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Cruise Music continues to serve up irresistible nuggets with its Vinyl Jams series, now reaching volume 15. Once again, it is a various artists affair that blends high production value with the right amount of emotional depth and dance floor kicks, this time looking at the warmer side of house. Keller's 'Stressed Out' is clean vocal house with a catchy wiggle and soulful bass roll, Mirko & Meex that layer a soaring diva vocal into 'There's A Light' that could well become an instant classic. Pianos rule on Oliver Knight & Angelala's 'Your Sunshine,' which is a perfect outdoor cruiser for the hotter days and Dino DZ closes down with the well-sampled 'I Like It.' These are refined, accessible summer house sounds but done with a touch of class.

Two is the second album by British electronic group Utah Saints, and was released in 2000. It's the result of a eight-year layoff that was this close to retirement (in techno terms). In 1992, Utah Saints' self-titled debut was one of the year's most exciting dance releases. Jez Willis and Tim Garbutt's anthems boomed out with the exuberance of copyright liberation, but their unreleased second album was permanently bricked up by record label ffrr for copyright violation.

But in 2000 they finally got to release this beauty! Two features guest apparances by Michael Stipe (R.E.M.), Chuck D (Public Enemy) and Edwin Starr. On Two, you can hear samples ranging from Metallica, Average White Band, The Pretenders, The Stooges and Joyce Sims, so you can only imagine which samples were used on that unreleased album!

Two is available as a limited numbered edition of 1000 copies on clear/turquoise marble vinyl, and is packaged in a gatefold sleeve.

Ten years ago, Horse Jumper of Love released their self-titled debut, one that not only launched their career but also inspired a generation of shoegaze artists to come.


Recorded in a mill space studio by future longtime collaborator Bradford Krieger and first released in 2016 (before a re-issue by Run For Cover in 2017), Horse Jumper of Love introduced listeners to the band’s unique strain of expertly crafted minimalism and haunting lyricism. Tracks like “Orange Peeler” and “Ugly Brunette” capture a gritty melancholy and existentialism that is both youthful and timeless, angst-ridden and sincere. Now, a decade later, Horse Jumper of Love remains a beloved cult classic and a touchstone of the band’s continually developing brand of glacial, grungy indie rock.
This 10 Year Anniversary Deluxe Edition LP features new tri-fold packaging with collaged ephemera from singer and songwriter Dimitri Giannopoulos’ years in Boston while writing the record, a 20-page sewn-in booklet featuring never before seen photos and drawings, and handwritten tablature for the record’s original 9 songs. Disc one includes the original album fully re-mastered, and the brand new second disc features 13 bonus tracks recorded between the years of 2013-2015, mostly by Dimitri at home on a Tascam Portastudio, including single “Heathers (2013)” which was an early version of what would later become “i love you very much forever” and other never before heard demos, b-sides, and alternate versions of the original songs.
The record will also be released for the first time on CD, packaged in a 2-disc swing tray jewel case with a fold out poster.

Imagination Lady is the fifth long-player for Stan Webb's Chicken Shack and was originally released in 1972.

Much in the same tradition as the great British bluesmen Alexis Corner and John Mayall, Webb's revolving-door personnel landed the band several notable members. For this album, Webb (guitar/vocals) gathered a trio consisting of himself, future Gods and Jethro Tull member John Glascock (bass), and Paul Hancox (drums). As with the previous Chicken Shack long-players, this disc features several Webb originals augmented with some well-chosen cover tunes.

The album opens with a ferocious cover of B.B. King's "Crying Won't Help You." In a style akin to the Faces or even some of the rowdier moments from the Peter Green-led Fleetwood Mac, this trio grinds out the blues with a decidedly English edge, followes by the folkie "If I Were a Carpenter". "Daughter of the Hillside" & is Webb's most impressive contribution to the album. This straight-ahead rocker is an ideal trio effort recalling the intense instrumentality of Cream or early Led Zeppelin. The closing number "The Loser" is upbeat and almost pop-oriented, again displaying the immense strength of this Chicken Shack line up.

Imagination Lady is available as limited numbered edition of 1000 copies on red vinyl and comes in a gatefold sleeve.

TEMACHII creates immersive worlds where music, visual art, nature, and emotion blur together. Evoking the hazy surrealism of a once forgotten dream, the San Antonio-based multi-instrumentalist has built a devoted global audience through ethereal soundscapes, hand-crafted visuals, and songs that feel both deeply personal and universally comforting. Her music pairs ambient textures and dream-pop charm with an intimacy that feels like eavesdropping on an artist in conversation with herself—absorbing influences like Radiohead, Fiona Apple, Mitski and Aphex Twin while remaining less guided by genre than by feeling.

