house and trance with the infectious vocals of Rita Campbell, creating a warm, relaxed vibe. The Ibiza BeachBall Vocal Mix adds a touch of Balearic energy, with a calm rhythm and melodies that immediately remind you of sunny beaches and carefree days. Originally released in 2000 on the UK label INCredible, it remains a hidden gem for many trance lovers.

C1) Hyper Pearl - Can You Feel The Pain (Up & Vox Version) (Original Release 1995)

This 1995 trance classic made a lot of noise in clubs like Illusion, La Bush, Lagoa, and At the Villa. Pure old-school trance with emotion and drive like only that era could produce. A fantastic track, produced by Carl Drake, Matt Spinner, and Zzino, originally released on Belgium's Aquatic label.

C2) Daniel Bovie & Roy Rox - Stop Playing With My Mind (Dub) (Original Release 2008)

Daniel Bovie (aka Danny Van Wouwe) is a versatile producer with dozens of tracks to his name, many of which are considered classics. This track is no exception. Originally released on the legendary Strictly Rhythm label, co-produced with Dutch producer Roy "Van Luffelen" Rox, this track quickly became a floor-filler and charted in Belgium and the Netherlands. The vocals wereprovided by the talented Nelson.

D1) The Disco Freaks - Make My Dreams Reality (Chord Memory Mix) (Original Release 1997)

Originally released on an EP by The Disco Freaks, the alter ego of producers Bart Grinaert and Lajos Meszaros. This mix, which is much stronger than the original, quickly became a club classic and was played extensively in clubs like Illusion, Carat, and Extreme. A delightful, groovy, and uplifting track that combines disco elements with house. The Chord Memory Mix adds a nostalgic touch by using warm chords, funky basslines, and uplifting percussion.

D2) The Mackenzie feat. Jessy - I Am Free (Marino Stephano Club Mix) (Original Release 1997)

I Am Free by The Mackenzie needs little introduction and is a must in every DJ and vinyl lover's collection. This mix, often played at our parties, is something special. The man behind many legendary trance classics, Marino Stephano (RIP), hasreworked this version in his unmistakable way. The remix has an energetic and captivating vibe, with deep, hypnotic beats and floating synths. A beautiful track in its original version, it continues to fascinate.

Als MONO ihr vorheriges Album OATH 2023 gemeinsam mit ihrem langjährigen Produktionspartner und Freund Steve Albini aufgenommen hatten, konnten sie sich nicht vorstellen, dass es das letzte Studioalbum sein würde, das sie zusammen machten. Albini starb im darauffolgenden Jahr tragisch, und dieser Verlust hinterließ eine unermessliche Leerstelle - nicht nur im Leben all jener, die Steve persönlich kannten, sondern bei jedem, der eine emotionale Verbindung zu einem der Tausenden von Alben hat, an deren Entstehung er in den vergangenen vier Jahrzehnten beteiligt war. Er brachte Klarheit in das Chaos und eine selbstlose Hingabe an die Kunst und die Künstler, die ihresgleichen suchte. Auf persönlicher wie auf praktischer Ebene stellte sein Tod MONO vor tiefe Trauer und große Unsicherheit. Albini war zu einem grundlegenden Bestandteil des unverwechselbaren MONO-Sounds geworden, und allein der Gedanke daran, ihn ersetzen zu müssen, war mehr als entmutigend.Und dann kam: Brad Wood (Touché Amoré, The Smashing Pumpkins).Ausgewählt aufgrund seiner Vertrautheit mit MONOs kreativen und technischen Arbeitsprozessen - ebenso wie seiner jahrzehntelangen Freundschaft mit Steve Albini - betrat Brad Wood im September 2025 das legendäre Electrical Audio Studio, um aufzunehmen, was schließlich zu Snowdrop werden sollte. Gemeinsam mit dem in Chicago ansässigen Dirigenten und Orchesterleiter Chad McCullough verpflichteten MONO ein zehnköpfiges Orchester und einen achtköpfigen Chor für die acht monumentalen Stücke, aus denen Snowdrop besteht. Die Band spielte, und Wood nahm in demselben heiligen Raum auf, in dem die meisten MONO-Alben ihrer 25-jährigen Geschichte entstanden waren - die Songs auf Snowdrop tragen daher ein besonderes Gewicht. Abgemischt wurde das Album von Wood in seinem Seagrass-Home-Studio in Los Angeles; es klingt zugleich intim und umhüllend.Wo leicht ein Schatten über Snowdrop hätte liegen können, findet sich stattdessen eine außergewöhnliche Atmosphäre der Dankbarkeit. Statt in Herzschmerz zu verweilen, entsteht eine eindringliche Wertschätzung für das gut gelebte Leben mit einem geliebten Freund - und eine Sehnsucht danach, was noch kommen mag. Snowdrop ist der Klang einer Band, die Schock und Trauer in Hoffnung und Staunen verwandelt - und neue Klarheit im befreienden Gefühl des Nichtwissens findet.

Atkinson first saw Les yeux sans visage when she was a teenager, around the turn of the century. The film made an impact for its iconic imagery and the way Franju draws on the aesthetics of early filmmaking, from its score that relies on stylistic markers typical of the 1940s or 50s to the decision to shoot in black and white. Even four decades after its first release, it was clear that this was a work that stood outside of the cultural moment that birthed it, speaking through time in ways that were uncanny, but profound.

