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“The group has no niche, it doesn’t fit in anywhere,” explains Necessaries drummer Jesse Chamberlain in a 1980 Melody Maker interview. “We just state the facts about life in America, like The Clash did about England, but we’re not so heavy about it.” The Necessaries rose from the ashes of Harry Toledo & The Rockets, a little-known New York art-rock band playing gigs at Max’s Kansas City during glam’s metamorphosis into punk. —From the liner notes by Michael IQ Jones The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage To Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love Of Life Orchestra). First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them viable for commercial release, but due to tour commitments, the band had to put the sessions on hold to hit the road. While on tour, the band was shocked to discover that Sire had issued the unfinished tracks as their debut album Big Sky (issued in 1981). The band had Big Sky withdrawn and replaced with Event Horizon (issued in 1982) which included half the original tracks from Big Sky and continued to record throughout 1982 aiming for a follow-up. It was not to be and their final studio sessions remained unissued until now. Completely Necessary (Anthology 1978–1982) is the first authorized collection of recordings by The Necessaries and includes 37 tracks, 28 of which are previously unissued. Completely Necessary represents the most accurate musical history of the band laid out across three albums. Disc one is the band-approved first album Event Horizon, followed by Pilots Facing North, a disc collecting studio recordings spanning 1978–1981 and disc three finally sees the release of their final sessions, Songs From The Blue Colony. Album notes by Michael IQ Jones trace the history of the band for this compilation produced by The Necessaries’ Ed Tomney and Cheryl Pawelski (Omnivore Recordings). The audio has been restored and mastered by Michael Graves at Osiris Studio, and both the 3-LP and 2-CD sets feature previously unseen photos across the package. Finally, an essential missing piece of the late ’70s/early ’80s New York scene that was just slightly ahead of the college alt-rock soon to come, is finally available to rediscover—this time it’s authorized and absolutely necessary. BUY! HERE’S WHY! • The first authorized and comprehensive anthology by The Necessaries. • Mid-’70s/early ’80s New York rock/punk/art scene band included members: Ed Tomney, Ernier Brooks, Arthur Russell, Jesse Chamberlain, and Randy Gun. • 37 tracks, 28 previously unissued. • Liner notes by Michael IQ Jones, plus unseen photos.

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

„SUMMER 1987 - DATA BITS RACING THROUGH YOUR PROCESSOR. BREAKING INTO THE CYBER WORLD AND TURNING THE WORLD UP SIDE DOWN. THE DAWN OF THE DIGITAL ERA HAS JUST BEGUN AND ITS CORE BRAIN EXPANDZ A HACKING COMMUNITY THAT CHANGES THE C64 WORLD. THE SOFT PIONEER, A LIL TEENAGE HACKING DUDE BLOWS UP THE COMPLETE SCENE BY USING THEIR OWN HACKING WEAPONS AND POINTING THEM AGAINST THEMSELVES. THE RESULT IS AN ANGRY FREAKED OUT CONSPIRACY TO KILL THE SOFT PIONEER. THE HUNT HAS JUST STARTED...“

Between 2023 and 2025, L.F.T. split his time between Hamburg and Berlin, slowly piecing together what would become his most ambitious work to date. The result is Hell Was Boring - a double album that plays like a fever dream, unfolding as a dark, mythical tale about life, death, and the strange spaces in between.


L.F.T. - the alias of German producer and multi-instrumentalist Johannes Haas - has always thrived on tension: between punk urgency and electronic precision, between raw emotion and mechanical repetition. On Hell Was Boring, those tensions are amplified. Drawing on the spectral drama of Bauhaus, the melancholic minimalism of Linear Movement, the futuristic romanticism of Gary Numan, and even the sly swagger of Falco, the album feels at once deeply personal and part of a much older musical lineage.


The sound is stripped down to its bones: drums snap and rattle from a Roland TR-808, TR-707 and Korg KR-55; basslines growl from a Roland SH-101 and Korg MS-20; shards of guitar cut through clouds of tape hiss. Everything was tracked to a Teac Tascam 80-8 reel-to-reel, giving each track a lived-in, imperfect warmth. Nothing is overpolished - L.F.T. wanted the listener to hear the edges, the grit, the moments when the music almost comes apart.


Along the way, he invited friends and long-time collaborators into the fold - Das Kinn, Rosaceae, Felix Kubin, Children Of Leir, and Konstantin Unwohl - each leaving their own fingerprints on the record’s world of shadows and static.


Hell Was Boring isn’t a mere collection of songs; it’s a narrative that drags you into its orbit and doesn’t quite let go. It’s music for the late hours when reality feels porous, and for those moments when you’re not sure if you’re waking up or still dreaming.

Good ambient will always been a comfort blanket during harsh times. Whether from a global or more personal perspective. This collection on Secrets of Sound brings together some real dons of the genre, from Mark Barrott - to Steve Roach, and sequences them into one soothing, calming trip that touches son all different sub-sound and styles from New Age to celestial. A spoken word intro from long-running ambient radio Jaroslav Kovaracek sets the scene before you're then cast adrift in supreme sonic lushness.

Brooklyn's elusive Tom returns with the first release on Sweet Breeze Sound, a new label launched by Washington, DC's Marc Meistro of Sol Power All-Stars, aka Glenn Echo. He has already turned heads with a fine set of 12"s on Razor-N-Tape and Sol Power Sound, and here brings some dubby disco grooves and infectious samples. Side A leans into loved-up feels, looping an irresistible 80s r&b vocal over bouncing bass and layers of percussion. The B-side shifts to a more melancholic mood and is run through with a feeling of longing through a single repeated phrase supported by deep dub bass and driving disco rhythm. This is a great inaugural release from a label sure to become essential.

A further landmark release number hit as we announce our 30th (eeek!) release on home label Rezpektiva. Stepping up for this occasion we present Mystic Base aka Ziggy P, producer and label owner of the original label it was released on in '92, Boo Records out of Düsseldorf. Consisting of three original tracks with magical tendencies that stand out for any time at any place you could argue its sound is more relevant than ever before.

Repress.

Opik follow up their debut ‘Feel Yourself’ release on Pork Recordings from 1992 with more gold from the archives. Featuring two unreleased gems in ‘Lovekraft’ and ‘Oscillator’ backed with a special 15 minute version of ‘Travelling Without Moving’, originally featured on the cult ‘Feed Your Head’ compilation.

Back when the first white labels started floating through the hands of German, British, American and Canadian DJs in late ’84, nobody was ready for what was coming. The official drop hit in early ’85 and the scene was never the same again. This was the moment Mike Mareen broke through the static. Yeah, he’d been working with Chris Evans-Ironside since the ’70s but nothing hinted that together they’d channel something this futuristic. “Dancing In The Dark” sounded like it had slipped through a wormhole: melancholic, hypnotic vocals wrapped in vocoder haze, riding an arrangement so razor-sharp it made most releases of the era feel prehistoric. It didn’t need the pop charts… It owned the clubs. And the clubs listened.

London. Berlin. Madrid. Rome. Paris. Lisbon. Amsterdam. Athens. Toronto. NYC. Tokyo. Mexico City.

One drop of that electro bassline and DJs were hooked. Crowds were hooked. The whole underground was hooked. Soon Europe’s radio charts caved under its pressure, and the track crossed borders on mixtapes, becoming a cult anthem behind the Iron Curtain. It was everywhere, even where it technically wasn’t allowed to be.

Fast-forward four decades and the spell hasn’t faded. “Dancing In The Dark” still shows up in indie dance, italo wave, house and deep house sets. Producers keep re-editing it like it’s sacred material. It’s one of those tracks that DJs treasure, a timeless weapon, one of the top three defining singles of Mareen’s entire career.

And now for the 40th anniversary of its official release, Vintage Pleasure Boutique and Night’n Day Records drop the vinyl every collector and selector has been waiting for: a special reissue loaded with four brand-new remixes spanning the full spectrum of today’s underground indie/disco/italo/house energy.

Tallac – the American Berlin dweller – dives deep into the hypnotic soul of the original, pulling out its buried deep-house DNA and carving out a spacious, emotional roller.

Luksek, Italian producer & DJ, goes raw and dirty: loop-driven, gritty, underground, hypnotic, the kind of edit that eats dancefloors alive.

Flemming Dalum, the Danish Italo grandmaster, finally gets to remix the track he’d always dreamed of touching and of course it’s pure Flemingish electro-italo magic.

