Inner City Sound Archives reaches its third transmission.
Six extended cuts built around the language of late-night New York disco — loose percussion, rolling basslines, open arrangements, raw repetition and the kind of long-form movement made for a room rather than a radio.
Volume Three moves deeper into the series.
Midnight Passage opens the doors slowly: nocturnal, hypnotic and suspended in motion. Afterglow stretches the groove into warmer territory, while Mercury Rising pushes toward a rougher, more physical pulse.
On the reverse, West Side Motion locks into an extended downtown groove, Golden Hours drifts between soul and after-hours disco, and Crosby Street closes the record with the stripped-back intimacy of a late-night loft cut.
Six cuts. Two sides. No filler.
Move in Stereo: The Cars’ Eponymous Debut Album Functions as a Greatest-Hits Set with Classics Such as "You're All I've Got Tonight," "Good Times Roll," and "Just What I Needed"
Experience the Six-Times-Platinum Record in Definitive Sound on
Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set:
Strictly Limited to 4,000 Numbered Copies,
It Plays with Reference Definition and Presence
1/4” / 15 IPS analogue master to DSD 256 to analogue console to lathe.
Among the most critically and commercially successful debuts in history, the Cars' eponymous album doubles as a greatest-hits collection. Not one song on it is widely unrecognized or unknown. Consider the list: "You're All I've Got Tonight." "Good Times Roll." "Just What I Needed." "Moving in Stereo." "My Best Friend's Girl." "Don't Cha Stop." “Bye Bye Love.” Just call The Cars the best new-wave rock album ever made. And a natural candidate for preservation on a Mobile Fidelity UltraDisc One-Step pressing.
Sourced from the original analog tapes, pressed at Fidelity Record Pressing in California, mastered by engineer Krieg Wunderlich, and strictly limited to 4,000 numbered copies, MoFi’s UD1S 180g 45RPM 2LP box set presents the six-time platinum record in the most vivid, wide-spanning, three-dimensional sound it has enjoyed on vinyl. Compared to the label’s outstanding and out-of-print 180g 33RPM version, this collectible edition features richer textures, broader openness, greater presence, and bigger dynamics.
Benefitting from the extra groove space on 45RPM by playing with enhanced definition, deep-black backgrounds, and ultra-quiet surfaces, this reissue portrays the band’s oscillating rhythms, futuristic keyboard passages, and panned images with stunning realism. Songs take on an absolutely surreal quality. The Cars and producer Roy Thomas Baker manipulate arrangements at will to mesmerize listeners' senses. The concept of "moving in stereo” has likely never been truer.
The industry-leading packaging of the UD1S set gives fans another reason to gravitate towards the 1978 album. A deluxe slipcase, two foil-stamped jackets, faithful-to-the-original graphics, and MoFi inner sleeves make for a premium tactile experience. It invites you to immerse yourself in everything about the record, including the now-familiar cover art depicting Nataliya Medvedeva behind the wheel. Enhanced by her glistening ruby-red lips, her face flashes an expression caught between surprise, ecstasy, and disbelief — an apropos way of responding to The Cars whether you’re hearing it for the first or 1,115th time.
Introduced in 2024 into the National Recording Registry for its significance, and ranked the 353rd Greatest Album of All Time by Rolling Stone, The Cars explodes with emotion, energy, and hooks. Its songs unite then-disparate styles: bubblegum melodies, art-rock angularity, progressive structuralism, terse minimalism, and power-pop sheen. The stylish arrangements also benefit from a laidback cool and understated irony that remain uncommon in the world of contemporary mainstream music.
Equally rare is the deep chemistry the members shared before they entered London’s AIR Studios and knocked out the record in less than a month. Benjamin Orr and Ric Ocasek began their first band together in the early ‘70s. A subsequent group with future Cars keyboardist Greg Hawke preceded Orr and Ocasek bonding further by temporarily performing as a duo. One final pre-Cars ensemble, Cap’n Swing, brought guitarist Elliot Easton into the fold. A decision by Ocasek to take the band in a rock direction, a crucial lineup shuffle, and a name change begat the Cars so many listeners know and love.
Already a going concern in Boston, the quintet cut its teeth and woodshopped songs for nearly a year and a half before signing with Elektra and partnering with Baker. The Cars enjoyed success right out of the gate, hitting No. 18 on the Billboard Top 200 chart and netting a pair of Top 40 singles in the form of “Just What I Needed” and deceptively happy “My Best Friend’s Girl.” The sarcastic “Good Times Roll” climbed to No. 41, but soon enough, almost every track on The Cars became a radio staple — an honor far more meaningful than chart positions.
Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced tunes with delightful and quirky accents — country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses. Orr's low, nuanced deliveries and Ocasek's cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by synthesizer flourishes and electronic beats.
Accessible and eccentric, edgy and catchy: The results comprise a landmark whose characters come to vivid life with nuclear boots, dry-drip gloves, ribbon-festooned coiffures, suede-blue eyes, and rock ‘n’ roll hair. It's practically impossible to avoid humming along to every song, all enhanced by Baker's stellar production. Best known for his work with Queen, he ensured the record packed a punchy midrange, opened up with instrumental and vocal separation, and breathed with airy harmonies.
Indeed, from the timeless music to the sleek production and sonic restoration, The Cars on UD1S is just what you needed.
Almost 25 years after its original release, "How Low Can You Go?" by Darran Nugent under his Aruba alias remains a dancefloor weapon for underground DJ’s. The track has endured as one of Nugent's most sought-after productions and as one Discogs user noted “in my opinion - one of the best basslines, presses directly on the chest”.
Over the years, it has been championed by some of electronic music's most respected selectors, including Jamie Jones (featured in his legendary Time Warp set), tINI featured on her Cocoon Ibiza Compilation), Traumer, who featured the track in his set for the Resident Advisor, Chaos In The CBD, Mr. G, Laurent Garnier, Lee Burridge etc.
For this re-release Darran has completely re-recorded the original, refining it for more modern DJ systems. A tasty re-edit fills out the A side with a pulsating hi-hats that twist and turn the energy but remains true to the original.
Legendary German producer Losoul delivers the goods for the remix on the B Side with ten minutes of deep, dark hypnotic magic for fans of pure minimal done right.
Discosabotage Records is an evolution of the collective founded by Luval in Amsterdam in April 2024. Having recently relocated, he felt the need to create something that truly reflected his own vision and the music he loves. What started with selecting records gradually evolved into selecting demos, driven by an increasing desire to shape a distinctive identity and sound.
DSB001 is the label’s first various artists release, featuring Luval, Massi, Two Opposites, and Paradise City Breakers. Each artist brings a unique perspective while remaining connected to the vision behind Discosabotage. The release moves through different shades of electronic music, from deep and hypnotic grooves to darker, more introspective territories, always maintaining a strong sense of definition and purpose. While each track speaks its own language, together they form a cohesive journey rooted in underground electronic culture.
This first VA marks the beginning of a label that is still taking shape, defining its path through dark atmospheres, refined rhythms, and carefully crafted electronic textures. A first statement from Discosabotage, and the starting point of what is yet to come.
Long regarded as one of electronic music’s true individualists, Aubrey’s legacy stretches across decades of uncompromising, deeply musical productions — always balancing raw machine funk, psychedelia and emotional depth with a uniquely personal touch. Through Deep Series, Georgios DSR brought him on board for a release shaped less by trends than by a shared dedication to timeless underground music culture.
On the A-side, Aubrey delivers the shimmering and organically evolving *Insectos de la Luna* alongside the weightless, jazz-leaning groove explorations of *Flying Low*. The B-side shifts into deeper and more functional territory with Georgios DSR’s *Analog Ground (LiVRO’s Groove Shape)* and the hypnotic pulse of *Signal Drift*.
Rather than following contemporary formulas, *Shifting Phase* reflects a mutual commitment to atmosphere, movement and long-form dancefloor storytelling — rooted in house and techno traditions while remaining open, psychedelic and forward-thinking.
Previous Deep Series material received support from XDB at Dimensions Festival, generating a strong response around the label’s growing catalog.
RDS003 is another step in the ongoing evolution of Deep Series: music driven by conviction rather than hype.
Polygonia & MTRL - Division / Taris EP incl. Remixes by Claudio PRC and Mary Yuzovskaya
A1. Polygonia - Division
Right from the start the listener is cast into orbit with driving percussion and abstract sound effects. Soon they are followed with a morphing bass sound and cymbals which lock the groove into place, cranking the drive to the max. As the track progresses the landscape of sound reveals its nature with metallic quality, like schrapnel from a barren city. Truly a Deep Techno banger which will without a doubt fill a dance floor.
