Cerca:my disco

The Golden Age of southern soul lasted from about 1962 to 1975, when disco ripped the heart out of it. And although it may seem as though the blend of country, gospel and R & B that emerged from the great studios in Memphis and Muscle Shoals in that decade was entirely fresh and new, like any other genre classic, southern soul picked up musical cues and absorbed influences from a whole variety of sources: horn lines from Louisiana's swamp pop, lyrical themes from the blues, songs from country music, and of course so, so much from the black churches. Part of the 'History of Soul' series, this LP reveals the musical antecedents that gave southern soul its inspiration. The music here will tell you the real story - and it will knock your socks off too! Notes by John Ridley.

If you could go back in time ten years, what would you want to tell yourself? This was a question Khruangbin posed to themselves when approaching the ten-year anniversary of their debut album, the once cult classic, now genre-defining work The Universe Smiles Upon You. “If we could go back and tell ourselves how much was going to happen to us after that record, what would we want to
celebrate?” asked Laura Lee, bassist, vocalist, and founding member of the band. Instead, they thought: “Let’s do it again.”
The Universe Smiles Upon You ii was recorded on January 4-6, 2025, in the same family barn of guitarist Mark Speer, across the
same dates where TUSUY was first conceived ten years earlier. Though the conditions were the same–dirt floor, brutally cold,
minimal sound isolation, all takes live–the songs aren’t. They’re re-approached, some changed more than others, harnessing the lightning-in-a-bottle energy of TUSUY while discovering what would be unique this time around, in this stage of the band’s life.
The result moves like ripples on the water across ten hypnotizing tracks, the barn creating a sense of spaciousness, serenity and creative freedom, nearby wildlife (listen out for the birds on “August Twelve ii”), rattles and creaks of the barn and all. It’s a tapestry of small movements in nuanced arrangements, slowly revealing the new life, stories and character of someone you’ve met again for the first time in ten years.

Über die Jahre hat Numero eine Menge Aufnahmen aus den Tiefen Detroits ausgegraben. Aus allen möglichen Mini-Motowns haben wir Soul, R&B, Funk, Disco, Boogie und aufgrund der Nähe auch Gospel entdeckt. Frühere Untersuchungen der Labels Revival und Big Mack brachten mehr als nur ein paar neue apokryphe Hymnen zutage, und Great Lakes Gospel Vol. 2 versammelt ein Dutzend interessanter Kirchengruppen, die sich hingebungsvoll an die Ausläufer des Genres heranwagen. Verlier dich in ekstatischem Chor-Funk, Kanzel-Rap, direkt eingespeisten Gitarrensoli und dem Heiligen Geist, sollte er dich bewegen. Schau dich im Raum um. Mit diesem Ding könntest du eine Kirche gründen.

Over the decades, Numero has excavated a metric ton of recordings from the depths of Detroit. From all manner of mini Motowns we’ve uncovered soul, R&B, funk, disco, boogie, and by nature of proximity—gospel. Previous examinations of the Revival and Big Mack la- bels turned up more than a few new apocryphal hymns, and Great Lakes Gospel Vol. 2 compiles a dozen curious church groups devotionally reaching towards the genre’s frayed edge. Get lost in ecstatic choir funk, pulpit rappin’, direct-injection guitar solos, and the holy spirit, should it move you. Look around the room. You could start a church with this thing.

Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.

Kiva, the first and only album from Royce Doherty and Paul Mac’s duo project of the same name, is a sparkling gem hiding in plain sight within the Australian musical canon. Originally released in 1997 by id/Mercury, Kiva offers up a collection of timeless queer pop songs draped in dreamy ambient, downbeat and dub sensibilities. The music is the product of a serendipitous meeting of minds between two young music obsessives who crossed paths in Melbourne in mid ‘90s. It’s also a perfect evocation of the futuristic techno-utopian impulses that supercharged the global electronica counterculture during the race towards the 21st century. “I never had these big diva plans or anything like that,” Royce reflects. “It just sort of evolved that way.”

