Compiled by Rainer Trüby & Miche, this collection dives deep into the soulful, spiritual, and jazz sound of LA’s Catalyst Records. A PANORAMA special for RSD 2026, The Catalyst Files celebrates the label’s rich history and deep catalog that has been championed by so many DJs including Gilles Peterson and Patrick Forge over the years. Packaged as a 2xLP with gatefold in homage to the original Catalyst releases, liner notes from Andrew Jervis, an insert and an OBI strip. This is an essential for RSD 2026. 2xLP 180g Heavyweight Vinyl, Gatefold Sleeve, Insert, Liner notes from Andrew Jervis.
Selection of IKIGAI Album by Nadia Struiwigh. IKIGAI was born in the quiet space between grief and remembering... Made entirely on hardware, from my living room in Berlin near Hermannplatz (my dad's name is Herman -- the odds), in the months my father passed away. Every sound, every sequence, every texture carries his fingerprint. Not because he made music, but because he made me love gadgets. Circuits, signals, blinking lights. He was the man who opened me up to machines and taught me how, eventually, to listen to them and use them for my craft. The name IKIGAI, a Japanese word for ''reason for being,'' found me when I was at a crossroads. The kind where you ask yourself: Why am I still here? What am I still creating for? What part of me still believes in beauty when everything feels like it's falling apart? These pieces came through slowly, on Japanese gear like Yamaha SEQTRAK, KORG, Roland -- like threads weaving a tapestry I didn't know I was making. Each track is a kind of purge... to him, to myself, to the listeners who find themselves in the in-between. The space where you're not who you were, and not yet who you're becoming. I found myself back into soundscapes and Ambient with a touch of Electronica. I weaved in sounds I captured from daily life, memories -- like the laugh of my sister. I built in silence and let the machines cry for me and let them tell the story I couldn't find the words for. IKIGAI is spacious. It's not trying to impress anyone. It's trying to just be, and hold space for all kinds of emotions. It moves like memory... slow, sacred, shifting. This release needs to be close to home, and will be released on my own imprint Distorted Waves, on the day 11.11 -- which refers to my first album that my dad had hanging up in his shed. For my father. Nadia
If art is to be exhibited, then Ulrika Spacek will ensure that their art is collective; that even as the world becomes inhospitable to community, their intentions are an act of resistance.
Whether it is Oysterland, the self-curated night the band have been Hosting for over ten years to platform artists of other disciplines in live music spaces, or Total Refreshment Centre, the East London studio Syd runs which connects the dots between the jazz scene and like-minded experimental artists of the capital and beyond, or their creative bleed as musicians and producers over the years with the likes of Crack Cloud, caroline, DIIV, Holy Wave and Slowdive, the band’s existence is inseparable from their community.
In a hyper-individual world, the band’s fourth album, ‘EXPO’, offers an antidote. It’s there, in the shared dream logic of the music, the off-kilter melodies, jagged guitars and cirrus cloud atmospherics. It’s there, in all the things that are said and unsaid between them; there in the writing, producing and mixing processes they share in. And even as each of their parts Moves toward a unified vision, it’s never more keenly felt than in the bigger Picture to which Ulrika Spacek belong.
Though their well-established foundations are in the art-rock world - and though they are inspired by electronic elements more than ever - Ulrika Spacek are interested in the glitch that exists between the two. Their Music reckons with human warmth and digital isolation, equal parts welcoming and altogether alienating. “Our music has always been a collage - a bit patchwork, sonically - but what makes this album a landmark for us is that we went one step further and made our own sample bank,” explains singer / guitarist Rhys. They create their own doppelgängers in a world of almostreal, where the band appear as if in a hall of mirrors. Digital drums are sampled layered upon real drums, and the effect is almost like birth in reverse - pulled from the ether and returned back to the tangible world.
“There’s a lot that can be said about writing when there is no aim, there is a freedom and a purity in it which opens a door to more music, and in this case, it set a mood for a new album, one that would be colder, darker and one that would embrace electronics and new instrumentation in a new terrain,” the band share. “The album’s greater theme is isolation and alienation in an online world where it seems everybody around you is constantly exhibiting themselves, living in public wanting to be seen and heard. The age of ‘individuality’ is lonely, it’s a room of concave mirrors, and with this in mind, we set upon making our most collective effort; ‘It’s back to strength in numbers, count in fives.”