And the Polish sparkle: A.P. Mono delivers a shimmering mix of italo disco, glitterbox groove, disco glamour and synthwave glow, all while keeping the spirit of Mareen’s original heartbeat intact.

The wax also features two historical heavy-hitters: the 1985 Jens Lissat’s team remix and Luis Rodriguez’s original arrangement, essential cuts in the Mareen universe.

This release isn’t nostalgia. It’s a resurrection. A celebration. A reminder. “Dancing In The Dark” didn’t survive 40 years by accident, it survived because it still moves bodies, breaks hearts and lights up floors in ways modern tracks can only wish for.

If you’re an indie, italo, wave, house or disco DJ… This record isn’t just worth owning… It’s mandatory.

A heavyweight library record delivered straight from the Gods; truly, we are all blessed: Dubmaster Dennis Bovell presents cLOUD mUsIc. A miraculous set of loose limbed, slinky funk-forward dub on the A-Side with totally blunted, spaced out trippiness on the grooving versions gracing the flipside.

A pioneer of dub and progenitor of lovers rock, genius producer-arranger Dennis 'Blackbeard' Bovell's prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock, afro-beat to post-punk, disco to pop and beyond.

His production work encompasses such diverse figures as Ryuichi Sakamoto, The Slits, Fela Kuti, Linton Kwesi Johnson, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, I Roy, Maximum Joy, Steel Pulse and more.

cLOUD mUsIc features 8 new, deep, never-heard heaters, initially created for upstart UK library label FOLD. Dennis had written some music under the influence of Cloud-watching and presented it to FOLD with a view to them presenting it as Library Music to be utilised by anyone interested in having music for incidentals, films, TV and advertising etc.

cLOUD mUsIc represents Dennis expressing himself freely and inviting others to join and express themselves. As Dennis explains: "Library music is what makes the difference between creating for specific reasons and creating for your own individual enjoyment. cLOUD mUsIc was created whenever I felt the urge to create music that I wanted to, with no pressure. It was recorded at various times and in various studios around the world with various musicians’ assistance. Much sonic indulgence with many different recording devices."

Who doesn't like the sound of that?

"For Toronto outsider pop auteur Saya Gray, music is a glittering mosaic of endless influences. Her debut album is akin to a sonic chimera; its limbs assembled from disparate, but complimentary musical organisms. Does she make pop? Folk? Rock? R&B? The moment you think you’ve got her pinned, she’s gone like a flash.
Gray’s often collage-like sonicspheres, blanketed with layers of riffs upon layers of electronic chatter, demonstrate the limitless potential of music as an art form.
Saya Gray has received support from Pitchfork, The Guardian, The Times, Colors, The New York Times, BBC Radio 1, BBC Radio 6, NTS, Fader and has recently recorded an incredible Tiny Desk session to be release around her new album. "

Rare as fish knees, roots gem!

“Me Look Like A Lion But Me Humble Like A Man”

Fredrick Dookie & Desmond Silpatt were cousins and close friends who though not prolific, created one stunning reggae tune which has been near impossible to find for over 40 years.
Like artists from Supercat to Sheila Rickards, Freddie & Dessie are of Indo-Jamaican descent. They gravitated to music from an early age.

Recorded at Aquarius and arranged by Wire Lindo, the track features back up vocals from a young Beres Hammond.

"I have loved this song for a very long time and this exclusive reissue has been in the works for several years since I tracked down one half of the duo Dessie aka Desmond Silpatt who is now based in Florida." says Chris from Shella Records.

Freddie who provides the song’s hypnotic vocal was a devout Rasta man who sadly passed away in 2019. He is survived by Dessie, a renaissance man, inventor and author who has penned thousands of songs in his time.

When Brazilian producer, songwriter, and multi-instrumentalist Diogo Strausz arrived in France, he already carried an impressive legacy. Known for his collaborations with the New York label Razor-N-Tape and for producing Brazilian legends such as Gal Costa and Marília Mendonça—whose tracks have gathered millions of streams worldwide—Strausz quickly made a name for himself among an international audience. His productions have also been remixed by acclaimed artists like Yuksek and Ron Trent, further cementing his global reach.

After two critically acclaimed releases on the French label Goutte d’Or Records (Flight of Sagittarius, 2022, and Samba From Outer Space, 2024), Diogo Strausz now naturally joins Favorite Recordings for a new chapter in his musical journey.

On this new album, Strausz pays tribute to the golden era of Brazilian Disco-Funk from the late 1970s and early 1980s, drawing inspiration from visionary producers Robson Jorge and Lincoln Olivetti. The result is an organic, ambitious, and deeply groovy record that celebrates both the vibrant dance culture and the rich musical heritage of Brazil.

Faithful to Favorite Recordings’ analog spirit, the album was crafted using vintage studio gear, capturing the warmth and depth of classic recordings reminiscent of the legendary Estúdios da Sigla sessions in Rio de Janeiro.

The explosive track “Ele é Artista”, featuring Bruno “Patchworks” Hovart (Voilaaa, Mr. President, João Selva, Uptown Funk Empire), is a standout moment—a dancefloor-ready bomb that channels the joyful energy and irresistible funk of modern tropical productions.

With its sun-drenched grooves, jazz-funk sophistication, and boogie flair, this album confirms Diogo Strausz as a master at blending timeless Brazilian soul with contemporary elegance.

Happy to present what is sure to be one of this summer's standout soundtracks. Nic Jalusi, an up-and-coming DJ and producer based in Munich, has been making waves for some time now with his refined house style rooted in the '90s. One of the creative minds behind the fantastic label Super Sound Global, he now lands on MM Discos with Eternal Sunset.
Eternal Sunset brings together all the influences and styles that have shaped Nic Jalusi's sound over the years. From the Italian-rooted dream house of "Sunset 92" and "La Noche," to the Kwaito, Dub, and African-Synth flavors of "Mystic Rythm" and "Gamballa Acid," all the way to the late-night breaks of "Eternal Dance" and "X-break."
A perfect summer cocktail to beat the heat - whether you're in your living room or on the dance floor.

UFC is proud to present its tenth release, “Music For A Dreaming Generation”, by R.I.P. Bestia, featuring remixes by Rabbit In The Moon, a mini-album produced between 2022 and 2024, where Analog Hardware and Sampling collide to form “Everything.”

'E.X.P.A.N.S.I.V.E (Ancestral Technologies Mix)' a fusion of Electro and Nu-Skool Breaks under a choral mantle of shamanic psychedelia. 'Music For A Dreaming Generation (Dub Botanical Reaction Mix)' the original version is brutalized and reactivated with the acids of the beloved TD-3, a colliding immersion of frequencies, dreamy pads, and hypnotic melodies filtered through the cherished JP-8080. 'Law 7/2023, of March 28' a humble, reivindicative sonic tribute to animal rights, compressed breaks and charming vocals are guided by a psychedelic melody up to a “Drop” where a monstrous Bassline takes the helm, steering you into an emotionally gravitational State of Dance.

About the remixes, Rabbit in the Moon delivers this legendary Techno-Trance gem 'Music For A Dreaming Generation (Nightowl Mix)' a remix we envision as “a crushing technoid mass” that lifts you up to an epic drop before bringing you back down to the earthly realm.'(Daydream Mix)' in this version, Rabbit in the Moon reimagines the original into a “2-Step Garage” interpretation, a pure Braindance journey, with graceful arrangements fused with epic vocals and mysterious Basslines.

Ski Mask The Slump God is a vaunted underground rap legend and pioneer in the Soundcloud Rap era
The Lost Files is a collection of songs from the soundcloud era, some unreleased, some never on streaming before.
Includes rarely heard features from XXXTentacion
Recently released “Catch Me Outside 2,” the followup track to his iconic “Catch Me Outside” track - with the single and video going viral
Over 8.5M streams on Spotify alone since release
Recently performed Sold-Out hometown concert celebrating release of The Lost Files. The show sold out in 4 minutes

Another DINTE tape curated by cult WFMU show and blogger Bodega Pop; Gary Sullivan's long-running project rooted in a passion for digging for music in bodegas and cell-phone stores across NYC's boroughs. This edition focuses in on late 1990s and early 00s hip-hop & rnb from across Southeastern Asia.