A quarter-century later, Atkinson was approached by the Belgian cultural center VIERNULVIER to create a new score for Les yeux sans visage for its celebrated Videodroom series, which has seen artists like claire rousay, Mabe Fratti, Lee Renaldo, and many more create new original scores for cult classics and genre cinema. Atkinson's music, with its sublime meditations on space and proximity, its elusive sense of narrative development, mirrors the pacing and mystery at the heart of horror filmmaking. There is a shadow at the heart of her soundtrack to Les yeux sans visage, an ever-shifting wisp and an insinuation of encroaching transfiguration. Echoing a climactic moment in the film, the music obliquely points to "the Beyond," an impossible place of discovery and revelation.

Atkinson envisioned her music as something akin to the air moving throughout and beyond the many cages that appear in the film, unconstrained by the bars and with undefined borders. Those cages hold the victims of a madman surgeon, determined to graft a new face onto his daughter, the protagonist Christiane Génessier, who lost hers in a car accident while he was behind the wheel. Atkinson was reminded of her predecessors at the pioneering French studio the GRM, who approached sound in a less sinister, but similarly surgical manner, and took inspiration from their playful approach to cerebral soundmaking for the electroacoustic topography into which the piano is embedded. As such, Atkinson’s reactions to the larger themes and the minute-by-minute happenings onscreen are both audible simultaneously.

A film about a man who destroys the lives of young women marked by their beauty and similarity to his daughter in a shame-fueled rage has clear, continuous cultural resonance. "Through the music, I decided to bring back their empowerment despite what they endure," says Atkinson. "This is why the record is also dedicated to Gisèle Pelicot, whose trial happened while I was in the process of composing the music and kept thinking of her strength and her decision to share her trial in order to reverse the shame."

This recorded version of the soundtrack is a 34-minute synthesis of the full 90-minute score, presented on LP along with an essay by writer-musician Claire Cronin and drawings by Momo Gordon, together forming a complex reflection on the film's themes. If these sounds move as if the bars of cages are no barrier, they also intimate the freedom and power of those held behind them. Rather than simply mirroring the fear and confinement shown onscreen, Atkinson offers an elusive escape, a beacon for the characters, and the listener, to follow as they reckon with the narrative and move through it.

,Future Development" ist das dritte Album von Del The Funky Homosapien und war nach seinem Weggang vom Major-Label Elektra sein erstes Solo-Album für sein Independent-Label Hieroglyphics Imperium Recordings. Ursprünglich 1997 auf Kassette veröffentlicht und später 2002 auf CD und Vinyl neu aufgelegt, stützte sich das Album größtenteils auf Dels eigene Produktion sowie Beiträge von Hiero Crew-Mitgliedern A-Plus, Opio und Toure. Der einzige Gastbeitrag auf dem Album stammt von Crew-Mitglied Casual, der Del auf dem energetischen ,Checking Out The Rivalry" begleitet. Klanglich schlägt ,Future Development" eine Brücke zwischen den funklastigen Stilen von Dels Debüt und den dunkleren, futuristischeren Texturen, die er auf ,No Need for Alarm" erkundete. Textlich verfeinert Del sein rasantes Wortspiel mit einer schärferen thematischen Ausrichtung und beschäftigt sich mit dem Leben in Oakland, gesellschaftlichen Beobachtungen und der Hip-Hop-Kultur - alles mit einer Mischung aus Humor, straßenkluger Einsicht und mehrsilbiger Gewandtheit. Letztendlich fängt das Album einen Schnappschuss seiner Entwicklung vom rohen Talent zu einem konzeptionell gereifteren Songwriter ein. Es bleibt ein bedeutendes und unterschätztes Kapitel in Dels Entwicklung, das die frühen Keime der Kreativität und Unabhängigkeit zeigt, die einen Großteil seiner weiteren Karriere prägen sollten.

Luke Una introduces a new series of original, dancefloor-focused productions on his É Soul Cultura imprint, in partnership with Mr Bongo. True to the label’s ethos, the series pushes sonic boundaries into deeper, more expansive territories, delivering forward-thinking music for discerning dancefloors. The first release brings together UK garage royalty Zed Bias and the underground talents of MJK, as we’re served up a double hit of hypnotic, futuristic techno and house.

Zed Bias is an artist that needs little introduction. The main moniker of Manchester’s Dave Jones, over the past 25+ years he’s cemented himself as a crucial figure in UK garage and dance music as a whole. He’s remixed hundreds of artists including Whitney Houston, The Streets and Azymuth, been nominated for a MOBO award and, through his more experimental take on 2 step garage, helped lay the foundations for the development of bass music into dubstep. For this new release he teams up with Ghanaian-British producer and DJ, MJK. Earmarked as ‘One To Watch’ by DJ Mag, and similarly championed by Mixmag, MJK’s sound draws from the worlds of bass, grime, house and beyond.

Opening track ‘Keep On Livin’’ sees Zed Bias and MJK coming together in the studio. Passed to Luke by his manager If Khan, it’s a sonic alchemy rooted in black heart soul music yet seen through a prism of bass futurism. A heads-down cut of driving techno, with nods to Detroit, and firm UK foundations, that is both bass-heavy and otherworldly. It’s a simple yet effective, entrancing combination of percussion, bass, and keys, peppered with old soul samples that lock you into a groove and never let go. A track built for dancefloors big or small.