For fans of Radiohead, Moin, DIIV, Astrel K, Slowdive.
Sirens" resonate a lot in 2026. "Sirens" are everywhere right now, in the many fields of the human reign, sounding at its highest level ever... Pioneering Swiss DJ and electronic music producer Ripperton joins forces with Berlin-based singer, composer and passionate aural storyteller Joy Frempong (OY) to create a beautiful and deeply moving piece of electronic music. And after three years in the making, “Sirens” finally emerges. The roots of this collaboration however reach back more than a decade. Around 2010, Ripperton first encountered Joy’s first album with Oy after hearing it on Swiss national radio Couleur 3. Shortly after, he saw her playing live — a moment he describes as pure magic. So inspired, Ripperton approached her label with a request to remix her music. The label agreed, and in exchange, Joy promised to feature on one of his future productions. What began as a mutual artistic gesture quietly planted a seed and eventually, pretty much fifteen years later, that seed has fully grown. “Sirens” began as one of Ripperton’s nocturnal modular jams — exploring and playing around with pulsating sequences, pure analogue sound textures and fluid, hypnotic structures. The track was then elevated to an entirely new level by Joy Frempong’s deep, evocative lyrics and her celestial voice, transforming the song into something haunting and profoundly human. The song also grew on a shared work ethos rooted in patience, trust and refinement. A slow process, shaped by intuition and feeling rather than pressure. Listening over noise. The result is an emotionally charged composition that blurs the line between inner reflection and collective awareness — a sonic response to the sirens of our time.
Quotes: Laurent Garnier: “This is lovelyyyyy * “ Aera: “Love it! A brooding masterpiece. Simple yet multilayered, the real action is happening beyond the surface.” Acid Pauli: "This is really special. Like it a lot." Kalabrese: "Wonderful collaboration between two outstanding artists. Fresh sounds, deeper rauschen, beautiful vocals, hypnotic tribe. a bliss!” Vladimir Ivcovic: "Das ist so gut, aufrichtig, rein und kommt zum richtigen Zeitpunkt. Die Abwesenheit von Hysterie. Ich liebe es. Downcast Euphoria of the highest order und gerade. In der Tat wunderschön. Besonders Clouds Mix, gerade."
Big Bombs EP marks the debut release on Bertie Bassett’s self-titled label, introducing a collection of groove-led house cuts rooted in classic influences and underground club culture.
Already gaining global support from DJs like Marco Carola and, Shaka Loves You and featured on Traxsource’s Essential Afro chart.
Across four tracks, Bertie Bassett delivers a mix of DJ-focused tools and edits, blending raw house rhythms, funk-driven elements and stripped-back arrangements designed for dancefloor use.
From the driving energy of Get House and Back To Underground to the reworked grooves of Man In Black (Edit Mix) and Finga Loop (Bertie Bassett Rumba Remix), the EP offers a versatile selection suited to both peak-time and deeper club sets.
With a long-standing background in house music and production, Bertie Bassett brings a seasoned approach to this first release, combining classic influences with a modern underground edge.
As the first release on the label, this EP sets the tone for the project moving forward, offering strong appeal for DJs looking for fresh, playable house cuts with a raw, groove-led feel.
A natural fit for fans of labels such as Razor-N-Tape, Toy Tonics, Bed Edits and Disco Express.
A DJ-friendly and versatile release for stores supporting underground house and edit-driven sounds.
From deep within the astral planes of all that is cosmic in the Northwest and through a fog of kaleidoscopic haze emerges the latest mind-expanding music makers to arrive on Sprechen in the form of the Todmorden based Lines Of Silence.
Living amongst a hotbed of UFO activity and home to the UK's highest ever beach they combine experimental analogue and digital electronics, motorik beats, polyrhythmic improvisation and drone rock guitar explosions to create an immersive, expansive and contemporary take on psychedelia.