"While on a work trip to Chicago in the mid-2000s, I was craving a bowl of pho. A bit of sleuthing led me to hop on the red line "L" up to Argyle Street, ground zero of Chicago's Little Saigon. In the 1960s, Chicago restaurateur Jimmy Wong invested in property on Argyle Street with a vision to build the city's new Chinatown, a kind of mall with pagodas, trees, and reflecting pools. In 1971, the Hip Sing Association, a labor/criminal organization, established itself in the area, and along with Wong, they bought up 80% of the buildings on a three-block stretch of the street. Wong reportedly broke both hips in an accident, leaving his dream to wither; in 1979, Charlie Soo of the Asian American Small Business Association brought it back to life.

Soo expanded the area into a vibrant mix of Chinese, Vietnamese, and other Southeast Asian businesses, pushing for renovations, including an Argyle station facelift and the Taste of Argyle festival. At the time I exited the station and crossed the street to get a better look at a shop with a poster for A Vertical Ray of the Sun in the window, the area was home to some 37,000 Vietnamese residents.

Opening the door, I was gobsmacked by a cavernous Southeast Asian media store, bigger than any I'd been to in Dallas, Montreal, New York, or Seattle. I spent some time at the bins, pulling out collections by some of my then-favorite singers — Giao Linh, Khánh Ly, Phương Dung — before approaching the register to ask the young woman behind the counter if the they carried any Vietnamese rap. It was a longshot, I knew, but if such a thing existed on physical media and anyone carried it, it would be this place.

'Have you heard Vietnamese rap?' she replied, her tone of voice and facial expression betraying a comically exaggerated level of distaste. I admitted my ignorance but assured her that I had long cultivated a high threshold for cheesy pop music of all kinds and genuinely tended to like hip hop from around the world.

She rolled her eyes and pointed to an area I had missed. I walked toward a far corner of the store and knelt over a small box on the floor sparsely populated with CDs, VCDs, and cassettes. I pulled out half a dozen Vietnamese hip hop compilations and a strange-looking CD with a cavalcade of odd typefaces in a queasy multitude of colors: THAILAND RAP HIT, it boasted, with 泰國 "燒香" 勁歌金曲 below it. The information on the back provided an address in Kuala Lumpur and the titles in Thai and English translation. The first track included three simplified Chinese characters after the English-language version of the title, "The Chinese Association": 自己人.

WTF was going on here? Walking back to the register, I waved the CD, asking "What's up with this one?" She gave me a look. I placed it on the counter so she could bask in the cover's full glory. She shrugged. "I'm guessing it's Thai rap?" She looked disappointed in me when I said I'd take it.

It turned out to be a Malaysian pressing of half-Chinese Thai hip hop artist Joey Boy's third album, Fun Fun Fun from 1996, and it completely changed my sense what the genre could sound like. The rapper's self-assured, effortless, silly-but-cool rapid-fire delivery weaved in and out of the most bizarre, antic beats I'd ever heard. The six Vietnamese hip hop CDs were a mixed bag, mostly "serious" sounding mimicry of US rapping over predictable production, but the highs were very high. When I got home and listened to it all, I made a point to find as much hip hop from this part of the world as I could.

The tracks collected here provide a limited but potent reflection of the two-decade ascendency
and ultimate world-takeover of hip hop, as it displaced rock and its endless variants for millions of listeners. This not a fair and balanced overview of regional production: I've only included tracks from Cambodia, Indonesia, Myanmar, Philippines, Thailand, and Vietnam. Nor is this a biggest or most important artists collection; instead, I've tried to recapture the pure visceral thrill of that first time I heard Joey Boy, choosing bangers that sound like nothing else, from nowhere else."

—Gary Sullivan

New B-Boy breaks 7" - Tow heavy weight funky dancers loaded with loops and samples, perfect DJ Tool.

The definition of the word 'fado' is technically 'fate', though the Portuguese meaning bound up with this term is more complex. The music itself can be fairly closely compared with that of Greek rebetika - also the American blues or the original working-class tango music of Argentina and Uruguay - and similarly takes it's common subject matter from the various cruel realities of the world. Though perhaps what distinguishes fado in character is it's often poised acceptance of the pains of life rather than protestation or resistance - as writer Paul Vernon says "It speaks with a quiet dignity born of the realisation that any mortal desire or plan is at risk of destruction by powers beyond individual control"

Death Is Not The End compile here a spine-tingling collection of fado recordings, taken from records issued in the mid 1910s through to the 1930s. The fado's Lisbon and Coimbra variants are presented here by some of the music's earliest recorded stars - spanning a time period leading up to the emergence of the fado's all-conquering star, Amália Rodrigues.

Real Lies’ new album ‘WE WILL ANNIHILATE OUR ENEMIES’ will arrive on April 16th 2025 via Tonal. The album is about taking the hand of someone you love intensely and running headlong into the chaos and noise and grinding forces that dominate modern life. It follows gilded 2024 collaborations with Mall Grab, Kettama and Drain Gang’s YEAR0001 label. Lyricist Kevin Lee Kharas and producer Patrick King created the record in their studio, hidden away under a railway bridge somewhere in London’s Zone 3. Three pictures stared down at them from the walls throughout, including an image of a young Sasha Shulgin in the relief print style of Che Guevara t-shirts sold at Camden Market, and a photo of an orbiter fairground ride in flight, taken sometime in the early 2000s. Kharas’ lyrical inspiration comes when he steps away from the tsunami of data flooding his consciousness and paces London’s rain-soaked streets late at night. “I wanted the songs on WWAOE to confront modern reality head-on, unflinching,” he explains. “I didn’t want to whine about a lost past. I didn’t want nostalgia. I wanted to learn to love the modern world, with all its horrors and futility.” After a teenhood spent playing in hardcore bands, the duo found ecstasy at a squat party for the first time, and moved to London. Since then, they’ve made music about finding romance and fun when the moon is up, becoming a cult act in the process.

Megadeth have announced their final, self titled album, for release in 2026, via Dave Mustaine’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label. The campaign is anchored by the first single “Tipping Point”, multiple variants and exclusives and and a farewell tour has been hinted for 2026 “There's so many musicians that have come to the end of their career, whether accidental or intentional,” DAVE MUSTAINE says. “Most of them don't get to go out on their own terms on top, and that's where I'm at in my life right now. I have traveled the world and have made millions upon millions of fans and the hardest part of all of this is saying goodbye to them. We can't wait for you to hear this album and see us on tour. If there was ever a perfect time for us to put out a new album, it's now."

A collaboration between THE FUNKIN' MACHINE and Chicago's STARCREATURE RECORDS. This 6 track LP features full color art and cuts from cosmic disco to mediterranean boogie. THE FUNKIN' MACHINE specializes in sparkling and groovy funky sounds from the slopes of Vesuvius.After a sold-out 7", KIBBI GIBBONS returns with an album's worth of smooth of smooth, spaced-out, jazz-funk delights. Their debut LP is 7 tracks of deep house/acid jazz instrumentals that land you between an Ibizan beach and a liminal Mario Kart character selection screen. Limited to 300 copies.

"Next up in Mr Bongo's Groove Merchant Records reissue series, we present the only solo album saxophonist Ramon Morris recorded as a bandleader. Having cut his teeth playing with the iconic band Art Blakey & The Jazz Messengers and working with other jazz greats, including Reuben Wilson, Shirley Scott, Rashied Ali Quintet, and Woody Shaw, 1973 saw Ramon take the step into solo territory. The resulting album Sweet Sister Funk became a certified classic and a landmark showcase of the cherished ‘70s jazz-funk sound, later sampled by the likes of DJ Premier, The Alchemist and DJ Shadow.

Originally released on Sonny Lester's iconic Groove Merchant record label and produced by Lester himself, Sweet Sister Funk is a jazz-funk masterclass. It features a slick line-up including Cecil Bridgewater on trumpet, Mickey Roker on drums, and Albert Dailey on electric piano. Rich and beautiful, the seven songs ebb and flow in energy, fusing jazz funk and soul jazz with style and swagger. There are bags of groove with Ramon and Cecil trading off on sax and trumpet in an effortless conversation throughout the LP, supplemented by brilliant solos from the rest of the players.

A gold mine of sampling material, the album includes a sublime cover version of The Stylistics' much-loved 'People Make The World Go Round', which was sampled by DJ Shadow on Blackalicious's 'Swan Lake' in 1994. Elsewhere, the percussion and bass intro of the opening track 'First Come, First Serve' is a sampler's delight - a deep, heavy groove with a fine saxophone workout by Ramon. Head to 'Don't Ask Me' and you’ll find the swinging horn intro that formed the basis of 'You Came Up' by Big Pun featuring Noreaga from 1998, whilst 'Wijinia' has echoes of ‘70s indie jazz by labels such as Strata East & Black Jazz.

