quête:n tracks

Legendary Nature Boy returns with six slammin disco-inspired club bombs. Tracks were derived from original floppies from the early 90's. The time when Milo produced and released classics like Ruff Disco Volume One and Necessary Ruffness Volumes 1 and 2!

Fresh off the momentum of his City Smile EP, Aleqs Notal wastes no time unleashing his next seismic release, Pain ofTruth, as a bold statement of his unstoppable creativity.The release delivers four distinctive tracks, unified by a shared identity yet offering unique perspectives through adynamic interplay of melodies and rhythms, allowing for endless interpretation and total emotional liberation.The central theme is "Self-acceptance"—a journey only unlocked by surrendering to the sound and letting go. Can youfeel it now?

For his third long-player under the Phi-Psonics banner, Ford-Young marshalled a series of live recordings at the Healing Force Of The Universe record store in Pasadena, sculpting fourteen tracks, largely composed in the moment with a fluctuating cast of players, which wonderfully transmit his ideals of community and inner peace. Called "Expanding To One", it features exquisitely calming yet searching pieces like "There"s Still Hope", where Seth"s softly undulating bassline underpins beatific explorations from core Phi-Psonics members, Sylvain Carton and Randal Fisher (both on saxophone), and Josh Collazo (drums), alongside guests Zach Tenorio (Wurlitzer piano) and Mathias Künzli (percussion). Equally sublime, "Healing Time" ripples like a mountain stream, with Ford-Young, Carton, Fisher and Tenorio joined by Minta Spencer (harp), Dylan Day (guitar) and, on drums/percussion, Jay Bellerose, a revered LA stickman most recently under the spotlight in Jeff Parker ETA IVtet.

After leading the cult performance art collective Lazarus Kane, Ben Hambro took a more introspective, lyrically driven approach with Vegas Water Taxi. Their debut album, Things Are Gonna Be Alright, was self-released in November 2023a beautiful yet jarring collection of songs capturing the chaos and contradictions of your twenties. Now, the album is getting reissued, along with its first-ever vinyl release via PNKSLM Recordings (ShitKid, Clutter, Chemtrails), featuring four exclusive bonus tracks recorded live at The Windmill. Hambro, who's also collaborated with artists such as Katy J Pearson, continues to craft music that resonates and surprises. RIYL: Stephen Malkmus, Townes Van Zandt, Courtney Barnett

Next up on ITWS we have a mainstay in the underground scene and longtime friend Ilario Liburni , 2 tried & tested original tracks and 2 remixes by our In Haus Wizzard and label co-owner TIJN, LTD PRESS

First solo release from the label owner Viels that delivers four hypnotic, peaktime and raw techno tracks describing his style with accurate textures and the presence of unmistakable mental sounds.

Repress of 2018’s classic compilation from Brownswood.

A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Looking at the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the crossover between each of the groups speaks to the close-knit circles which make up the scene.

Surveying the way that London’s jazz-influenced music had spread outside of its usual spaces in recent years, this album bottles up some of the vital ideas emanating from that burgeoning movement. Giving a platform to a scene where mutual cooperation and a DIY spirit are second-nature, it’s a window into the wide-eyed future of London’s musical underground.

Ubiquitous, much-lauded saxophonist Shabaka Hutchings is the project’s musical director. His own recent projects span from South Africa-connected, spiritually-minded jazz players Shabaka and the Ancestors to Sons of Kemet, who match diasporically-connected compositions with viscerally-direct live shows. His entry on the album, ‘Black Skin, Black Masks’, is typically difficult-to-define: with an off-kilter, shifting rhythmic backbone, repeated phrases – mirrored between clarinet and bass clarinet – shape the track with an alluring hue. His input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record.

Theon Cross – who’s also part of Sons of Kemet with Hutchings – starts his track, ‘Brockley’, with the solo, distinctive low rumble of his tuba. Winding and mesmeric, it sees tuba and sax lines winding together in rhythmic and melodic parallels. Ezra Collective – whose drummer and bandleader Femi Koleoso has toured with Pharaohe Monch – run a tight, Afrobeat-tipped rhythm on ‘Pure Shade’, with the final third changing gear into a melodic, momentous closing stretch.

Joe Armon-Jones, whose ludicrous chops on the piano have seen him touring with the likes of Ata Kak, showcases earworm-like, insistent motifs on ‘Go See’, balanced with a playful, improvisatory approach with room for ad-libbing and solos a-plenty. Taking a softer tact than many of the other entries, Kokoroko – whose guitarist Oscar Jerome has been making waves with his solo material – spin a lyrical, steady-paced meditation on ‘Abusey Junction’, matching chanted vocals with gently-played guitar.

Nodding to spiritual jazz influences, Maisha’s ‘Inside The Acorn’ is a wandering, explorative rumination, balancing delicate washes of piano and percussion with sharp interplay between flute and bass clarinet. In contrast, Nubya Garcia’s ‘Once’ is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. And finally, Triforce’s ‘Walls’ is a performance in two parts: starting with Mansur Brown’s languorous, lyrical guitar, the second half switches up to a low-slung, g-funk-tipped groove.

Released in 2015, Adventure is the debut studio album by French electronic music producer Madeon. Fusing electro-pop, house, and synth-pop, the album showcases Madeon’s signature polished production and vibrant soundscapes. Featuring guest vocals from artists like Passion Pit, Dan Smith of Bastille, and Kyan, Adventure blends infectious melodies with emotional depth. Standout tracks like ""Imperium"", ""You’re On"", ""Pay No Mind"" & ""Home"" highlight Madeon’s talent for combining electronic precision with pop sensibility. Critically acclaimed and commercially successful, Adventure solidified Madeon as a leading force in modern electronic music. Its cohesive flow, creative production, and emotive energy make it a defining release of 2010s EDM and synth-pop. A must-listen for fans of genre-blending electronic music with a cinematic touch. Adventure is available as 10th anniversary edition of 1500 individually numbered copies on blue coloured vinyl.

"Ultravisitor" ist seit seinem Release im März 2004 zum Fanliebling und einem der beliebtesten Platten in Squarepushers gesamter Diskographie avanciert. Mit seiner einzigartigen Mischung aus Studio- und Live-Aufnahmen ist es gleichzeitig ein hervorragendes Beispiel für die Vielfalt seiner Musik: vom frenetischen Titeltrack über den funky Jazz von "Iambic 9 Poetry" bis zur sonnendurchfluteten Glückseligkeit von "Tommib Help Buss" und darüber hinaus.

Zum 20. Jubiläum präsentiert Warp eine erweiterte Deluxe-Version in einmaliger, limitierter Auflage, die von Jason Mitchell (Loud Mastering) unter der Ägide von Tom Jenkinson sorgfältig von den Originalbändern remastert. Tom hat die Gelegenheit genossen, die Bänder noch einmal zu überarbeiten und den Stücken neue Dynamik und Details zu verleihen.

Das beigefügte Bonusalbum "Venus No.17 Maximised" besteht aus ultra-raren Tracks einer Ultravisitor-Promo-EP, der "Square Window" 3"-CD (die bei Vorbestellungen über WarpMart gratis mitgeliefert wurde) sowie der "Venus No.17" EP (alle aus 2004). Das beiliegende Booklet enthält seltene Fotos, Flyer und Aufnahmedokumenten, darunter einer Anleitung zu allen Geräten, die Squarepusher damals verwendete.

As we saw with their debut release "Breukelen Story", Masta Ace & Marco Polo once again drop a deluxe edition of their sophomore LP "Richmond Hill". This new version includes 4 bonus tracks not previously available on the album—three remixes (one featuring Talib Kweli) and one brand new song from Ace & Marco.

"Richmond Hill", the highly anticipated follow up to Masta Ace and Marco Polo's "Breukelen Story", is inspired by Marco's childhood in the titular neighborhood, a small town in Ontario, just outside of Toronto. Between interstitials about Marco's passion for hip-hop and cartoons, his struggle with addiction, and the support of his parents, Marco Polo and Masta Ace tackle the issues of the day head-on with clarity, the rapper using his decades-worth of rapping experience to slice through the producer's warm soul samples and crisp percussion. A cinematic journey that explores how the past echoes through the present, the album welcomes guest appearances from notable names from all eras of rap history, including Inspectah Deck, Coast Contra, Blu, Che Noir, Speech of Arrested Development, Masta Ace's longtime collaborators Stricklin and Wordsworth, and many more.



















s Below The Clouds [Remix] (feat. Talib Kweli)

[u] Get Shot [Marco Polo Remix]
[v] Below The Clouds [Roselle Remix] (feat. Blu)



















[s] Below The Clouds [Remix] (feat. Talib Kweli)

[u] Get Shot [Marco Polo Remix]
[v] Below The Clouds [Roselle Remix] (feat. Blu)

Following the release of Drop Nineteens' first album in 30 years, Hard Light and the reissue of their 1992 shoegaze masterwork Delaware, we are excited to announce the official release of Drop Nineteens' 1991. This LP comprises the band's first two demo sessions which were mailed out via cassette to labels in 1991 finding their way to the UK music press and generating instant buzz and an ensuing feeding frenzy to sign the band. After signing with Caroline Records Drop Nineteens decided to write an entirely new record, Delaware, for their first official release, leaving the songs on 1991 behind, frozen in time. Swells of layered guitars and buried vocal harmonies adom these tracks, displaying Drop Nineteens when the comparison to their UK contemporaries like Slowdive and Ride were apt. 1991'S songs, recorded with a low fi charm, show an ambitious young band capable of writing songs filled with texture and hooks, on the eve of their breakthrough with Delaware.

180g schwarzes Vinyl

Das 2007er Album der beiden Gitarristen und Sänger erscheint hiermit erstmalig auf Vinyl

Mit Gary Clark Jr, James Cotton, Delbert McClinton, Kim Wilson und Lou Ann Barton

12 Tracks von Jimmy Reed, oder von ihm inspiriert

Jimmie Vaughan ist der ältere Bruder von Stevie Ray Vaughan

Auf 'Phantom Island', dem Begleitalbum zum Album 'Flight B741' von 2024, das während der gleichen Sessions aufgenommen wurde, erweitern King Gizzard ihren Sound um ein komplettes Orchester auf den 10 Tracks! Dieses Album wird von einer Welttournee von Mai bis August 2025 begleitet! King Gizzard kombinieren ihre unverkennbare Psych-Rock-Energie mit mitreißenden Orchesterarrangements und nehmen den Hörer mit auf eine psychologische Reise in die Psyche, die ihre eigene 'Phantom-Insel' aus Illusionen, Ängsten und Chaos erschafft.

The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.

Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon. - Turner Williams Jr.