Their long player on Sprechen: 'Lines In Opposition !' takes the listener on a visionary aural journey across 8 tracks of electronic, shamanic soundscapes where the sounds of Krautrock exist in harmony alongside drone-esque ambient excursions through an array of synths, guitars & sequenced patterns that draw heavily on the stylings of NEU!, Aphex Twin, Kraftwerk and the musical pickings of the more esoteric sets and radio shows by Andrew Weatherall.
A truly universal listening experience to take you into a higher state of electronic music consciousness...
A reissue of Volumes 1 and 2, originally released on the Rephlex label in 2007. This time, both volumes are brought together in a superb gatefold sleeve 4LP, taking you on a journey through the very best of Andy Jenkinson's work: Cool music, a blend of such quintessentially British culture that swings from gabba to IDM, from rough techno to electro to acid and analogue sounds - all packed into over two hours of madness. Here we go again!
RAWAX welcomes Caruan to the artist family! We are very happy to present you this great artist, who already released on iconinc PERLON. Gaetano delivered here a fantastic mixture of genres. Each track is diffrent and the whole ep tells a story from Minimal to Techno, from House to Jazz and that makes Gaetanos debut for us so special.
All tracks are written and produced by Gaetano Caruana aka Caruan
Piano on "Diaphragm Jazz" by Stefano Onorati , trumpet by Andrea Guzzoletti
Piano on "La Vida Siempre Puede" by Stefano Onorati
Big Sausage is written and produced by Gaetano Caruana and Marzio Aricò.
J-Walk return to BiD with a one off single 'Never Go Home' ahead of an album of new works to be released next year...
Recorded in his Stockport studio & channeling the DIY ethos of his previous BiD release Broken Beauty, 'Never Go Home' is a paeon to the mind-altering oeuvre of late 80's indie psychedelia, influenced by artists such as Spacemen 3, Nick Nicely & The Field Mice.
On the flip 'Dub Never Go' expands the vision with a version that wades deeper into dub territory, spacing out the stems & positioning the song in an abstract format.
This limited-edition vinyl release comes in a homemade sleeve which is stamped, numbered & implanted with J-Walks DIY DNA.
Frappé starts 2026 with a new Various Artist EP and as always with the French imprint, this one is made to shake the dancefloors over the world. Frappé co-founders Basile de Suresnes have invited their House Music cousins from over the Alps Dexter Troy and Mathis Vuillemier to collaborate on this one, along with Lone Dog, one of the label's favorite banger providers. Ranging from deep house, to French House, House and acid house, the 5 tracks will suit all sort of DJs and sets, with the extra Frappé flavor and an exclusive artwork from Ivan Peev.
Shokolokobangoshay was a collaboration between three members of Pogo Ltd. The three of us felt we were crazier than the other members of Pogo Ltd. and decided to work together on the Kosmik 3 album. Robo was worked in the graphics department of NTA Benin. He was an amazing artist, a crazy guy, he was extremely creative, he invented a musical notation language that only he understood. He was amazing, he took me to his place in Asaba and showed me his compositions, he must have had over 500 songs.
Emman Osagie was my floor manager when I was a producer at NTA (Nigerian Television Authority) Benin. We were all on the same wavelength. He was a member of Severe 7, and heavily involved in the Bini music scene working with Ehi Duncan and others. we really enjoyed making Shokolobangoshay, it’s a river of influences, a bit of this, a bit of that, but it is really our thing. The musical ideas we were playing with at the time.
Emmanuel Ogosi. 3rd March 2026.
This record is why I went into reissuing records with Odion. The feeling to sharing records that went under the radar when they were initially released, with a greater audience. Shokolokobangoshay is uniquely Nigerian in a very personal way, it makes references to the societal and political ills that plague us in Africa. It’s title, Shokolokobangoshay, references a play song, kids in Lagos and western Nigerian sing when they play in the streets. Most Nigerians can relate. The music references afro beat, country music, reggae without falling firmly on any side. This is one for the ages. Amazing production, I personally love this record for the free spirit, creativity and excellent song selection. We had to licence it, we just had to. Limited repress only 500 copies.