Here at Mr Bongo, we are proud to be delving into the vaults of Groove Merchant Records once again, reissuing this iconic LP from Ramon Morris."

Oaths were made, plans and maps drawn up. The Spawn has escaped. Wavejumpers spotted off the coast of Scotland. Can you decode The Sound that lurks in the fog?

This holiday season, global hip-hop icon Ice Cube makes a powerful return with Man Up — a brand-new album from a cultural trailblazer whose influence spans music, film, and activism. With over 10 million albums sold and six Platinum plaques, Cube’s legacy is undisputed, from his revolutionary work with N.W.A. to timeless solo anthems like “It Was a Good Day.” Now, sharper and more unapologetic than ever, he’s back to deliver a project that fuses his raw lyrical power with a message rooted in resilience and authenticity.
To mark the release, Man Up will be available exclusively as an ultra-limited vinyl drop this holiday season. Each record features a one-of-a-kind hand-crafted cover — a unique blend of artisanal design and proprietary technology (created without A.I.) — alongside city- and country-specific sleeves that pay homage to Cube’s global impact in places like LA, Tokyo, London, and France. The campaign will be amplified through a global social media rollout, city-focused influencer activations, and Ice Cube’s upcoming North American tour. Major press coverage and podcast appearances will further elevate the conversation, making Man Up not just an album, but a collector’s piece and cultural moment fans won’t want to miss.

Michael Mayer returns to the Speicher series for his first release since last year’s brain-bursting The Floor Is Lava album. And yes, the floor is indeed lava when Mayer is on peak form, as he is here, with three tracks that oscillate, effortlessly, between the twin poles of Mayer’s music: dancefloor detonation and heart-wrenching beauty. To be fair, there’s more of the former here, but there’s beauty in generous discipline, too, and the unrelenting “Cry Me A Raver” feels, somehow, like it brings together decades of Kompakt pleasure in six giddy minutes – disco-fied arpeggios, glistening and hand-burnished textures, abstruse patterns that fall in and out of step. “Don’t Sync With My Tag” stomps with destructive glee, a beat as undeniable as the shaker cross-rhythms are silkily sexy. There’s always been something practical, functional, and utilitarian about Speicher, but it doesn’t get more everyday DJ-life than this: Mayer tells us the title is “a super-annoying message that pops up every time you open Rekordbox. Nobody knows what it means. It’s a DJ mystery.” But who needs answers, anyway? By the time you’ve started to get close to solving the riddle, Mayer’s taken you to Detroit via Cologne with “It Isn’t What It Isn’t”, a little doffing of the cap to Rhythim Is Rhythim. “You’re May, I’m Mayer, I used to tell him,” Michael chuckles. This made one of our cats almost jump out of its skin, with its stealthy slyness – creeping, amorphous electro noise; percussives that just won’t quit; the whole thing flooded with twitchy strip-light energy and silver-machine flare- outs.

Speicher is as Speicher does, and this is a damn good one. Make Mine Mayer!

Michael Mayer returns to the Speicher series for his first release since last year’s brain-bursting The Floor Is Lava album. And yes, the floor is indeed lava when Mayer is on peak form, as he is here, with three tracks that oscillate, effortlessly, between the twin poles of Mayer’s music: dancefloor detonation and heart-wrenching beauty. To be fair, there’s more of the former here, but there’s beauty in generous discipline, too, and the unrelenting “Cry Me A Raver” feels, somehow, like it brings together decades of Kompakt pleasure in six giddy minutes – disco-fied arpeggios, glistening and hand-burnished textures, abstruse patterns that fall in and out of step. “Don’t Sync With My Tag” stomps with destructive glee, a beat as undeniable as the shaker cross-rhythms are silkily sexy. There’s always been something practical, functional, and utilitarian about Speicher, but it doesn’t get more everyday DJ-life than this: Mayer tells us the title is “a super-annoying message that pops up every time you open Rekordbox. Nobody knows what it means. It’s a DJ mystery.” But who needs answers, anyway? By the time you’ve started to get close to solving the riddle, Mayer’s taken you to Detroit via Cologne with “It Isn’t What It Isn’t”, a little doffing of the cap to Rhythim Is Rhythim. “You’re May, I’m Mayer, I used to tell him,” Michael chuckles. This made one of our cats almost jump out of its skin, with its stealthy slyness – creeping, amorphous electro noise; percussives that just won’t quit; the whole thing flooded with twitchy strip-light energy and silver-machine flare- outs.

Speicher is as Speicher does, and this is a damn good one. Make Mine Mayer!

Free Mousse is a Paris-based collective and festival. They have been spreading their signature “Mousse” across the capital over the past three years. This year, they’ve decided to share it with everyone by pressing it on wax. To make it happen Blinkduus Dischetto and Kiss The Future, rising talented producers and close friends of Mousse team joined forces on a unique EP born from their collaboration.

On the record, you’ll find:

A1 – a banger by Kiss that has been tearing up dancefloors for a year now

B1 – a tech-house weapon from Blinkduus bringing the heat every time it’s played

Finally, both artists’ identities come together on A2 & B2 in exclusive cuts that we invite you to uncover.

We deliver mousse <3

Burnski's Constant Black continues to be a platform for producers keen to explore a cosmic world of tech house and minimalism. There is certainly a spaced-out vibe to opener 'In The Knoe' from ADR, which is tough and punchy, with tight drums and crystalline lines all making for a funky vibe. 'Freedom' is a little deeper and more balmy for late-night intergalactic travel, then 'I Remember When' pumps the party with loopy bass and psychedelic swirls of colour. Dan Goul steps up on the flip with 'Method', which is a full-fat tech sound with warm synth smears and wiggling motifs that make your ass move, then 'Passing Thoughts' shuts down with a cruising groove and sense of astral adventure.

Disco Mind Records impressed everyone with its first EP and now it deals with the pressure of coming back with a second in fine fashion. This one is perfect for warm days and summer nights as it offers four high-impact and gloriously feel-good Brazilian and disco edits all pulled off to perfection. New young talent Brother Julian kicks off with a peak time and groovy burner, then disco don Romand Truth goes a little more deep and smooth with his seductive sound. Delfonic offers the percussive Latin grooves of 'Nada is Going to Change' and 'Grito de Guerra' is another upbeat open-air rhythm.

Gyros Heroes is the latest release from Adlibitum Tum Tunes, showcasing the unmistakable synergy between label curator Kirill Matveev and trusted maestro Nicolas Barnes, a resident artist renowned for his consistently refined and emotive sound.

The EP unfolds as a sophisticated blend of deep- and tech-house aesthetics, designed to uplift, move, and connect. It balances percussive bounce with emotional subtlety, offering a graceful flow that is both club-ready and sonically rich.

A1. Kirill Matveev – Am I Happy With That and A2. Kirill Matveev – Once At Dawn deliver the opening momentum, channeling sleek grooves and playful introspection with polished restraint. These tracks glide effortlessly between warmth and drive—embracing the listener without overwhelming.

On the flip side, B1. Nicolas Barnes & Kirill Matveev – Naar Shada blends the duo’s sonic sensibilities into a mood-driven piece with elegant progression and percussive intricacy. Closing with B2. Nicolas Barnes – Qeezy, the record reaches its emotional high point: a dancefloor-oriented yet soul-touched cut that radiates both sensuality and controlled energy.

Gyros Heroes is a finely tuned experience—bright yet deep, emotive yet precise—crafted for selectors who value atmosphere as much as movement. This is an EP that invites you into its positive orbit, reminding us how expressive and graceful club music can be when shaped by masters of tone and detail.

Adlibitum Tum Tunes is a division of MixCult Records

GAMM is proud to welcome New Zealand born, but these days based in Berlin, Philippa to our camp.
Over the last years, Philippa has been releasing amazing, warm, soulful, and highly distinctive dance music on labels like Slothboogie and Freerange as well as building her DJ roster. For her premier GAMM release,'Cloud Walking EP', Philippa has three amazing tracks that all mix up samples, live musicality, and vocals. If you put Moodymann and Henrik Schwarz in a blender somewhere in the Balearic Islands, you're kinda close. Either way, it's deep, organic, and almost kinda orchestral at some points. If you ask us, we would simply call it dance MUSIC.