Her 2023 debut, flora maniia, was anchored by the 50 million-streamed hit “may you never forget me,” blending hypnotic acoustic guitar, lilting synths, and airy vocals into a reflection on love, memory, and the desire to leave a lasting impression. The follow-up LP, akrasiia, arrived later that same year, revealing a more stripped-back side of her sound while preserving the wonder at the heart of her work. Together with 2024 single “not/lost,” the releases have brought Temachii's art to fans around the world, a reach that feels especially meaningful given her Puerto Rican heritage. More importantly, they have transformed that audience into something more meaningful than simply streams and likes: a space for listeners to feel both safe and seen.

‘I’m So Happy’ is the debut album from the beloved children’s show Ms. Rachel. It features 23 beautiful new recordings of favorites from the show, with lush orchestration and vocals from Ms. Rachel, Mr. Aron and friends. The album includes popular songs such as ‘I Love a Rainbow,’ ‘Hop Little Bunnies’ and ‘Icky Sticky Bubblegum.’

2027 marks two decades since musician and producer Paul ‘Mudd’ Murphy struck out on his own and launched Claremont 56, a label initially dedicated to “music by Mudd and friends” and named after the house he grew up in. To celebrate its 20th anniversary, Murphy has assembled the label’s first ever decades-spanning vinyl retrospective: a six-LP re-mastered collection bringing together key cuts, cult classics, personal favourites, hard-to-find gems and inspired remixes from across the catalogue.

Unlike the label’s previous 10th anniversary box set, which focused on unreleased material and never-before-heard remixes, 20 Years of Claremont 56 traces the musical story of the imprint to date. Across six records, it showcases the distinctive Claremont 56 sound in all its many forms: acoustic, electric and electronic instrumentation, Balearic sunshine, krautrock grooves, folk-inflected psychedelia, slow-burning chuggers and deeply considered dancefloor music.
The set comes housed in a custom box featuring cover art by long-term label illustrator Mark Warrington. Inside are six slabs of vinyl across three gatefold sleeves, accompanied by liner notes from music journalist and author Matt Anniss, Murphy himself, and many of the artists whose music features in the collection.

The journey begins with a selection of formative late-noughties releases, including Mudd & Pollard’s chugging, picturesque ‘Villa Stavros’, the folksy beauty of Smith & Mudd’s ‘Shulme’ and Murphy’s exotic reworking of Ahmed Fakroun’s ‘Drago’. From there, the collection moves freely through deep cuts, overlooked gems, album highlights and some of the most inspired remixes in the label’s catalogue.

Among those remixes is Murphy’s own über-Balearic rework of Zee Erf’s cover of ‘Southern Freeez’, a mix dedicated to his partner Emma; an extraordinary 22-minute, Manuel Göttsching-meets-ambient-dub revision of Smith & Mudd’s ‘Vegetable Square’ by friends-of-the-family Idjut Boys; Larry Heard’s typically deep and immersive house treatment of Jack Cutter’s ‘Serpent Strut’; and Quiet Village’s ambient-house ‘deep space dub’ of Mudd’s ‘Spielplatz’. Also included are lesser-celebrated but no less rewarding reworks by Recloose, Jex Opolis, Felix Dickinson and Deep88.

The collection represents every corner of Claremont 56’s self-contained musical universe, from the Murphy-assembled in-house collectives Hillside, Paqua and Bison - whose members famously included the late Holger Czukay and his life partner Ursula, to long-serving label artists such as Almunia and Hear & Now, as well as later additions and artists who took some of their first steps on the label through its much-loved Claremont Editions compilations.
That means the deeply cosmic krautrock of Bambi Davidson, the folk-meets-Americana of Torn Sail and the samba-electrofunk of Jpye sit alongside baggy Balearic sing-alongs such as Bel’s ‘Ready To Die’ and Sillyboy’s Ghost Relatives’ ‘In a Small Place’, recent high-profile guest releases such as Chaz Jankel’s ‘Rhumba Jam’, and string-laden ambient pieces such as Four Hands’ wonderful ‘Hizou’.

Packed with classic cuts, formative gems and overlooked treats, 20 Years of Claremont 56 is not only a fabulous label retrospective, but also an essential collection of timeless music from a label whose output has remained distinctive and unique for two decades.

he Congos possess what all bands look for, that unique distinctive sound that draws the listener in. Alongside the great songs, lead singer Cedric Myton's singing, phasing and falsetto voice makes that just the case.
The Congos were formed by Cedric Myton (b. 1947, St Catherine, Jamaica) around the mid-Seventies when the
Rasta message was central to the reggae sound coming out of Kingston, Jamaica. But he had started out in the
Rocksteady era, when he formed the vocal group 'Tartans', taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis.They cut 'Dance All Night' (1967) and 'Coming On Strong' (1968). The line-Up became The Royal Rasses and from this Cedric moved on to form the Congos on meeting Roydel Johnson, who had previously sang with Ras Michael and the Sons of Negas. Cedric's Rasta roots were firmly in place when he went to work with producer Lee Perry to cut the seminal album 'Heart Of The Congos' at Perry's just built, Black Ark Studios in 1977. Cedric Myton has carried on the mantle, cutting a set of tunes with the help of his good friend Mr Brent Dowe, who had previously sang lead vocals with the Melodians.This is the Dub set to the vocal album released on the Kingston
Sounds label called 'The Congos Feast'(KS008).With such strong songs, rhythms and vocals it always had the chemistry for a great dub set. Hope you agree and enjoy the dub excursion...