On the flip, MJK steps up solo with ‘Late to Camberwell’, diving into deeper, late-night territory. Known for his three-deck DJ mixing style, MJK has a real understanding of how to layer elements to keep people moving. A swirling cosmic feel reverberates through ‘Late to Camberwell’. Drum hits, shakers and synth loops are weaved together in style, creating a dose of deep, immersive rolling house. In Luke’s own words, “I found it very exciting to hear a new artist create such a beautiful sound that reminded me of Detroit and Artwork's late ‘90s techno alias Grain. It’s stripped-back raw house music of the highest calibre”.

ALERT: BIG 90s ITALIAN RAVE COMP - a lot of very in demand tunes on here.

Navigators

Franco Falsini and the Interactive Test Universe

There are musicians who follow their time.

And then there are those who seem to move along a different trajectory—like navigators crossing sonic eras without ever truly belonging to any one of them. The story of Franco Falsini belongs to the latter. It is a story that begins long before raves, before techno, before the word “electronic” had even become a recognizable musical genre. A story that moves across continents, technologies, and sonic visions, eventually arriving at a small creative laboratory born in Italy in the early 1990s: Interactive Test. This compilation is a fragment of that universe. But as often happens with the hidden histories of music, understanding it requires going back. Far back.

The Beginning: Machines, Tape and Space

In the late 1960s Franco Falsini leaves Italy and moves to the United States. It is not merely a geographical journey—it is also a journey into a new idea of music. At the time, synthesizers are only just emerging from research laboratories. Multitrack tape recorders allow musicians to build entire sonic worlds on their own. Technology is still far from standardized: every studio is almost an experimental workshop. In Virginia, Falsini builds one of his own. Among cables, oscillators, electric guitars and reels of magnetic tape, a kind of music begins to take shape that resembles nothing else being made at the time. It is not simply rock, and it is not yet truly electronic. It moves somewhere in the space between the two. Out of these explorations emerges Sensations' Fix, the project through which Falsini releases a series of albums during the 1970s. Records that seem to come from a parallel dimension: cosmic landscapes, electronically treated guitars, synthesizers drifting like satellites. Many years later those albums would be rediscovered as visionary works. But at the time they were simply the result of relentless curiosity. A curiosity that would never fade.

The City That Never Sleeps

In the 1980s Falsini’s trajectory leads him to New York. The city is a sonic organism in constant transformation. In its clubs and recording studios something entirely new is beginning to take shape: music built from drum machines, sequencers, and samplers, created for the body before the living room. It is the dawn of modern dance culture. Falsini works as a sound engineer, producer and experimenter. From close range he observes electronic music transforming into a global language. Machines become more accessible, computers begin entering studios, and rhythm takes on an increasingly central role. Yet even in this phase Falsini does not simply follow what is happening. He absorbs. Observes. Reimagines. When he eventually returns to Italy, he brings back not only technical experience but also a clear vision: the conviction that electronic music is an open space, a territory still waiting to be explored.

Tuscany, Early 1990s

At the beginning of the 1990s something is happening in Italy as well. In clubs, abandoned industrial warehouses and clandestine parties, a new scene is beginning to form. It is rave culture: a spontaneous movement bringing together DJs, producers and listeners in a collective experience driven by rhythm, technology, and creative freedom. It is within this context that Franco Falsini, together with his brother Riccardo, creates Interactive Test.

The name almost sounds like a scientific experiment. In many ways, it is. Interactive Test does not emerge as a traditional record label. It begins as a laboratory—a place where ideas, sounds and musical identities can be tested and explored. Around the Falsini studio in Tuscany a small constellation of artists and DJs begins to gather, helping to shape the sound of Italy’s emerging electronic scene. Among them are Andrea Giuditta, Francesco Farfa, Gabry Fasano, Roby Mastelloni, Roby J and many others. Each brings a different musical sensibility. But they all share the same intuition: electronic music is not a genre. It is a language.

The Laboratory of Identities

One of the most fascinating aspects of the Interactive Test universe is its constant play with identity. Franco Falsini releases music under several different names: Open Space, Youth Wave, Agent Fylfoyt, Man Myth Magic. These are not simply pseudonyms.

They are different sonic perspectives, as if each project were a window opening onto a parallel musical universe. Open Space, for example, explores more atmospheric and visionary territories. Youth Wave moves between electronic groove and club-oriented rhythms. Other projects experiment with digital psychedelia or hypnotic techno textures. Interactive Test becomes something more than a label. it becomes an ecosystem.

Domestic Machines, Infinite Worlds

Looking back today at the technology used in those productions, one might almost smile. Many tracks were created on Amiga computers, MIDI sequencers and analog synthesizers wired together in home studios—tools that appear modest when compared to today’s digital possibilities.

Yet precisely these limitations became a creative force. Every sound had to be built, shaped and reinvented. Sequences developed slowly, almost like living organisms. The tracks did not always follow traditional dance music structures; often they felt like genuine sonic journeys. Music built from space.

A Hidden Constellation

Many of the records released by Interactive Test in the 1990s remained for years almost invisible objects, circulating quietly among DJs, collectors, and devoted listeners. Yet it is precisely this underground existence that helped preserve them. Listening again today, one perceives something rare: the feeling of music that does not fully belong to its own time. Music suspended between different eras. Perhaps because it comes from a vision that both precedes and transcends trends.