"Los Angeles-born music producer, artist, and DJ DF Tram is thrilled to announce the release of his highly anticipated new album, Bittersweet Afternoon on Orbscure Records. Orbscure Records, founded by Alex Paterson of the legendary electronic act The Orb, continues its tradition of championing innovative and boundary-pushing artists with this remarkable release. About DF Tram DF Tram is a leading figure in the global downtempo electronic scene, celebrated for his meticulously crafted audio-visual performances and immersive storytelling through sound. His work seamlessly blends ambient, sampling, spoken word, vocals, and psychedelia into genre-defying sonic journeys, offering listeners a unique and transformative experience. Bittersweet Afternoon Written and recorded between DF Tram’s Zagreb and Vienna studios during the pandemic and finished last year. Bittersweet Afternoon represents the next chapter in his storied career. The album surprises listeners with his vocals, bittersweet lullabies, and signature collage and spoken word style. Featuring atmospheric soundscapes and cinematic influences, the project reflects the spirit and playfulness of Alex Paterson and Orbscure’s commitment to fostering experimental, forward-thinking music. Adding to the album’s rich tapestry are collaborations with Alex Paterson himself on two tracks, as well as contributions from multi-talented contemporary classical violinist Violeta Vicci on another pair of songs. The first single and video, "The Librarian," offers an immersive glimpse into the world of DF Tram and “Bittersweet Afternoon”. Available on a limited edition transparent blue vinyl, card gatefold CD.

The songwriter Joseph Allred is always prolific, but breaks up their string of solo releases for one of the most orchestrated offerings since the excellent Branches And Trees. Allred’s often monastic guitar works are fleshed out here on Old Time Fantasias, turning them towards ensemble visions of country, Americana, and Appalachia. Album opener, “The Groundhog,” features the distinctive piano of Hans Chew, with bass from Daniel Kimbro and brass from Mikey Allred. Elsewhere the new album features Kelby Clark, Courtney Werner (Magic Tuber String Band), Evan Morgan (Magic Tuber String Band), Lydian Bramblia, and Jack Bird in the mix. “I started recording this album in Spring ‘23, thinking I might be making a mostly solo acoustic album with a couple of duets thrown in for good measure. I met Hans Chew at a Nashville show a few months earlier and sent him a few tracks to see if he wanted to add anything to them. Before long the ‘solo acoustic album’ had given way to what’s probably the most involved and densely orchestrated album I’ve made to date. “I enjoyed following some threads of influence that aren’t as easily discernible in my solo playing—I hear some classic country and psychedelic flourishes, baroque pop glockenspiel and horns, percussion ideas that may be cribbed from Danny Elfman and Tom Waits albums, nods to post-rock-filtered western guitar twang, and a little Cocteau Twins dreaminess. “All in all this was a satisfying record to make. I’m especially grateful to the collaborators for adding their touches and making it a less solipsistic affair than it would have been otherwise. The political climate has changed so much over the last two years that I find it hard to imagine I could make a record with this kind of fantastic mood if I started now. I hope that it can maybe re-enchant those of us who are felling disillusioned.” —Joseph Allred

The compilation of B-sides and bonus tracks from the era of Deep Purple's number one album Now What?! from 2013 will be available in this form as a physical product for the first time. A high-quality 180g purple LP edition – a must-have for every Deep Purple collector!

Chicago recording artist Reggie Soul (real name Reginald Stone) recording career consisted of three 45singles spread over 3 separate labels. Firstly, the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for the Red Balloon label. “I Feel So Bad” was a Lee Sain composition which Lee himself recorded under the title of “Baby Don’t Leave Me” for the Broach label. Reggie’s “I Got Jody” also came out a second time on Nation Time Records as the flipside to “Soul Walkin’” a cover version of the James Brown song but mis-credited as the performing artist Reggie Smith?

Reggie’s third release “My World of Ecstasy/Mighty Good Loving” was released on the Scott Brothers owned Capri Records label in 1968. The fledgling Capri Records Company having been set up in premises at 409, East 47TH Street in Chicago’s Southside, used the front of the building as a record store with the rehearsal studios situated at the rear, the final recording sessions took place initially at some of the smaller independent studios across the city before using the major Columbia and RCA Recording Studios as Capri Productions grew. Reggie co-wrote both sides of his Capri 45 with Charles and Walter Scott respectively. The arrangements were provided by John Jackson and Bill McFarland who alongside Claude Williams provided the horn section to many of the Scott’s future productions. The Scott Brothers were also the house band at one of the Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. Besides performing, they used the club to scout for potential artists for their label and it is believed that’s where their business relationship with Reggie Soul initially began.

Surviving witness accounts always cite Reggie as a solo performer which begs the question who are the credited ‘The Soul Swingers’ on the Capri 45? Well, it transpires that this was a pseudonym used by the Scott Brothers present on the recording, Charles (Chuck) drums, Tommy (bass guitar) and Walter (Rhythm guitar).

At the beginning of Soul Junction’s working relationship with Scot-Tees a further Reggie Soul unissued session was mentioned and sure enough two tape boxes arrived one containing “My World Of Ecstasy/Mighty Good Loving”, great, but disappointingly the second named tape had been reused as a rehearsal tape of several recognizable riffs of later Scott-Tees productions, doh!

Then months later lady luck intervened, a box containing two unmarked acetates held together with a nut and bolt was found. After considerable investigation, it transpires that they are the missing Reggie Soul tracks which we now present to you. Both songs are A.C Carson compositions, The A-side “So Many Miles Away” is a wonderful crossover song that shares some lyrical similarities to fellow Capri stablemate Judson Moore’s released Chicago Music Bag 45 “Lisa” while the flipside of our release features Reggie’s interpretation of Judson’s “Groovy Thang”. So, at long last Soul Junction are able to present to the lost Reggie Soul sessions that several veteran soul scribes who known their onions have likened to another great Chicago recording artist, the mighty, Tyrone Davis.

From "Spirit Of The Air"'s violence, "Cross Over"'s industrial poundings, the PCP-infused minimalism of "High On Angel Dust", to "Someone Was There" mixing techno and hardcore, Derniere Danse Part II outlines what Manu le Malin is as a producer : not afraid to visit experimental soundscapes nor ashamed to go straight to the dancefloor point... But always soaked in darkness. This is a black gateway to the world of MKNK's head, through five of his all-time favorite tracks, including one unreleased, all remastered by Scan X and Deathmachine.

But before pressing play, consider yourself warned : the first track "Spirit Of The Air", with its tortuous intro, piano break, screams samples and references to The Exorcist saga, is relentless, violent and unpredictable. And things don't go softer with "Cross Over", also an extract from his Fighting Spirit album (2002), a downright industrial attack that sounds particularly up-to-date.

Unreleased "High On Angel Dust" then shows Manu's admiration to the label PCP (hence the powdery title) and its founder Marc Acardipan. An oddity in his discography that almost never saw the light of the day : the synths and TR-909 based track was recorded in one night, and completely forgotten in a DAT for 28 years! "Someone Was There", from the soundtrack of Jalil Lespert's 24 Mesures, and the esteemed classic "One The Way Home", available as a bonus in the digital release, conclude this handpicked selection.

Diverse, personal, tormented and yet dancefloor compatible, Derniere Danse Part I and Part II feature some of Manu's best works. But they also are a stepping stone : MKNK will now open to new artists exploring every dark corner of what hardcore music can be.

2025 Record Store Day title - now available for general sale. A very special album to mark Room In The Sky’s 200th physical release. A selection of beautiful instrumental tracks, and featuring some of the best reggae musicians: Vin Gordon who basically played 90% of all the reggae hit horn lines , from Studio One to Bob Marley & the Wailers; Ernest Ranglin top jazz/reggae guitarist, now 93 yrs old and still playing, he produced the first Jamaican number 1 record “My Boy Lollipop” for Island Records; Dean Fraser, the number 1 Jamaican sax player; The Megahband - Michael Fletcher and Alborosies’ riddim section; Sly Dunbar the greatest reggae drummer; Alan Weekes - UK jazz reggae guitarist who played on most of UK reggae created in the late 70s, and 80s, and produced Carrol Thompson’s Hopelessly in Love LP; Jackie Mittoo responsible for 80% of all the biggest reggae riddims.

Space-surf-psych-rock quartet Japanese Television’s album ‘Automata Exotica’ has been remixed by invited friends and peers; including Goat Fool from GOAT, Factory Floor’s Gabe Gurnsey, and Edgar Breau from cult band Simply Saucer. Informed by UFO encounters, ritualism, robots, Northern Soul, and nuclear weapons, ‘Automata Exotica’ was released in March 2024 and was described as “Heavy but also joyful” by The Quietus, “A fuzzy blast of space-surf energy”in Shindig and “A remarkable and unique proposition” by Louder Than War.

Rather than having been transformed out of all recognition, “reimagined” is a more apt term to describe this new version of ‘Automata Exotica’. With the album’s eight tracks presented via considered, alternative mixes with pertinent sonic application, it hangs together incredibly coherently - albeit as a wild and feverish psychedelic experience.

JTV toured with GOAT while writing ‘Automata Exotica’, with the fat fuzz tones and extended middle percussion section of ‘Typhoon Reggae Police’ heavily influenced by their time watching and learning from side stage. Starting life as an uneasy mixture of scratchy 60s garage rock and 70s Afghan psych folk, Goat Fool from GOAT ripped the song apart and stitched it back together. Recognisable but weird and uncanny, it’s a stripped down, oppressive, shimmering voodoo nightmare.

“We used to go and see Gabe’s weird, excellent band Factory Floor playing dark little club nights in Shoreditch years ago and marvel at the racket” says JTV. “Gabe’s been a long time collaborator of ours, in fact he’s the only person to not only do more than one remix for us, but has featured on every remix release we’ve done. Our most ecstatic, cathartic song, ‘Tabadaboum’ was the perfect match for Gabe - the motorik krautrock bassline fits right in with the pneumatic grind of his vintage drum machine loops and synth flurries”.

It's hard to measure the impact cult 1970s Canadian space rock proto punk psych band Simply Saucer had on the formation of Japanese Television. The band reached out to Edgar Breau - the band’s founding member and guitarist - who guitarist Tim says was “really generous with his time, and really kind to an overly keen and slightly awkward Simply Saucer mega fan. It's a real honor to have him playing guitar on one of our records”. His cosmic reimagining of ‘Golden Birds’ layers on the delay, reverb and screaming guitars, launching the track into outer space.

‘Automata Exotica (Remixed)' is set for release on 6th June 2025 on limited edition LP and digital formats. Japanese Television tour in Europe through March and April. The album is released by cult underground label Tip Top Recordings (Jim Wallis, Mandrake Handshake, Pearl & The Oysters), run by Ben Rimmer and David Warn.

Marconi Union, one of the most influential names in contemporary ambient and electronic music, announce their twelfth studio album, The Fear of Never Landing, set for release 6th June via Just Music. The news is paired with the release of first single Eight Miles High Alone, out 20th March on all major streaming platforms.

Known for their ability to craft cinematic, immersive soundscapes that blur the lines between ambient, electronic, and experimental music, the Manchester-based duo once again push the boundaries of sonic exploration. The Fear of Never Landing takes us on a dynamic journey that’s atmospheric, diaphanous and never short of mesmerising. While the new record is certainly infused with a sense of hope, there’s more than a soupçon of anxiety too, as the title suggests.