Opening the EP is the title track 'Cloud Walking' which is a deep Fender Rhodes affair with vocals inspired by Aretha's Day Dreaming classic. Moving on, on 'Hear Me' Philippa shows off her musical piano skills with a lush and atmospheric deep house jam. On 'Return To The Red Kite' we follow a similar theme but with big warm orchestral strings, spoken words, and live guitars. Again, very Balearic yet very soulful and incredibly pleasant to your ears :)

The Éthiopiques series returns! Essential archive recordings from an extremely fruitful period in Ethiopian music.

Before “Swinging Addis” took over the world, there was Moussié Nerses Nalbandian — the Armenian-born composer who shaped modern Ethiopian music. Mentor, arranger, and pioneer, he laid the foundations of Ethio-jazz.

This Éthiopiques volume revives his forgotten legacy, recorded live by Either/ Orchestra First issue ever with new exclusive photos and in depth liner 8-page insert.

“Ethiopian jazzmen are the best musicians that we have seen so far in Africa.
They really are promising handlers of jazz instruments.”

Wilbur De Paris
(1959, after a concert in Addis Ababa)

አዲስ፡ዘመን። *Addis zèmèn* **A new era.**
The time is the mid-1950s and early 1960s, just before "Swinging Addis" bloomed – or rather boomed – onto the scene. Brass instruments are still dominant, but the advent of the electric guitar, and the very first electronic organs, are just around the corner. Rock’n'Roll, R’n’B, Soul and the Twist have not yet barged their way in. Addis Ababa is steeped in the big band atmosphere of the post-war era, with Glenn Miller's *In the* *Mood* as its world-wide theme song, neck and neck with the Latin craze that was in vogue at the same period. Life has become enjoyable once again, with the return of peace after the terrible Italian Fascist invasion of Ethiopia (1935-1941). The redeployment of modern music is part and parcel of the postwar reconstruction. *Addis zèmèn* – a new era – is the watchword of the postwar period, just as it was all across war-torn Europe.
The generation who were the young parents of baby boomers** were the first to enjoy this musical renaissance, before the baby boomers themselves took over and forever super-charged the soundtrack of the final days of imperial reign. Music is Ethiopia's most popular art form, and very often serves as the best barometer for the upsurge of energy that is critical for reconstruction. Whether it be jazz in Saint-Germain-des-Prés or the *zazous* who revolutionised both jazz and French *chanson* after the *Libération*, be it Madrid's post-Franco Movida, or Dada, the Surrealists and *les années folles* that followed World War I, the periods just after mourning and hardship always give rise to brighter and more tuneful tomorrows. Addis Ababa, as the country's capital, and the epicentre of change, was no exception to this vital rule.

**Two generations of Nalbandian musicians**
Nersès Nalbandian belonged to a family of Armenian exiles, who had moved to Ethiopia in the mid-1920s. The uncle Kevork arrived along with the fabled "*Arba Lidjotch*", the** "*40 Kids*", young Armenian orphans and musicians that the Ras Tafari had recruited when he visited Jerusalem in 1924, intending to turn their brass band into the official imperial band. If Kevork Nalbandian was the one who first opened the way of modernism, pushing innovation so far as to invent musical theatre, it was his nephew Nersès who would go on to become, from the 1940s and until his death in 1977, a pivotal figure of modern Ethiopian music and of the heights it. Going all the way back to the 1950s. Nothing less. And it is Nersès who is largely to thank for the brassy colours that so greatly contributed to the international renown of Ethiopian groove. While the younger generations today venture timidly into the genealogy of their country's modern music, often losing their way amidst a distinctly xenophobic historiographical complacency, many survivors of the imperial period are still around to bear witness and pay tribute to the essential role that "Moussié Nersès" played in the rise of Abyssinia's musical modernity.
Given the year of his birth (15 March 1915), no one knows for sure if Nersès Nalbandian was born in Aintab, today Gaziantep (Turkiye/former Ottoman Empire) or on the other side of the border in Alep, Syria... What is certain is that his family, like the entire Armenian community, was amongst the victims of the genocide perpetrated by the Turks. Alep, the place of safety – today in ruins.
Before Nersès then, there was uncle Kevork (1887-1963). For a quarter of a century, he was a whirlwind of activity in music teaching and theatrical innovation. *Guèbrè Mariam le Gondaré* (የጎንደሬ ገብረ ማርያም አጥቶ ማግኘት, 1926 EC=1934) is his most famous creation. This play included "ten Ethiopian songs" — a totally innovative approach. According to his autobiographical notes, preserved by the Nalbandian family, Kevork indicates that he composed some 50 such pieces over the course of his career. This shows just how much he understood, very early on, the critical importance of song as Ethiopia's crowning artistic form. Indeed, for Ethiopian listeners, the most important thing is the lyrics, with all their multifarious mischief, far more than a strong melody, sophisticated arrangements or even an exceptional voice. (This is also why Ethiopians by and large, and beginning with the artists and producers themselves, believed for a long time — and wrongly — that their music could not possibly be exported, and could never win over audiences abroad, who did not speak the country's languages).

Last but not least, one of Kevork's major contributions remains composing Ethiopia's first national anthem – with lyrics by Yoftahé Negussié.
Nersès Nalbandian moved to Ethiopia at the end of the 1930s, at the behest of his ground-breaking uncle. Proficient in many instruments (pretty much everything but the drums), conductor, choir director, composer, arranger, adapter, creator, piano tuner, purveyor of rented pianos,... he was above all an energetic and influential teacher. From 1946 onwards, thanks to Kevork's connexion, Nersès was appointed musical director of the Addis Ababa Municipality Band. In just a few years, Nersès transformed it into the first truly modern ensemble, thanks to the quality of his teaching, his choice of repertoire, and the sophistication of his arrangements. It was this group that would go on to become the orchestra of the Haile Selassie Theatre shortly after its inauguration in 1955, which was a major celebration of the Emperor's jubilee, marking the 25th anniversary of his on-again-off-again reign.

At some point or other in his long career, Nersès Nalbandian had a hand in the creation of just about every institutional band (Municipality Band, Police Orchestra, Imperial Bodyguard Band, Army Band, Yared Music School…), but it was with the Haile Selassie Theatre – today the National Theatre – that his abilities were most on display, up until his death in 1977. To this must be added the development of choral singing in Ethiopia, hitherto unknown, and a sort of secret garden dedicated to the memory of Armenian sacred music, and brought together in two thick, unpublished volumes. Shortly before his death (November 13, 1977), he was appointed to lead the impressive Ethiopian delegation at Festac in Lagos, Nigeria (January-February 1977).

His status as a stateless foreigner regularly excluded him from the most senior positions, in spite of the respect he commanded (and commands to this day) from the musicians of his era. Naturally gifted and largely self-taught, Nerses was tirelessly curious about new musical developments, drawing inspiration from the very first imported records, and especially from listening intensely to the musical programmes broadcast over short-wave radio – BBC *First*. A prolific composer and arranger, he was constantly mindful of formalising and integrating Ethiopian parameters (specific “musical modes”, pentatonic scale, and the dominance of ternary rhythms) into his “modernisation” of the musical culture, rather than trying to over-westernise it. It even seems very probable that *Moussié* Nerses made a decisive contribution to the development of tighter music-teaching methods, in order to revitalise musical education during this period of prodigious cultural ferment. Flying in the face of all the historiographical and musicological evidence, it is taken as sacrosanct dogma that the four musical modes or chords officially recognised today, the *qǝñǝt* or *qiñit* (ቅኝት), are every bit as millennial as Ethiopia itself. It would appear however that some streamlining of these chords actually took place in around 1960. It was only from this time onward that music teaching was structured around these four fundamental musical modes and chords: *Ambassel*, *Bati*, *Tezeta* and *Antchi Hoyé*. A historical and musical “details” that is, apparently, difficult to swallow, especially if that should honour a *foreigner*. Modern Ethiopian music has Nersès to thank for many of its standards and, to this day, it is not unusual for the National Radio to broadcast thunderous oldies that bear unmistakable traces of his outrageously groovy touch.

For the second instalment of the Curio Cabinet gourmet-dub series, we bring you two fat slices of steppers’ delight, straight from the southern city of Toulouse.