A2. MTRL - Taris
The listener is slowly submerged into the waves of percussive bass sounds and menacing sweeps of noise which remind of a storm in a desert, the horizon only slightly glimmering behind the veil of sand. Soon the listener is introduced with a pounding kick drum, almost making the landscape seem even more ruthless as the track progresses.
Quality, heady Deep Techno.
B1. Polygonia - Division Claudio PRC Remix
The hypnotic Techno maestro Claudio PRC twists the idea of the original track into a mind explorative voyage with a triplet feel. The remix is shrouded in melancholy with distant pad sounds, which add a nice tension to the track. As usual, a brilliant remix from Claudio PRC.
B2. MTRL - Taris Mary Yuzovskaya Remix
On the remix the Berlin based producer is molding the source material into a driving and psychedelic track, functional yet synapse tingling. Now the bass has a bit more liquid-like quality and the overall soundscape is more abstract. Hallucinatory effects of noise are filling the spaces between the sounds, almost like being surrounded with faint whispers. Driving and psychedelic Deep Techno done with finesse.
Jason Singer spent years building Michigander from a DIY solo project in Kalamazoo into a national indie-rock staple through little more than a guitar and a refusal to quit. On his second album, Over Before You Know It, Singer isn’t retreating from the world, but learning how to move through it. The record finds power in the tension of living with both the good and the bad, refusing to let outside noise or internal doubt act as a roadblock. “We spend so much of our lives trying to build something that we never have the time to enjoy. That’s the lesson I’ve learned over the past year,” says Singer. “Tell people you love them. Take care of yourself. Fight for the good. That's what this album stands for.”
The SuckaSide duo have tagged in label regular LROY once more for another irresistible blend of classics on this crucial new 7". 'Pacific Life' kicks off with a laid-back, deep and elastic fusion of a house classic and a rave staple, reimagining both as blissed-out warmth with instantly recognisable vocals and loon bird samples. On the flip, the beats become even slower and more swaggy, with sunny chords lighting them up and real Caribbean heat fusing with elephantine bass. These tunes are high-level blends that are playful and immediately effective but never cheap or obvious.
Diso Gram is based in Barcelona and deals in global disco, nu-disco and edits with in-house production from we don't know who, but we do know they're skilled in the studio. 'Bobby' is a life-affirming opener with proud trumpets and classic disco vocals before 'The King' taps into a funky bassline and slapping hits that all feel wonderfully live. 'Me Enciendes' brings more strutting disco house with massive claps and falsetto vocals that will take any crowd to a better place and 'Tropical' closes the account with a more subdued, early evening dub-disco builder with Afro flourishes.
Innate launched out of Bristol in 2018 as an extension of a well-respected blog run by Owain K, and is now one of the more cultured outlets in the realm of advanced techno. This ninth 12" heads across the Irish Sea for a split EP featuring top heads Eddie Reynolds aka TR One and Americhord. The former goes first with the snappy drums and reverberating bass twangs of 'We Lost An Hour' before 'I'm Alone' zones out into more widescreen and far-sighted deep techno laced with malleable acid lines. Americhord then keeps it deep with the interplanetary 'Parallax', a supple, comforting cocoon of synth and bass warmth before flipping into kicking electro territory on 'Sub Level'. Proper classy tackle.
Lempuyang is a dub techno powerhouse with an already vast and brilliant back catalogue, despite only being formed in 2021 by Alastair Kelly. Now he marks a half-decade of work with new compilation Pura Lempuyang Lima that embodies what this imprint is all about across four sides of wax. Yassin Omidi keeps it super deep and smoky with conscious dub mutterings, while Beppu brings more static and ambient sound designs to an equally immersive rhythm. Elsewhere, Octal Industries brings a little more drive and energy, Ohm & Anton Kubikov keep things utterly blissed out and dreamy and Peak:Shift brings gentle broken beats and aching melancholy. Lovely stuff as ever.
Chris Scott, Stuart Baker and Julian Bowron ran their own night in Bishop Auchland, a small town in County Durham, back in the mid-90s, then started producing under the same name. They dropped just three EPs, with this being the last one in 1994, but the one that proved the most enduring. The newly launched LA RIOT label reissues it, and it sounds as good as ever: 'Post Chaise' is a timbales-laced jam with driving tech house drums and plenty of crowd noise adding to the wild vibes. 'The Bishops Groove' is deep, steamy and tribal in its nature and 'This Groove' then gets more expressive with vocal yelps and surging synths that come on like a rush. The Sunday Fantasy mix is the EP highlight - a more cosmic and soft-edged but still propulsive deep house groove.