A 55-minute odyssey presented as one seamless piece divided into nine movements, they transcribe the nexus of modern living into a mostly wordless odyssey. The album encapsulates Marconi Union’s ability to translate the complexities of the human experience into sound, all while maintaining a stunning sense of cohesion.

While the music feels effortless, the creative process was anything but. During the two years it took to complete the album, members Jamie Crossley and Duncan Meadows faced creative struggles that even led them to briefly question the band’s future. A pivotal moment came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion, rekindling their connection to atmospheric composition. By testing new material live and returning to their roots, Marconi Union redefined their creative process, leading to some of their most emotionally impactful work to date.

“We’ve always made atmospheric music but we had started to lose that aspect. Other than some rough ideas, we had no sense of what we were doing anymore, a kind of musical wilderness. Eventually a couple of things fell into place, and it was like, ‘Ah, okay.”
With a foundation to build upon, they went back to basics and decided to take their time going forwards. “We tried out a few new tracks live which gave us the opportunity to see what worked and what didn’t. We've never given ourselves that luxury before.”

The first track to be shared, Eight Miles High Alone, is a mesmerizing sequencer-driven track that builds an immersive, atmospheric soundscape. Its hypnotic pulses and intricate layers evoke a sense of solitude and weightlessness, perfectly capturing the album’s blend of tension and introspection. “Eight Miles High Alone was the first piece that we managed to complete and helped to inform our approach to the rest of the album.”

Formed in Manchester in 2003, their debut album, Under Wires and Searchlights (2003), introduced their signature sound, but it was their 2011 release of Weightless that brought international acclaim. Developed in collaboration with a sound therapist, Weightless was scientifically recognised as “the world’s most relaxing song”, praised for its ability to reduce anxiety and heart rates. With over 900 million streams and widespread coverage across media, the track remains a cultural phenomenon.

Over the years, Marconi Union has continued to evolve, producing critically acclaimed albums such as Signals (2021), Ghost Stations (2016), and Tokyo+ (2017). Their work has been hailed for its emotional resonance and sonic depth, with The Quietus noting their ability to find “beauty in the bleakest places” and The Sunday Times describing them as “amongst today’s most talented musicians.”

Beyond their studio albums, Marconi Union has collaborated with visual artists, provided soundtracks for installations, and remixed notable acts like Max Richter and Vök. Their invitation by Brian Eno to perform at Norway’s Punkt Festival further cemented their reputation as innovators in the ambient music sphere.

With The Fear of Never Landing, Marconi Union once again showcases their unmatched ability to create immersive soundscapes that resonate deeply. The album reaffirms their position as masters of atmosphere and emotional storytelling, making it an essential addition to their storied catalog.

Karma Sutra had already been a band for five years when they released their elusive one and only album ,released on their own Paradoxical Records label in 1987. The Daydreams of a Production Line Worker came towards the end of the bands life span and all they had to show prior was a few demos and some tracks on compilations on Mortarhate. By the time the band entered the studio KARMA SUTRA was spreading their musical wings, moving from a straight ahead anarcho sound to a more dense and thoughtful place, adding flourishes of post punk and moody atmospheres to their agit-prop political stance thus creating one of the most idiosyncratic concept albums of their time, where situationist politics meet the most ambitious anarcho punk sound.
The album was recorded in Sheffield at Vibrasound Studio and co-produced by Spon of UK DECAY, which added yet another layer to the already complex album.
When released The Daydreams Of A Production Line Worker had little fanfare due to the rigid approach to punk of the time. But as time passed, so did this albums importance. It would sit perfectly in your collection next to bands who had ambition, tunes and thought provoking lyrics like CHUMBAWAMBA, THE MOB or THATCHER ON ACID.
The Daydreams Of A Production Line Worker reissue comes with a reproduction of the originally included 28 page booklet, which the band viewed as an inseparable part of the album to understand the concept. Dense at times and intended to be thought provoking it covers class oppression, gender, culture brainwashing, prison struggle et all the capitalism society illnesses written from an anarchist perspective and aligned with the situationism theory of revolution of every day life.

Crafted entirely on an analog monophonic synthesizer with no overdubs, Pièces Monophoniques is a tribute to simplicity in an era of limitless digital possibilities. Since his debut album, Music For Prophet (Les Disques du Festival Permanent, 2017), Majorca-born composer Marc Melià, now a long-time resident of Brussels, has been redefining the contours of electronic music through a minimalist, reductionist approach. Much like a solitary hike through the vastness of mountains, where one carries only the essentials, Melià’s work invites listeners on a journey stripped of excess, focusing instead on the purity of sound and intention.
While some have dismissed monophonic music as overly simplistic, others have embraced its distinct charm. Historical records, such as those by Johannes Quasten, reveal that early Church leaders were drawn to monophonic music because it resonated with the era's cosmological beliefs, highlighting the harmony and unity of all creation. In an age of digital abundance, Marc Melià deliberately embraces constraint, crafting an album that thrives within a limited palette of choices. Yet, from these self-imposed boundaries emerges a stunning universe, brimming with rich textures and elegant harmonies. For his debut album, Melià worked exclusively with a Sequential Prophet. With Pièces Monophoniques, his third LP, he returns armed solely with an analog monophonic synthesizer and handcrafted MIDI sequences etched directly onto a single stereo track. These recordings seek to uncover beauty within the boundaries of limitations and simplicity, rejecting any embellishments that are not essential. Melià presents the bare skeleton of music, highlighting the power of absence and silence as creative forces. Like the hidden mass of an iceberg, what is not heard becomes as significant as what is heard.
The album navigates the boundary where the quest for an uninhibited emotional response intersects with the mechanical sounds generated by synthesizer circuitry. Despite being a collection of beatless tracks, a pulse occasionally surfaces, like in the closing piece, "224 Steps. A sharp sequence blended with multiple delays and reverbs creates the vaporous celestial specter of multiple voices in "Illusions of Polyphony", while "Échoes et Fantasies" conjures the illusion of dual harmony. The expansive reverbs and silences between the euphoric synth phrases in "Overture" transport us to an imaginary magestic landscape shaped out of an electric field. "Resonances," a one-note drone-like sequence, embodies the album's aims as a series of resonances created with the synth filter emerge from the fundamental note.
"Pièces Monophoniques," aims to contribute to a tradition that dates back to the dawn of humanity. After all, there is no denying that the earliest music crafted by humanity was monophonic, from the soothing lullabies sung to newborns to Gregorian chants, traditional labor songs, and the repertoire of solo compositions by countless composers.

Rock’n’roll revivalists Split Dogs are not here to make 15 second viral videos, they’re not here to sell you a lifestyle, they’re here to destroy. Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.
In South London, a young Martinez would hear Status Quo, Bachman Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home he would invade his older brothers’ record collection which leaned towards the harder sounds of punk and heavy metal. Meanwhile in the Black Country, Harry’s mother instilled a love of Northern Soul, Slade and rock’n’roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”
It wasn’t until 2022 that Split Dogs officially arrived on the scene with bass player Suez Boyle joining the band in 2023. Already a prominent figure in the queer punk scene, Suez played the first ever Rebellion Festival at the tender age of 16 with her band The Walking Abortions. Up until that point, drummer Chris Hugall, an old friend of Martinez and former member of ska punks Mouthwash (signed to Rancid’s label Hellcat back in the day), was only on hand to help design artwork. It wasn’t until 2024 Hugall joined the band full time, cementing the current line-up.
The raucous live shows and infectious lyrics saw the four-piece make a name for themselves among the punks of Bristol, a scene that has always welcomed LGBTQ+ and marginalised people. As word spread, so did the gigging, and soon enough Split Dogs were playing to sold out rooms in mainland Europe, eventually grabbing the attention of UK label Venn Records (Gallows, Bob Vylan, High Vis). ‘Here to Destroy’ was recorded over three days at Middle Farm Studios by producer Peter Miles. All tracks were laid straight to a 16 track reel-to-reel tape machine, no autotune, no effects pedals, no computers. To add to the music’s authenticity, the album was recorded live, with Harry singing along in a vocal booth. No cutting and pasting, just nailing takes. According to Martinez, “It was a blast! We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection”. While the final result is a step away from Split Dogs early punk sound, the attitude is still there in droves. “We wanted the album to have a raw bones feel,” Martinez tells us, “real 1970s rock’n’roll!”. Harry channels the spirit of Motörhead’s Lemmy Kilmister as they tear through hook after hook, singing about the Northern Soul clubs their mother once frequented (‘Lafayette’), the Orwellian nightmare we’re heading for (“Stay Tuned”) and a touching homage to British working class culture (“And What?”). As the album title makes clear, Split Dogs are here to destroy, but they’re also here to rebuild and remind us of music’s essence. “We’re not beholden to the digital age, we don’t want to get famous on social media, we just want to show the world that rock’n’roll is alive and well”.

Available 13 June 2025 on double translucent orange vinyl, Trios captures the magic of Buddy Rich's legendary three- man jam sessions-- performances that have never been officially released until now. Recorded live during international concerts in 1976 and 1977, Trios showcases Rich alongside extraordinary talents: bassists Jon Burr and Tom Warrington, and young piano prodigy Barry Kiener. These trio interludes--recorded by Rich's alto saxophonist Alan Gauvin--feature Rich playing with brushes in an intimate setting, spotlighting his dynamic range and nuance. "These trio sets were often played to give the brass section a break," says Gauvin. "But what Buddy did with those moments was extraordinary. It was a masterclass in restraint, creativity, and musical interplay." Among the album's ten tracks are beautifully reimagined standards such as "Just Friends," "Stella by Starlight," and "My Romance." Each performance highlights Rich's desire to step back and allow the piano and bass to shine--something unheard of for a drummer of his stature. The release also serves as a tribute to Barry Kiener, the immensely gifted pianist who tragically passed away at 30. "Barry had been like a son to him," remembers Buddy's daughter Cathy Rich, who serves as an Executive Producer. "This album is a rare glimpse into Barry's brilliance and the deep musical bond he shared with my father." Trios was recorded and produced by Alan Gauvin, mastered by Tom Swift, with cover art by Michael Patterson, the award-winning visual artist and USC professor known for his work on a-ha's iconic "Take on Me" video.

Elsden Music presents the vinyl version of 'Above The Clouds', by the Ilario Ferrari Trio, with two brand news tracks - a new recording of the title track featuring trumpeter Henry Spencer and a stunning live version of "Leah Meets Laika"

The release of the vinyl comes at the point of an extensive tour across the UK and Europea between now and the end of this year.

On the cusp of releasing this, his fourth studio recorded album, pianist and singer Ilario Ferrari has developed a distinctive compositional style that integrates instrumental contemporary jazz with vocal harmonies, adding hints of sounds and rhythms from both Indian and Mediterranean culture, alongside some classical nuances with additional influences from Ilario's southern Italian heritage. This approach is singular to Ilario Ferrari as an artist: a style that is perfectly complimented by his two well-known collaborators and rising jazz stars in their own right; drummer Katie Patterson and bassist Charlie Pyne.