It is also excellently produced. Big up to all involved, from the Vinyl Rip (James Law, Fidgit Studio, South Africa), to the master production by DJ Simbad (Cape Town, SA) and the cover restoration by Angelo Mitchell (SA). I am so happy to be doing it with the boys in the motherland. Peace and appreciation to all. Special dedication to Mother Tongue for creating a great pressing. Please file under Afro.
Blessings,
F
ourth record already here, new Triptych being scooped out of the drawers. This one is heavily video game inspired and marks a turning point for me. I’ve somehow been very much drawn to what I call “boss fight techno”, this is the result of this cogitation.
Total Debauchery kicks off the record with truculence. The title says it all, we’re very far away from warm up time, all hell let loose, big energy discharge, weird stereo bassline, pure madness. Gate Middletone certainly is wonky. It sounds like an anesthetized telephone call. I don’t know if we can refer to this as techno, but who cares, groove is spotless. Absolute Buffoonery started off as a joke with hoover sounds in mind. Turns out it is very danceable and weird enough to be on the record. It still is a foolery.
The B side starts with Demonic Shine. This one is purely dedicated to zombie games. I’ve been thinking about how techno could be interpreted for this kind of stuff. Turns out you can shoot dead people and dance at the same time. Good time. Zany Ditherings is a hard drive that keeps crashing. It disrupts the track, making it spasmodic. You are in a convulsive loop of data being thrown out the window. dc11 accepted this remix operation. His work acts as counterpoint to the record, bringing flawless techno tunneling. Buckle up mate.
“Ed Spinning” is straight 90’s hip-hop beats, pressed on 7"vinyl.
This project hits like the old party mixes: heavy looping beats, vocals that stick in your head, edits made for DJs back when digital wasn’t a thing (shoutout AV8 series).
For these two new volumes, Ugly Mac Beer is on the boards. Two tracks per side: vocal on the A-side, full instrumental on the B-side, plus drum loops dropping right from the jump. Raw boom bap, lo-fi heat, the way it used to be — for the real heads.
Titles and visuals nod to the BMW E30 and spinning: endless loops, burnouts, tires smoking, just like the beats blazing on the turntables.
“The beat has to follow the movement, never the fashion.”
Wind of Oirat is the full length debut by Mongolian independent musician and sound artist Ts Bayandalai. Following his acclaimed 2020 EP Kimel, he now presents a further matured, composed and refined version of his signature sound, which combines traditional Mongolian music and instruments with influences from experimental music and post-rock. Deeply rooted in the cultural traditions of his homeland, Ts Bayandalai, who grew up in a nomadic family in the Mongolian steppe, explores nature and its myths, his ancestral roots, and the relationship between humans, animals and nature.
Artist Bio:
Ts Bayandalai is a Mongolian independent musician and sound artist. His childhood on the steppes shaped a deep sensitivity to natural and ethnic sound. To create his individual, deeply rooted yet modern soundscape, he combines traditional Mongolian musical elements with post-rock, experimental and electronic music, as well as from outernational music influences.
Born into a nomadic family on the steppes, Ts Bayandalai grew up wandering the vast grasslands with shepherds, absorbing the resonances of the horse fiddle and guitar — experiences that remain a primordial source of inspiration in his work.
Founder of the avantgarde band Horse Radio (2012) and the experimental project December3AM (2015), his compositions navigate cultural memory and contemporary aesthetics, reconstructing pastoral landscapes, temporal layers, and emotional spaces through sound.
His EP Kimel, released in 2020, manifested a delicate sculpting of sound, space, and cultural motifs, presenting a listening experience that is at once primal and modern.
Ts Bayandalai’s performances span China, Mongolia, and major independent music venues and festivals across Asia. His artistic vitality and creative autonomy have earned him critical acclaim and a devoted following in the international folk music and experimental music communities.
The new Etat edition dives deeper into its roots—bringing together global artists under a timeless vision. Dark, hypnotic tones and heavy low-end pressure shape a sound designed for late nights and uncompromising dance floors.