I hope you will enjoy it as much as I do!

Jonah Ellis came to the Drifters as a guitarist but was soon singing with the group and acting as their musical director.

This multitalented musician/ songwriter hailed from DC where he was born on 25 August 1947 and grew up to graduate from Springarn, Senior High in Washington.

He went on to study further at Morris Town Junior College in Morris Town, Tennessee.

Then he received a BA degree in Music from Knoxville College in Knoxville, Tennessee, and a Master of Arts in Music from Michigan State University in East Lansing, Michigan.

His first move into recording came with his group Jonah and the Whales and ‘Savannah Sun’ which sold well locally by didn’t chart nationally.

Jonah’s second single ‘I Get Hot/ Popcorn Cellar’ on Viking Records in 1970 had similar results but he was writing great songs and creating a lot of interest. In addition to penning Yarbrough and Peoples big hit ‘Don’t Stop The Music’ in 1980 which hit platinum.

Jonah was writer/ producer at Total Experience Records where he found time to cut a single under his own name ‘Christmas Won’t Be Christmas Without My Baby’ and also wrote hits for the Gap Band the biggest hit being ‘Desire’. Jonah only stayed a Drifter for about a year between 1986-87.

A short time later he joined the Temptations as their lead guitarist but didn’t stop writing songs for other artists (sometimes in his pen name Lonnie Simmons) like Alicia Keys ‘Gangsta Lovin’, Puff Daddy ‘Soul Food’, Evelyn ‘Champagne’ King ‘Shame’, Billy Paul ‘Fire In Her Love’and so many more including Aretha and sister Carolyn Franklin, Esther Phillips, Rose Royce and Burt Bacharach.

Jonah continued to write and perform internationally until his untimely death from a stroke on 22 February 2010.

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

On her first Harmony Index album, multi-instrumentalist and producer Nico Leibman spotlights the feelings that are most difficult to express, bringing out the friction between her dreamy hooks and harsher sonics. Written almost like a DJ set, the album shifts intentionally between piano-led trip-hop, lounge, dream pop, 2-step and breakbeat house, not languishing in nostalgia but defining a language that's rooted in desire, surrender and forward motion.

Until now, Leibman has been best known as a touring musician, working alongside artists like Jessica Pratt and Ana Roxanne, while slowly putting together new solo material in-between frequent tours. The album was written in bursts over the course of five long years and provided Leibman with a much-needed outlet - a chance for her to lock into her personal musical preoccupations, like Janet Jackson's 'The Velvet Rope', Everything but the Girl's 'Walking Wounded' and Prefab Sprout's 'Jordan: The Comeback'.

It's this era of pop - when nascent technology collided at force with skillful, soulful songwriting - that provides the album's backbone, fleshed out by Leibman's potent meditations on a spectrum of experiences in Los Angeles. And as the record was evolving, Leibman let long night drives crack her creative world open. Embracing the city's notoriously cinematic romantic side, she used the car as a "little chamber of limerence," in her own words, enabling her fantasies and acting as a test system for each song. "If it wasn't hitting in the car," she says. "It wasn't going to be on the record, period."

This sense of motion is evident almost immediately on 'Recognize', when Leibman's breathy words are carried into the night by choppy, uptempo breaks and resonant pads. So even when she simply coos over chugging guitars and bass on the first half of 'Enough', the drop into a low-slung breakbeat is implied. "Another digression, a break in this tension," she sings. "Was I foolish to believe that this was never your intention?" Leibman's tales of disillusionment are imbued with power, buoyed by her pitch-perfect production, with additional help from co-producer Cesar Maria.

On 'Don't Pretend', she sings softly and soulfully over decelerated Timbaland-inspired beats and a dubwise bassline, aided by additional production from Purelink. And 'If' marks the point where she lets go, infusing her euphoria with melancholy as her voice soars alongside the album's most infectious piano riff. Fittingly, the album concludes with 'Trust', a song about surrendering to the possibilities of love that works as a potent metaphor for the album's evolution. Over the course of five years, Leibman learned to let people in, finally trusting the process. "It's also a fantasy of what it would feel like to finally be in love again," she laughs, accepting that it's still just a fantasy. But it's this hope in unfulfilled longing that gives the album its unique character, defining a bold, unguarded voice in LA's experimental pop landscape.