Both are made by Stefan Dubs under the guiding light of his live project, Sòn Du Maquis. This project has deep roots in the free rave, micro-festival, and dub & sound system culture of his country. It’s also the name of his own label, home to his dub-infested productions; ranging from slo-mo jungle to droney steppers and blown-out trip-hop on a slightly medieval tip.

Staying true to classic sound system tradition, each side pairs the original cut with its own version.

First there is Tolosan Dub, a trancey bass meditation colossus with deep synth work moving around in the trees. Some early nineties UK digidub vibes are surely mashing up the dance here. The version workout slows things down a bit, taking you even deeper into the riddim... strictly warrior style !

On the B-side we've got Bonnefoï Dub, which is pure bass-bin filth with a rootsy harmonica touch and a raw clubby feel. This tune just screams to be played out loud on a proper sound system. The version is certified dance-floor gold, yet there are enough dubbed-out flavours going on for intimate headphone sessions or some mad home skanking.

From the heart of his own Safe Space imprint, Ackermann returns with a powerful new statement that traces a high-voltage line between techno and house. Known for his raw yet precision-tooled club cuts and a sound that moves from warehouse grit to late-night euphoria, the Stuttgart-based producer once again delivers tracks that are direct, functional and full of character, built for DJs who like it tight, driving and emotional at the same time.
On remix duties, Berlin icon Anja Schneider flips Ackermanns ideas into elegant, rolling peak-time material, balancing subtle tension with her trademark sense of groove and warmth. Rising force Confidential Recipe pushes things further into raw, percussive territory, upping the pressure with jacking drums and rave-soaked energy made for smoke-filled rooms and redlined sound systems.
True to the Safe Space motto, this release is all about the dancefloor: no filler, just stripped-back, high-impact tracks that lock you in and don’t let go.

2026 Repress

Portuguese Techno star Lewis Fautzi returns to Soma with another Earth shattering release as he drops the Molecular Spasms EP. The young producer once again shows great depth and knowledge with 4 straight up dance floor killers all set together his unique, futuristic sound.

Der britische Produzent und Elektronikkünstler Joe Thornalley, bekannt als Vegyn, interpretiert das kultige Debütalbum „Moon Safari“ von Air aus dem Jahr 1998 in einem gewagten Crossover der Genres und Epochen neu. Vegyn wurde durch seine Arbeit mit Künstlern wie Frank Ocean und Travis Scott bekannt und hat sich einen Namen als zukunftsorientierter Produzent gemacht, der üppige, atmosphärische Klanglandschaften mit experimentellen Beats und einem Sinn für Unvorhersehbarkeit verbindet. Mit seinem Remix von Moon Safari“ bringt Vegyn seine einzigartige Vision in das beliebte Ambient-Pop-Meisterwerk des französischen Duos ein und verleiht ihm eine frische, moderne Energie.


Vegyns „Moon Safari“-Überarbeitung wird in einer neuen Tracklist enthüllt und erscheint auf schwarzem Vinyl und einem CD-Digisleeve, beide in einer schönen, transparenten blauen Hülle verpackt.

2026 Repress

The mashups to end all mashups. Fire up the Lowrider, crank the speakers – here’s two outrageously audacious cuts that put the ‘it’ in ‘lit’. Heavy vibes whichever side you blast.

DJ Support: Dr Packer, Aston Shuffle, Fdel, All Good Funk Alliance, Fingerman, Jordan Lee, Jsquared and Rackus.

Japanese crossover and fusion are hot again now. As either an outgrowth of, or a spin-off phenomenon from, the global reappraisal of
city pop, Japanese fusion has been rapidly rising since around last year.
Widely known as a support member for YMO and also popular on the overseas club music scene through Colored Music, her cuttingedge dance-pop unit with Atsuo Fujimoto, keyboardist, composer, and vocalist Ichiko Hashimoto released this, her second solo work, in
1985. Released on DOMO, the label headed by Kazumi Watanabe, and naturally produced by Kazumi Watanabe himself, who also plays
guitar on the album.
A truly crossover work of remarkable freedom, moving across fusion, techno, piano pieces, danceable music, classical, Japanesque
sounds, bossa nova, ambient, and more. Her fleeting singing voice is wonderful as well.

Six Nine Records Ltd. UK proudly presents an amazing release with the Swedish soul maestro Paul Mac Innes, two vinyl exclusive versions of the tracks “Falling By The Wayside” and “You Make My Sunshine”. The first one is the extended 12” mix by SANDDYN, which has an infectious groove and just keeps on building. The track on the flip is an uplifting tune on which mr. Mac Innes pairs up with T.B.O.I. and this one has been given that magic T-Groove treatment, also an extended 12” version. We are really proud to be releasing these fantastic tunes and can’t think of anything more fitting for the milestone that is our 50th release!

Definitely not to be missed as this is a strictly limited release!

Emerging from the University of the West Indies (UWI) in Jamaica during the late 1970s, Main Attraction was a group of talented singers whose music captured the social and political energy of their time. With a sound that blended reggae and soulful ballads, their songs were both a reflection and a response to the challenges of the era.

The group originally featured Sonia Copeland, a gifted writer, arranger, and back-up singer, alongside Sharon Jones, whose velvet voice led many of their reggae tracks. They were joined by Allison Smith, Marjorie Smith, and Shahiba Ali, forming the group’s first lineup. As time passed, Michelle Thompson and Lileth O’Connor joined, further enriching the group’s dynamic harmony.

Main Attraction’s musical journey began with their debut recording, a cover of Once Upon a Time, produced by David Haughton under the management of Clayton Downie. Later, with Owen Palmer as their manager and producer, the group expanded their horizons, performing in cabaret gigs with the band Mind Benders and embarking on an overseas tour that showcased their talent in New York City. While Sharon Jones led reggae tracks like Jam Up, Allison Peart and Shahiba Ali brought their soulful touch to R&B songs, creating a rich, versatile repertoire that captivated audiences.

Jam Up was the group’s first original recording, composed and arranged by Sonia Copeland. Performed as part of the Reggae Song Competition during Carnival in 1978, the song is a rallying cry for unity and progress. With powerful lyrics and a Shaka rhythm, Jam Up calls on Jamaicans to come together, strive for economic growth, and uplift the nation collectively.

Sonia’s vision was clear: that Jamaicans from all walks of life would find inspiration in the song’s message, motivating them to improve their standard of living and contribute to the country’s growth and prosperity. Decades later, the lyrics remain just as relevant — a timeless call to action for social and economic strength.

Hold this record in your hands, let the music play, and feel the enduring power of reggae music to transform, uplift, and connect.

This holiday season, global hip-hop icon Ice Cube makes a powerful return with Man Up — a brand-new album from a cultural trailblazer whose influence spans music, film, and activism. With over 10 million albums sold and six Platinum plaques, Cube’s legacy is undisputed, from his revolutionary work with N.W.A. to timeless solo anthems like “It Was a Good Day.” Now, sharper and more unapologetic than ever, he’s back to deliver a project that fuses his raw lyrical power with a message rooted in resilience and authenticity.
To mark the release, Man Up will be available exclusively as an ultra-limited vinyl drop this holiday season. Each record features a one-of-a-kind hand-crafted cover — a unique blend of artisanal design and proprietary technology (created without A.I.) — alongside city- and country-specific sleeves that pay homage to Cube’s global impact in places like LA, Tokyo, London, and France. The campaign will be amplified through a global social media rollout, city-focused influencer activations, and Ice Cube’s upcoming North American tour. Major press coverage and podcast appearances will further elevate the conversation, making Man Up not just an album, but a collector’s piece and cultural moment fans won’t want to miss.

Repress!

Belgian tastemaker Charlotte de Witte returns to her own KNTXT to serve up the well regarded label's seventh EP. Rave On Time is about reminding us of the joys of being lost on the dance floor and is another hard hitting EP filled with her distinctive techno energy.

Charlotte is at the centre of her own musical movement, with a hard hitting, no frills style. Her powerful grooves, whether solo or in collaboration with the likes of Chris Liebing, come laced with ambient and synth beauty. She has mesmerised crowds all over the world as well as at her own special KNTXT events, and has been as creative as ever during lockdown, as this new EP shows.

Says the artist herself of this latest offering, "Rave On Time. Three words that probably have never been more relevant. In a time where raving feels like a distant memory, it seems increasingly important to bring music back in our lives, in reverse. Let's not forget where we came from and let's not lose hope. We'll be together again soon. Rave On Time."