At the heart of 'Above The Clouds' lies the notion of relationships. Between us and our planet, the musical and personal relationships between Ilario, Charlie and Katie, and, of course, with their loved ones. It is also about elevation and observation, from 'Above The Clouds' and from the grounded embrace of Mother Earth, impressions of love, loss, and home, expressed through a beguiling blend of vocal led songs and instrumentals.

This recording is more than just a simple jazz trio album, with the trio expanding and contracting as the song requires. The Ilario Ferrari Trio's innovative approach combined with their indisputable skill promises to be a breath of fresh air in the jazz world and beyond.

Ilario Ferrari: piano, piano effects & vocals
Charlie Pyne: double base & vocals
Ketie Patterson: drums & vocals
Plus: Henry Spencer: trumpet (on "Above The Clouds")

Like a fine wine, Fu Manchu's 1999 classic, King Of The Road, gets better with age and fans continue to demand hearing these tunes the way the band intended - on wax. Out of print since 2019, the Joe Barresi (Tool, Avenged Sevenfold, Queens Of The Stone Age) helmed work is back and this time on yellow and black splatter vinyl in a limited edition. This is a repressing of the 2015 remaster done by Carl Saff, which includes 2 bonus tracks: "Breathing Fire" (originally on the German vinyl release) and "Hanglider" (which was previously unreleased). "After a bit of a break from albums, not counting the Return to Earth singles compilation, Fu Manchu fully fired up and took off again with King of the Road, an album that doesn't so much follow on from The Action Is Go as flat out continue it. Hill has a touch more bite to his vocals this time around, but otherwise there's little to differentiate the two records -- and that's very much meant as a compliment. With plenty of touring and other things under their belts, the lineup has fully jelled and sounds it, Bjork's bad-ass drumming (and occasional cowbells, of course) and Balch's insane lead guitar crunch possibly even better than ever. Together it's all one megariff and nasty, slamming rhythm after another, and face it, anyone expecting anything else from Fu Manchu really needs to find another band. Joe Barresi co-produces with the band, and while there's no extra keyboard/organ weirdness this time around, it hardly matters. In as much as there's a theme to King of the Road beyond the basics of driving, drugs, and that demon rock & roll, it's driving -- there's a reason why the cover and internal art features a slew of great '70s-era photos from a massive van rally. The one shot of the fully leather-covered interior of one mobile love nest, complete with black curtains, about says it all. Then there's the megachugging title track ("King of the road says you move too slow!"), "Hell on Wheels," "Boogie Van," and so forth -- call it a concept album that doesn't waste time with elves and yogis. As with the last album, a punk/new wave nugget gets the cover treatment here -- none other than Devo's "Freedom of Choice." Needless to say, now it sounds just like a Fu Manchu original." ALLMUSIC

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Housey Doingz, widely regarded as one of the most influential collectives to emerge from the London scene, returns to Sushitech with an extraordinary new release, set to become a cornerstone for discerning collectors.

This exclusive 10x10” series reflects Sushitech's 20th anniversary, featuring remastered tracks, rare and previously unreleased material carefully selected from the legendary Strange Weather DAT archives.

The seventh installment features a long lost, unreleased session with house legend Robert Owens. These tracks, recorded over two decades ago, have remained unheard until now. A true house classic vinyl with both original and dub versions. Think, I'm Your Brother or New Day but with a more techy Housey Doingz twist.

Sushitech 20th anniversary

The legendary London based Get Fucked is set for highly anticipated reissue, bringing back two timeless classics and sought after tracks from the early 2000s. This special edition features a meticulously remastered version of the classic Charlie’s Knickers, alongside a previously unheard take on Nils Hess’ Alcohol Is My Favourite. Expertly restored and reimagined by the revered reissue series Endell Street, this is a pure gold collector’s number.

"Mixes Of A Lost World", konzipiert und zusammengetragen von Robert Smith, ist eine neue Remix-Sammlung von Tracks aus The Cure's gefeiertem #1 Album "Songs Of A Lost World", das im November 2024 erschien. Das neue Set enthält 16 brandneue Remixe von Künstlern wie Four Tet, Paul Oakenfold, Orbital und vielen anderen. Die Deluxe-Edition enthält zusätzlich Remixe und Reworks von Chino Moreno (Deftones), Mogwai, 65daysofstatic und vielen mehr. Bei den Künstlern handelt es sich um Freunde von Robert, die die Songs in einer atmosphärischen und stimmungsvollen Art und Weise kreiert haben. Sie sind es, die diesem unglaublichen Album ihre Tiefe verleihen. Die meisten von ihnen stammen selbst aus Bands und begeben sich mit ihren Kreationen auf einen neuen Weg der Entdeckung.

Oslo-based label Boring Crew Records (BCR) makes its vinyl debut with the Prærien EP. The EP showcases the label’s diverse range and vision, with six tracks that span various moods and genres, setting the stage for what’s to come.

BCR01 kicks off with Oasen by Anders Hajem, a dark and chugging track. The title track, Prærien, seamlessly picks up where Oasen left off, delving deeper into the atmosphere with a hypnotic bassline and subtle tension. Perkules rounds off the A-side with his Oasen remix, stripping it down into a raw, minimal version with a heavy(!) bottom-end.

On the B-side, Henrik Villard’s Cowgirl hits hard with raw and gritty drums, with a touch of dubbed-out vocals. Woodfall Temple follows, enveloping listeners in its tribal and slight meditative energy. Canadian producer Cooper Saver then closes the EP with his mesmerizing remix of Woodfall Temple, ramping up the tempo with layered synth lines that create an irresistible, trance-like atmosphere.

Boring Crew Records’ Prærien EP offers a captivating and dynamic introduction, teasing more exciting releases on the horizon.

A new vinyl album from Nat Birchall, this is the Dub version of his Dimension of the Drums LP, a roots reggae instrumental set that was very enthusiastically received last year, ending up on many best Of The Year lists.
For this album Nat has remixed the tracks in classic early to mid - 1970s style. Inspired by the classic Dub LPs like Keith Hudson’s ‘Pick A Dub’ and Winston Edwards’ ‘King Tubby Meets The Upsetter at the Grass Roots of Dub’ the tracks have been reimagined in Roots Dub fashion, some with new horn lines and all with hand drums, giving the album a very authentic Rootsy sound. Additionally there are two different mixes of a new rhythm track that wasn’t on the previous album.
Once again Nat plays all the instruments and did all the recording, mixing and mastering.
Drums in Dub features eight tracks of instrumental Dub delight, specially designed for the 1970s Dub connoisseur.

E-bony joins the INDUSTRIAS MEKANIKAS family to present DIGITAL DAWN, an album that defines his identity as an artist. Twelve tracks in which electro and techno intertwine to create a unique and personal sound. A sonic manifesto composed of twelve tracks that explore the darkest textures and the most hypnotic rhythms of underground electronic.

In this work, E-bony is not alone. The talent of Noamm is woven into four of the tracks, adding an additional layer of complexity and experimentation. The collaboration between both artists creates a unique synergy, elevating the DIGITAL DAWN proposal to a new level.

DIGITAL DAWN is released in 2×12″ format, a format that is still preferred by DJs and lovers of high-quality sound, guaranteeing a quality and sound pressure that will explode on the dance floor.

Shell Company & Older Brother tap into the Mancunian continuum to deliver heavy sounds for heavy times on 'Shards', their debut release on Numbers.

Born from voice notes sent between Manchester, London and Lisbon, the release took shape remotely before being recorded inside Manchester’s The White Hotel, then refined in the sonic labs of Numbers and La Chunky in Glasgow.

Set across one night, 'Shards' is the fragments of the never ending process of breakdown and placing pieces back together. Along four tracks, the voices of Shell Company (Rosabella Allen) and Older Brother begin far apart, then argue, reflect and collide, trying to find the ground they stand on, with the music laid by brothers Rob and Chris Banks. The two voices work both together and against each other, rendering images that could only exist in limbo: running taps, cans on the floor, and crumbling walls.

Shell Company & Older Brother say of the release —

“Shards is a scream that sings softly. A record that shifts between confusion and sense, hopelessness and hope. Despite moments of intense and perfect connection, the shards rarely fit. Shards is a record not about giving up, but giving in. A recording of the victory that comes from surrendering to float, all because 'it will all make sense one day'. Shards is about love that begins and ends with broken pieces."

Pure Dub! Deep, atmospheric, and unhurried, these tracks unfold like whispered conversations in the night—barely perceptible yet profoundly felt, shaping the very air around them. A soundtrack for those who listen beyond the obvious, for those who find solace in the pulse beneath the everyday.

José James just can’t leave the ’70s alone. Or maybe it’s the other way around. The singer, songwriter, bandleader, and producer was born in 1978, after all, but over his past 17 years of fundamentally forward-looking, blessedly mercurial music, he keeps getting pulled back in. His 2013 Blue Note breakthrough No Beginning No End revisited the hooky, funky, jazz-streaked songcraft of the time through a modern crate-digger’s ears. On 2020’s No Beginning No End 2 — James’ debut on his own Rainbow Blonde Records — he went back through the portal with a small army of fellow celebrated eclecticists. Just last year, there was the album 1978, a richly layered love letter to said year that felt deep, luxe, and cool. It’s as if — vested with the restless fluidity of jazz, the tuned-in sensitivity of soul, and the revisionist grit of hip-hop — he is trying to play his way into the exact moment when, culturally speaking, everything was about to change.

“I'm still so fascinated by the tension in that era of all these seemingly clashing things happening at once,” says James. “The loft scene, the jazz scene, Elton and Billy, Bob Marley, the Isleys, Funkadelic, disco being this behemoth in a way I don't think we even understand today… And then there’s where everybody went from there — into hip-hop, into punk rock, exploding jazz. It's like a summation of the ’70s, and it's about to transform. It's the peak of the rollercoaster.”

Literally breaking into history is impossible, of course, but James’ new LP, 1978: Revenge of the Dragon, does feel like breaking through or bursting out. In loving contrast to its predecessor, the fresh set plays hot, like a Friday night out at the Mudd Club in its prime. Though he’s dreamt up albums with collaborator counts approaching the dozens, James gathered a tight crew for this one. Himself and Taali on vocals. BIGYUKI on keys and analog synth. Jharis Yokley on drums. Bass split between David Ginyard (Blood Orange, Terence Blanchard) and Kyle Miles (Michelle Ndgeocello, Nick Hakim). And an all-star brass lineup: Takuya Kuroda on trumpet, young lion Ebban Dorsey on alto sax, and genre-spanning ronin Ben Wendel on tenor sax. They set up in Dreamland Studios near Woodstock, a restored 19th century church, and recorded live to tape, two tracks, drums pushed to the max — “a small homage to the rise of punk,” says James.