Those with long memories may remember the hush-hush Needlewreckordz imprint, an outlet that delivered B-more club, Miami bass and house style versions of r&b and hip-hop jams. Here the same crew returns with two killer cuts that once again make use of uncredited soul vocals. A-side 'FloYes' is a genuine triumph, with sensual (sampled) vocals, synth-sax, heavy sub-bass and deep, languid piano motifs rising above an infectious bossa-house beat. Over on side B, 'Motto Talk (Degrassi Mix)' sounds like South African deep house with a twist - all DJ Mojave beats, warped sub-bass, heady soul vocal samples and raw synth-strings. Excellent stuff all told.
Anyone lucky enough to have lived through the 90s will know that Coco Steel & Lovebomb were a key acid house duo who dropped early tunes on Warp and penned a number of underground anthems including 'Feel It'. Now they are back with new tunes on Coco's Disappear label and the remit, stylise, is wide. This EP opens with gentle breaks and dubby undercurrents on 'El Acido,' which has already become a favourite after its digital release. DJ Rocca remixes with a blissed-out energy and 'Our Thing' (named after Coco's new party in Hastings) then taps into a more expressive sound world with new age pads, affirmation vocals and dusty broken beats plus lashings of bass. A dub version of the same tune, named Dub Thing, closes down with aplomb.
Rafa Santos continues the Mate label's fine tradition of quality deep house excursions with a well-formed new 12". Just one original features and it's the A-side beauty 'Our Journey', an unhurried groove that is happy to wallow in soft piano chords, with icy hi-hats strewn through the mix and the main focus left on a sax line that rises and falls, sings and cries, all while a nagging vocal loop adds extra pain. Atlanta house hero Kai Alce drops an NDATL remix that brings more bump to the drums but keeps the emotional edge of the original. Class.
Frenchman Franck Roger is having the year of his life, quite frankly. Despite being a truly seasoned deep house head, he seems to be enjoying himself while finding endless different angles to explore. Seasons Limited is where he releases the vast majority of it and this latest offering opens with a nice full groove that's infused with a passionate vocal cry and a mix of watery melodies and floating pads. 'Guilty Pleasure' is more rooted to the groove but with an exploratory lead and 'Point Blank' gets heavier and raw in the beat department but there's a cosmic pull in the melodies that ensures you will take flight all the same.
Younger Than Me announces his debut full length "The Golden Age Of Love", to be released on 90's Wax this coming March 2024. The record is the perfect example of the breadth of his irrepressible and unique sound. Featuring collaborations with Massimiliano Pagliara, Brame & Hamo and Pablo Bozzi. The artist is an Italian native known for a modern interpretation of '90s club music' - a dynamic blend of Progressive House, Trance, EBM, Breakbeat, and Techno ideas. This first album is a love letter to a deep-rooted passion for the idiosyncrasies of rave culture and the crossover points with contemporary electronic music.
Younger Than Me, an artistic project by Francesco Mingrino that is steeped in the nostalgia of ‘90s rave, yet not at all trapped in that past. A project that has cemented a special place in the electronic music scene with a string of records on labels like Bordello A Parigi, Amsterdam-Utrecht based platform XXX, Rotterdam’s Bar and Jennifer Cardini’s Dischi Autunno. To this point Francesco has pushed his fun yet forceful sound, with many releases on his own 90's Wax, and collaborations with people like Skatebård, Francesco Farfa, Timothy Clerkin and Curses (as Y2C).
"The Golden Age Of Love" as a package is curated in Younger Than Me's characteristic style. Opening with "Long Life Death", a track that sets the stage with a cinematic soundscape in a classic Carpenter vibe. Picking up the tempo "Zarathustra Dance" takes you right into the golden age itself, its low slung beat and carefully sequenced lead line pushes an ever building tension designed to crack any dancefloor. The track with Massimiliano Pagliara, "Eternal Sunshine Of Solitary Mind", is one of the highlights, perfectly building around a catchy lead with tight arpeggio and sequenced acid. Leading us into the 2nd half of the record "Sadness Is The Only Way To Happiness" is a proto-trance beast, inspired by that period in the early 90s when Trance was less bright lights and big stages and more dark rooms and smoke filled spaces, an ever building progressive run of haunting vocals, rave stabs and rolling bass.