Two stripped back downtempo jams from Bristol based producer Jamie Paton up next for SR008. Jamie’s distinctive dubbed out productions have been a firm favourite over the years since discovering his music on Emotional Especial, Hoga Nord, Multi Culti and Club Blanco. He’s a prolific remixer who’s worked with Goat, Plus Instruments, Minami Deutsch, Dâdalus & Bikarus, Blancmange, Johnny Aux, Khidja, Gatos Negros, Food Pyramind, and many more. This release is a perfect fit for Space Ritual and delves into
the darker side of his sound.

Off World is a slow & low spooked out dancefloor trip that meanders through layers of dark, eerie, rattling percussive echos and deep creeping bass. Contrasting atmospheres build throughout entering into a spacious call and response interplay. Fell Swoop's heavyweight bass and haunted sonics take you deep into uncanny space. The raw and swampy bass groove powers through sharp and ominous textures that circle around it.

Pressed to 10” with hand printed artwork on a black reverse board sleeve. Limited to 150 copies.

2026 Repress

Hailing from the ancient Russian city of Tambov, on the banks of the Tsna River, the youngest member of the Trip family Vladimir Dubyshkin emerges for a potent debut solo EP. cheerful pessimist is an engaging package of highly anticipated deep, swirling techno tracks that many will recognise from label head Nina Kraviz's DJ sets. Diving straight into the core of a peak time set, Vladimir unleashes five formidable doses of unrestrained energy. Swollen sub bass and thumping percussion forge an unmistakable sense of physicality, whilst spiralling, a melodic leads run circles around the listener. Cheerful pessimist wastes no time warming up, plunging head first into the belly of the beast. A thrilling debut and an essential release for lovers of vibrant techno.

Axis Expressionist Series

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works. Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listeners, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life. Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life".Soundtracks for people in their evolutionary process.

This release 'Drifter' is about 'Hype'.



Hype

An animal that prowls on the vulnerable - it excites those who might be looking the other way or with their eyes and minds wide shut.

What is life without hype?

As a transitional tool, hype can be most effective especially when impulse reactions are at play. Something of a psychological currency, there is a lot to gain by giving people what they want - the rush that comes with taking part in a process of making something bigger, more successful and more preferred. Even if there is nothing there.

What's wrong with getting exciting about something?

There are only a few rare masterclass cases that have lasted a lifetime.

As Andy Warhol proclaimed that "everyone will be World famous for 15 minutes" rings darkly true in an era when each one of us can be the talent scout, artist, critic, audience.......and then a revisionist, hoping to bring hype back again by reminding people how great the first round felt.

We are all free to use our attention and time anyway we please. This is the freedom we have, right?

In most cases, we wake up and at some point, the question of justification becomes a debate between those who found unconditional solace and those who re-discovered the subject of substance and "kicked the tires".

Should I care if others like or dislike something?

For some, the hype of something never ends. It hardens and becomes part of a foundation like a cement podium. Something to be stood on to speak over all dissenting voices.

The mysterious Orange Shadow takes on the formidable task of updating these 3 monster classics while still paying homage to the brilliance of the originals, aimed strictly at the dancefloor.

Get em' while you can.

It took a long time – ten years – for his talismanic song, ‘Ça ira tu verras’, to prove his prophecies right, at a time when, everywhere else in the world, nothing seems to be going right. And if everything is going well for Séverin, it’s because he’s managed to build himself a bulwark, an impregnable citadel, and his records now exude a whiff of simplified idealism, with the influence of Souchon and Voulzy never far from his pen and guitar as he brings his bittersweet moods to life in verses and choruses.


But above all, he knows how to invent new settings for himself, push back the boundaries, step beyond the walls of his Parisian studio to go and see how things sound elsewhere. Recorded at Chale Abbey Studios on the Isle of Wight (UK), Séverin once again wanted to let the collective spirit of his regular collaborators take centre stage. Ambroise ‘Sage’ Willaume and Jérémie Arcache, who featured on the previous album *Nouveaux Dinosaures*, once again form the backbone of the band, on guitar and keyboards respectively. Bassist Théodora Delillez (Astral Bakers) and Canadian drummer Robbie Kuster complete the band’s core line-up, which, in just six days at this electric priory, went on to achieve – judge for yourselves – nothing short of miracles.


Whilst all around us the war on falsehood rages – from AI to post-truth, all these fake debates, hypocrites and false values – here is an album that doesn’t cut corners when it comes to emotions, nor in the way it sets them to music.

Ricky Force joins the Basics Records roster with ’MDrum’ a dark and hypnotic rolling track. Ricky is known for writing some of the deepest cuts over the last decade alongside running Pressin’ Hard Records.

On the flip side Friske (Requisite/Metalheadz) steps up with a sharp apache remix of MDrum which twists and turns. On B2 is Gremlinz (UVB-76/Metalheadz) with an absolute monster remix rolling out the amen’s, a masterclass in drum work. Watch your bass bins!!

