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This album is not just a homage — it’s a gentle act of remembrance. A way of tuning in to what Lucier showed us: that listening is an art in itself. A meditation on resonance, memory, and the quiet power of pure sound. Or to quote Alvin Lucier himself: “I guess I’m trying to help people hold shells up to their ears, and listen to the ocean again.”

The influence of Alvin Lucier’s work on acoustic phenomena and the interplay between sound and space is difficult to overstate. His legacy continues to echo through the work of countless composers and sound artists today. Lucier’s music is marked by a sense of childlike wonder and sonic simplicity - shifting our perception from what we hear to how we listen.

At the heart of his compositions lies the sine wave: the purest, most elemental form of sound. Clarinetist Dries Tack pays tribute to this master of minimalism with an album centered around two works Lucier composed as intimate ‘In Memoriams’ for friends. Both pieces explore a single, elegant idea: the interaction between an instrumental tone and a sine wave.

Out of that interaction, ‘beatings’ emerge — a pulsating rhythm that accelerates or decelerates as the waves draw nearer or drift apart. Though built on the same concept, the two works are like mirrored reflections of one another: In Memoriam Jon Higgins, the sine wave glides in a slow glissando while the clarinet holds steady tones. In Memoriam Stuart Marshall, it’s the clarinet that dances around a fixed sine wave.

Dries Tack is a clarinetist specializing in contemporary performance practices. He performs with ensembles such as Nadar Ensemble, Curious Chamber Players, and Ensemble Fractales. As co-artistic director of the GLoW Collective, he explores collaborative practices across artistic disciplines in the broadest sense. In addition to his ensemble work, Dries curates solo projects that offer fresh perspectives on existing repertoire or give rise to entirely new works at the intersection of composition and improvisation.

During this summer’s European tour with Junior Dell & The D-Lites, we were honoured to share the stage at This Is Ska Festival in Germany with none other than The Pioneers.

After the show, fate had me driving Jackie and George back to the hotel. On the way, we got to reminiscing about our last collaboration — Jump Up!, released on Original Gravity Records in December 2023. Mid-conversation, Jackie casually said: “Hey Neil, I’m in England all of July, we could record something.”

I dropped the guys off, said goodnight, but as soon as my head hit the pillow, an idea sparked: wouldn’t it be cool to have them record Jackie Edwards’ northern soul classic I Feel So Bad — but reimagined in an early reggae style?

So in July, we set up a session at Farm Factory Studios in Welwyn Garden City. George and Jackie came down, and it was nothing short of magical to hear these legends harmonising together once again in the booth. The result captures that late-60s moment when soul and reggae collided on dancefloors, raw and full of energy.

To add another dimension, we also created a version as if it had traveled from Kingston to London. The “Boss” version imagines the raw Jamaican master — while the A-side reflects how Trojan Records might have “sweetened it up” with horns and strings for the UK pop market.

Two sides, one timeless tune — a tribute to both the grit and the gloss of reggae’s golden era.

In the heart of a post-apocalyptic city, Spacelunch was making his way through the ruins, wearing a heavy armour of metal plates and flickering circuitry. Cat settled on his shoulder, listening intently to every sound. This time, they weren't just looking for an artefact — their target was the Singularity Echo, a mysterious device created right before the catastrophe. Legend had it that the scientists of the past, sensing the impending collapse, had put all their accumulated experience and knowledge together to create it. It was said that one day “Echo” would awaken and allow descendants to touch the wisdom of the ancients, learn the secrets of forgotten technologies and, perhaps, avoid the fatal mistakes of the past.

— We’ve been wandering around for how long? — muttered Cat, looking around warily. — And nothing.

— Sitting up there complaining, aren’t you? — Spacelunch grinned, deftly bypassing the debris and intertwined roots that poked out from under the asphalt.