The Belgian dark wave cult heroes The Arch celebrate their 40th anniversary with this self compiled limited double vinyl album, Noisetalgia 1986–2026.
This special release features a curated selection of tracks from the early albums—many of which have never been available on vinyl and have been requested by fans for years. The band is still very active, touring Europe and releasing new music.
Für Kevin Morby ist das ,kleine Weite" der weite Himmel, das einfache Leben, seine Herkunft aus dem Mittleren Westen und alle Pflichten, Bescheidenheit, Vertrautheit und Isolation: das Land, die Menschen und die Teile davon, die in ihm stecken. ,Der Mittlere Westen hat etwas Unbeabsichtigtes Musikalisches an sich: Zikaden, die in den Bäumen zirpen, ein vorbeifahrender Zug, eine Tornadosirene, die losgeht", erklärt Morby. ,Wenn man genau hinhört, gibt es diese fast unheilvollen Geräusche unter dem weiten Himmel - seine Hässlichkeit und seine Schönheit und wie beide oft gleichzeitig zusammenwirken. Und obwohl der Mittlere Westen technisch gesehen keine Ödnis ist, ist er meine Ödnis." Little Wide Open ist der Titel von Kevin Morbys achtem Studioalbum, produziert von Aaron Dessner. Im Sommer 2024 hatte Dessner Morby gebeten, The National bei ihrem Konzert im Londoner Crystal Palace Park zu unterstützen. Kurz darauf wandte sich Dessner, der gerade eine Glückssträhne hatte, nachdem er Alben für Taylor Swift, Ed Sheeran und Gracie Abrams produziert hatte, wandte sich an Morby und teilte ihm mit, dass er gerne sein nächstes Album produzieren würde. Anfang 2025 begannen sie mit den Aufnahmen in Aarons Long Pond Studio in Stuyvesant, New York, und beendeten sie im September desselben Jahres. Das Album, an dem eine Vielzahl von Mitwirkenden wie Dessner, der mehrere Instrumente spielt, Amelia Meath, Andrew Barr, Justin Vernon, Katie Gavin, Lucinda Williams, Meg Duffy und anderen, wurde von Morby als dritter Teil einer Trilogie nach ,Sundowner" (2020) und ,This Is a Photograph" (2022) beschrieben, in denen er seine Zeit im Mittleren Westen nach seiner Rückkehr nach Kansas City dokumentierte. Dieses Mal wertet Dessners Produktion Morbys Aufnahmen auf, ohne dabei den Fokus auf die Songs selbst zu verlieren. Es gibt eine neu gewonnene Zuversicht und Klarheit sowohl in Morbys Songwriting als auch in Dessners Produktion, die an Tom Pettys Klassiker Wildflowers aus dem Jahr 1994 erinnert. Da Morby mittlerweile hauptsächlich in LA lebt, hat sich die Atmosphäre, die Little Wide Open durchzieht, gegenüber seinen Vorgängern etwas verändert. Wie Rachel Kushner in ihrem Begleittext zum Album über Morby schreibt: ,Es geht um Zeit, um das Gefühl, dass er sich von der Nostalgie und dem verlorenen, aber schönen Kampf, an der Vergangenheit festzuhalten, gelöst hat. Er hat akzeptiert, dass die Zeit unaufhörlich fließt und man sie nicht aufhalten kann. Stattdessen hat er das Gefühl, dass er auf ihr reitet. Er ist Passagier der Zeit."
Enrico Fierro, known as Milord, a daytime engineer and researcher of human mind states during dreaming, has collaborated for years with Periodica Records and co-produced projects such as Danger Boys and Space Garage. In “Perfect Crime”, he presents a nostalgic vision of twilight synth-pop, capturing an urban landscape alive at night and in constant motion, blending street soul and echoes of classic house with textured synths, 808 patterns, and subtle new wave influences
Francesco Passantino – Ground EP
With Ground EP, Francesco Passantino returns to essentials.
Five tracks that move through time and matter with natural ease. Ghianda and Terreno K resurface as defining points in his catalog, still carrying their original weight. Orlo reaches back to the late ’90s, channeling a raw, direct tension that reflects an attitude rather than an era.