Opener Rave On Time is built on hammering, distorted kicks that bend you to their whim. Freaky vocals and monstrous hits add extra pressure and ensure you stay locked before shooting laser synths and retro hoover sounds bring the rave. There's No One Left To Trust keeps up the energy with scintillating synths rattling over rock solid drum programming that never lets up. The World Inside is brain frying material, with serrated synths firing out and growing ever more acid as the groove pounds on. Common Era is brilliant hands in the air acid-trance-techno that froths with energy and flashing strobes. Finally, vinyl only track 'Wahr Ist Sie Dann’ is a distorted, brain melting techno workout with brutalist kicks and vast walls of synths that are hugely powerful.

As ever from de Witte, this is pure, unadulterated club music that makes a gargantuan impact.

Mr Thing returns with his 2nd release on Friday's Funky 45 after the 1st one Cool V sold out almost immediately! (repress coming soon) This time out Marc crafts a couple of 2 steppers to warm up your winter dancefloors. Side A is a nice flip of Cherelle & Luther's Saturday Love and side B a lovely version of Michael Wycoff's Looking Up To You - you know how the last one went - don't sleep!

The interstellar electronics are once more pushed to the fore on closer '80 Axes', where jaunty synth lines combine with soft bongo hits to create an instinctive rhythm, and intergalactic melodies sprint between the speakers. You can dance if you want to, but lying down is very much encouraged.
As part of the label's mission to champion Dutch talent, Voyage Direct has always promoted new, up and coming, and little-known producers. Boss Tom Trago's master plan includes building a family of artists, in part through helping unheralded local producers to fulfill their potential.

On the label's latest release, he continues that approach, serving up a debut 12' from a mysterious young producer known only as Darling. Those paying close attention to the wider Dutch house and techno scene may have spotted his recent rework of Awanto3's 'Star Butchers' on Dekmantel, in which the man or woman of mystery added some killer keys to the Amsterdam legend's woozy, deep house original.

While that rework was undoubtedly superb, Jacob's Lead offers a truer reflection of the shadowy producer's previously hidden talents. As debut EPs go, it's a bit of a cracker.

The title track, in particular, is a beauty. Its' restless, hypnotic rhythm tips a wink to classic Dutch techno of old, while the undulating, analogue electronics and swirling pads recall the far-sighted retro-futurism of vintage Motor City material. Throw in some of Darling's trademark spine-tingling keys and a deliciously loved-up breakdown, and you have a choice chunk of life-affirming techno.

On the flip, Darling heads towards deeper territory with the bubbling melodies, starburst electronics and saucer-eyed chords of 'Video'. Unashamedly positive in sound and intent, it sounds like the kind of track that will be cited as a classic in two decades time. Melodious and infectious, it casts Darling as the Netherlands' answer to Larry Heard.

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

Next up on Fluid Electronics, Irish producer Derek Carr joins up the fold with his “Harvest Time EP”, featuring Dutch techno staple Deniro on remix duty. Carr’s style, stretching from low-slung techno to squelchy electro, via breaks and chiselled IDM, teleports us to a zero-G headspace where shape and substance merge into an effervescing and highly stimulating maelstrom of sound. The very idea of self-reflexive dance music.

Fusing sino-flavoured harmonics with a straight out hi-tech edge, the lead single “Harvest Time” is the perfect balance between body and soul music, as it elegantly bridges the gap between that sense of weightless vaporousness and a more tactile punch. Pace itself feels relative. In the hands of Deniro, the track hatches into an eerily haunting piece of cinematic electronics, stressing further on the contrasting batucada-esque rhythms and slo-scudding synth tapestry.

The Italo-indebted “Dust Yourself Down” takes Moroder on a ride by the seashore, all arps and heavily processed keys blazing. Dipped in acid, “Rhea” pulls out a cascade of pretty aggro snares, prismatic bleeps, bloops, and a healthy dose of post-trancey waves crashing against a glassy sound design.

Influences and inspirations come from far and wide. Sometimes they can be household names or pioneers. Other times, they can be lesser-known outfits; less known, but no less influential. Futuro belong to the latter category for Italo Moderni.

Javier and Raúl are two Spanish synthesizer sorcerers who are steeped in the traditions of italo disco and the analogue sounds of the 1980s. While Italo Moderni was still in its infancy, Futuro were a shining light with a young upstart by the name of Adrian Marth even making videos for their tracks. From these beginnings, a mutual respect and friendship developed. Now, the circle is complete with the six tracks making their way onto Accidenti; an EP that marks Futuro’s debut on Italo Moderni.

The collection showcases the breadth of Futuro’s sound. With all instrumentation played through classic analogue machines, the six works journey through neon-streaked city nights, deep uncharted jungle and sun-kissed beaches. Drawing on the music of Rimini, silver screen soundtracks and arcade innocence, this is an EP that remembers and reimagines the 1980s. Intent is immediately set, with the tense and textured “L’assalto” delivering movie score synth stabs alongside crisp percussion. “Matador” is pure elegance, panpipe playfulness countered by glacial refrains and shimmering key shifts. “Iguazu” transports the listener to the wildlife and wilderness of the Amazon; cascading chords glisten as the canopy sings. Futuro takes to the skies with the sonorous swoops of “Il sogno dell’aviatore” before the lovelorn landing of “Fantasma d’amore”, a sumptuous synthesizer serenade of unrequited romance. To close, we’re firmly on the ground for “Sotto le stelle.” Under these sparkling stars, glimmering notes glow with warmth in a finale fitting for such an EP.

And, it is fitting to finally have Futuro on Italo Moderni. A group that has inspired and will continue to do so well into the future. An accidental discovery, mutual respect and a partnership rooted in a love of synthesizers has brought Accidenti into being.

SPTLP007 - ASC - Vanishing Point LP

Evolving further with each release, ASC delivers his latest monumental album on Spatial, a varied and memorable journey through stunningly realised fusion of modern and classic atmospheric breakbeats.

A1 - Mystic Street

Setting a murky tone with light cymbals and synthwork flecking the intro, Mystic Street calmly purrs and growls towards a drop of analogue kicks and a sparse, menacing drum pattern to kick off this incredible album. Enveloped by a dense cloud of darkly atmospherics, the track coils with tension, each element rippling through the mix like distant memories as the suitably enigmatic bassline rumbles beneath.

A2 - Convergence

Straight into the beats with a DJ-friendly two step intro, ASC utilises sparse, sci-fi hits and persistent danceable breakbeats with a melodic bassline. As the atmosphere builds, percussive tones punctuate the swirling pads, creating a luscious sense of forward motion with echoing samples and effects combining in the mix to create a dreamlike soundscape perfect for the dancefloor and headphones alike.

B1 - Invisible Borders

No ASC album would be complete without an amen workout, and we certainly have that here as Invisible Borders rushes into view with simmering intent, melodic samples tore from battlegrounds of yesteryear providing a truly epic atmosphere, rippling breakbeat trickery teasing the listener before crushing full contact amens arrive with panache and veracity - twisted across yearning bass with an unflinching fighting spirit.

B2 - Celestial Bodies

Up next a moment of calm as we soak up the charms of the dreamlike Celestial Bodies, a soothing journey of beats, breaks and atmosphere from Spatial's label head. Melodic notes ripple across the mix with old school breaks filtering to and fro, conjuring images of a cosmic journey unfolding, where old school breakbeat rhythms pulse like distant constellations, echoes shimmering in the vast expanse of ASC's versatility.

C1 - Losing Track Of Time

Into an absolute stunner next as ASC unleashes a modern classic which has a wonderfully instant familiarity to it - like it was lifted directly from the golden era of atmospheric drum & bass. The old school breaks have a distinctive feel while a variety of pads teaming with life swirl around above. A myriad of spirited melodies develop and maintain your attention with classic 808 basslines to complete this remarkable composition.

C2 - Slipstream

Switching up the vibe in style, ASC delivers an intense, cosmic intro to Slipstream which builds gradually with whooshing effects and long female vocals before a crisp, crunchy slice of Hot Pants breakbeat heaven tears through the mix, chock-full of excitable edits portrayed in a brilliant clarity. Warm sub bass punctuates the track while a reverberating earworm melody slowly etches itself into your mind.

D1 - Paradigm Shift

A good old fashioned roller up next as Paradigm Shift sees ASC blend a superb 2-step rhythm with a sumptuous smooth bassline - guaranteed to move the dancefloor. Atmospherics take no back seat either as elegant synthwork swirls and washes across the soundscape with subtly used vocal samples adding texture and warmth to an impressively layered mix that maintains its pace right through to an echoing conclusion.