Suddenly, a glow flashed before them, gradually taking the form of a palm-sized transparent crystal. It floated in the air, surrounded by silver lining that wove into intricate patterns, like a network of ancient runes. The symbols on its facets, flickering, cast soft reflections on the debris around them. As the professor slowly reached out his hand, the crystal shone brighter, and the low whisper of distant voices cut through the silence. Their minds were enveloped by the echoes of past events, filling their minds with images of the vanished world.

The friends froze for a moment, overwhelmed by shock and a sense of profound change.

— Well, — said Cat, not hiding his surprise. — It seems we've gotten a little smarter.

— A little? Now we have what has been lost for an era.

— So, we have a new adventure ahead of us. Where do we start?

The ghost town, once seemingly lifeless, now seemed to come to life: every collapsed building and every corner sparked with traces and clues as if the world itself was holding its breath, waiting for a sign.

Tutti Pazzi Ltd returns with its second release, presenting a 6-track mini album by the extraordinary Makina Gigir. The French duo made their debut in 2007 on the legendary Das Drehmoment in Berlin, a cult label and record store for fans of the genre. Their influences draw clearly from italo-disco and new wave, with melancholic and nostalgic atmospheres running through each track, leaving a lasting impression. The mini album features a selection of tracks originally released between 2007 and 2010, now reissued in remastered form, taken from rare compilations and their debut EP.

Volume 26 of the 12" series Attack The Dancefloor features four chart topping no.1 singles available on Vinyl for the first time, WOW. First up it's the meeting of giants as we are treated to the huge version from Michael Gray of 'What About My Love' who bumps the tempo and takes the source parts into HOUSE territory, priming it for the peak time & finally satisfying the 'when's it out on vinyl' crowd. Up next the floor filling, gospel tinged "(You Gotta) Give It Up" by Z Factor, still doing damage on the dancefloors since it's recent digital release. On the flip we have the 3rd & current chart topper 'Down Down Down' by Raw Essence aka Dave Lee, his latest dose of Discotheque dopamine. Feeling both familiar yet fresh, it's all about classic good times here backed up with ravishing Moog Wizardy and irresistible vocals. To round of this essential slab of wax is Opolopo's standout 'Bebeccie's Theme' which delivers muso boogie of the highest order. Full of discreet chords and sophisticated string turnarounds, backed up with deft synth touches from the keyboard magician.

Cassette edition of Death Is Not The End's contribution to the Blowing Up The Workshop mix series.

"A trip across the frequencies of Bristol's pirate radio stations via cut-ups of broadcasts, taken from the late 1980s to the early 2000s ~ also a love-letter to my childhood, an audio document of the years I spent growing up in the city."

Otoboke Beaver return with a new album Super Champon
It follows the critically revered Itekoma Hits of 2019. Champon is a Japanese
noun meaning a mixture or jumble of things of different type. Recorded, mixed
and mastered by Ippei Suda in between lockdowns at Osaka's legendary LM
Studio.Across 18 songs, chief singer- songwriter Acco expands the band's
possibilities and pushes their musical skills to the limit. Acco has remarked
previously that she is more influenced by 'manzai', a traditional style of comedy in
Japanese culture comparable to double act comedy or stand- up comedy
exemplified by its use of slang puns and wordplay, speedy back- and- forth
dialogue and impeccable timing in delivering a punchline, characteristics of which
Otoboke Beaver's music shares in droves.