Ground and Tuffata complete the release with minimal, physical structures: solid kick, subtle internal motion, a restrained palette shaped by live execution. The energy unfolds through repetition and breathes within small variations.
An EP designed for the club, grounded in rhythm and intention.
Rooted. Essential. Direct.
Logistics makes a highly anticipated return after a three-year hiatus, with a whopping 24-track album.
Released across four 12 inch records, housed in spined sleeves, and presented in a premium two-piece lift-off box with scratch resistant matt laminate, matt varnish, and with fully printed packaging throughout. It is a beautiful presentation of this new LP from a Hospital Records legend.
Dropping almost out of the blue, the current reception from fans, artists & industry heads off the back of the 'ambush' announcement has been incredible. The album campaign is illusive, but rewarding to fans who have been waiting so long for brand new music from Logistics, they've now got 24 brand new tracks to get stuck into!
Following the launch of FABRICLIVE’s new chapter with his inaugural artist release ‘Model Collapse’, Sully returns with a heavyweight remix package led by Basic Rhythm, alongside a brand-new track, ‘Proof’.
Originally the first release on the revived FABRICLIVE label, ‘Model Collapse’ set the tone for its forward-facing vision. Here, Basic Rhythm reworks the track into a stripped-back, bassbin-driven weapon - a dubplate turned anthem already making serious impact on the dancefloor.
On the flip, Sully delivers new track ‘Proof’, inspired by conversations with Basic Rhythm around his approach to drums.
Closing the EP is the original ‘Model Collapse’, the club hit that launched the label’s new era and continues to resonate.
Following their recent appearance covering Sylvester and Patrick Cowley's 'I Need Somebody to Love Tonight' on Rocksteady Disco, the enigmatic cosmic pairing of Glenn Echo & Daniel Meinecke channel deep, shimmering disco and nu-disco vibes while calling on ethereal, cosmic textures. The throbbing 'Home Rule' opens with a warm, hypnotic pulse and well-worked vocals that deliver recognisable rhymes, while 'Love Letter' slows down to a heavyweight crawl with warped and twisted pads and plenty of texture. Both tunes here highlight the duo's skill at blending dancefloor immediacy with atmospheric nuance and feel like a journey through mirrored lights and late-night reverie.
We have released two Darrow Fletcher CD on Kent but he has never had a vinyl LP of his own - of any description.
This compilation concentrates on his Chicago years, though it adds a rare demo, ‘Hope For Love’, only previously available on a “Masterpieces” Kent CD. Also, we have included his one-off late-70s version of fellow Chicago-born writers Grey & Hanks’ ‘No Limit’, also originally a “Masterpieces” track and a now-deleted Kent Select 45; these fetch £100+ on some sales lists.
The mid-60s sides speak for themselves. He began his career with the acclaimed soul blast of ‘The Pain Gets A Little Deeper’ (an Elton John favourite of the time!) and followed up with dancefloor classics ‘My Young Misery’, ‘What Good Am I Without You’, ‘Infatuation’ and ‘Gotta Draw The Line’.
As was common in those days, the hip dance sides were coupled with tender ballads such as ‘Sitting There That Night’, ‘Little Girl’ and ‘My Judgement Day’. Those were particularly well received in his Chicago homebase and have been admired by slow-groove scenes like Lowriders in Los Angeles ever since.
Darrow’s late 60s recordings, though recorded in Chicago, were issued on Los Angeles labels controlled by Universal. By 1971 his producer - stepfather Johnnie Haygood - had reverted to using his own Chicago imprint Genna for the last recording.