To mark ‘PUNK50’ (1976-2026) Mal-One has pulled his ‘Future Nostalgia’ track for 12” release. To remind us all that there is nothing wrong with nostalgia and looking back at events that have shaped our lives. Our collective futures are built on the actions of our pasts. As the lyric points out in the song:

‘Future Nostalgia we carry all our pasts’ Future Nostalgia

Also to enhance this release he has added an exclusive dub mix of the tune ‘Future Dub’. The flip side has taken two tracks from his forthcoming dub album ‘Punk Dub Sessions’. ‘Dub King’ is a version of his ’God Save The King’ track an update to the Sex Pistols ‘God Save The Queen’ and ‘Holiday Dub’ a version to his ‘Holiday In Someone Else’s Misery’ track. Which tells the story of the Sex Pistols ‘Holiday In The Sun’ release.

Hope you enjoy the Future Nostalgia journey and the dub excursions.

Lord Sko’s Sophomore Album ‘UNITED PALACE’ is a record chock-ful of homage, past & present pop culture references & youthful exuberance expressed with a vintage New York attitude. With contributions from Meyhem Lauren, Da$H, Wiseboy Jeremy, LIFEOFTHOM & Kuriousul references to the entire cityscape, this is an album that thoroughly represents both Classic & Modern NY culture through the eyes of a Young Uptown MC. With contributions from Meyhem Lauren, Da$H, Wiseboy Jeremy, LIFEOFTHOM & Kurious Jorge, UNITED PALACE could sonically & aesthetically fit anywhere from the Golden Age to the Blog Era & Far Beyond into the future.

Revered collaborators Lauer and Fabrizio Mammarella unveil their blinding 4-track EP 'Megamix' on Mammarella's own imprint Wrong Era. Black Spuma's latest offering traverses their honed realms. Dark and pumping, 'Megamix' stands as a bold celebration of Black Spuma's sound. Each track highlighting their signature chemistry, blending distinct influences into a seamless, forward-thinking journey. As they continue to push boundaries and redefine their sound, 'Megamix' cements Black Spuma's status as sonic luminaries.

After our last release with Dub Keyboarder Ao Inoue from Dry&Heavy Tokio/Japan we now are super proud to announce;
Our next Ep coming up in November is done by TURMSPRINGER + 2 heavy weights Producers. QUENUM labelhead of Cadenza delivered an superb minimal 80´s sounding remix and we could convince no further then Neil Fraser aka MAD PROFESSOR to join the Mole Audio Project He´s done a few “versions” on his old smokey dusty console which will come out within the next few month , Keep your ears open for this !

Producer duo Crossroads is back with another track featuring the talented young singer Cler. This time, they’re taking on a huge classic originally by Grover Washington Jr. and Bill Withers. 'Just The Two Of Us'—a soul classic that’s been loved across three generations—gets a fresh update here, perfectly matching today’s modern soul sound. And once again, Cler delivers goosebumps with her vocals, bringing a seamless mix of simplicity and passion to an timeless hit.

ERSTMALS AUF VINYL! Ursprüngliche 2-CD-Veröffentlichung: 1995. 32 Improvisations- und Dub-Tracks von The Ex! Die Verbindungen zwischen einer Punkband und improvisierter Musik liegen also auf der Hand: Ablehnung von Autorität, Hinterfragung traditionell gepriesener Maßstäbe, Erforschung von Kreativität jenseits der Zwänge kommerzieller Verkäuflichkeit. Kein Instantkaffee, kein Instant-Frühstück, kein Instant-Geld - INSTANTS, DIE BEWIRKEN. Momente, die bekräftigen: ,Das ist jetzt; hier sind wir, das tun wir." Auch improvisierte Musik braucht so einen Energieschub, um nicht engstirnig, verfestigt, elitär, kleinlich oder elitär zu werden. Wie Misha Mengeberg sagte: ,Ich bin im Moment sehr weit davon entfernt, Aussagen zu treffen wie ,Komposition sollte so oder so sein` oder ,Improvisation war bisher so und so`. Das hebe ich mir für den Moment auf, in dem ich tatsächlich in eine musikalische Aktion einsteige. In solchen Momenten habe ich vielleicht ein paar Definitionen. Aber jetzt noch nicht." - John Corbett ,32 Miniaturen. Manche sind ehrlich gesagt faszinierend, andere auf jeden Fall umwerfend. Aber es wird nie langweilig oder glatt. Praktisch ohne Gesang reisen The Ex durch eine Traumwelt, in der Überraschungen sich gegenseitig überraschen und in der sich neue und bisher verborgene Welten offenbaren." - The Wire THE EX: Terrie, Luc, Andy, Katrin, Han Buhrs, G.W.Sok & Gäste: Ab Baars, Wolter Wierbos, Han Bennink, Dolf, Tristan Honsinger, Michael Vatcher.