Nearly three decades after the fact, Royce and Paul remember Kiva as a golden moment of creative synergy. “When I listen back to this album now, it’s got such a vibe and feel that’s really its own,” Paul enthused. “There's so much of our version of dub on this record. It’s beautiful hearing Royce's core song ideas stretched out to eight minutes of trippy, acid kind of moments set over slow breakbeats and stuff. It felt so fresh being able to have this elastic sound, pull songs apart and stretch them into space.”

Originally released in 1997, this CD has been gracing select chill-out rooms, and queer afters-sessions ever since. With a loving remaster by Mikey Young, this infrequent discogs pop-up is now yours to own on vinyl for eternity (born). This is a Vinyl Only Release

SAMOH unleashes his new dancefloor weapon, four-track EP ‘Changing Worlds’, out on February 26th, as his debut on Charlotte de Witte’s prestigious KNTXT imprint.

Charlotte de Witte: ‘I have been playing SAMOH’s tracks for quite some time now and I am very happy to welcome him to KNTXT. His acid, techno and trance driven approach to music fits my lane perfectly. There is an energy in his work that feels raw, focused and completely unapologetic. This release in particular has that acidic drive that I love so much. This is powerful club material and I cannot wait to see where it will go.’

Rotterdam’s producer, DJ & live artist SAMOH responds, ‘Releasing this as my first record on KNTXT is an amazing opportunity, and I feel honoured to be able to share my music with so many people and let this sound travel further worldwide.’

‘Changing Worlds’ EP: from the title track’s rampant beat, rattling drums, acid-saturated main theme with euphoric edge, and portentous vocal (‘reality peels away...’) to ‘We Are All Waveforms’ with its psytrancey, insanely acidic builds to banshee pitch over shutter & hiss FX at which point you are indeed ‘entering a non-linear dimension’, you are then a willing victim for ‘Reality Is Gone’ to hammer-drill into the brain and take command of your feet. Final piece ‘Echoes Of Tomorrow’ starts with dystopian chattering percussion and spacey FX, before luring you into a healing euphoric dreamstate with moonstruck, melodic trancey sweetly soaring singing.

’Changing Worlds’ represents my approach to acid techno/trance in its most direct and energetic form.’ SAMOH says.‘I made this EP with three high energy tracks, followed by a more atmospheric closing piece that brings everything together. It’s about a driving motion and intensity, creating moments where dancers can disconnect from everything else and fully give themselves to the music.’

You have been warned. You may as well succumb to acid as voracious as Venusian cloudforms, techno beats galloping over your inhibitions, and trance as bewitching as absinthe for the ears. You’ll be glad you did.

West Hill Studio is the place where the sound that has defined all the productions and artistic projects connected to the Periodica Records label was developed.
 Located in the hills of Naples, it’s a private recording studio immersed in a small woodland and isolated from the city. A small wooden lodge and vintage equipment made it possible to create and convey, through music and ideas, a precise musical aesthetic that transcends contemporaneity and current trends.
The catalogue is personally curated by Mystic Jungle – born Dario Di Pace – music and executive producer and founder of both Periodica and Futuribile, released exclusively on vinyl and in limited editions. Well known for a distinctive sound that has unpredictably ranged from mutant-disco to soft-rock and reggae-inflected explorations for over a decade, he now presents two new electronic funk/rock tracks in collaboration with Serbian guitarist Igor Sekulovič. A pair of deliberately raw cuts, with the B-side conceived as an homage to a seminal 1985 digital reggae riddim built from a preset on the Casiotone MT-40

4XLP box set, 4 Coloured discs: translucent violet, ice, blue, and orange vinyl

Hardcover slipcase box
Celebrate twenty-five years of Ape Escape and thirty years of PlayStation with Ape Escape 3 Originape Soundtracks in a Box!