Continuing the Journey

Looking at Franco Falsini’s entire path—from the electronic psychedelia of Sensations’ Fix to the rave culture of the 1990s—a surprisingly coherent line emerges.

A line defined by exploration.

Each project, each pseudonym, each record appears as a new route within the same great sonic voyage.

Interactive Test was one of its stations.

A laboratory.
A community.
A creative platform.

This compilation gathers some of its traces.

Not as a simple archive of the past, but as a map of a musical territory that continues to expand even today.

Like all true sonic explorations.

This record can be played at any speed !!! Good sign :)

This EP offer a superb first tune, kind of a Cold Rush style, long synth-emo intro with a light kick... but... after 3/4 minutes, comes the HARD ONE ! Beautyful Hardcore Techno !
Th rest of the EP is in the same vibe, offering a super overview on how Hardcore and Techno are so intricated !!

ENJOY !!

NBT sound posse first release. Ragga tek and Pumpin Acid Tribe influenced by FKY, with a fatter kick. Hartek Familly there.. No Tribecore and no Electro Techno. Just a fidelity to a sound and to a spirit. Roma power linking south to north, unity ! Limited 300.

In-demand AfroColombia Remix Vol. 1 finally repressed!
A collection of Afro-Colombian classics (Champeta, Son de Sexteto, Currulao) revisited by talented producers from the global club scene.
Ten years ago, a sound was born that bridged roots and reinvention. Today, Galletas Calientes Records is proud to announce the official reissue of AfroColombia Remix Vol. 1 on vinyl, in collaboration with legendary Colombian label Palenque Records.
Originally released a decade ago, this project brought together visionary producers and timeless Afro-Colombian rhythms, creating a dialogue between tradition and the global electronic underground. Now, remastered and pressed on wax again, the record returns with renewed depth—warmer, richer, and ready to be experienced the way it was always meant to be heard.
This limited vinyl edition celebrates the legacy of the original release while honouring the artists, communities, and sounds that inspired it. Whether you’ve been with us since day one or are discovering it for the first time, this reissue is an invitation to reconnect with a pivotal moment in Afro-Colombian musical fusion.

Allein' by Quarks is a timeless piece of German electro-pop culture that captures the nostalgia of Berlin’s wild & spaced out 2000s like no other!

Originally released on the duo's third album "Trigger Me Happy", the single was later released as a 12" with two massive remixes that were only available on vinyl.

Whether it's Sascha Funke's haunting minimal techno masterpiece or Swayzak's colourful & electrifying banger - both remixes leave no doubt that this 12" will bring goosebumps & tears of joy to every dance floor until the end of time!

With all original masters & DATs lost, this reissue has been carefully restored & remastered from the original vinyl by Dubplates & Mastering. Sounding crystal clear & ready for the club in 2026!

goodbye.

Back in 1994 Ellis Dee self-released this mighty 12", a rather sought after release from his incredible backcat. I have wanted to repress this for years now but his discography is so big that its taken blinking years to finally get to this point... but so chuffed we got it sorted.

Grammy award-winning titan of dance music Purple Disco Machine joins the illustrious list of Defected House Masters with a celebratory compilation. The German producer, DJ and global household name Tino Pointek, AKA Purple Disco Machine, is the blueprint for what makes a successful dance music artist in the modern age; respected on the underground scene while achieving major crossover success with remixes for the likes of Sir Elton John, Dua Lipa and Mark Ronson. The crate digging kingpin of house and disco first landed on Defected over a decade ago, and has since delivered remixes of iconic tracks like Fatboy Slim’s ‘Praise You’ and the London label’s top tracks including Shakedown’s ‘At Night’ and ‘Coma Cat’ by Tensnake – as well as striking originals like ‘Beat Fantasy’. From edits of the classics to remixes of the modern, as well as uplifting originals, Purple Disco Machine has birthed a distinct sound that is instantly recognisable, one that is not afraid to reference or not reference and is always bursting with joy. Across Defected presents House Masters: Purple Disco Machine, the full breadth of the iconic German selector’s sound is felt from the 2019 smash hit ‘Dished (Male Stripper)’ to deep cuts like his re-work of Fallout’s ‘The Morning After’ as well as remixes of legendary tracks like ‘Lola’s Theme’ by The Shapeshifters and Spiller’s ‘Groovejet’ featuring Sophie Ellis-Bextor. Defected presents House Masters: Purple Disco Machine is here to showcase the sound of a bona fide electronic maverick in full.

暗く湿った夏の夜、小さなボートはあてもなくさまよう。不穏さと美しさが同居するこの海は自分自身のようでもあり遠く離れたどこかのようでもあった。

Shinichi Koboyashi’s music as Bot1500 has such a beautiful signature to it. Using the layers and language of ambient IDM, artfully arranged pads & chords and crisp vectored breaks, he’s been creating a beautiful and highly individual sound.

The Black Sea, His first album since 2022’s Surreal on AD93’s sister label Lith Dolina, spaces things out more and focuses inward with a palette of minimalism and increased emotional resonance. It’s been a focus for Shinichi across his self-published studio work in the last few years.

The album’s tracks feel increasingly rooted in the principles and logic of dub. Utilising more space, more silence, and more focus on the simplicity and elegance of the composition folded into radiant arrangements of melody, snare, shade and echo.

The sea is both an inner landscape and a geographic image that hangs over the record’s mood. A dark humid summer night, like that on Japanese coasts. A small boat sails aimlessly. An eerie tone, but with a glimpse of beauty. The water is melancholic, enveloping, and endless.