La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.

Celebrate 40 years of Pixar storytelling through music with Pixar Hits, a collectible vinyl compilation featuring unforgettable songs and scores from some of Pixar's most celebrated films. Pressed on vibrant opaque yellow vinyl, this release brings together fan-favorite moments from Toy Story, Monsters,Inc., Finding Nemo, Cars, Up, Coco, Soul, Turning Red, and more.From Randy Newman's iconic "You've Got a Friend in Me" to the emotional storytelling of "Married Life" and modern favorites like "Nobody Like U" and "Steal the Show," this collection showcases the music that has helped define Pixar's most memorable adventures. A perfect addition for Disney and Pixar fans, vinyl collectors, and anyone looking to relive the magic through music

Jonathan Kaspar returns to Crosstown Rebels with an eclectic four-tracker that shows his stylistic range. The EP features his own vocals, as well as some long-time personal secret weapons.

After an intense touring summer with acclaimed gigs, including Fusion Festival, Fabric London, Else Berlin or Woodstock 69 Bloemendaal, Jonathan Kaspar lands back on Crosstown Rebels. After remixing CRM head Damian Lazarus with two different versions in 2025 and his last massive "We Come EP” to the label in 2024, Jonathan is in a purple patch right now with upcoming remixes for the likes of Âme and Acid Pauli. This upcoming release reveals different sides to his sound while still feeling connected as one body of work.

Opener 'Take Control' will be familiar to fans who have seen Kaspar play recently - it's stripped back but tense, with a searching lead synth and tight, dusty tech drums that grip you and never let up. 'The Reason Why' came to life when Bákayan's incredible vocals were added to the deep, dreamy groove, bringing a smoky soul and human warmth that tugs at the heart. 'Play With Me' and 'I Love Your Voice' both feature Kaspar's own vocals: the former is a subtle, late-night grower that unfolds with trippy synth details and sci-fi motifs. The closer is a deeply immersive and widescreen mid-tempo sound that carries a heartfelt reminder to hold on to the voices of the people who love you when everything else gets loud.

This release is more than just a collection of tracks—it’s a statement of identity. Rooted in the raw energy of acid, techno, and house music, every sound, groove, and hypnotic sequence reflects a commitment to authenticity and creative freedom. In a world that constantly pushes artists to follow trends, staying true to who you are is one of the most powerful things you can do.

This project was created without compromise, driven by a genuine passion for underground electronic music and the belief that honest expression always resonates the deepest. The acid lines cut through with intensity, the techno rhythms drive relentlessly forward, and the house elements bring soul and movement to the journey.

We truly believe in this release because it represents exactly what we stand for as artists: originality, integrity, and a dedication to the music that inspires me. This isn’t about fitting in—it’s about creating something real. Turn it up and experience the sound of staying true to your identity.

It's time for no.7 in the Disco Combine vinyl only series, with two heavy hitters re-worked and re-mixed from the tapes by Dave 'Love' Lee. On the A is 'Not This Time (Baby) (Give Me Some Moore Mix)' a much loved slice of Philly Disco,Aabsolutely bursting with lush orchestral arrangements. This classic jam has been given a noticeably different refresh, with a show-stopping acapella intro and more of the less heard instrumental passages. Speaking of classic, on the B is 'Jammin' Up In Smoke (Ready Steady Eddie Mix)' a Harris Machine, gospel charged chuggerAwhich is given a more groove based mix, which builds up instrumentally before hitting some falsetto vocals half way through, leading to a big hands in the air finale. Stay still if you can!!

Still Music & Jerome Derradji Present - Chip E – The Architect Of House: Chicago 1984–88 (Volume 1)


Still Music, under the guidance of Jerome Derradji, proudly announces a landmark archival release celebrating one of house music’s true originators: Chip E.
Titled The Architect Of House – Chicago 1984–88, this definitive series spans three double LP volumes, documenting the raw foundations and forward-thinking vision that helped shape an entire genre.

Mr Bongo proudly presents a first-time worldwide vinyl and CD issue of Rubel’s debut album Pearl. Self-released on YouTube in 2013, the album quietly became a huge hit in Brazil with the lead single and accompanying video for ‘Quando Bate Aquela Saudade’ amassing over 85 million views to date. Pearl laid the foundations for Rubel’s path to greatness - a first glimpse into the brilliance of a modern-day troubadour and ever-evolving Brazilian artist who deftly mixes classic and contemporary influences. Fusing MPB, folk, pop, and indie, it charts Rubel at his purest and most personal.