Whilst YTM is at home presenting dancefloor focussed material, we see him explore the other side too, with "Memory Is A Clock" like the earlier "Vortix", he ditches the 4x4 for breakbeat territory. Whilst the bass keeps the solid metronome you would expect, "Memory Is A Clock" is a track that takes a few moments, contemplative melody and trademark arpeggios take the lead. When it comes to the other collaborations on the record, the appearance of Brame And Hamo on "Raver's Heart Is A Mess" sees them lean into the Progressive nature both artists love so much. Then Pablo Bozzi lends his own unique outlook to "We Don't Know The Way, We Just Stay" in one of the standout tracks, epitomising Younger Than Me’s ability to create profound experiences.
The album concludes with "Music Will Never Stop, Heartbeat Will Never Fade, Party Will Never End", less of a title and more of a personal philosophy – the perpetual essence of rave culture and its timeless impact on music. A rhythmic belter, juxtaposed with incendiary synth-lines and staple catchy sequence work, finishing the record with one of the true highpoints. In addition the release also features four digital bonus tracks, including "The Other Face Of Loneliness" and a Prog Dance Reshape of one of the records more eclectic cuts "Zarathustra Dance" all offering an extended exploration into the creative landscape YTM inhabits.
"The Golden Age Of Love" is a debut album that ticks all the boxes; it's a celebration of a bygone era through the lens of the contemporary. Younger Than Me stands as a testament to the enduring spirit and evolving nature of the music that began in the ‘90s rave scene, with an LP that pushes Love, Progression and Fun to the forefront.
Presenting the eighth edition of the Bizarre Trax wax series and the second solo outing from bare-knuckle beatmaker B.Love. A Shape You Can Feel EP marks a subtle but deliberate evolution in the producer's sound. While the groove-led, funk-infused records that first put his name on the map are still woven into his DNA, this latest four-tracker strips things back in favour of a more understated, headsdown approach. Leaner drums, weightier low-end and hypnotic arrangements take centre stage, with each cut built for long blends and late-night dancefloors. Across four rolling club weapons, B.Love explores a deeper, more refined sonic palette without losing the character that's become synonymous with his productions. Chopped vocal fragments, unmistakable sample work and crisp, polished percussion remain at the core, but are now delivered with greater restraint, allowing space, tension and groove to do the heavy lifting. Designed for selectors who favour subtlety over spectacle, A Shape You Can Feel EP is a confident statement from an artist continuing to carve out his own lane; proof that sometimes the smallest shifts leave the biggest impression
Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of
half-light with a clutch of earworms and affecting emotions.
Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s
distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used.
Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an alluring loop with acoustic guitars and Perry’s voice walking a tightrope between irony and sincerity. The song blooms into a bright burst of light, almost inducing synesthesia in the listener and reminding a little of The Beta Band’s most outre and catchy moments.
Opening Side B, Naked Shine’s scintillating guitar is punctuated by a sub bass swell that offsets the yearning vocal performance. With palpable sensitivity the song is shepherded into short, atmospheric passages before Love Drum’s direct delivery: Perry’s vocal and guitar, dancing over a hint of distortion feels like Syd Barrett at his most casually brilliant. Carrying on the tradition of a single cover on every Prophetic Justice Ministry release, here Lana Del Rey’s Mariner’s Apartment Complex is given a stripped back but faithful treatment. With a sound that feels like a hushed, Chris Isaak classic it’s testament to Perry’s own compositions that the cover doesn’t outshine the rest of the album. Album closer and single Spirit House Party combines a classic chord progression with Perry’s double-tracked vocal into a murky but brilliantly catchy chorus. While nowhere near as lush in its production, there’s something in the atmosphere of Prophetic Justice Ministry’s vocal sitting in the mix just so that reminds us of The Electric Prunes’ Holy Are You-era work with David Axelrod.
Key To World Peace flits between displaying a spectrum of blurred emotional resonance in its instrumental passages and vulnerability in the shape of raw, melodic songwriting. With his first release outside of Australia and vinyl debut, Sam Perry’s Prophetic Justice Ministry is a beguiling dance in and out shadows.
*** The nights you fight best are when all the weapons are pointed at you, when all the voices hurl their insults while the dream is being strangled ***
If you could ever stop thinking about... you know... for just a moment, you might hear something else...