WEorUS has long been synonymous with forward-thinking electronic music, and their upcoming vinyl release further cements their reputation for sonic innovation. Featuring four distinct tracks from Anushka, Dragosh, Fabrizio Siano and Kaitaro, this record presents a nuanced exploration of groove, minimalism, and jazz-infused experimentation.
The release opens with Anushka’s “LVOE” a track that radiates warmth and rhythmic fluidity. Built upon a foundation of deep grooves and hypnotic layers, it embraces organic textures that evolve subtly throughout the arrangement. Expect an inviting bassline, shimmering synth work, and a rhythmic interplay that beckons dance floors into motion.
Dragosh delivers “Lampone” a groovy minimal cut that balances intricate percussive elements with a refined sense of space. There’s an air of elegance in the way this track unfolds—tight drum programming meets delicate sound design, resulting in an immersive experience that feels both intimate and expansive. A staple for selectors who appreciate understated yet compelling compositions.
Fabrizio Siano’s “What is Jazz” a contemporary minimal jazz experiment that defies conventional genre boundaries. Jazz-inflected chords weave through delicate electronic structures, resulting in a fusion that feels both nostalgic and futurist. A celebration of improvisation and groove, this track adds a sophisticated touch to the vinyl.
Dark, introspective, yet strangely hypnotic, Kaitaro’s “Nightmare” introduces a deep minimal aesthetic that veers toward atmospheric intensity. Layers build with eerie precision, each element strategically placed to create an evolving soundscape that feels cinematic yet firmly rooted in club dynamics. This is minimal at its finest—moody, unpredictable, and meticulously crafted.

The occasion of possibility runs through Ben Bertrand's new album Relic Radiation. It is all backdrops and layers. Hints of the emotive and the distant. Confronting the classical with what is new, looking for an expressive space. Melancholy, not melancholy. Contemplation on a midnight blizzard. Dust motes in a sunbeam. Sand dunes and microwaves.

Ever since 2018 and the release of his first solo album, Ben Bertrand has been working up his own interpretation of the bass clarinet as an instrument of the avant-garde. Touching upon ambient and cosmic as well as earthy sceneries, his is a gentle musical paradox come to life. Let go of explicit pleasantries, Relic Radiation is the polymathic interpretation of a frozen intercom, of a subdued intent of contact. The music is competent and familiar, distant without being distant. There is no predefined form or context here. It is a different kind of colour.

As musical moments and modi become enormous, things break down into exploration. On the crystal shores of perception, Relic Radiation leaves a lot of space for interpretation. It is never loud, although it works loud. An at times almost sequenced feel to treated and overdubbed bass clarinet and clarinet notes adds to a feeling of paradox. Every voice, every gesture indicates a way in. The electron is now an immeasurable wave."

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.

Mark your calendar for February 14, 2025—CLUB U NITE RECORDS drops 'A Box of Goodies – Rare Edition'!

This EP delivers four rare gems straight from the 90s house vaults:

'The Nite' (1997) kicks things off with a deep house organ, disco vocal bits, and a deep deep bassline.
'End of Luv' (1999) takes you deeper, blending straight beats with melancholic vibes - perfect for sunset beaches or as closing track.
'Stompin’ Pumpin’' (1996) gets jazzy and funky with an addictive Rhodes loop that won’t quit. So good!
'I’m the One' (1996) nails it with a raw Chicago swing, fat minimal grooves, and a dope jazz-piano sample.

Four 90s killer tracks, three making their vinyl debut - get it before it’s gone!

2025 Repress

“In stark contrast to the stress-makingly staccato assault of your average 'ardcore rave, Telepathic Fish was a wombeldelic sound-and-light bath"

Simon Reynolds (Energy Flash: A Journey Through Rave Music And Dance Culture)

The first-ever illustrated compendium recounting the seminal underground South London ambient party that surfaced at the axis through which the likes of Ninja Tune, Warp and Rising High flowed. Telepathic Fish shared fertile waters with Megatripolis and The Big Chill, moving the early 90s London back room chill-out space into the kaleidoscopic spotlight.

Documenting the sights and sounds of South London’s seminal Telepathic Fish ambient parties. Hosted by Chantal Passamonte (aka Mira Calix - RIP), David Vallade, Mario Aguera and Kevin Foakes (aka DJ Food) - collectively named Openmind. With the help of Mixmaster Morris (The Irresistible Force) and Matt Black (Coldcut), they put on some of the earliest chill out events in London.