The journey of Pearl begins with Rubel in his early 20’s studying film in Austin, Texas. Immersing himself in the city’s vibrant DIY music scene and surrounded by countless musicians who he shared a large house with, he set up a home studio with an assortment of rented gear and recorded the album without any expectations. It was inspired by an environment of youth, music and experimentation Rubel found himself within. The seven songs are an attempt to record and take with him a little of what he lived and learned whilst there. He uploaded the album to YouTube, didn’t think much of it and continued to pursue a career in film in LA. Over the next few years however it became a viral hit in Brazil, with a subsequent Brazil only vinyl and CD issue, drawing him both back to Rio and a trajectory to musical stardom.

HVS is truly pleased to welcome Cash Kru and Tweeleaf to the label. Two of the hardest working kids in Jungle/Hardcore IMO. With a ton of quality releases under their belts, they just had to get pressed up, because these tunes are absolutely phat!

Cash Kru runs the Asionyta label out of Belgium along with Expo, F.T.C Project & Tweeleaf. Super wicked label putting out digital releases as well as lathe cuts, disks and cassettes. She has loads of top tunes on there, and not strictly Jungle either! She also runs the Devil Dubs label putting out very very quality Jungle. I highly recommend checking both out if you want some gritty, ruthless Drum & Bass.

Tweeleaf out of Pennsylvania (funny enough the same small town the rest of my family is from) also has releases out on both labels as well as his own, Interim Records, focusing on digi singles from him, all currently being sold at “Name Your Own Price” which is insane considering every release is excellent.

These tracks were made with a combo of DAW and emulated Amiga (more info on the center label) and all four are just Heavy as hell. I've been playing them out live a ton and every track crushes the dance floor. Someone always demands the rewind on “Militant Jazz” which is funny because the buildup is so long, but by the time it drops everyone loses it!

A1. starts off the EP on a more mellow tip with a vibey Soul Pride, Think & Amen mashup from CK. The switch up into the 2nd half phased out Amen is so seamless, it's a great way to get the EP going.

A2. goes straight into the ruffness with a relentless amen tune mixed up with some mysterious/jazzy chords/vox all summed together in PT2.

B1. is a remix of a tune of mine that never came out, but CK asked for the stems and did an amazing job with it. I love her choppage on this! Super tight and snappy and hits all the right notes for a destructive tune.

B2. ends the EP with one of the nastiest tunes to come out anywhere this year if I may say so. That Lemon D amen is just crazy, and that S950 time stretch stutter is chef's kiss. But you be the judge!!

Mysticisms’ explores the previously unknown Dub House, Digidub and electronic Street Soul of Manchester émigré Andrew Fitzgerald aka Atone on a 6 track EP, shape shifting from dark basements to summer fields, the music is wide-screen dreams, mixing psychedelic temperaments with ecstatic memories.

Dub Dats is a compendium of a life around or making music, beats, dubs; menageries of sound that encompass a love of reggae mixed with the influences of youth. Growing up in Thatcher’s then declining Manchester housing estates, Fitzgerald found escape first as a young roadie, just aged 15, sorting ‘cigarettes and alcohol’ for visiting bands. Rubbing shoulders with the likes of The Buzzcocks, Ian Dury and The Slits, was a great way to learn the ropes, while avoiding becoming another juvenile delinquent.

A love of Bowie, Kraftwerk, Motown, film scores and the emerging electronic and industrial bands like Throbbing Gristle led to a first studio, featuring the unique and faithful DR-55 Dr. Rhythm, soon followed by Sequential Circuits Pro One, Juno 60, Roland 303 (x 2), Roland 808 and Space Echo.

Working on music solidly, a release finally appearing on Robs Records, before losing all the equipment in a robbery. Manchester was shifting, gangs and “Gunchester” meant it was time to move on and when ‘an out’ appeared, Fitzgerald was landing in Sydney and settling into a new life.

Hooking up with Ali Omar, who he’d met while doing a stint in Brixton, London; the two worked solidly on music, gigging continuously, hanging with the likes Severed Heads and living a good life of that post acid-house party era. The loss of Ali to cancer, still young, hit hard and period “quite liked the madness” ensued. Rehab and starting again, Atone has been gaining some interest.

With 2 EPs of early works recently released on Tonal Oceans, Dub Dats looks deeper, with the dubbed house grooves of title cut, Dats and, the intriguingly named, Somewhere In France With Eric Random. Complimented by the electronic dub of Keep On, the soulful, slow breaks torch song, I Be There, the sample heavy Sound Of Soul and closing, trippy Unlike You, this is a multi-genre producer of considerable capability and talents.

Finally getting his due, Dub Dats perfectly fits the Dubplate Series, broadening its soundscape, while also standing out as its own, sonic release.

Atone the mystery.