Ｓａｒｕ　Ｇｅｔ　Ｙｏｕ　３

As with the Ape Escape Originape Soundtrack, composer Soichi Terada has meticulously re-recorded and reconstructed all tracks from the Ape Escape 3 Original soundtrack. Previously only available on CD, this is the complete soundtrack's first time on vinyl. This box set was produced in partnership with Mr. Terada and Far East Recording, and is an officially licensed Sony Interactive Entertainment product.

This release contains eighty tracks, spanning four individually sleeved records, housed in a hardcover box. It is similar in construction to the Ape Escape Originape Soundtracks in a Box release (2024), and the two will look quite nicely next to one another on your shelf!

We are happy to announce that this box set features a definitive edition of the Ape Escape 3 Originape tracklist. This also includes "Swanlake," a track previously unavailable on the CD release. At its core, the Ape Escape 3 soundtrack features much of Soichi Terada's signature sound: lush electronic, jungle, silky smooth synthesizer, humor, and charm.

Ape Escape 3 was originally released in 2005 (Japan), and its moviemaking pipos were unleashed across the rest of the globe in 2006. The game features two new protagonists (Kei and Yumi) who battle the Freaky Monkey Five, underlings of the nefarious Dr. Tomoki and the evil monkey Specter.

Complimenting the game's journey through the TV-verse, the Ape Escape 3 soundtrack also features twists on themes from Wild West Showdowns, Kung-Fu movies, and space operas. Fans of the Ape Escape Originape Soundtrack, as well as newer work like Asakusa Light, will certainly enjoy all elements of Soichi Terada's music present in Ape Escape 3.

The music on this box set was mastered by Justin Perkins of Mystery Room Mastering, who also mastered the original Ape Escape Originape Soundtracks box set (2024). Using Mr. Terada's premastered source files, the music was completely and specifically mastered for vinyl. The box set also features original Ape Escape 3 character renders and key art. All of the design elements have been put together with careful thought, referencing the original Japanese guidebook for inspiration and visual cohesiveness.

It is with great pleasure that we celebrate Soichi Terada's music and the Ape Escape franchise with this four-disc release!

Original key art and renders from the サルゲッチュ team


Officially licensed © Sony Interactive Entertainment
©2025 Sony Interactive Entertainment Inc. “PlayStation”, ”プレイステーション”, “Ape Escape” and ”サルゲッチュ” are registered trademarks of Sony Interactive Entertainment Inc.

2026 Repress


Another Thought was the first collection of Arthur Russell’s music to be released after his death in 1992. Released in 1993 on Point Music it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With revisits this first compilation for a new gatefold double vinyl version and a triple-fold digipak CD reissue.

Both versions of Be With’s 2021 reissue of Another Thought have been mastered by Simon Francis and the vinyl cut by Pete Norman. The original artwork has been restored and tweaked at Be With HQ for the gatefold sleeve and the triple-fold digipak, with the essential help of Janette Beckman. Each version comes with an insert reproducing the liner notes and lyrics from the original CD release.

Together with Calling Out Of Context, Soul Jazz’s World of Arthur Russell, and much of the ongoing work of Audika, Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact we’d argue it’s essential for any fan of non-obvious pop music. This is the only place where you can hear some of Arthur’s most recognisable tunes and it’s an album that absolutely deserves to be kept in press.


We’ll assume that by now you’re all at least a little familiar with the story of Arthur Russell, the farm boy from Iowa who moved to 1970s New York. Arthur Russell the genuine musical genius who died just 40 years old, leaving behind a wealth of music that dwarfed the few 12"s and LPs that were released during his short life.

Although Arthur had been working on an album for Rough Trade during his last years, with the label no-longer operating it was Point Music (Philip Glass and Michael Riesman’s label set up together with Philips) who stepped in to help Arthur’s partner Tom Lee start working out exactly what Arthur had left behind.