Rooted deep in the heart of the electronic underground they started DJing and decorating house parties or squats with mind-blowing installations and wholly idiosyncratic design, hosting the likes of Aphex Twin, Andrea Parker and Tony Morley (The Leaf Label). Within a year they were playing VIP after shows for the likes of Orbital and illegal New Year’s gatherings at the disused Roundhouse whilst guesting on Coldcut’s Solid Steel radio show on London’s KISS FM.

Whilst collaborations with legendary club nights such as Megatripolis saw them share bills with Autechre, Higher Intelligence Agency, Scanner and Global Communication, they also created their own ambient fanzine - Mindfood – to document the scene evolving around them. A 20-page history of their parties is included in the release, richly illustrated with personal photos, artwork and memorabilia from their adventures between 1992-95. The gatefold sleeve also features their Telepathic Fish logo, mirroring an original T-shirt design they sold in Ambient Soho, a record shop three of the four worked in at different times.

The selections featured here are all personal favourites that were played at the Telepathic Fish parties during the 90s. Picked and arranged by Mario, David and Kevin who combed their collections for key pieces they associate with the time and Chantal’s music tastes. Over a hundred tracks were selected, totalling nearly 11 hours of playing time, before being whittled down to the essentials by the trio, forming a snapshot of their world back in the day.

KEY POINTS:

* Features long deleted and hard to find tracks by Caustic Window (Richard D. James aka Aphex Twin), Tranquility Bass, Spacetime Continuum and Global Communication (Mark Pritchard and Tom Middleton).

• Pressed on DJ friendly double black vinyl

• Includes A 20-page history of their parties is included in the release, richly illustrated with unseen personal photos, artwork and memorabilia from the Telepathic Fish crew’s adventures between 1992-95, as well as detailed liner notes courtesy of founding members Mario Ageura and Kevin Foakes.

• Cover includes horizontal obi sticker with quote from Simon Reynolds' book Energy Flash: A Journey Through Rave Music And Dance Culture, describing the Telepathic Fish parties' place in the dance music landscape.

• Lacquer cut by Beau Thomas at Ten Eight Seven Mastering

After countless hours in the studio, we are proud to present EZ PC, a sonic journey infused with elements of funk, jazz and abstract soundscapes.
The record features the legendary Samuel Appapoulay, whose versatile musicianship adds depth and character throughout the project. This release also marks one of the first projects to showcase the collaboration between David and the Mauritian-born pianist.

To complete the experience, Tripmastaz delivers a remix that holds its own alongside the original, an absolute masterpiece that lifts the EP to an entirely new level.

Buckle up and enjoy the ride!

Soulwax 's first new album in 8 years, entitled "All Systems Are Lying" and set for October 17th release. Available on CD & various 2LP fromats . The campaign will kick off July 9th with a double single “All Systems Are Lying / Run Free”, album announcement + pre-order launch. Since 1995, David and Stephen Dewaele have consistently pushed the boundaries of music into new and innovative territory by diversifying into many different guises. They are a band (Soulwax), djs (2manydjs), a record label (DEEWEE) and a sound system (Despacio, created along with James Murphy from LCD Soundsystem).

They are also widely renowned as one of the most innovative remix and producer teams around. They have released 7 studio albums to date, including the critically acclaimed ‘Any Minute Now’ and ‘Nite Versions’. Some of their already cult remix credits include the Grammy nominated “Work It” by Marie Davidson, as well as Peggy Gou, Fontaines DC, Roisin Murphy, Robyn, Arcade Fire, The Rolling Stones, Tame Impala, Metronomy, Daft Punk, The Gossip, Hot Chip, MGMT and Warpaint, among many others.

Stephen and David Dewaele are familiar to millions as 2manydjs, a project which undoubtedly moved the needle for modern DJing. Alongside like-minded allies such as Erol Alkan, Tiga and Jacques lu Cont, 2manydjs swept international dancefloors into delirium, gifting a rock ‘n roll attitude to club culture.