Cameron Stockman has risen from the Manchester rave scene to become a new school producer that builds on that background with other influences from US West Coast and 00s UK tech house. As such it's no wonder Chris Stussy and Enzo Siragusa have played his jams, or that Burnski has snapped him up for this new EP. 'Warm Welcome' begins with a slithering groove that works its way under your skin with zesty little synth expressions and rasping bass that never quits. 'Give It 2 Dem' heats up with naughty breakbeats and some bass that wouldn't be out of place on a jungle record, but here powering a future tech sound. RTK Tarantino shuts down with some classic neon organ chords and a quicker, throwback garage vibe that gets works. Effective stuff.

Berlin-based friends and cult DJs and producers Mor Elian and Gramrcy hook up here for A-Lo, a new collaborative project that comes after more than a decade in the game. Both have their own distinct approaches but fuse them here into "a fluid, hybrid system of production." 'Marzelvane' opens with drums that move you while also suspending you in the moment on shimming bass. 'Side Fumble' is glitchy, minimal electronic music with weighty bass buried way down low. There is a more electro-leaning kinetic energy to 'Tremie' as well as plenty of hi-fidelity details, while 'Lotus Deltoid' shuts down with loose jazzy cymbals and slow, dusty broken beats for a more abstract trip.

Marc Cotterell has been going about his business with great style in recent years. The Plastik People boss leans into the old school soulful house and garage house scenes for his inspiration and updates those foundational samples with plenty of musicality as well as club-ready rhythms. This solo outing kicks off with the impossibly infectious 'Keep Pushing' with its angelic vocal tones and rich piano chords all overflowing with catchy, feel-good vibes. 'If You Still Love Me' has the same irresistibly joyous results, but this time darts about with a touch of US garage swing and some vibrant horns. 'Boogalou' closes with a more knotted, funky bassline. Brilliantly accessible but sophisticated stuff.

Andreas Tilliander returns to Kontra-Musik in a grand style with his second TM404 album. Titled 'Acidub', this highly anticipated release is much more of an evolution than a repetition of the first superbly self-restricted album, where Tilliander even decided to use only one of the two Roland TB-303 waveforms. Acidub is a more playful and open listening experience, no doubt inspired by his extensive live touring with the TM404 concept. In fact, you can almost hear Tilliander's flock of acid machines breaking free from the restrained modus operandi. Every sound is like a migratory bird with a heart yearning for high altitude and favourable winds. The opening track Alinge paints a lucid picture of these acid birds leaving a cold industrial landscape behind, the flickering black shadows from their wings against the white smoke rising from a forest of chimneys below. The very last seconds of Alinge even echo of the place the silver birds are longing for, but that will remain a secret between Kontra-Musik and the avid listener. Sufficient to say, we can follow these birds of passage as they're heading south towards a warmer climate, fleeing the cold discipline of the North. Mutron Mantra, for instance, brings us to a rainforest full of serpentine lianas, giant leaves dripping with moist and green pools of water bubbling with organic life. Don't Defend Mascot guides us through a steaming savannah at dusk with hundreds of yellow eyes following our every step while Pade vividly describes the perils of the flight and the pace and courage needed to press on. In all, Acidub is a surprisingly exuberant follow-up to the more introspective TM404 album. But while the musical journey of this second album is quite different, the experience of sheer aural eminence remains the same. Andreas Tilliander has done it again, and Kontra-Musik couldn't be prouder.

East London based quintet IAN bring a sense of jovial camaraderie through their heavy, loud and droning post-rock dirges on debut album 'Come On Everybody, Let’s Do Nothing!' through UK charitable label Human Worth.

IAN (the band) are refreshing newcomers in the UK's heavy underground. The East London based quintet will be releasing their stirring debut album Come On Everybody, Let's Do Nothing! on Vinyl and Digital via independent label Human Worth on October 17th – a labour of love between five old friends and ex-bandmates from Exeter’s fertile early '00s DIY punk scene.

Self-described as "a band that appreciates the peaks and troughs of post-rock as much as the crunch of the riff," IAN's striking debut delivers five dirges that merge earth swallowing riffs with the atmospheres and dynamics of their post-rock heroes, such as Godspeed You! Black Emperor, with the bite and visceral heft of Cult Of Luna and Amenra. Thoughtfully captured by Wayne Adams (Petbrick, Big Lad) at his London based Bear Bites Horse studio, IAN craft slowly mounting riffs, with anguished screams, woven with elegant cello playing, field recordings and earthy timbres. Come On Everybody Let’s Do Nothing!, and the band IAN as a whole, is the culmination of 25 years of musical comradeship and the need to find inspiration in films, noise and the drudgery of middle-aged life.

Rising UK independent label Human Worth have pressed up a limited run of Eco Mix Vinyl, housed in a stunning sleeve designed by guitarist Craig Murray, with a very small batch of Bandcamp Exclusive Signed Prints. 10% of all profits will be donated to charity Mermaids – supporting trans, non-binary and gender-diverse children, young people and their families since 1995.

"A harsh mix of post-rock aggression and dark ambience. As jovial as they were incredible." ~ The Sleeping Shaman