In that place out of time, the band laid down a handful of choice covers and some wild originals, like the single “They Sleep, We Grind (for Badu),” a decades-collapsing cut powered by an ugly groove. Steeped in dub, funk, and sampledelia, James chants an artists’ mantra (“They sleep, we grind / Man, f--- your nine to five”), makes lyrical callouts to Marley and Nas, and channels everything from George Clinton to J Dilla, not to mention the earthy mysticism of Erykah Badu. In 2023, James released and toured his Badu covers LP, On & On. “Living in her musical house for a year was transformative,” he says. “This is my summary of everything I learned through her, tying it to this idea that artists move differently. We are in society but we are outside, too, looking out and in at the same time. Our hours are different, our schedules are different.”

To that point, James and co. actually began each day in the woods, filming the album’s visual companion piece, Revenge of the Dragon, an honest-to-God kung-fu short complete with bad overdubs, training montages, camera tricks, and plot twists. The film pays tribute not only to the genre’s greatest year (1978, of course), but also its cinematic exchange with Blaxploitation, plus James’ own recent Shaolin training and admiration for Bruce Lee as a culture-bridging force (the LP’s cover recreates an iconic shot of Lee). On top of that, says James, “We had this immediacy in the studio. Live, one take, no overdubbing. I feel like that's where the martial arts piece comes in, where it's about being relaxed but also aware, and there's immediacy in your movements.”

Across the project, tribute takes that refracted, multifaceted form. From his personal late-’70s playlist, James chose four covers reflecting the era’s disco-fied churn: the MJ-meets-Quincy dancefloor masterpiece “Rock With You”; Herbie Hancock’s prescient vocoder fever dream, “I Thought It Was You”; and a pair of Black-radio hits from two bands whose fans typically wouldn’t have been caught dead in the same stadium: “Miss You” by the Rolling Stones and the Bee Gees’ “Inside and Out.” All of it gets filtered through a contemporary Black (and beyond) lens, coming out loud, free, funky, and buzzing — dynamic, yes, but also of a joyous piece.

1978: Revenge of the Dragon transports you to a crowded room where all this is playing out in real time. That feeling is helped out by opener “Tokyo Daydream,” a bass-driven swan dive into a neverending night of boutique bar-hopping and neon revelry. Later, “Rise of the Tiger” finds James bringing rare braggadocio to a propulsive track with growling synth lines and a hunger for whatever comes next. And then there’s the closer, “Last Call at the Mudd Club,” which with its upbeat energy and string of Stevie-inspired pickup lines, evokes the sort of unabashedly elated track the DJ throws on at 3:56 a.m. before everyone is kicked out. “I wanted to leave the album on that note,” says James. “If this was a night out in New York, this would be the last thing you hear before you get in that taxi and go back to your apartment.” Or, perhaps, back to 2025.

Released in 2005, At This Time is a bold and politically charged album by legendary composer Burt Bacharach. Known for his timeless pop melodies, Bacharach took a different approach on this album, blending orchestral arrangements with contemporary beats and electronic elements. Featuring collaborations with artists like Elvis Costello, Rufus Wainwright, and Dr. Dre, At This Time explores themes of war, social change, and personal reflection. Tracks like Who Are These People? and Please Explain showcase Bacharach’s lyrical depth and emotional intensity, marking a departure from his classic romantic songwriting. The album won the Grammy Award for Best Pop Instrumental Album in 2006, further cementing Bacharach’s legacy as an innovator. With its unique fusion of jazz, pop, and electronic influences, At This Time stands as one of Bacharach’s most experimental and thought-provoking works. At This Time is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl.

Subtle grooving dub house and techno.

Label founder Pedro Capelossi teams up with the talented and knowledgeable Francesco Mami to present the Lajka EP, featuring three captivating original tracks. Adding to the EP’s uniqueness, remixes are delivered by renowned dub master Mathimidori and Brazil’s rising star, Chiari.

The words ‘hit’ and ‘soundtrack’ seldom appear in the same sentence, but the soundtrack to Nicolas Winding Refn’s cult classic film “Drive” (starring Ryan Gosling and Carey Mulligan) was truly a smash hit upon release.
Charting at #4 on the iTunes album chart and peaking at #35 on the Billboard Top 200, the accolades came rolling in.
Spin Magazine lists it as one of the “Top 40 Movie Soundtracks The Changed Alternative Music.
The soundtrack features the legendary synth score by Cliff Martinez along with tracks by artists such as College and The Chromatics.
This special limited edition 10th anniversary picture disc variant from Invada Records features 4 sides of beautiful imagery from the artwork, which has been completely re-designed for this one-off pressing.
The stunning packaging explores the film’s noir element through use of black and white imagery and the deluxe gatefold sleeve comes complete with printed inners.

The long awaited return of Decoder!!! Darren Beale lands on Over/Shadow with 3 tracks of haunting minimal jungle excellence. His old mate Technical Itch drops his thunderous signature on a remix to complete the EP!!

Crashing into 2025, the elusive Abstract Drumz delivers 4 signature tracks…..the 4 tracker showcases his angry precise breaks and choppage, but also highlights his more mellow side with the jazzy lushness of I Like the Rain.

Originally released in 2001 on the Muller offshoot Lifetime Music and has been under the radar ever since, we are happy to offer the last remnants right now. Three perfectly executed Deep and Dub Techno influenced tracks by Pink Freud that stood the test of time if you ask us. This is your chance to get some copies at an affordable rate again! In memory of the beloved and recently deceased Brazilian artist Renato Garga.

Originally released as just a CD in 2013, Beroshima took matter into his own hands and decided to press a quality selection of tracks on vinyl for the first time in 2020. We're happy to offer some backstock in small and limited quantities!

Mysticisms is delighted to present the music from one of the inspirations for the whole Dubplate series, the lesser known, but admired Digi Dub label. Hailing from the late 80s / early 90s South-East London squat scene, the music of label head Lee Berwick and cohorts was unlike any other at the time. Not simply a retake on digital dub emanating from Jamaica, Digi Dub mixed the heritage of reggae with the alternative-culture of Britain to forge a unique version.

Inspired by punk and the early electronics of the likes of A Certain Ratio, Cabaret Voltaire and Throbbing Gristle, Berwick came to music production later, after first quitting a career as a computer programmer to travel through Asia, returning after several years just as electronic “computer music” was gaining a fundamental new lease in 1988. A regular at Jah Shaka gigs over the burgeoning rave scene of the time, he steadily built a studio centered around the Akai Sampler.

Based, at the time, in South-East London, it’s lack of underground “Tube” lines and challenging transport links, helped create its own social and music eco-system. Squatted houses, shops, clubs and parties all thrived around the triangle of Bermondsey, New Cross and Camberwell. After meeting Kenny Diezel and the Mutoid Waste Company, he started to formulate his “dubby electronic sound” by literally play live to thousands of wide-eyed Ravers at Mutoid Waste parties.

Recording as Launch DAT, the first tracks with Kenny formed, soon joined by Harry and Nick, the trio progressed from building a sound system to L.S. Diezel being created. Friends since their teens Harry and Nik progressed from playing in bands, jamming Sly and Robbie dubs to moving from the countryside of the Home Counties to urban Peckham and into the orbit of Mutoid Waste and the squat and party scene.

Progressing to include Atari S1000HD, Akai S3200XL, Alesis Sequencer and Roland 303, the sound expanded but the raw spirit remained. The early recordings with Berwick, in the beautiful “Lovers style” that is For The Love Of and its stripped-back instrumental “Stepper” dub accompaniment in Bad Boys, as well as an early take on take on the merging of digital dub and hip hop in Skunk Funk, all capture the essence of that London period.

However, the inclusion of the seminal Suicidal Dub, that appeared as the title to their debut album and was recorded on a bus a few years later after Mutoid had relocated to Rimini, Italy, offers a glimpse to the future. Heralded as a proto-dubstep classic it has long been sought after and its inclusion makes for the essential.

Mutate The Mystery.

Hot from his recent outing on SOUNDWAY, SAI steps up with a full length album full of soulful house numbers, jazzy broken beats and neo soul stylings. Guest appearances from EGLO's NATALIE SLADE, HORATIO LUNA, and more. 6 tracks of forward thinking club jams.

Included are all 9 tracks from the two titles that have been highly acclaimed and talked about overseas.
This is an analog vinyl record pressed in Japan by Memory-Tech, the developer of high-quality CDs and UHQCDs, on 180g heavy vinyl.

Analog vinyl featuring all 9 cover and original songs from the 2024 album “Beyond The Window ~Mado no Mukou ni~” and the 2021 album “Another Answer”
by Kanae Izutsu, a singer who boasts strong popularity among music fans and audiophiles.
The two titles, which were ranked No. 1 on the domestic distribution site rankings and also ranked high on overseas distribution and streaming sites, were cut
by Katsutoshi Kitamura (MIXER'S LAB), one of the best cutting engineers, and by Memory-Tech, the company that developed UHQCD, a high-quality sound
quality CD. The 180g weight vinyl is made by analog pressing, which is also concerned about the sound quality. Please enjoy Izutsu's unique worldview, which
has both strength and fragility, and is clothed in lingering sound and space, on the analog disc as well.

Cari Lekebusch, Alexander Johansson & Mattias Fridell converge their creative energies for the first time on the "Tant Gron, Tant Brun & Tant Gredelin EP". This collaboration is a masterstroke, uniting three of Sweden's most innovative techno artisans.

Cari Lekebusch, a stalwart of the Swedish techno scene, has been a relentless force since the early '90s, continually redefining the genre's boundaries. His pioneering spirit has paved the way for countless artists and set a high standard for techno production.

Alexander Johansson and Mattias Fridell have cultivated a dynamic partnership, consistently delivering tracks that resonate with depth and precision. Their recent work, such as the "angvalt EP" on H-Productions, exemplifies their commitment to crafting immersive techno experiences.

The "Tant Gron, Tant Brun & Tant Gredelin EP" stands as a testament to their collective prowess, offering a quartet of tracks that embody the essence of pure techno. Each composition is meticulously engineered to captivate and transport listeners, making this release an indispensable addition to any techno aficionado's collection.

This EP also marks the inaugural vinyl release for Grab The Groove (GTG WAX001), heralding a new chapter in their mission to deliver uncompromising techno.

In the turbulent world of hip-hop, few artists are able to make the transition from hot young star to acclaimed rap luminary. Los Angeles emcee Blu has followed this rare path, graduating from a spot on the 2009 XXL Freshman list to an expansive catalog with more than 25 celebrated releases. Now, the talented lyricist is celebrating his remarkable journey with Forty, a new album entirely produced by influential beatsmith August Fanon, who has crafted tracks for Westside Gunn, Mach-Hommy, Tha God Fahim, billy woods, Navy Blue, and more. “This album is a celebration of me reaching 40 years of age,” Blu explains. “All the content is a reflection of where I am mentally at the age of 40.” With intricate verses packed with wisdom and maturity, the collection finds Blu and a host of guests reflecting on happiness, religion, love, knowledge, humanity, and more.
Fanon brings these tracks to life with a unique production approach, taking it back to basics with soul heavy soundscapes Blu describes as “straight loops, no drum programming or layers, just really soulful loops.” With appearances by Kota The Friend, Asher Roth, R.A.P. Ferreira, Mickey Factz, Homeboy Sandman, Chester Watson, Fashawn, and more, Forty is a timless experience from an artist who remains a vital presence in any decade of life.