Eden Burns releasing his debut Album titled „Eden Burns & The Makebelievers“. The dance musics prophet, notorious for his ingenious string of club tracks (if you don’t follow —> check the „Big Beat Manifesto“), is gifting the world with yet another, cult creating musical
adventure. Ecstatic beats, melodies that cast a spell on you, if there ever was something to truly, blindly believe in: it’s the power of music? Be Free, set foot into the garden of Eden. All apples are to be bitten, the snakes venom is mildly hallucinogenic. Get your eyes opened for everything that is true enough and beyond. Bless.

Hailing from Detroit, Ryan has earned great respect over the years as a deej with a deeeeeeep
bag of records. This EP is a perfect reflection of that ethos - with tracks that will have you
covered no matter what time of night you're dropping the needle on this thing.

The A is heavyweight, peak time, disc jock business. Sarah O leads vocals to the A1, woozy,
dubbed out, blissy joy ride that is the club mix of "Between Dreams." It would sound at home on
all your favorite dancefloors, but especially those outside. The Great Outdoors baby: the biggest
room there is!

Next comes the mighty Acid Mix of the title track. Cop now so you won't HAVE to Shazam it the
next time you're hearing Mike Servito or Josh Cheon DJ!!! And the A side is wrapped up by 24
Hour House Music. A jittery proto house work out perfect for a night drive in YOUR city!!!
The B side gives us a more of a downtempo vibe, perfect for life's breeziest occasions. LA
legend Benedek lends his considerable talents to all 3 tracks, while Steven Grady and Noah
Triplett for the EP's final track - "Love Dub." All reminscient of Ryan's work as part of Symptoms
of Love, this side feels more like you're in a dream than between them.

Originally released only on CD in 1995 and long out of print, Scraping Tokyo ’95 captures the raw, visceral energy of Belgian industrial legend Dive during a powerful live performance in Tokyo. This intense set features a selection of classic Dive tracks alongside three cover versions by Joy Division, Suicide and The Klinik—all reimagined in Dive’s signature minimalist and abrasive style.

Available for the first time on vinyl, this limited edition of 350 copies is pressed on white vinyl and comes packaged with an insert featuring archival photos and Japanese-style OBI strip.

Krewcial returns with more MJ from the vaults. Mixed from the original multi-tracks, always with love and respect for the original material.

The A side kicks off with The Jacksons 'Everybody' but feels and sounds like a solo Michael joint and references his “Get On The Floor” in the lyrics. The extended version gives plenty of room to all instruments to build up and join before MJ comes in.

On the flip we have the seminal 'Can’t Help It', written by Stevie Wonder and sampled by DeLaSoul combines the instrumentation and energetic drums from the demo version with the lead vocal from the album version. Adding a lush string arrangement which takes this version into TSOP territory and adds the disco vibe that works on today’s dancefloors.

Limited Vinyl Only Release act fast!

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’.

The new Mono Jazz series - The Jazz Sinners - is designed, crafted and produced to the highest standards allowed by today’s music industry.
The tracks featured come from either rare, top-condition vintage first pressings or from meticulously sourced recordings to ensure the
best possible sound quality. Thanks to the expertise of Giorgio Cencetti (DJ Farrapo), we've created a fully organic mastering process that offers a
360° sound spectrumfor a truly high-fidelity listening experience. The vinyl itself is pressed under the supervision of Elettroformati - Milano.

The cover is 100% Italian-made, using premium 350g cardstock with a luxurious hand feel, with inner sleeves lined in polyliner for complete protection of the record.

After releases on both Echocentric and R.A.N.D. Dj Life joins thecollaborative label for their fifth outing, tech and progressive house made for the dancefloor.

"It's been exactly 40 years since “OCEAN OF CRIME” was released.

It seems like yesterday when Claudio Causin, the guitarist of STAGE,
brought me the music without the lyrics.

As soon as I heard the song I thought of an apocalyptic scene after a
nuclear war.

The lyrics came out suddenly, without any second thoughts.

The words fit the music perfectly.