Each track is written at 140bpm save for last track “White Flocks” at 120, for the image of heading south to close out.

Are You Alien's first vinyl missive, a compilation style affair showcasing the work of four label affiliated artists, is genuinely packed to the rafters with cuts designed to be played loud on "deep dancefloors and late-night transmissions". HearThuG kicks things off with 'Relax', a post-punk/dark disco inspired slab of early morning hedonism inspired by DFX's 'Relax Your Body' (which itself borrowed heavily from the KLF's 'What Time Is Love'), before Light Blue File charges towards darkened warehouses on the tactile tech-house/stab-happy rave fusion of 'Guante El En Mic'. Over on side B, Briki opts for squelchy acid bass, trippy vocal snippets and spacey sounds on 'Droppin The Pressure', before Ahmet Mecnun adds spoken word vocals and French Touch flourishes to a deep tech-house groove.

Near the end of fifth grade, Eli Edwards’ mom gave him $20 and told him to go find a friend. His team had won its soccer game that day, so they were out celebrating at a local pizza parlor with games. But, more importantly, there had been one other Black kid that day on the pitch in Spanaway, WA, a Tacoma suburb and military-base town at the rainy northwest corner of the United States. That kid just happened to be Xayvien Young. An instant deep connection was formed between Edwards and Young—Eli and Xay, as they prefer to be called were inseparable— and now twelve years later they are the electrifying, boundary-skipping duo Casi.

Along the way, Eli had relocated to Los Angeles with the indie rock band Enumclaw he had helped found, but he found himself flying home maybe a little too much. He was ostensibly visiting his girlfriend, but he spent most of his time with Xay. They cut tracks in every bit of free time they found until they had an epiphany: Maybe this music they’d made together for a dozen years was actually something special. Casi’s 10-track, self-titled debut out on Carpark Records is the electrifying proof they needed.

On the record, they enthusiastically explore every musical interest they have ever had—explosive hip-hop and unbridled hardcore, high-gloss nü metal and a little bit of emo—as a pair. These songs don’t ignore genre lines; they delight in destroying them, in finding ways to slam hip-hop and hardcore, emo and nü metal together until it seems illogical that they were ever apart. Take “Jumper,” where heavy metal guitars and face-kicking drums stir the moshpit for rabid verses about crushing ICE and the lessons you learn riding the poverty line. And take closer “Bridges,” where the melodic imprint of Deftones meets the relentless confessions of Death Grips. Here are the hard, funny, and loud stories of two 23-year-olds, screaming about the world over a breathless composite of all the music they’ve ever loved.

When Eli was in Los Angeles, Xay missed his friend. But in his absence, he also felt the spark of inspiration. Music was something that had just been their childhood hobby, but now Eli was in a rock band that had press accolades and tours. He got serious about the craft. Eli would write about the dislocation and isolation he felt in California, while Xay would document the hardships of being a young Black man with a complicated family while working menial jobs in Spanaway.

This isn’t a coming-of-age album for Casi; it is, instead, a raw and riveting snapshot of that process, painful as it can be. “Eleven87” is a breakup song, a soul beat springing beneath arching emo vocals. And “Intrusive Thoughts” treats that topic like a punching bag, Eli and Xav fighting against the mental habits that keep them down. These 10 songs instantly close that gap.

Tol & Tol are the Dutch musical duo made up of brothers Cees Tol and Thomas Tol. In the 1990s, they gained wider recognition with their music, featuring melodic pop songs with a distinctive Mediterranean and world-music influence. Their music gives a warm, summery sound which became quite popular in the Netherlands and beyond. The duo is also known for their collaboration with the popular Dutch group BZN (Band Zonder Naam), of which they both have been of part of. This compilation album presents the most popular and succesful songs of the duo, including their popular songs "Eleni", "Sedalia" and "Recuerdos de la Alhambra".

Tol & Tol: The Very Best is available as a limited edition of 500 copies on orange vinyl.

DJ Mart presents the new Dodge compilation *Dodge with Friends*. I am very proud of this exceptional compilation. *Dodge with Friends* reflects the musical and electronic diversity of my label Dodge, which I founded in Bochum in 1995 to promote electronic music from the Ruhr region. The new Dodge compilation *Dodge with Friends* features artists who have helped shape the evolution of music on Dodge and who are my friends—some of whom haven’t been able to release music on Dodge yet because they aren’t from the Ruhr region. All 16 of these artists have made a name for themselves in their respective fields over the years. You are the future with friends *

Finnish producer LAS lands on Elektorni with a sub-heavy three-tracker of dubbed out sound system music. Dug out from archived hard drives (2014-2016), mastered by Beau Thompson and pressed at 45 RPM.

Tum Tum Tum is the eighth album from London-based Brazilian artist Marcelo Frota aka MOMO., featuring guest appearances from Brazilian bossa nova legend Marcos Valle and Smoke City's Nina Miranda as well as UK jazz trombonist Rosie Turton and his tight-knit band, all recorded in South London This is a free-flowing, warm, expansive and fully assured album, and exudes a playfulness and a sense of someone who is truly in their element and at peace when writing and recording.