Chapter Music's landmark collection of Australian 70s-80s post- punk, originally released in 2001, gets its first ever vinyl release!
Can’t Stop It! documents a fantastically inventive and dynamic era, when Australian acts stepped out of the shadow of overseas influence and asserted their own musical identity for perhaps the first time.
Featuring tracks by future members of bands such as Nick Cave & The Bad Seeds, Einsturzende Neubauten, Dirty Three and The Go- Betweens, Can’t Stop It! is a vivid survey of the creativity and innovation bubbling away under the surface of Australia’s fairly unadventurous music culture of the time.
All of the bands on Can't Stop It! released their music independently, either themselves or through the handful of visionary labels of the era such as Au-Go-Go, M Squared, Missing Link or Innocent Records.
On its original release in 2001, the compilation got Chapter Music its first major international attention, written up in The Wire magazine, stocked at Other Music in New York and selling out numerous CD pressings.
Remastered with updated liner notes and photos, this deluxe 2LP set expands on the original 20 track CD with six bonus never- before-reissued tracks.
"A bracing corrective to the Northern Hemisphere's stranglehold on post-punk nostalgia" - The Wire

Repress of 2018’s classic compilation from Brownswood.

A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Looking at the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the crossover between each of the groups speaks to the close-knit circles which make up the scene.

Surveying the way that London’s jazz-influenced music had spread outside of its usual spaces in recent years, this album bottles up some of the vital ideas emanating from that burgeoning movement. Giving a platform to a scene where mutual cooperation and a DIY spirit are second-nature, it’s a window into the wide-eyed future of London’s musical underground.

Ubiquitous, much-lauded saxophonist Shabaka Hutchings is the project’s musical director. His own recent projects span from South Africa-connected, spiritually-minded jazz players Shabaka and the Ancestors to Sons of Kemet, who match diasporically-connected compositions with viscerally-direct live shows. His entry on the album, ‘Black Skin, Black Masks’, is typically difficult-to-define: with an off-kilter, shifting rhythmic backbone, repeated phrases – mirrored between clarinet and bass clarinet – shape the track with an alluring hue. His input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record.

Theon Cross – who’s also part of Sons of Kemet with Hutchings – starts his track, ‘Brockley’, with the solo, distinctive low rumble of his tuba. Winding and mesmeric, it sees tuba and sax lines winding together in rhythmic and melodic parallels. Ezra Collective – whose drummer and bandleader Femi Koleoso has toured with Pharaohe Monch – run a tight, Afrobeat-tipped rhythm on ‘Pure Shade’, with the final third changing gear into a melodic, momentous closing stretch.

Joe Armon-Jones, whose ludicrous chops on the piano have seen him touring with the likes of Ata Kak, showcases earworm-like, insistent motifs on ‘Go See’, balanced with a playful, improvisatory approach with room for ad-libbing and solos a-plenty. Taking a softer tact than many of the other entries, Kokoroko – whose guitarist Oscar Jerome has been making waves with his solo material – spin a lyrical, steady-paced meditation on ‘Abusey Junction’, matching chanted vocals with gently-played guitar.

Nodding to spiritual jazz influences, Maisha’s ‘Inside The Acorn’ is a wandering, explorative rumination, balancing delicate washes of piano and percussion with sharp interplay between flute and bass clarinet. In contrast, Nubya Garcia’s ‘Once’ is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. And finally, Triforce’s ‘Walls’ is a performance in two parts: starting with Mansur Brown’s languorous, lyrical guitar, the second half switches up to a low-slung, g-funk-tipped groove.

Give Me Your Love' by Sylvia Striplin is an iconic album of the early 80s and was first released on Uno Melodic Records, a label belonging to jazz and soul legend Roy Ayers. Sylvia previously sang with Aquarian Dream as lead on 'You're A Star' before joining Roy as a member of the group Eighties Ladies. 'Give Me Your Love' is soul, disco, boogie and 'rare groove' all in one. This is an album of timeless gems which on both LP and CD has exchanged hands for hundreds of UK Pounds in both original and reissue formats. These are signature tracks from a golden era of music.

Madlib Invazion reissues Madlib’s collaboration with legendary Brazilian drummer Ivan “Mamao” Conti, propellant for lauded jazz fusion archetypes Azymuth. 5000 pressed for worldwide. Debuts on Black Friday. First released in 2008 on CD by the US based Mochilla imprint with vinyl being issued only in Europe on the Kindered Sprits label. Both formats are out of print with vinyl unavailble since its initial run. Alternate cover artwork, photography by B+. When Madlib went to Brazil in 2002 with Mochilla to participate in the production of Brasilintime his one mission was to meet Ivan “Mamao” Conti the drummer of the legendary trio Azymuth. Madlib had made an Azymuth tribute record he wanted to play for him. On a rainy night in Rio Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Featuring the music of Madlib, Mamao, Edu Lobo, Chico Buarque de Hollanda, Luiz Eca, Baden Powell, Vinicius De Moraes, Marcos Valle, Joao Donato, Dom Um Romao, Airto Moreira and even George Duke… and with guest vocals by Thalma De Freitas — Jackson Conti is a unique and classic record. Filled with the angularity and edge of a Madlib production and underwritten by the polyrhythmics of Mamao — Sujinho takes Brazilian music into places it has never been, bringing oft forgotten classics like Upa Neguinho to 21st century ears.

XXX the label starts of 2025 fresh with it's 17th original EP.
Four house tracks, each with it's own signature sound. Peak time throbbing, electrifying house vibes with a distinguished layer to it alternate with more melancholic house for the after hours, mimicking that feeling of never wanting the night to end. The EP comes with two remixes by Venice Arms (Curses) and upcoming Amsterdam based talent Kyra Khaldi who both add another layer to the record.

Where the Butterflies Go in the Rain is the third studio album from the enchanting songstress, Raveena. Blending powerful storytelling with early 2000s pop, Where the Butterflies Go in the Rain sees music continuing to play the central role as both a catalyst and medium in her personal and creative growth. With newfound clarity, Raveena delves into themes of new love, maturity, comfort, and domesticity that reflect the peace of mind she currently inhabits. Speaking on this evolution and how it informed the album’s creative, she shares, “Butterflies are so delicate that they have to hide in leaves and flowers until the rain passes so that their wings don’t get crushed in the rain. I felt like that was kind of a metaphor for where I was in my life. I needed to go back to comfort—to deep rest—and stop weathering storms.” On the most instinctual level it’s an album that should conjure simple pleasures like the joy of a summer road trip with loved ones.

Embracing the sounds of classic artists like Fleetwood Mac, Brandy, Bob Marley, Joni Mitchell, and Marvin Gaye, to name a few, Where the Butterflies Go in the Rain draws inspiration from people who, “are really good at capturing the beauty and loss of life in the same breath,” she describes. In her signature style, Raveena seamlessly unites that expansive songwriting with traditional Indian instruments and feel-good early 2000s pop hits —putting forth a work that’s more unabashedly herself than any that’s come before.

Raveena reflects on her forthcoming album, “I don't think I've ever understood a record so well before—It wasn’t like the process I used to have with past albums where I was more anxious about being at my best. This time, it was all intuition, and I knew the album was right when I finally had the feeling of rest.”

The deluxe release sees the addition of 3 tracks. Sun Don't Leave Me - contemplating the feeling of wanting to hold onto one more beautiful sunset, one more passionate embrace, before things change again and hard times strike again - and a reimagined version of Lose My Focus with UMI, bringing fresh energy to an album that’s more unapologetically Raveena than ever.

Cool Up Records is excited to launch its latest 12" Maxi single with Spanish singer Yeyo Perez, featuring two tracks that each come in two versions. This Digital Reggae vinyl, titled "King inna di Ring/Burning in Flames," exemplifies authentic deejay style on the mic, infused with a rich homage to foundational Jamaican MCs.

On the A-side, "King inna di Ring" delivers a dynamic song powered by a powerful bassline and sharp lyrics. Yeyo Perez demonstrates his vocal talent and strong presence, with vocals that pay homage to the style of traditional reggae music clashes. The track’s music mainly comes from the old-school Casio MT-40 keyboard, providing that signature Digital Reggae rhythm produced by Cool Up.

The B-side features "Burning in Flames," where Coronel Brown joins with his smooth voice on the chorus, creating a powerful lovers rock song that blends well with Yeyo Perez's tougher style. Musicians Pedro Caballero on saxophone and Javibi Martin Boix on guitar contribute to a rich riddim with their impressive playing.

This release is well-crafted, with a dub and riddim version on the A-side and a sax and riddim version on the B-side, showing off Cool Up’s clever production skills. The cover art, designed by Mr. John Vanilla, keeps the style of previous singles and highlights his outstanding artwork.

This is the seventh 12-inch record from Cool Up Records, a must-have for Reggae fans, with more exciting records coming soon.

Germany's iconic deep funk collective digs into a new soundscape: "A Higher Frequency" was recorded with a nine-piece live to tape at legendary MPS studio in the Black Forest, adding an airy, jazzy flavour to their trademark raw and breaks-heavy funk. Ten tracks full of spiritual grooves, soulful themes, loose funkiness and organic interplay, captured with state-of-the-art 1960s gear in a super-vibey room - but the title A Higher Frequency is not just about the pristine analogue sound quality of the recording, it is also a reference to a trancendant wavelength where minds meet and music connects.

Together with long-time friends and collaborators Daniel Kimaz on flute and Guillame Métenier, who worked his magic on the studio's historic Bösendörfer grand piano and Hammond organ, the group spent a week in the Black Forest, with full focus on the mission to capture the live energy and togetherness of the ensemble.

The result is an album bursting with positive energy and power, rooted in a universal funk groove with excursions into many colourful branches like outernational, cinematic, soulful jazz, psychedelic & disco.

The common thread is a propulsive, driving-forward feel: "Open The Gate" welcomes us with hard-hitting breakbeats and dramatic crime brass, followed by the cool groovin' piano-led soul jazz of "Get Loose", while "Spinning" takes us on a ride through cinematic horn choruses and folky-psych flute and guitars. "Back And Better" is Nichola Richards' time to shine, laying her sweet vocals over the sparse hiphop-infused soul beat to tell a comeback story. "Sweet Company" is a lighthearted uptempo tune inspired by TV and library themes of the 1960s. The swampy groove of "Sparks Of Joy" best reflects the fun of the band playing together and "Phantom Power" combines a trademark Mocambo breakin' theme with an unusual instrument, an electric phin from Thailand – a nod to the many so-called "world music jazz" recordings that the MPS studio gave birth to. On "Can't Stop This Fire", soul singer Carlton Jumel Smith from New York City takes over the mic as a special guest and brings the house down with a heavy funk delivery. "When We Roll" builds another highlight where bouncy drums play off disco-jazz horn themes and finally, the gospel-flavoured cine-soul epic "Homebound" drives it all home.

The vinyl record comes in a limited first edition in hand-made tip-on sleeve.