It wasn't a dance-song but a mix of rock dance.

After all these years it still has an extraordinary charge .

And now the “Dreaming” album is finally ready with all the tracks we
recorded through the “FullTime” years.

Good listening to all."

Franco Masala (STAGE’s singer and songwriter)

AnalyticTrail unveils the first chapter of its new series with Gems 0.1, a carefully curated snapshot of where the label's techno heart is today. Conceived by Markantonio and rooted in the Neapolitan school of groove, this collection focuses on functional power, hypnotic motion, and forward momentum across seven cuts split between vinyl and digital. On wax, the journey opens with Human Safari's Trap Door, mixing tight percussion with jazzy melodic touches. Lysander continues with Riot in Rio, bringing tribal rhythms and rolling basslines that push the dancefloor. KLBR's Thunder Drums hits hard with analog weight and crisp drums, while SYNDROM's Nikaia Nightfall closes the side with deep, hypnotic grooves and cinematic textures. The digital edition adds three more highlights: The Groove Room's Bloom delivers a dubby, pulsing journey; Cri Du Coeur's Safre builds raw warehouse tension with powerful hits and Omis (Italy) Collapse drives a stripped-back, high-intensity groove perfect for peak-time sets. With Gems 0.1, AnalyticTrail shows its formula in action: rooted in groove, focused on the dancefloor, and always looking toward the future.

An exclusive collaboration lands on Drumcode, with Bart Skils linking up with rising German artist A.D.H.S for the divine ‘Can’t Hear You’. Fresh off the excellent ‘Torn Clouds’ single with Weska on Drumcode, Bart Skils is on-point as ever with his production output. The Dutchman has enjoyed a strong summer highlighted by Awakenings and a sunrise set at the iconic Fusion Festival. Meanwhile A.D.H.S is no stranger to Drumcode, having shared slick contributions to past A-Sides compilations including ‘Razor’ and ‘2Step’. He’s otherwise dropped strong releases on Exhale, Spannung and Electric Ballroom. “Can’t Hear You” was born during a Sri Lanka holiday after A.D.H.S injured his back and spent time sketching ideas on his phone. “I started playing around with samples on my phone and found this beautiful vocal and just started sketching some ideas. No pressure, just emotions,” A.D.H.S explains. “Back at the little jungle studio I had set up, I kept working on it – really taking the time to find the right chords to match what I was feeling at that moment. It’s a bit of an unusual track, and I had no intention of ever releasing it. It was just for this moment,” he shares. A.D.H.S begun testing an early version at open airs and festival, later uploading a teaser clip onto Instagram. When Skils heard the track’s unique vocal line, he was hooked. “It was a no-brainer for me to decide to work on the track with Bart, I’d been a big fan of his for years. He brought in his ideas, worked on the mix and arrangement, and together we shaped it into a version that we both absolutely love.

It’s one of those rare tracks that just capture a moment.” Indeed ‘Can’t Hear You’ is an emotional behemoth; one of those rare tracks that sounds genuinely unique and is simultaneously a banger and tear-jerker in one. “When I first heard the clip Michael (A.D.H.S.) shared of ‘Can’t Hear You,’ I was hooked by the infectious vocal. We decided to craft a full collab blending both our signature sounds, and the result is a rolling party weapon that’s become my go-to closing track,” shares Bart Skills.