"Chance animates the smallest parts of the universe: the scintillation of the stars is its power, a wildflower its incantation."
—Georges Bataille, Le Petit

"Even on my way to the gambling hall, as soon as I hear, two rooms away, the clink of the scattered money I almost go into convulsions." —Fyodor Dostoevsky, The Gambler

Video gambling addicts, academic researchers, and industry professionals alike describe the trancelike state into which problem gamblers suspend themselves with remarkable consistency: they unanimously call it the machine “zone,” a kind of inner experience during which the rhythmic flow of human-machine collusion borders on mysticism. Time is abolished in the act of contemporary video gambling —simulated slot reels roll, virtual poker decks deal, and all worldly concerns are lost—leaving only the aura of total zone immersion in its wake. Sometimes characterized as the crack cocaine of gambling, the intensity of the machine zone is a symptom of casino ergonomics: emotionally manipulative fragrance-saturation, mesmerizing lights, subtly controlling walkways and, as captured here, meticulously engineered sonic environments all play a role in evoking the timeless void of the zone.

Although I was not yet aware of the extent to which casinos tailor their environments for maximum comfort (and, correspondingly, profit), I did know as I crossed the threshold of my first casino floor last year that I would be back for more. Hit by a cornucopia of slot machine tones, triggering aleatorically and coalescing into shimmering masses, I was struck by the need to return and record the sounds that so entranced me. It wouldn't prove to be easy—casino security is intense—and due to the clandestine nature of the operation, my recording techniques were by no means sophisticated. Equipped with nothing but an Olympus LS-11 recorder's internal microphone stashed in a sweaty coat pocket, I allowed the lure of the zone to guide me through a series of ambling recording sessions, the best of which are included here.

I learned a lot about casino sonics in the process: game designers, for example, once tuned all their machines to the key of C major in order to optimize harmonic cohesion (strict adherence to the key is no more but C still dominates the game floor); one team of designers, the story goes, even spent a month perfecting a single 'ding' sound on one machine. In the interest of preserving the true ambient sounds of the casino these recordings are untreated, but lost in the sea of chance I did exert some affirmative control by means of meandering intent and my actual playing of the machines. And by participating in the games myself I got a taste of the financially debilitating consequences that accompany the enchantment of video gambling. The cassette in your hands represents my endeavor to bring you the zone experience without the harsh comedown of its unfortunate reality.

—Adrian Rew

Earth hat die moderne Musik maßgeblich geprägt - von Experimental Metal über Electronic/Ambient bis hin zu Stoner Rock - und Künstler von SUNN O))) über The Bug bis hin zu Godflesh beeinflusst. Die Geschichte von Earth wurde in der gefeierten Dokumentation "Even Hell Has Its Heroes" aus dem Jahr 2023 festgehalten. Das dritte Album von Earth, "Pentastar: In the Style of Demons" aus dem Jahr 1996, ist ein Klassiker der trägen Riff-Verehrung, der vor einer dicken, verzerrten Schmiere nur so strotzt, in der Black Sabbath, Hawkwind, Hendrix, Drone und Ambient-Musik miteinander verschmelzen. Das Ergebnis fühlt sich an wie eine lange, einsame Fahrt durch die Wüste, mit dem inneren und/oder äußeren Weltraum als einzigem Ziel. Als wohl rockorientiertestes Album der Band enthält "Pentastar: In the Style of Demons" die zeitlose ,Hit"-Single "Tallahassee". Diese 30-jährige Jubiläumsausgabe erscheint auf grünem Vinyl und enthält einen limitierten "Wraparound"-Kunstdruck mit einer Neuinterpretation des Albumcovers durch den zeitgenössischen Künstler Matt McCormick.

Originally released in 2008 on Ezekiel Honig’s own Anticipate Recordings, Surfaces of a Broken Marching Band finds the artist refining a compositional language rooted in the methodologies of musique concrete, ambient, and beat research. Working from a palette of environmental recordings, instrumental fragments, and soft electronic treatments, Honig pushes the source material into an array of sympathetic forms ranging from pillow-soft, lowercase ambient to diffuse downtempo and minimal house. For its reissue on Keplar, the album has been remastered by Kassian Troyer (D&M), bringing a new clarity to its intricate, low-lit architectures.

Throughout the record, serving almost as audiographic guideposts, are faint but insistent gestures toward propulsion, an abiding and recurrent 4/4 pulse that guides the music laterally and instantiates a slow negotiation between its various elements. This music invites close listening precisely by not revealing itself all at once, allowing small collisions of timbre and subtle shifts in emphasis to carry the weight. The traces of lived environments that remain embedded in the mix - distant crowds, sounds of transit, the indistinct acoustics of interiors in flux - expand the frame without breaking its intimacy, creating a potent dislocation between the nearness of the sound and the scale of its sources.

Rather than foregrounding any single voice, this is music that distributes attention equally across its materials, allowing background details to assert their presence as much as melody or rhythm. Honig presents listeners with an astute practice that’s concerned less with building from the ground up than with uncovering what happens when disparate textures and structures are brought into close contact with one another. (Alex Cobb, 2026)

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their best-selling CLASSIC Studio One collections all released on limited-edition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics.

A blistering collection of non-stop Ska classic tunes featuring classic cuts from the originators of Ska alongside a heavy dose of superb rarities from the might vaults of 13 Brentford Road - pure fire! This compilation features classic tracks from The Skatalites, Bob Marley & The Wailers, Delroy Wilson alongside super-rare tracks from the likes of Ken Boothe, The Maytals, Jackie Mittoo, Tommy McCook and many more. Clement ‘Sir Coxsone’ Dodd’s musical empire was founded on Ska, the first explosive and most exciting music to come out of newly independent Jamaica. This album is a celebration of the music of Studio One Records’ seminal Ska releases and features a who’s who of some of the most important artists in the history of reggae music.