‘Pavilion 12”s Volume 1’ features four hard to find and sought after Balearic cuts from the Ibiza Balearic explosion of the late 1980s and early 1990s and is pressed on a limited ‘Aquamarine’ coloured vinyl pressing of 600 copies worldwide for Record Store Day 2026
Inspiriert von Vorbildern wie Earth, Wind & Fire, The Bar-Kays und Kool & the Gang erwarb sich die 1975 in Mississippi gegründete Formation Freedom im gesamten Süden einen Ruf als kraftvolle Live-Funk-Band. Die Debütsingle "Can't You See/Sunshine" (1977) klang unglaublich souverän, ausgefeilt, pulsierend und voller Potenzial. "Can't You See" mit seinem modernen Soul-Boogie-Sound und "Sunshine" mit knackigen Bläsern, treibenden Rhythmus und ausgelassener Energie. Tolle Reissue auf Miles Away mit türkisgrünen Labels und originalgetreuem Fotocover.
Conrad Subs continues his run of releases on Metalheadz, this time landing on Metalheadz Platinum for the first time with the 'Cylinder EP'. The Ipswich-based producer has built a reputation through a slew of releases rooted in drum and bass tradition, paired with a sharp, modern edge. His sound draws on the core elements of the genre while maintaining a consistency that now sees him land on Metalheadz vinyl for the first time, with four tracks built to do the heavy lifting.
It’s Girls Night / Long Hair marks a confident next step for the Amsterdam-based, Dutch-Argentinian artist, pushing deeper into darker, more physical territory. Built from warped drum patterns, low-end pressure and distorted, inhuman textures, it leans fully into a percussion-led, club-focused sound.
It’s Girls Night is immediate - fast, raw, and unrelenting.
Long Hair pulls things into a heavier, more ritualistic space - broken rhythms, slower tension, deeper atmosphere.
Shaped by formative nights in places like De School, the EP reflects a direct connection to the dancefloor - where repetition, intensity and immersion take over.
A concise, impactful release and the first in a series with fabric Originals
PSY PSY SIS 'Live Your Life' The Chicago / Detroit Mixes. The remixes are VINYL ONLY and honour the sound of the Cities that started it all.
Ceri and Cici's recent debut as PSY PSY SIS, is the excellent 'Live Your Life' EP...
Hailed by DJ Mag as 'Robust House Rhythms, and with early support from the likes of; Bradley Zero, Ricardo Villalobos, Saoirse, Bashkka, Grace Sands, Panooc, NIKS, KiNK, Jeniffer Loveless and more...
They are now also dropping not one but TWO VINYL ONLY REMIXES from OG Chicago and Detroit legends; Mark Grusane and Gari Romalis Electronix.
Mark comes in with a US and UK garage inspired house rocker that builds tension and is sure to light up any dancefloor. Gari Romalis comes in with a refined house blend with that old school magic Detroit feel.
Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE
LIMITED TO 350 COPIES! 2 x 12" Gold Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.
‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.
The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.
Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.
‘Elevation’ is that record.
Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.
Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.
Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.
William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.
Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And, though he is still alive, he refuses to speak about anything regarding the past.
According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.
Fresh from the success of his debut solo LP ‘How To Kill A Butterfly’ out last year on High Focus Records, Farma G returns with the anticipated full-length follow up ’Nearly Nothing’s Enough’.
An album anchored in his notorious musical adventures as 1/2 of Task Force, Bury Crew and Mud Family, but very much informed by the state of 2026 Britain and beyond, Farma’s new body of work is fuelled by equal parts venom and deep introspection across 12-tracks courtesy of Brighton based producer Relense.
With one eye on following ‘How To Kill A Butterfly’ with something of equal standing, Farma revisited the fundamentals in the hope of better understanding what he really wants to say with the music he makes. By channelling feelings of familiarity and seeking out emotional connections to his past he created a record that feels both concise and expansive.
With the help of Relense’s gritty analog instrumentals, Farma found himself journeying across subjects and bandwidths; from exploring the mind of a conspiracy theorist on ‘X-Files’, to being a zen master with a mountain on his back on ‘Sun Wukong’, before returning to earth for a typical day in the life on ‘Mr Moany’, ‘Nearly Nothing’s Enough’ is an album that took Farma home and he is delighted to welcome you on the journey.
Yes folks, it's time to take it back to the roots...GAMM style.
Our very first release was a beautiful gem from Red Astaire titled 'Follow Me' - a track that defined GAMM's identity and helped pave the way for everything we've achieved since.