Foehn & Jerome return to Perfumed Freedom for the label's first release of 2026. Three refined minimal house tracks, balancing groove, restraint and dancefloor energy. Understated, hypnotic and exactly where the duo's sound feels most at home.
Fuse co-founder Enzo Siragusa steps up for productions duties once more with his Hard Steppers EP.
Flexin kicks things off with a pared down groover of a track simplicity is the key here, all the elements combining beautifully for a deadly hypnotic head nodder.
Jump Up once again harnesses Enzo's Jungalist past with a typical rave-inflected, monstrous b-line underpinning the brisk percussive nature of the track, a real treat for lovers of the black wax as the track is strictly VINYL ONLY.
alisco hotboy Iñigo Vontier is back to warm up the summer season with TECH MEX.
Desperado is a sleek, sexy slice of Mexi-tech-house, a seductive make-up song on top of a bed of boppy, bleepy groove. Seriously dope. Calvin Klein takes just enough jack, adds a touch of squelch, mixes in a vocal about passing around dr*gs, and voila.
Playable, club-ready, straight forward house music.
Not That Please is a shuffley, more tech-centric banger. Flashy Riot goes lower slung and hypnotic, while final track Lado B is a funky midtempo vibe-bringer that sounds like Moodyman with a side of guac.
Pascal Moscheni presents his first full length EP on M.A.D RECORDS and we couldn't be more excited. The three-tracker kicks off with ‘Pasion Latina,’ a groovy house jam featuring an original vocal from Miranda Makaroff. Sexy and rolling, it's a real party starter—pair this with the Tino remix and it's game over. Closing the EP ‘Gambling & Arts’ - a rude boy bass heavy banger that will put any sound system through its paces.
Around 1970, musician, music producer, and entrepreneur Fernando Arias founded the record label Discos Fernando Arias (Difa) in Lima, the capital of Peru. This label was crucial for the musical production, promotion, dissemination, and development of Peruvian tropical music; more specifically, the so-called “carretero style”, so named because it was rooted in the famous Central Highway (Carretera Central) of Peru, which crosses the country from west to east, from the coast to the jungle, through the Andes mountain range. This style is defined by sudden changes from ballad to fast and aggressive tropical music, with electric guitar lines drenched in fuzztone, reverb, and wah-wah. To this must be added the plaintive, melancholic vocal style characteristic of Andean Peruvian music.
The gold standard edit masters at Scruniversal have decided to refocus somewhere away from their usual Brazilian sound for this latest 7". It finds the crew heading to Africa and digging deep for new grooves, with Tony Lavrutz, Scruscru & Dwaal coming correct. 'Afrika Bambaataa' kicks the record off with a laid back Afro-tinged broken beats with a sunny disposition and plenty of bright melodies that wouldn't sound out of place in a Nightmares on Wax set. On the flip side joint, 'Zulu Jam" the drums cut more deep with organic percussion scattered up top next to expressive flutes. Perfect summer vibes.
We bring a definite label favorite Eddie Leader from Huddersfield, whose label Hudd Traxx is based out of Manchester UK.
Excellent timing on the Need To Pivot EP as it’s kicking off Eddie’s 20 Years of Hudd Traxx Summer Tour!
The title track “Need To Pivot” starts off with an ode to Chicago House in form of a funky, swinging, banger laced over the top with clever spoken words from a voice any dance floor will surely recognize!
For those wanting more banger and less words, we included the “Need To Pivot” Dub version on A2.
The flip side drops the vibe back to what we come to love from Eddie! Deep driving baselines and synth based goodness for both B Side cuts on “Close To You” and “Listen To Me”.
Back to the golden nights of zouk clubs, where hip-hop, kompa, zouk and Caribbean grooves ruled the dance- floor. This selection documents a pivotal moment : a time when zouk was still not a fixed genre, but more a place, an atmosphere, somewhere people went to dance. It captures the spirit of an era: its creative effervescence, musical freedom, and the diversity of artists who shaped it. The very concept of “Kaz A Zouk” perfectly encapsulates this idea: a space where all styles could meet.
Music From Memory presents 'Mood Programs – Extended Play', a two-track release by LA MARR, a new project conceived by Ron Trent. Representing the first in an ongoing series of releases on Music From Memory, ‘Mood Programs - Extended Play’ opens a new chapter within Trent’s deep and continually evolving body of work, rooted in mood-driven composition, spatial depth and the emotional resonance of sound within physical space.