Grünes Vinyl. TAIHR ist eine bunte Truppe, nicht nur weil zwei der Mitglieder aus Chile stammen und eine lateinamerikanische Prise in die Musik mit einfließen lassen, sondern auch weil alle MusikerInnen verschiedene stilistische Backgrounds haben. Neben Indie-/ Progressive- und Alternative Rock sind auch Jazz, Funk und Math Rock wichtige Legierungselemente des musikalischen Amalgams aus welchem Taihr gegossen ist. Diese Elemente verleihen Taihr einen ganz eigenen Sound und eine phonetische Tiefe, in die jeder eintauchen kann, ungeachtet jeglicher Genre-Konformitäten.

Strut presents the second studio album from Brian Auger’s Oblivion Express and a firm favourite with Auger aficionados, the “little known masterpiece” A Better Land from 1971. Marking a clear evolution from their more jazz-rock leaning debut, the band shifts into a mellower direction on these tracks, echoing the feel of Befour released in the Trinity's later years. A Better Land embraces warmer, more melodic and understated compositions, primarily written by guitarist Jim Mullen. With its languid and spacious approach, the album brings an grounded message to make the most of the simple pleasures in life with a hopeful, but wary, eye to the future. Musically, Auger brings acoustic guitars, country rock melodies and three-part vocal harmonies into his musical palette. Key tracks include the groove-driven title track ‘A Better Land’, the sparse ‘Dawn of Another Day,’ (sampled by Air and Black Milk among others) while ‘Fill Your Head With Laughter’ returns to Auger's trademark driving Hammond-led sound, akin to early Traffic.

The record features the Brian Auger’s unique sound on organ and electric piano, joined by Jim Mullen on guitar, Barry Dean on bass and Robbie McIntosh on drums and percussion, with Auger, Mullen and Dean all contributing vocals. Mullen co-wrote seven of the album’s nine tracks, with additional contributions from Alan Gorrie (later of Average White Band). These songwriters should take immense pride in their work as Auger’s favourite singer of all time, Sarah Vaughan, recognised the quality of these compositions by covering three of them; ‘Trouble’, ‘On “Thinking It Over’, and ‘Tomorrow City’ for her 1972 album A Time in My Life. This new official Strut reissue is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered by Cosmic Audio, it is presented as a high-quality single LP replica edition.

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

Written and recorded throughout 2025 in their longtime ex-taxi-office-turned studio 'Cherry Lips', and produced by frontman Richard Archer alongside longtime collaborator Wolsey White.

The album looks outside the window to the fractured present, and paints it in bold musical strokes, with the same sharp- eyed social commentary that powered their classic debut Stars of CCTV, but with fresh perspective, new sounds and hard-earned freedom.

Written and recorded throughout 2025 in their longtime ex-taxi-office-turned studio 'Cherry Lips', and produced by frontman Richard Archer alongside longtime collaborator Wolsey White.

The album looks outside the window to the fractured present, and paints it in bold musical strokes, with the same sharp- eyed social commentary that powered their classic debut Stars of CCTV, but with fresh perspective, new sounds and hard-earned freedom.

Deaf Center member Otto A Totland’s 2014 debut LP, an intricate work for solo piano.

Otto A Totland's modern compositional elements are most widely recognized as half of the Norwegian duo Deaf Center, where his melancholic, intricate piano work provides haunting relief to the beds of noise and deep strings from Erik K Skodvin. Pinô is the first full-length release by Totland, though his solo work has been released once, as the 5-minute A-side of Sonic Pieces 7inch Harmony From the Past. Otto's previously brief vignettes are now expanded into a fully personal realization of his own style.

Initial track Open fills itself with heavy, knowing pauses that quickly become overwhelmed with the desire to understand what's to come. Each silence leads into quick flutters of keys, preparing the listener for a vast terrain of giddy beauty, bleak depths, and true contentedness. Pinô quickly recalls deep winter; in front of a fireplace for days on end, you lose how far along you've ventured into the 18 tracks without any idea how far is left to go. The experience feels inevitable, with no other option but to curl up somewhere cozy and appreciate the sense of timelessness that Totland has created. His album is a haunting modern compositional treasure, expressed through instrumentals completely unique to Totland and captured masterfully by Nils Frahm at Durton Studios.

With Pinô, Otto A Totland appears out of the Norwegian landscape, sharing an achievement that will provide a relief during the brooding winter darkness. Though a highly personal endeavor, the recognizable continuation of Totland’s compositions will attract fans of Deaf Center, and the cinematic and classical components of his solo work will hold sway for those familiar with Harold Budd or Dustin O’Halloran.