Following up a string of releases on labels such as Mana, Sun Ark, Orange Milk Records and Abyss, Other People are honoured to present the new album Fobia by Argentinian musician and sound artist aylu, real name Ailin Grad. Inspired in part of Grad's many collaborative projects over the last few years, Fobia sees her collecting and rearranging the music and sounds fostered within these to create an intimate, spiritually charged album that turns personal struggle into collective resistance and resilience. What initially started as a way for Grad to process her own experiences with agora- and claustrophobia, and an attempt to navigate feelings of shame and a perceived demand to keep these feelings bottled up and hidden from the world, she began to realise how mental health struggles are not isolated incidents but part of broader systems of collective suffering and injustice. “It took a long time for me to discover that my issues were part of a system that produces these kinds of symptoms and that it takes a lot of courage to find a way around them. I have the feeling that more and more people suffer from these kind of things in some way or another, and what was at first taught as something you should be silent about and keep private, I discovered that the more you talk about it and share it with people you trust, the more you realise that it’s part of something much bigger.” This tension and constant pull between fear and joy, light and dark, is present throughout the album. From the strained breathing featured in opening track Yodo echoing the suffocating feeling from claustrophobia interspersed with the lighter textures of Obelisco Elysium and Prospero offering up a sense of relief, to the almost cacophonous, immersive soundscapes of El Sol Mal, mirroring the complex, often contradictory emotions when navigating mental health challenges. Fobia invites listeners to move through pain with honesty, finding strength in shared experiences.

To celebrate their 5th anniversary Berlin's Pure Hate Trax brings you 5 Years Remixed Pt.1, inviting Tripped, Mickey Nox, Laven & NX1 to remix their favourite tracks from the last 5yrs.

Words courtesy of FOND/SOUND –

What makes チトチック/クラクラ (CHITOTIHC/KULA-kura) so fascinating is that, in some weird way, it’s a meeting of minds and musical language of disparate artists at the forefront of a new kind of groove. There might be no “L” in the Japanese language but that doesn’t stop it from trying to find a working substitute. Similarly, Chito enlisted members from his Asiabeat and East Pulse, others from Mu-Project, K2, and Adi, and brought in Haruomi Hosono to play mercurial bass. In the great expanse of experimental Japanese-made pop music all of them might have gone in “out-there” in separate directions but on this record it was Chito who pointed their focus all on the same track.

“Bayou (バイヨー)” presents this floating idea of dance music with beats and rhythms that hover among the ethereal. Other like “Scribble Dance (らくがき)” use Harry’s acid bass lines to dig cavernous grooves that only come up for air via adrenaline-fueled jumps by Haruo Kubota’s quite Adrian Belew-esque guitar lines. Perhaps, Discipline-era King Crimson is an apt comparison to what Chito and his crew pull off here.

Where Discipline signaled a way to reconcile the most out-there polymeter music of prog with the more satisfying parts of post-punk and the new electronic wave, so to do I think チトチック/クラクラ (CHITOTIHC/KULA-kura) has that bit of heart/spirit in mind. This is the out-there of Japanese experimental music satisfying the best parts of the, then, new electronic wave. It takes a certain degree of proficiency and sheer chutzpah to go from “11” to the wonderfully impressionistic, ambient minimalism of a track like “Sanghyang (サンヤン)”.

It’s the joy of not knowing what each new track will hold and just letting yourself follow the hard-working hands of such learned musicians that brings the most out of Chito’s vision. It’s this very liquid music that keeps you on your toes on tracks like “Astral Lamp (無影灯)”. Tracks like “Jagg-chagg (ジャグチャグ)” and “Filament (フィラメント)” present a fourth world music bifurcated in exponential parts by the glitch of newer, modern, electronic modalities, intersected by expressions by differing voices. Every track you switch to presents a new way to get lost in the many phases and places Chito wants you to travel to.

In the end, as always, it’s not the destination but the journey through it that plants this album in your memory. – Diego Olivas

Break 4 Love, the timeless 1988 deep house anthem from Vaughan Mason’s Raze, featuring Keith Thompson’s soulful vocals was not only #1 US Dance Club hit and UK Top 30 single but an evergreen classic that remains a club culture staple 37 years on since its initial release. Its warm TR-909 groove, hypnotic bassline, and intimate lyrics continue to resonate across generations.