Influenced by ambient and environmental music, New Age, dub traditions, New Wave, Krautrock and HiFi sound system culture, LA MARR reflects many of the formative ideas that informed Trent’s evolving approach to sound and sonic architecture from the early 1980s onward. Rather than revisiting these influences nostalgically, the project recontextualises them through a contemporary production language, balancing analog warmth with precision and spatial depth.
Developed through years of sonic experimentation and research into the physical and psychological qualities of sound, LA MARR extends Ron Trent’s long-standing interest in the relationship between rhythm, acoustics and human connection. Built through a combination of analog processes and contemporary computer-assisted production, the project explores warmth, resonance, depth and sonic clarity through carefully sculpted environments of tone and texture.
Gently unfolding within a spacious, ambient-leaning framework, 'Mood Programs – Extended Play' moves beyond passive background listening toward something more intentional and immersive. Across both tracks, ‘Good Magic’ and ‘Clear’, layers of hypnotic synthesizer arpeggios and gently floating pads gradually unfold alongside organic percussion and subtle low-end movement, creating compositions that feel simultaneously meditative, physical and emotionally responsive. Sound is treated not simply as musical information, but as an environmental force capable of shaping perception, mood and awareness within a room.
'Mood Programs – Extended Play' will be released digitally and on vinyl through Music From Memory on July 15th. Sleeve art and design by Michael Willis.
Our previous remix-EP of Ness' classic album "Flesh Of The Gods" was, for various reasons, a long and slow process. When Ness himself suggested us to ask Vladw for a contribution we finally had a good reason to reach out to a long time favorite @ the Navigare HQ. Although located, literally, on the other side of the planet, his deep, driving and breezy productions ring true to our, slightly northern, musical vision. So we are not surprised that his excellent remix of "Transilient" is, already, one of the most celebrated tracks in our half decade long history. We asked for more, and finally we are able to present three brand new originals, seeded, watered and harvested with a Navigarean intent. Three highly functional pieces, aimed at focused dancefloors underneath open skies, balancing the beautiful and lush with the edgy and slightly twisted. Although being our first ever collaboration, any Navigare listener would understand that Luigi Tozzi has played a huge role for us on our path. Since his first releases with Hypnus we've listened carefully, on repeat, for a dozen years by now. A guiding light for our scene, always curious, always pioneering, yet always on point. His remix of "Drya" takes the harmonix of the original, adds a monstrous bassline and - trust us on this one - that massive clap will cause a mass frisson on the dancefloor. Trust Navigare Audio...
Renascent' marks the long-awaited return of legendary Manchester outfit The Durutti Column, their first new studio album in over fifteen years, produced by Keir Stewart.
Around the guitar work of Vini Reilly, the album plays between sonic atmospherics and structure: warm ambient washes, piano, beats and guest vocal turns by a new generation (Caoilfhionn Rose on " Agonistes" and Lucas Elliot on CD bonus track "All they See is Fire ).
Both contemporary and otherworldly, and with a swathe of new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis), 'Renascent' is a timely and vital rebirth for The Durutti Column.
Artwork by long-time collaborators 8vo (who have worked with the band on many of their releases) and have joined forces again for this project
There’s no direct English translation for the word “hiraeth”. In the Welsh language, it describes a form of longing for an intangible something, somewhere or someone that no longer exists. Sofie Birch and Antonina Nowacka draw on the concept to guide their second collaborative album, a suite of vulnerable, open-hearted improvisations and reflections that attempt to grasp an image of the past that’s chimeric, dissolving almost as soon as it materializes. The duo’s process follows the same distant beacon; unlike Languoria, their critically acclaimed debut, Hiraeth is, at heart, an acoustic record, informed by in-person improvisations with voices and string instruments that gesture to an era before computers, AI and DAWs. It’s just as lush, but Hiraeth is warmer and more muted than its predecessor.
Nowacka and Birch conceived the album in the wake of a slew of collaborative live concerts, spurred on by serendipitous improvisations and an interest in paring down their setup. Unsound arranged a retreat in Sokołowsko, an idyllic village nestled in the verdant hills of Southern Poland, close to the Czech border. Sokołowsko surrounds a large ruined sanatorium that’s rumored to have inspired Thomas Mann’s 1924 novel The Magic Mountain, and has long been a magnet for artists. The two took the opportunity to rethink their approach completely, arriving with just a guitar, a zither and a portable Nagra reel-to-reel machine. Recording directly to tape, they sketched out ideas with just their voices and instruments, reflecting their surroundings without being distracted or mediated by modern technology.