TAURO ist das Gemeinschaftsprojekt unter der Leitung der in Toronto ansässigen Künstlerin Cynthia Tauro, das in enger kreativer Zusammenarbeit mit Brendan Canning von Broken Social Scene entstanden ist. Was als informelle Songwriting-Sessions im Wohnzimmer begann, entwickelte sich organisch zu einem fokussierten Werk, das auf Vertrauen, einer gemeinsamen musikalischen Sprache und dem bewussten Verzicht auf das Überdenken der ,nächsten Schritte" basiert. Das Projekt ist bewusst schlank gehalten, wobei Entscheidungen im Raum bleiben und die Musik den Prozess leitet. Act One verbindet emotional direkte Pop-Songwriting-Elemente mit jazzbeeinflussten Harmonien, synthgetriebenen Texturen und zurückhaltenden rhythmischen Experimenten. Beeinflusst von Künstlern wie Air, Sade, Carole King und Tracey Thorn, schaffen die Songs ein Gleichgewicht zwischen Intimität und Vorwärtsbewegung, geprägt von jüngsten persönlichen Umbrüchen und dem gemeinsamen Interesse, der natürlichen Richtung jedes Songs zu folgen, anstatt einen vorbestimmten Sound zu erzwingen. Die Produktion ist songorientiert und explorativ, sodass Textur und Arrangement intuitiv entstehen können. Mit Beiträgen von bewährten Mitwirkenden wie Thom D'Arcy, Kintaro Akiyama, Moose (Spencer Muscio) und Josh Trager verfügt das Album über eine starke kreative Herkunft, während es sich weiterhin auf Cynthias Stimme und Perspektive konzentriert. Die frühe Unterstützung durch Trendsetter wie KEXP, KCRW und CBC Radio Canada signalisiert Entdeckungspotenzial und positioniert TAURO als modernes, songwriterorientiertes Projekt mit langfristigem Entwicklungspotenzial statt als einmalige Zusammenarbeit.

* Begleittext vom legendären Musiker, Autor und Compiler Lenny Kaye (Patti Smith, Nuggets) * Das Booklet enthält bisher unveröffentlichte Fotos und Raritäten * Das Cover wurde restauriert und auf ein Gatefold-Cover erweitert * Neu remastert * Platz 5 auf Kurt Cobains Liste der 50 Lieblingsalben 1968 schnappten sich drei Schwestern aus Fremont, New Hampshire, ihre Instrumente und nannten sich ,The Shaggs". In diesem Moment begann eine eigentümliche Geschichte, die weit über die fünfjährige Existenz der Gruppe hinausreichen sollte. Dot, Betty und Helen (und gelegentlich Rachel, die vierte Schwester) spielten in der Gruppe auf Drängen ihres Vaters, Austin Wiggin Jr., der überzeugt war, dass sie groß rauskommen würden. Jahre zuvor hatte Austins Mutter ihm aus der Hand gelesen und vorausgesagt, dass ihr Sohn eine strohblonde Frau heiraten würde, dass er nach dem Tod seiner Mutter zwei Söhne bekommen würde und dass seine Töchter eine beliebte Musikgruppe gründen würden. Die ersten beiden Vorhersagen traten ein, also war Austin sicher, dass auch die dritte eintreffen würde. Mit unerschütterlichem Selbstvertrauen und der kühnen Vorhersage seiner Mutter beschloss Austin, dass seine Töchter auf den Besuch der örtlichen Highschool verzichten und stattdessen zu Hause unterrichtet werden sollten, unterbrochen von einem strengen Programm aus Instrumental- und Gesangsübungen sowie Jumping Jacks und Sit-ups. Bald darauf betraten The Shaggs die Fleetwood Recording Studios in Revere, Massachusetts, um ihr einziges Album ,Philosophy Of The World" aufzunehmen, eine Sammlung von Garage-Rock-Songs, die Charme und Dissonanz gleichermaßen in Einklang brachten. Austin gab den Großteil seiner Ersparnisse nicht nur für die Aufnahmen aus, sondern auch für die Produktionskosten, um 1.000 Exemplare des Albums zu pressen (von denen 900 nach Fertigstellung auf mysteriöse Weise verschwanden). Im gesamten Album werden einfache Wahrheiten durch die Feder von Schwester Dot, der Songwriterin der Band, offenbart. Die Reichen wollen das, was die Armen haben, genauso wie die Armen das wollen, was die Reichen haben. Deine Eltern lieben dich. In der Nähe liegt Glück und in der Ferne Traurigkeit. Das Album erfüllte Austins Erwartungen an den Rockstar-Ruhm nicht, doch die Gruppe blieb bis zum Tod ihres Vaters zusammen und trat regelmäßig im Rathaus von Fremont und in einem örtlichen Pflegeheim auf; weitere Alben wurden jedoch nicht veröffentlicht. Das hätte das Ende sein können, bis die Rockband NRBQ eine Kopie bei einem Radiosender in Massachusetts entdeckte und sie 1980 neu veröffentlichte. Der damalige Rezensent des Rolling Stone beschrieb es als ,die atemberaubend schrecklichste wunderbare Platte, die ich seit Ewigkeiten gehört habe". Fast 50 Jahre später zählt das Album zu den polarisierendsten LPs aller Zeiten. Manche sagten, es sei das Schlimmste, was je produziert wurde. Andere empfanden es als eines der großartigsten Langspielalben des 20. Jahrhunderts. Frank Zappa bezeichnete die Band bekanntlich als ,besser als die Beatles", während Kurt Cobain das Album auf Platz 5 seiner Liste der 50 Lieblingsalben setzte. Originalausgaben des Albums erzielen Preise von 10.000 Dollar. Jahrzehnte später könnte man argumentieren, dass Austin vielleicht die ganze Zeit recht hatte. Wir sind alle hier und immer noch fasziniert von der Reinheit der Shaggs.