Tom suggested that Arthur’s friend Mikel Rouse was the right person to make the first catalogue. Working in Tom and Arthur’s apartment he had only two weeks to go through what turned out to be around 800 tapes.

As Tom explained “at the end of each day he would generally wait for me to come home and I would, to the best of my knowledge, name and identify pieces in question from that day’s work. As he worked Mikel compiled about a dozen cassettes that he thought would present the most finished sounding songs for Don/Point to use. As Don listened he would then suggest and ask me and thus we collaborated on the choices.”

Don is Don Christensen, Another Thought’s producer. With a final selection of songs from recordings made between 1982 and 1990, including sessions with some of Arthur’s regular collaborators Peter Zummo, Steven Hall, Mustafa Ahmed, Elodie Lauten, Julius Eastman, Jennifer Warnes and Joyce Bowden, it was then Don’s job to turn these into a finished album.

Another Thought is a little different from the compilations of Arthur’s music that came out since. In our conversations with Steve Knutson (who founded Audika Records and who manages Arthur’s estate together with Tom), he explained that “more than any project released by Arthur during his lifetime or posthumously by Audika, ‘Another Thought’ is the most worked over. The material was significantly edited and rearranged from the original source tapes”.

If the aim was to release a comprehensive exploration of every facet of Arthur’s music, from the most avant-garde of his avant-garde compositions through to the most disco-not-disco of his disco-not-disco tunes then the project was a spectacular failure. But as a coherent album of non-obvious pop music Another Thought is wonderful.

Starting with the sparse voice-and-cello of the title track, A Little Lost adds some guitar along with the sneaking suspicion that we’re listening to something nowhere near as simple as it first sounds. By the time we get to This Is How We Walk On The Moon - it could be the moment you notice the congas, or the percussion that’s been building behind them, or maybe it’s that blast of trumpet and trombone - we realise we’ve gone from splashing around to being completely submerged in the musical world of Arthur Russell.

From here the album heads off on its journey around the sounds of the left-field contemporary classical music of the time, re-directed towards pop ears, with minor detours through the swirling woozy disco of the half-remembered night before on In The Light Of The Miracle and My Tiger, My Timing. Whether it’s just Arthur, his cello and some bleeps on Just A Blip, or whether he has some vocal help as he does on the bounding Keeping Up, this is difficult music made so, so easy. And through it all is Arthur’s voice and cello. Sometimes drowned in distortion and sometimes clear as a bell, but always there somewhere.

A Sudden Chill finally returns us to the calmer waters we started in and this last track closes the album with a melancholy that’s not surprising given how soon after Arthur’s death the album was put together.

Whilst Another Thought holds together with the consistency of a proper album, there’s still no getting away from the fact that this was put together from audio recorded in different ways, in different places, with different people at different times. Those with keen ears will hear traces of tape hiss, the occasional blown-out note and some digital fuzz, all fingerprints of those original recordings as well as of the 1990s digital equipment that was used to piece Another Thought together.

Add to this Arthur’s obvious pleasure in making music from the sort of sounds that can make microphones, speakers and ears uncomfortable, it’s no surprise that Another Thought isn’t glossy and pristine. Don Christensen’s productions have been careful to not scrub up those original recordings so much that they lose their original vibe, understandable given that Arthur wasn’t around as a guide. We’ve applied a similarly light touch with the mastering for these Be With versions, just working to make sure they sound like they should on both the vinyl and the CD.

Despite the Discogs rumours, Another Thought was never originally released as an LP. So when it came to the sleeve for this Be With vinyl version we took the original CD artwork as a starting point to come up with something that looks like it could have been in the record racks back in 1993.