Alongside the original mix, this brand-new release from Armada Music & Champion serves up three essential remixes on one 12” vinyl. IIija Rudman kicks things off, preserving the sensual beating heart of Raze's iconic original while sliding effortlessly into the dancefloor rotations of today. Veteran of the scene Michael Gray puts his signature touch on ‘Break 4 Love’ adding extra percussive elements and sensuous sound effects. Through this Gray stays true to the original whilst providing a fresh take on the ’88 classic. Finally, Ridney & Inner Spirit’s take, slotting into those perfect sunset DJ sets on Ibiza with rolling beats and unfolding soundscapes. All bases covered on this buy or cry vinyl!

Moulton Music proudly presents House of Moulton Vol. 1, our first-ever vinyl series. This release digs deep into the Moulton catalog, highlighting some of our biggest tracks alongside exclusive and unreleased remixes that you won’t find anywhere else.

Side A kicks off with a fresh 2025 mixdown of “Work.Groove” by Mark Farina and Homero Espinosa, followed by a brand-new remix from Hotmood who brings the funk with an uptempo, driving version perfect for peak-hour sets. We’ve also included the acapella of “Work.Groove” for DJs and heads who like to get creative.

Side B goes even deeper, starting with an unreleased remix of “Burning Hot” by JT Donaldson and Seven Davis Jr. This version captures the essence of Moulton’s deep house sound with analog synths, tough beats, and signature funk. Rounding out the release is David Harness and Tedd Patterson’s Main Afro Mix of “Black Music” by Franky Boissy and Roland Clark, a powerful and soulful cut that closes the record in style.

Cali Lanauze delivers pure magic on A Matter Of Time - a spellbinding collaboration with Ryan Crosson and Greg Paulus that seamlessly fuses deep grooves, subtle textures, and jazz-soaked elegance. With masterful remixes from Reboot and YokoO, this Opulence release is nothing short of breathtaking. A timeless journey through refined house music - hypnotic, soulful, and essential.

Italian leftfield funk heat reissued on Best Record, with artwork by famous cartoonist Jacovitti! The link between music and art has always been constantly renewed! Even when the union between these profound expressions of the soul manifests itself in an eccentric, surreal way, as happened in 1978 with Kamasultra a downtempo, vaguely funky that only the courageous record producer, talented musician and conductor Aldo Pagani had the courage to release. Nando De Luca, a Milanese composer and acclaimed jazz musician, who 10 years earlier, had arranged Paolo Conte's Azzurro for Adriano Celentano, accepted the strange recording project as a joke, or rather for fun, strongly influenced, like co-author Roberto Rizzo, by Jacovitti' s cheeky and impertinent artwork. Danilo Braca' s restoration and editing work, well supported by talented musicians, reestablishes the balance between music and art. It is also worth his respect for the two original versions of Kamasultra and Kama Kama just extended for the DJ's work in the club. Then the New York-based Italian DJ - known to his friends as Danyb - performs two robust house-style arrangements, evoking memories and emotions, making this reissue unique and rich. Best Record 's main aim is to make us smile and reflect on the talent of Jacovitti, able to assert his own style without indulging in conformism.

One of the most popular French TV extracts of all time is the black and white image of a young and extremely nervous-looking Françoise Hardy being given a firm dressing-down by Mireille Hartush (the famous music teacher who ran La Petite Conservatoire de la Chanson in the 1960s). Presented here is her debut studio album Françoise Hardy (issued as The Yeh-Yeh Girl from Paris! in the USA). It was released in France in December 1962 by Disques Vogue with the catalogue number LD 600-30. Originally issued with no title, except for her name on the cover, the album has therefore colloquially become known by the title of its most successful song, Tous les garçons et les filles, and later reissues added this title. This sensational album compiles the twelve original French versions from her first three EPs released by Vogue during 1962. Hardy would also record versions of songs from the album in Italian (1962, four tracks released on singles have been added here as a bonus), English (1964) and German (1965). The iconic LP combines rockabilly, folk, jazz and blues, and has been noted for its simplicity, featuring a minimalist jazz percussion, bass, and both acoustic and electric guitar. 180 GRAM - GATEFOLD COVER - LIMITED EDITION