“We wanted to get away from screens as much as possible,” says Birch, “to bring to the world something vulnerable and honest. Without advance preparation, every day we went out into the open air, finding places to sit, during sunset or the midday sun. We discovered new tunings on our instruments, picked up a melody, and started the machine, playing over
and over till we got a take.” In the autumn, they met again in a Copenhagen studio, sparingly and carefully layering old synths and organs to add more depth without muddying the mix.
Both Nowacka and Birch sing throughout, their voices threading the acoustic instruments and tangling with each other, almost becoming one. But it’s the environment of Sokołowsko, “the birds and the light, even the wind playing against the harps,” that’s woven into the music’s lining. Affected by time spent meditating and in nature, as well as the fact that Birch was pregnant whilst recording, the album feels alive and remarkably present. Even the sound quality of the tape machine gives Hiraeth a tactile, organic quality, as Nowacka puts it, “like being in a warm bath.”
They still have the raw recordings from Sokołowsko on old reels, physical souvenirs of their time spent making music in a “habitat for intuitive songs, a little ecosystem, alive and spirited.” The outmoded gear and remote setting helped the duo disengage from the modern world for a few moments and imagine an existence that’s been lost to time and nominal progress. With digital technology receding into the background, Nowacka and Birch had space to make “intuitive connections with frequencies and people,” as Birch explains. Hiraeth is a testament not to nostalgia, but to the power of kinship.
A mix of post-Tropicalia Brazilian rock and some of the more soulful elements filtering through the country's music in the early 70s and one of the most enigmatic albums by this unique singer! Sergio's got a sound that's incredibly hard to describe at once sweet and melodic, but also kind of twisted, in an intimate singer/songwriter mode. The production of the album is compressed with a number of post-Beatles touches that make it sparkle like work by Caetano Veloso in the mid 70s, or some of the Peruvian rock by groups like We All Together and hearing the record gives us the same sort of excitement of new discovery as when we heard their best work. Titles include "Rulzito Seixas", Viajei De Trem, "Pobre Meu Pai", "Labirintos Negros", "Filme De Terror", and Lero E Leros E Boleros
The Ensemble Al-Salaam, led by saxophonist Kalik Abdul Al-Rouf, released just two albums in the mid- and late-70s, but both have more than punched above their weight in the international jazz canon. The Sojourner was the essential 1974 debut that became one of the Strata-East label's most seminal works and a cornerstone of spiritual jazz's golden era. It draws on modal jazz, Afrocentric rhythms and deep Black musical traditions across highlights like the hypnotic opener 'The Sojourner, 'the Coltrane tribute 'Trace Of Trane' and the dramatic 'Malika', with Beatrice Parker's vocal warmth infusing each sound. A perfect distillation of spiritual jazz.
With his Periodical EP, Isaiah delivers a six-tracker rooted in the foundations of early techno, built around percussion, groove, and stripped-back functionality. As a driving force in the underground scene, both as a DJ and the founder of the Frenzy and Vulged collectives, Isaiah meticulously designed this EP for selectors and club settings.
Opening with 'Monthly', the EP sets the tone with a punchy kick, crisp high-end percussion and a driving bassline, while smeared textures and subtle effects create depth within a minimal framework. 'Yearly' intensifies the approach, with sharper hi-hats and layered mid percussion pushing the energy forward, maintaining a hypnotic yet no-frills momentum.'Hourly' keeps the focus on rhythm, pairing dense percussion work with a bouncing bassline that locks into a steady groove, while occasional pad accents add flashes of brightness.
On the second half, 'Real' strips things back, centering around a rolling bassline and sparse percussion, with shimmering synth touches guiding the track into deeper territory. 'Everlasting' reintroduces a tougher edge, driven by a hard-hitting kick and a bouncing low end, while eerie synth elements add a darker tone. Closing the EP, Beau Didier, a rising force in the Techno scene and fellow Frenzy collective member, reshapes 'Everlasting' into a smoother, more low-end focused roller. Known for his heavy basslines and powerful rhythms, Didier brings the bassline to the forefront, softens the percussion and introduces vocal chops that expand the atmosphere.
On his debut EP on Regal's Backspin Records, the 8th release of the newborn imprint, Isaiahpresents a focused collection of percussive techno tools built for diverse sets, offering tracks for every moment while maintaining a consistent, groove-driven identity throughout.