We have to thank Janette Beckman for helping us reproduce her iconic photograph of Arthur in his newspaper boat hat. One of many photographs she took of Arthur, Janette shot this in her New York studio back in 1986 for a short article in the January ’87 issue of The Face Magazine. Those with eagle-eyes will notice we’ve used an ever-so-slightly different shot from the one that appeared in The Face and then again on the original cover of Another Thought. The original has long since been lost so we’ve worked with what is left in Janette’s archives. And we also have to thank Tom Lee for giving us permission to reproduce his liner notes from the original CD booklet, together with Arthur’s lyrics.

Global music superstar Jade announces the deluxe edition of her debut album, 'THAT'S SHOWBIZ BABY! THE ENCORE'.

The deluxe album features 8 new songs including the powerful single 'Church', the generational anthem 'This Is What We Dance For' and JADE's highly praised cover of the Madonna classic 'Frozen'. The Encore, also includes previously released singles ‘Angel Of My Dreams’, ‘Fantasy’, ‘FUFN (Fuck You For Now)’, ‘IT girl' and ‘Midnight Cowboy’.

This is the grand finale of the THAT'S SHOWBIZ BABY! era!

"Lost Tracks: Accra To Addis" wurde von Afrocat zusammengestellt, seit 25 Jahren als DJ, Musik-/Kulturkuratorin, Radiomoderatorin der "Blaxploitation Lounge" (Totally Radio) und Abenteurerin tätig ist. Sie reiste nach Ghana und Äthiopien, um die Vielfalt der Vintage-Sounds zu erkunden und den Geist der ersten Revolutionsära Afrikas wiederzubeleben, in der Unabhängigkeit, Fortschritt und die Gleichstellung aller Menschen im Vordergrund standen – in diesem mitreißenden, funkigen und tiefgründigen Soundtrack, geprägt von Ethio-Jazz, Highlife, Gospel, afrikanische Polyrhythmen und psychedelischen Klängen. Aus der Idee eines Samplers entstand schließlich ein eigenes Plattenlabel: Lost Tracks Records ist unter Vertrag und hat einige fantastische Releases, internationale Live & Club-Events sowie Kollaborationen in petto. Als eine der wenigen schwarzen, weiblichen Labelinhaberinnen der Branche ist dies eine Stimme, die gehört werden muss. Freut euch auf die Entdeckung internationaler Disco-Klänge, Deep Funk, Blaxploitation, Dancefloor-Jazz und intergalaktische, afro-futuristische Klangabenteuer!

On and on, the beat goes on. Sound System culture plays a huge part in the history of House music, shaping Mysticisms, its founders and the music it brings into the spotlight. Continuing the dive into that history, in all its forms and permutations, Tranquil Elephantizer’s 1995 classic Zombie Dawn is reissued here in its original form.

A name that has been getting noticed on recent releases for the likes of legendary San Francisco collective Wicked Records and Manchester’s cult Red Laser label, the project has, in fact, been around for several decades.

Morphing out of the late 80s Acid House revolution, members Alexis Worrall, brothers Caspar and Darius Kedros and focal point, David Jenkins aka DJ Shakra came together in the South London melting pot of free parties and DIY anything is possible ethos.

Born of a collaboration between the short-lived Camberwell Butterflies project – featuring Alexis Worrall and DJ Shakra amongst others – and the Kedros’ bothers downtempo/trip hop forbears Slowly. With a shared label, on the ground-breaking Chill Out Records, and Thursday late-night encounters at London’s legendary Megatripolis club, they decided to pool studio resources and Tranquil Elephantizer was born.

Mixing lo-fi 808 heavy analog jams of the Butterflies, with the studio sophistication from the Slowly crew, sparked something new and Zombie Dawn was the first result. Local producer Crispin J Glover dropped by the studio, riding high with his Caucasian Boy project’s hypnotic Northern Lights (featuring DJ Shakra on Roland 303) – recently out on Strictly Rhythm – he offered to remix both Zombie Dawn and the Slowly album cut No Slo Dub for release on his own Matrix label and an underground hit on the London and West Coast 90s party scene was born.