Now, 23 years later, GAMM has reached its landmark 200th release.
To celebrate this anniversary and honour our dear friend Fredrik Lager (aka Red Astaire), who sadly and unexpectedly passed away three years ago, we are re-releasing 'Follow Me' alongside remixes from some of our favourite producers. The remixes will be released across three separate 7 inch EPs featuring Soul Supreme, DJ Spinna, Ukokos and Kampinos.
The second instalment of the 'Follow Me' remix / rework series comes from GAMM's finest ghost producers, Ukokus & Kampinos. It doesn't matter who is behind the names; what matters is the quality of the production. The Ukokos version transforms 'Follow Me' into a killer Bruk / UK House monster that is guaranteed to make noise in the clubs, check that mad bass-drop!
On the AA side, Kampinos throws 'Follow Me' into a blender of percussive samba and 90's drum'n'bass rhythms...and it's a beautiful marriage.
On 27 March, fabric Originals presents Shō, a five track EP of introspective, transcendent electronics from Japanese techno icon DJ Nobu. Inspired by the Buddhist Brahmavihāras - joy, compassion, loving-kindness and equanimity - Shō unfolds as a meditative, emotional journey rooted in Nobu’s experiences of Tokyo, mindfulness and inner clarity. From kinetic renewal to serene minimalism, the EP channels presence, acceptance and the simple truth that breathing itself is living.
Each track on ‘Shō’ marks a step in an emotional and spiritual journey, channelling the foundational virtues of the Brahmavihāras, which are the four ‘Sublime States’ of Buddhist practice: ‘Muditā’ (joy), ‘Karuṇā’ (compassion), ‘Mettā’ (loving-kindness), and ‘Upekkhā’ (equanimity). Together these principles form a path towards an open, boundless heart, which is mirrored in the EP’s unfolding sonic narrative.
“In recent years I became overly sensitive to my surroundings and society, finding myself strongly affected by every daily occurrence. It was during this time that I discovered meditation. And beyond that lay Buddhism. Through this, my sensibilities became able to express themselves more naturally. I decided to portray my feelings, and the scenery in Tokyo, conveying what I was experiencing in real-time, as music.
The EP title ‘Shō’ denotes views, thoughts, and actions aligned with Buddhist truth, and encapsulates my striving for presence, clarity, and acceptance. It also represents the conscious, mindful understanding that simply breathing is living.” DJ Nobu
Hiriketiya is a small, enclosed bay on Sri Lanka's southern coast, where jungle leans toward the water and the days unfold without urgency.
Passing through in early 2025 on the way to Europe, Alex Albrecht spent a week here at MOND's artist residency, allowing the rhythms of the place to quietly shape the work that followed.
During the residency, Albrecht recorded and exchanged ideas with Sri Lankan musicians Dhyan Basho on sitar, Dinelka Liyanage on electronics, Uvindu Perera on double bass and Pasindu Herath on saxophone.
Their performances appear throughout the album, sampled and re-contextualised, influencing its melodic language, pacing and emotional tone.
Much of the music was shaped directly by its surroundings. Field recordings were gathered across Hiriketiya, and instruments were played wherever it felt necessary. This included rocks beside the ocean where waves set irregular rhythms, tall grasslands where wind and insects blend into the recordings, and open decks overlooking the sea. 'Round Table' captures this approach most clearly. Recorded while sitting together overlooking the ocean, a large steel table in front of the group gradually became part of the composition, used instinctively as an unplanned percussive element.
Not everything could be captured. Some of the most meaningful moments occurred before recording was possible. Those sounds exist only in memory, and the album is shaped in part by an attempt to hold onto their feelings.
Rather than documenting the residency in a linear way, the album gathers fragments, recordings, electronic sketches and field sounds, assembling them into a continuous listening experience shaped by place and recollection. MOND owners Jess and Renato foster an environment that supports artists without directing them, creating space for focus, trust and connection.
The result is a record shaped by Hiriketiya's enclosed bay, dense vegetation, heat and night air. Music formed through listening, restraint, missed recordings and the sensation of being temporarily held by a place.