Diese Ausgabe des bereits traditionellen Begleitalbums zur Redux-Veröffentlichung strotzt nur so vor faszinierenden Künstlern und spannenden Kollaborationen, die allesamt den Punkgöttern RAMONES huldigen. Möglich wird diese kunterbunte Versammlung durch die kurzen Punk-Tracks der Amerikaner. Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musikern und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Diese Ausgabe des bereits traditionellen Begleitalbums zur Redux-Veröffentlichung strotzt nur so vor faszinierenden Künstlern und spannenden Kollaborationen, die allesamt den Punkgöttern RAMONES huldigen. Möglich wird diese kunterbunte Versammlung durch die kurzen Punk-Tracks der Amerikaner. Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musikern und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Divine Dances. In plural form.
The fourth album from DjeuhDjoah & Lieutenant Nicholson couldn't have a more explicit title.


Masters of emotions and feelings, the duo has always known how to express melancholy and nostalgia with precision. Yet this time, all their efforts have concentrated on a single goal: taking listeners by the hand—no, by the ear, obviously!—to bring everyone back to the dance floor and explore a variety of atmospheres together.


And naturally, a variety of styles. Funk, ndombolo, electro, hip hop or zouk, each new vibration discovered carries away the previous one to form a dancefloor where all eventually come together.
Divinely light.


The body, surrendered to this call to dance in all its forms, has been so caught up in the whirlwind of groove that the mind has fallen in behind it to continue as one. Words explode into syllables that metamorphose into notes, then perfectly align with those from the score.


One second. A bit of attention. Caught by an irrepressible groove, then comes the moment to slalom through melodies to discover, at the turn of a rhyme, a new meaning. Approached head-on, certain overly serious themes would empty the room and bring the atmosphere down to lead levels. The diagonal approach, humor, and apparent nonchalance of the two men are the best weapons at their disposal. Their Trojan horse to put substance into their form(s). To evoke transidentity, consent, economic malaise as well as the spiritual, or to tell little stories of frustrated loves, seemingly insoluble but which will end well.


Anthony Hilaire for Creole words, Sarah Solo for hip-swiveling soukous, Patrick Bebey for pygmy flute notes, and Grégoire Mahé to bring electricity to DjeuhDjoah & Lieutenant Nicholson's songs; styles blend in a musicality worked into its smallest interstices.


Gathered on this dance floor illuminated with 80s disco brilliance, you observe brassy notes slithering under the electronic veneer, synthesizer keys splashed by furious hip movements. To raise your eyes to connect with the spiritual is to watch the sky become constellated with crystalline Fender Rhodes notes, destined to fall like rain on the heavy bass of afrobeat groove.
Smiles attached to faces, no one should think they can get through the ten tracks of Divine Dances while remaining seated : he's doomed to fail.


OUT MAY 2025 DELUXE WHITE VINYL 180 G /CD / DIGITAL

2 x orange-marbled vinyl im Gatefold, 19 songs inkl. Live tracks & Remixen

Ein neues musikalisches Projekt des renommierten, französischen Studio-Cracks Renaud Letang mit Freunden & Familie: Feist - Connan Mockasin - Benny Sings - Chilly Gonzales - Jamie Lidell - Saul Williams - Vladimir Cosma - Philippe Katerine - Infinite Bisous - Jerry Paper - Chuuwee - Mel D. Produziert Von Renaud Letang + Chilly Gonzales. Aufgenommen In Den Studios Ferber.

Das Album eines Lebens. Oder besser gesagt eines halben Lebens, das er seit seinem 18. Lebensjahr im Schatten der Aufnahmestudios verbracht hat. Unter dem facettenreichen Pseudonym DRIFT ist 'At The Party' ein Album von Renaud Letang, einem der weltweit renommiertesten und gefragtesten französischen Toningenieure und Produzenten der letzten drei Jahrzehnte. ManuChao, Chilly Gonzales, Feist, Mathieu Booagerts, Lianne La Havas, Philippe Katerine, Saul Williams, Jane Birkin, Seu Jorge, Micky Green, Connan Mockasin und Amadou & Mariam zählen zu seinen Klienten.
Seit Jahren bereitet der Victoires de la Musique-Preisträger und Grammy-nominierte Letang heimlich mit all seinen Künstlerfreunden im Keller der Studios Ferber ein Albumprojekt vor.
Sein kanadischer Komplize Chilly Gonzales, mit dem er in den 2000er Jahren das erfolgreiche Produzenten-Tandem VV bildete, hat ihn ermutigt, seine Songs zu veröffentlichen. Renaud Letang versteht seine Kompositionen als "Driftmusik" mit einer breiten stilistischen Palette - von sonnigem Disco-Pop (At the Party, Working on Me) bis hin zu Jazz-lastigen Sounds ('Papaya', 'A Night In Waimea'), von futuristischem Hip-Hop ('Cosmic Drift', 'That's All') bis hin zu traumhaften Tracks ('Très Gentiment In Waimea'). Das Wort DRIFT, das facettenreiche Pseudonym, das Renaud Letang gewählt hat, beschreibt genau diese ständige Bewegung, die sich wunderbar in dieses kollegiale Album einfügt: Feist, Chilly Gonzales, Connan Mockasin, Benny Sings, Philippe Katerine, Jamie Lidell, Saul Williams, Infinite Bisous, Jerry Paper, Chuuwee, Mel D und Vladimir Cosma sind alle in den Credits des Albums zu finden. Eine faszinierende musikalische Reise, die sowohl an einem sonnigen Tag als auch nach Einbruch der Dunkelheit zu hören ist. Der Soundtrack des Sommers mit der Besetzung des Jahres.
Erhältlich als Digisleeve und Doppel-LP (Black Vinyl).

Lim. Natural Vinyl Version!

Third studio album of Tren, following two sold-out releases (The Rising and Setting of the Heavenly Bodies; The Passages through Space and Time). An hour of hypnotic minimal techno and electronica, unfolding seamlessly to guide the listener on an introspective journey. Coming out 1.5 year after the unreleased set (mixed version), which gathered great feedback from fans:

"TREN touches deeply within the spirit / soul / most emotional part of self. It's a new and refreshing
sound, but still with the same fingerprint. Just Amazing!!!"

"Godly creation! Loved it from the first few seconds"

"Probably his best mix as of yet. So mature and well-rounded tracks."

Black Vinyl

Third studio album of Tren, following two sold-out releases (The Rising and Setting of the Heavenly Bodies; The Passages through Space and Time). An hour of hypnotic minimal techno and electronica, unfolding seamlessly to guide the listener on an introspective journey. Coming out 1.5 year after the unreleased set (mixed version), which gathered great feedback from fans:

"TREN touches deeply within the spirit / soul / most emotional part of self. It's a new and refreshing
sound, but still with the same fingerprint. Just Amazing!!!"

"Godly creation! Loved it from the first few seconds"

"Probably his best mix as of yet. So mature and well-rounded tracks."

’Still’ is a compilation album first released in 1981 after the death of Joy Division singer Ian Curtis. Their two previous albums had already cemented the Manchester’s band’s iconic status in music history and ‘Still’ filled in gaps.

It featured previously unreleased studio material, two non-album tracks ‘Dead Souls’ and ‘Glass’ and a live recording of Joy Division’s last ever concert, at Birmingham University. The show included the only live performance of ‘Ceremony’ by the band, who later morphed into New Order and released it as a single.

Was vor mehr als zwei Jahrzehnten begann, bekommt nun eine neue Dimension: My Chemical Romance veröffentlichen eine Deluxe-Edition ihres zweiten Albums – mit zusätzlichen Tracks und neuen Facetten des Klassikers. Three Cheers For Sweet Revenge (Deluxe Edition) erscheint am 6. Juni 2025 – exakt 21 Jahre nach Erstveröffentlichung des Albums, das allein in den USA dreifach mit Platin ausgezeichnet wurde. Die Neuauflage kommt frisch abgemischt und neu gemastert daher – als CD, digital und in mehreren farbigen Vinyl-Varianten. Darunter auch ein großartiges 2LP-Set mit Zoetrop-Effekt. Die Vinyl-Versionen sind 3-seitig, Seite 4 ist mit einer kunstvollen Ätzung veredelt – ein echtes Sammlerstück für die MCRmy. Zum Jubiläum des heißgeliebten 2004er-Albums hat Grammy-Gewinner Rich Costey höchstpersönlich die Deluxe Edition neu abgemischt. Obendrein bekommt das Ganze ein brandneues Artwork verpasst. Und dann sind da noch die vier Bonustracks – Live-Aufnahmen aus dem Jahr 2005, seinerzeit exklusiv für die BBC eingespielt: Bislang unveröffentlichte Versionen von „I’m Not Okay (I Promise)“, „Helena“ und „The Ghost Of You“ sowie ein Live-Take von „You Know What They Do to Guys Like Us in Prison“, der ursprünglich nur als B-Seite der limitierten UK-CD-Single von „I’m Not Okay (I Promise)“ erhältlich war. Angetrieben von Hymnen für eine ganze Generation wie „Helena“ (4-fach US-Platin), „I’m Not Okay (I Promise)” (3-fach Platin), „The Ghost Of You“ (US-Platin), „Thank You For The Venom“ (US-Gold) und „You Know What They Do to Guys Like Us in Prison“ (US-Gold), wurde Three Cheers For Sweet Revenge zum Meilenstein – kommerziell wie künstlerisch. Keine zwölf Monate nach Release war die Platte bereits Platin-zertifiziert. Sie definierte Rock im 21. Jahrhundert neu – und katapultierte MCR endgültig in den globalen Musikolymp

Flirtmachines neues Album 'California Salzburg' ist die Rock'n'Roll-Aufarbeitung der Beziehung zu ihrer verschlafenen Heimatstadt.
Trotzdem ist der schweißtreibende Indie Funk-Rock besonders der ersten paar Tracks auf 'California Salzburg' keineswegs doppelbödig, sie sind ernsthaft bei der Sache, nehmen sich dabei aber selbst mit ihrer unberechenbaren Mischung aus Indie Rock, Funk, Dada Pop und was immer ihnen im Proberaum gerade in den Sinn gekommen ist nicht zu ernst. Wie es sich für kalifornische Verhältnisse gehört gibt's dann noch ein paar Skateboard-Referenzen, bis man schließlich mit Skating to the ocean (Exit) dem Pazifik oder auch nur dem Fuschlsee entgegenbrettert.