Coming in the original “Saxmental Mix”, alongside Glover’s storming “Nu Dawn Club Mix” Zombie Dawn was a correlation of the past, present and future in one record. The history of British House can be heard in the bumpin’ nature of the beats, the sharp hats encompassed around dub overtones that give it added warmth. The slightly quirky, left field touches of the tracks, set against the then weekly overload of sharp US imports, brought the mix of influences from the Tonka and Sugarlump Sound Systems they had partied and been involved with, on to vinyl, adding touches of jazz keys and disco’s heritage for good measure.

A bedfellow for the emerging UK House sound coming on the likes of Luxury Service (Rob Mello / Zaki Dee), Other (A Man Called Adam / DJ D) and Nuphonic (Faze Action / Idjut Boys), that shaped and defined London clubs and far beyond. Some 30 years later, with a new album on the way, here is debut Tranquil Elephantizer’s release, remastered especially for this reissue, ready to bring that optimistic thinking back.

Tranquil the Mystery.

“Mi Manifesto” = “I just show up”. No warning.

MI MANIFESTO is an album slow-cooked—actually, really slow-cooked—pretty much over a match flame. It’s a little peek into my everyday life. If you stumble into it, you might bolt… or sit down, watch it unfold, and let this train hit you head-on. It’s not an album for everyone—only for those who walked in, got it, and decided to stay.

Pressed on a brilliant acid-yellow 12”, this special release is packed with surprises:
Each copy includes a custom insert by Pan Dan featuring the album’s lyrics. Inside every package, you’ll also find a personalized surprise gift — a small creative token straight from Pan Dan’s imagination. It might be playful, poetic, unexpected… or all of these at once. In any case, it will always be yours alone.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

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

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

21 songs are barely enough to show the "Many Faces of Memphis Electronic"! From less than a minute twisted psych pop and heartbreaking ballads to two minutes something fuzzy rockers, electronic r'n'r and sexy glam, you'll find all you need and much more in this incredible album! It takes at least 21 songs - and 30 Polaroids on the cover! - to show the "Many Faces of Memphis Electronic"! On the XYZ, Dum Dum Boys and NON! guitar player third solo album, entirely home recorded, you will find plenty of fuzzy bangers, trashy rockers, electronic r'n'r, lo fi disköpunk, sexy glam, twisted psych pop and heartbreaking ballads, 21 different faces on just 2 album sides! With the help of 60s fuzz pedals, analog synths, a wild organ, an out-of-space Theremin, raw drum machines and tons of delay, reverb and strange noises, all used to maximize the minimalism of the tracks, Memphis Electronic manages to create an orgy of arousing sounds, an overdose of aural pleasure, an irresistible avalanche of exciting songs, all ranging from 49 seconds snapshots to 2 minutes something instant classics!

Repress!

With the fourth Realm Of Consciousness compilation, Tale Of Us shine a light on the artists whose work has shaped their sets in recent times. The sound encompasses everything Afterlife represents: introspective electronica, euphoric peak-time cuts and more subtle rollers.

White Elephant announce their debut album “World Elephant Day”, the sound of time, trust and total freedom.

A project forged over ten years in Crazy P’s Nottingham studio, blending dancefloor DNA with intimate musicianship.

White Elephant began as a no-agenda weekend in Crazy P’s Nottingham studio, where Chris “Hot Toddy” Todd, Jim “Ron Basejam” Baron and Ben “BJ” Smith discovered an effortless musical union. Over the next decade, their collaboration slowly evolved into a debut album shaped by warmth, trust and lived experience rather than deadlines. Blending Crazy P’s dancefloor DNA with tender musicianship, the record moves between glowing disco grooves, 80s-bright sparkling pulses and intimate acoustic moments. It’s reflective without being nostalgic, playful yet deeply human. White Elephant is three friends rediscovering the joy of making music simply because it feels good.