Das neue Studioalbum des schwedischen Quartetts GÖSTA BERLINGS SAGA. Furchtlos experimentell, köstlich respektlos und seit 25 Jahren der Kategorisierung trotzend - Gösta Berlings Saga aus Stockholm präsentieren ihr mit Spannung erwartetes siebtes Studioalbum Forever Now. Eine meisterhafte Kollision von komplexem Songwriting, roher Rockspontaneität und der charakteristischen Missachtung aller Genregrenzen - Forever Now ruht sich nicht auf seinen Lorbeeren aus. Vielmehr treibt es die musikalische Reise entschlossen voran und deutet darauf hin, dass das Beste der Band auch nach mehr als zwei Jahrzehnten noch vor uns liegt. Das Werk besteht aus 10 Tracks voller handgemachtem Chaos, die die ganze Brillanz von Gösta Berlings Sagas 25 Jahren respektloser Innovation in sich tragen. Das Album wurde zum ersten Mal komplett von der Band geschrieben, aufgenommen, produziert und abgemischt. Synthesizer und arpeggierte Gitarren schrauben sich immer höher und kollidieren auf dem Weg dorthin mit hektischer Percussion und pulsierendem Schlagzeug, während das angeborene Vertrauen der Band ineinander und in ihre Musik den treibenden Kern eines immerwährenden Energiemotors bildet, an dem fünf Jahre lang gearbeitet wurde. Für Fans von King Crimson, Magma, Yes, Focus, Captain Beefheart, This Heat und The Mars Volta. CD und/oder LP.

Now is a DIY recording & performing pop group from the SF Bay Area with a predilection for 80s UK cassette culture, pulp novels, beat groups, and b movies. "Now Does the Trick" all too well. With balance, harmony, and simplicity, Now slips their hand into the pocketbook of modfathers without being nicked by nostalgia. Harmony on every corner. "Beat Girl" playing on late night TV. The fantasy soundtracks People doing handstands at a party with Syd Barrett. Where the Soft Boys play in the background and no one crosses a picket line. Like a long walk next to the train tracks on Ringo's day out with Sunlight Bathed in the Golden Glow: A little blood in your teeth of an Andy and Edie bubblegum Dream. RIYL (Recommended If You Like): Big Star, Feelies, Felt, Syd Barrett, Robyn Hitchcock, Sharp Pins.

Harry Potter und die Kammer des Schreckens Original Motion Picture Soundtrack, komponiert von John Williams, erweitert den kultigen Sound der Filmreihe um neue Themen. Tracks wie „Fawkes the Phoenix“ fangen den abenteuerlichen Geist des Films ein. Der für einen Grammy nominierte Soundtrack unterstreicht die düsteren Momente, ohne den Sinn für Wunder zu verlieren. Dieser Soundtrack baut auf den Motiven des ersten Films auf und führt gleichzeitig neue Elemente ein.

Harry Potter und der Gefangene von Askaban Original Motion Picture Soundtrack, komponiert von John Williams, bietet einen reiferen Sound für die Filmreihe. Tracks wie „Buckbeak's Flight“ und „Aunt Marge's Waltz“ fangen das Abenteuer und die Laune des Films ein. Der für einen Grammy nominierte Soundtrack führt neue Themen ein und greift gleichzeitig bekannte Motive wieder auf. Sie vertieft die emotionale Komplexität der Serie und spiegelt Harrys Wachstum und die dunkleren Themen wider.

Fango blends four radically different tracks into one sonic journey, each designed for a unique dance experience. His message is clear: diversity—both in music and in humanity—is a treasure to be celebrated.

King Gizzards 22. Album und geistiger Nachfolger von 'Made In Timeline', 'Laminated Denim' enthält zwei 15-minütige Tracks, darunter den Fan-Favoriten 'Hypertension'. Das Paket enthält eine einzelne Lucky Rainbow-Colored LP aus recyceltem Vinyl in einer geprägten Single-Pocket-Hülle mit Flood Printing. Artwork von Jason Galea.

Die australische Band King Gizzard & The Lizard Wizard hat sich zu Recht den Ruf als eine der produktivsten, abenteuerlichsten und einfallsreichsten Bands aller Zeiten erworben.

Seit 2010 hat die Band 25 Studioalben veröffentlicht, die von ausladendem Jazzrock bis zu Spaghetti-Western-Soundscapes, von halbakustischen kosmischen Balladen bis zu Sci-Fi-Prog, von kaleidoskopischem Garagenrock bis zu Thrash Metal, von Erkundungen mikrotonaler Stimmungen bis zu Krautrock und vielem mehr reichen.

King Gizzards produktiver Charakter hat dazu geführt, dass sie ihre Musik in einem frenetischen Tempo veröffentlichen, und ihr intensiver Wunsch, neue Klänge zu erforschen und neue kreative Wege zu gehen, bedeutet, dass jede ihrer zahlreichen Veröffentlichungen anders klingt als die letzte. Oft erscheinen sie in rascher Folge (so veröffentlichte die Band 2017 fünf Alben und 2022 drei weitere allein im Oktober 2022). King Gizzard haben die traditionellen Regeln der Musikindustrie auf den Kopf gestellt.

- Ltd. Col. LP: (Lucky Rainbow-Colored LP aus recyceltem Vinyl, in einer geprägten Single-Pocket-Hülle mit Flood Printing)

Die britische Alternative-Rock-Band „elbow“ veröffentlicht am 06. Juni ihre neue EP „AUDIO VERTIGO ECHO”. Bei dem Produkt handelt es sich um ein ”follow up” ihres im März 2024 veröffentlichten Studioalbums ”AUDIO VERTIGO”. Neben der Erfolgssingle „Adriana Again“ enthält die EP drei neue Tracks, die von den typisch tiefgründigen Lyrics der Band geprägt sind. Die EP wird als 12“ Colour Vinyl erhältlich sein.

DIG Curated is proud to announce its latest release: a jolting EP from Tbilisi's rising producer Uvall. This highly anticipated record is backed by Amsterdam's radiant force Marron, co-founder of the ever-evolving techno event Eerste Communie - a true rite of passage in the underground dancefloors.

Driven by a relentless passion for vinyl, and a vision for techno rooted in shared experiences, DIG Curated stands as a community-driven platform allowing emerging artists to be discovered through the endorsement of established diggers in the scene. Co-founded as a sub-label of DIG, by Berlin-based techno mainstays Olivia Mendez and Chami, the project is nurturing a future of vinyl curation shaped by credibility and collaboration.

For the third release on DIG Curated, Marron steps in to present a trailblazer in Tbilisi's underground scene - Irakli Bregvadze aka Uvall. He is known for groove-driven, high-energy techno, emerging from the heart of Georgia's electronic music movement, where the mantra "We dance together, we fight together" symbolises a commitment to unity and resistance. His production style - a potent fusion of hypnotic rhythms and raw intensity - is designed for big-room club spaces, capturing dancers in an immersive experience throughout. Uvall's magnetic sound lies in touching all elements while never failing to keep the minimalism as intriguing as it is mysterious. His undulating rhythms, draped with enigmatic synths, work seamlessly at both faster and slower tempos, keeping the tracks deeply captivating.

With Northern Lights' heavy pulsations that control and mold the listener, it becomes clear why Marron-who has been consistently curating the steamiest dancefloors-would choose to present Uvall's music as a precious discovery. Both artists seem to be born under similar stars, living and breathing the social movement that techno is, standing up for freedom of expression and border-transcending values.

Renowned for his deep-rooted dedication to the underground techno community, Marron lends his endorsement and artistic appreciation to the release. As a co-founder of Eerste Communie, Marron has consistently championed forward-thinking sounds and community-driven dancefloor experiences, making him the utlimate advocate for DIG Curated's mission. Always in competition with himself, Marron's fast-paced yet highly rhythmic selections are driven by his roots in African groove combined with a powerful, yet hypnotizing and atmospheric techno sound.

"With DIG Curated, we aim to harness the collective power of creativity and knowledge, and spotlight emerging artists. We want to collaborate with esteemed figures in the music scene, who have the credibility to endorse new names with distinct sounds." - Chami, co-founder of DIG Curated.
"As DIG continues to evolve and grow, we are committed to pushing the signature sound of techno that brought us together, and inspire a new movement in vinyl curation by launching DIG Curated." - Olivia Mendez, co-founder of DIG Curated.
DIG Curated 003 is a testament to the power of community, resilience, and the importance of music as an igniting tool to empower and connect dancers in times of polarisation and adversity.

In collaboration with Telekom Electronic Beats, HOMEAGAIN005 captures the spirit of this year's Home Again Club Festival 2025 with a forward-thinking selection of tracks from artists across the festival roster.
Spanning house, tech house, breaks, ambient, and progressive sounds, this 7-track VA is a deep dive into late-night euphoria, sunrise moments, and everything in between.
Side A opens with Thabo's "Cheza Mwili" featuring Nairobi's Brian Msafiri-a high-octane Afro-electronic anthem with Swahili vocals and dancefloor urgency. Miura follows with the punchy and introspective "Home Alone," while Meggy delivers pure Berlin house warmth on "Around." Soela & Module One close the side with "Obsidian," a deep, shimmering journey built for long-form sets.
On the flip, "Pull Me Back" by LUV ATTACK pushes progressive, fast-paced house to an emotional edge. Thalo Santana & Oran Ray shift gears into breaksy territory with the playful, rhythm-heavy "Sweet Potato," before All Shade rounds things out with "Something Like This"-a sleek, driving tech house roller built for peak-time sets.
Mixed and mastered by Matthias Millhoff, and adorned with artwork by Ken Hanamura, HOMEAGAIN005 is a celebration of the diverse sonic threads running through Home Again's dancefloor community.

Welcome to "Private Dancer": Acclaimed producer Johannes Albert returns with his third club album after six years - his first on Permanent Vacation - and it's a statement. The album stars a sound that was always in him - called House - something that moves the body and warms the soul.
Collaboration is key. London's own Helen Salvin graces "Wide-Eyed" with her magnificent voice where midtempo meets a subtle boogie. Things heat up when Biesmans jumps in for the infectious, uptempo "Get My Gee". And when longtime friend Iron Curtis lends a hand, the title track "Private Dancer" melts into subliminal grooves. Expect classic material, like the Arp-tinged "L’Chaim," alongside unexpected weirdness - see "Patterns Everywhere". The life affirming "My Kind" leaves you with nothing but positive vibes while the Pepe Bradock styled sampling of "Follow The Strings" goes sincere all the way.
With 15 years of releases and 25 years behind the DJ booth Johannes Albert masters the balance: House Music that's always classy yet still offers a modern twist. "Private Dancer' showcases 11 tracks that are well crafted - refined yet understated. Maybe all we need now is a basement, a red light, and - you know it - more of that feeling.

One of the most legendary, influential and enduring names in rock music history, SWEET, will re-release their 2012 studio album "New York Connection" via Metalville Records. The release will see the album being pressed for the first time in coloured vinyl and a special edition CD with bonus tracks not included on the original release. "New York Connection" is a selection of material that was originally written by other artists, to which the band has unmistakably put their signature sound on . So is it a boring cover album? Well, no! Not really! This time it's a little different! Aside from a decent selection of must-haves - Andy Scott, said we have also added guitar riffs, drum beats or vocal lines from our own classics where appropriate. So their rendition of "It's All Moving Faster" incorporated the guitar line from SWEET's "Burn On The Flame" while "Blitzkrieg Bop" by The Ramones used elements of "The Ballroom Blitz". Although the most obvious example is the fusion of Russ Ballard's "New York Groove" (previously covered by both Hello and former Kiss guitarist Ace Frehley) and Jay-Z's "Empire State Of Mind". Amazingly, it works!