D2 - Transmitter

Sending us back to interstellar space for an inspired mission through vast unexplored star systems, Transmitter sees ASC create a stunningly evocative, ethereal collage of atmospherics with sonar-like beeps punctuating and persisting throughout. Driving the track along are the superbly programmed drums, filtered and layered with twisted, distorted vocal samples to complete this exhilarating album in pure Spatial style.

Wenn du zehn Jahre in die Vergangenheit reisen könntest, was würdest du deinem jüngeren Ich sagen wollen? Das war eine Frage, die sich Khruangbin selbst stellten, als sie sich dem zehnjährigen Jubiläum ihres Debütalbums näherten - dem einstigen Kultklassiker, der heute als genreprägend gilt: The Universe Smiles Upon You". Wenn wir zurückgehen und uns selbst sagen könnten, wie viel nach diesem Album auf uns zukommen würde, was würden wir feiern wollen?" fragte Laura Lee, Bassistin, Sängerin und Gründungsmitglied der Band. Stattdessen dachten sie: Lasst es uns noch einmal machen." The Universe Smiles Upon You ii" wurde vom 4. bis 6. Januar 2025 in derselben Familien-Scheune des Gitarristen Mark Speer aufgenommen, an denselben Tagen, an denen TUSUY vor zehn Jahren erstmals entstand. Obwohl die Bedingungen dieselben waren - Schmutzboden, brutal kalt, minimale Schalldämmung, alle Aufnahmen live - sind die Songs es nicht. Sie wurden neu angegangen, einige stärker verändert als andere, mit der eingefangenen Blitz-in-der-Flasche"-Energie des ursprünglichen Albums, während gleichzeitig entdeckt wurde, was diesmal einzigartig sein würde, in dieser Phase des Bandlebens. Das Ergebnis bewegt sich wie Wellen auf dem Wasser über zehn hypnotisierende Tracks, die Scheune erzeugt ein Gefühl von Weite, Gelassenheit und kreativer Freiheit, die nahegelegene Tierwelt ist hörbar (achtet auf die Vögel bei August Twelve ii"), ebenso das Knarren und Klappern der Scheune. Es ist ein Geflecht aus kleinen Bewegungen in nuancierten Arrangements, das langsam das neue Leben, die Geschichten und den Charakter von jemandem enthüllt, den man nach zehn Jahren wieder wie zum ersten Mal trifft.

SPTLP008 - Aural Imbalance - Fractional Spaces LP

Returning for his third solo album on Spatial, Aural Imbalance continues his journey through the cosmos with a breathtaking array of breaks, bass and inimitable ambient wizardry.

A1 - Fading Reality

Kicking off the album we are treated to a blissfully ambient intro akin to a perfect sunrise across a tranquil unfurling landscape - just as we have come to know and love from Aural Imbalance. Long, airy washes of textured pads usher in a fantastically snappy break pattern which brings an alluring energy to proceedings, driving the track along with funnels of tuneful melodies lazily drifting by in the ambience.

A2 - This Time

Jumping right into the breaks DJ-style with a delicious Hot Pants pattern, This Time's central theme utilises a hypnotic simple but effective chime melody that plays a key role throughout the track, alongside fluttering birdsong and a luscious array of samples. The exquisite breakdown which delights with an incredible blend of bass atmospheric synths & pads is both beautiful and poignant.

B1 - Always With You

Introduced by what sounds like footsteps echoing through the darkness, Always With You lives up to its title by surrounding you with a warmth usually reserved for arriving home and nestling by the fire. Driven by delicate but vibrant breakbeats, this track showcases Aural Imbalance's relentless dexterity with ambient soundscapes dancing in perfect harmony with deep 808 bass and old school beats.

B2 - Solarity

Lightly excitable hats and elegantly filtered breaks open Solarity, a deeply evocative track with breakbeats rising through the intro towards a drop with solid analogue kicks and a wonderfully deep and persistent bassline. Sporadic micro melodies cruise the waves of floating synthwork, effects rippling gently in the foreground and background of the mix like playful phosphorescence.

C1 - First Protocol

Up next we see Aural Imbalance crack the amen knuckles with a real treat for old school heads - an ambient, synthy ambient laden with incredibly light spaced-out hats through the flowing waves is soon jolted into life by a satisfyingly crisp amen break, edited and programmed with flair and majestic detail that sits perfectly with the light, often sullen textured soundscape drifting above.

C2 - Crystals

An otherworldly landscape brimming with wonder and intrigue unfolds with Crystals, an atmospheric delight with a twist. The serene opening leads into a terrific old school break which takes center stage, punchy in the mix and edited with a precision as shimmering textures and meditative synthwork are expertly layered around the ever-rolling beats, perfect for any occasion at home or the 160bpm dancefloor.

D1 - Velarious

Continuing his showcase of breaks from across the atmospheric drum & bass spectrum, Aural Imbalance introduces Velarious with a quietly epic ambient flow, with filtered drums creeping in before the drop arrives, breakbeats buoyed by some seriously deep 808 bass and distinct hi hats. Micro melodies intersect and reverberate throughout the track to complete an enduring and eclectic composition.

D2 - South Coast Sunrise

Closing with a good old fashioned love letter to the Hot Pants break, South Coast Sunrise perfectly encapsulates its title with a gorgeous panoramic overlay of ambience, spread over an intensely memorable edit of that classic break - programmed and mixed to remarkable effect and cementing Aural Imbalance's ongoing rise as a master of edits as well as ambience, fully realised for our listening pleasure on Spatial.

On “Cold Sweat,” James Brown famously called to “give the drummer some.” In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson’s PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle.

Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet’s Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground.

Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal’s development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label.

“We couldn’t get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris,” Jamal recalled in a Cadence interview with Ken Weiss. “Within a few weeks, I had a few articles and I did a record date. It didn’t make me feel good about America.” That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu’s recent The Complete PALM Recordings, 1973-1974.

Jamal’s record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes’s wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal’s last word there were “The Creator has a master plan/drum dance to the motherland.” “Give the vibes some” could be added to this programmatic statement.

Don’t Trust The Snippets – Play The Full Track Before Buying A Record is a finely tuned four-track compilation from NOREPRESS Records, exploring a broad emotional and rhythmic spectrum — from atmospheric breaks to dub-infused tech house. Each piece invites deep listening, rewarding full attention rather than surface impressions.

A1. Osman Oz & SUBLIMINAL. – Johto opens with a beautifully crafted breaks track — rich in ambient layers and cinematic depth, setting a contemplative tone. A2. Pat Jensenn – Heaven Tapes follows with crisp percussion and hypnotic melodies, shifting the mood into uplifting, forward-driving territory. The young Argentinian producer blends instinct and elegance in equal measure.

On the flip, B1. Genning & Kirill Matveev – Orbiter lifts off with bounce and finesse — tight, articulate, and designed for that moment when the dancefloor begins to bloom. B2. Neptuna, also by Genning & Matveev, closes the record with sensual dub textures and refined detail — balancing movement and stillness in perfect harmony.

Led by visionary Kirill Matveev, with strong contributions from Genning, Pat Jensenn, and the always-excellent Osman Oz & SUBLIMINAL, NRP005 serves as a reminder: the full track always tells the real story.

NOREPRESS is a division of MixCult Records

Kid Katana Records teamed up with Dotemu, The Game Kitchen and KOEI TECMO GAMES, to bring you the highly anticipated NINJA GAIDEN: Ragebound OST on vinyl.



The physical edition is a 2LP designed in close relationship with the game's creative team:
- 2 colored vinyls: transparent blue & magenta, matching the cover art & the color-code of the two protagonists
- exclusive poster with extended credits & liner notes giving insights from the game’s creative team and featured artists


This album illustrates the incredible return to the saga's origins, embodied by Ryu Hayabusa's disciple Kenji Mozu and The Black Spider Clan Kunoichi Kumori, both united to repel the sudden onslaught of demons. It takes players back to its roots: a side-scrolling, brutally precise action-platformer set between the events of the first three episodes of the NINJA GAIDEN 8-bit era. The game’s OST blends different genres: rock, retro tunes and action-packed arcade music that respect the IP music legacy while modernizing it.

A time capsule of Long Island boogie-funk history – officially reissued for the first time!


Founded in 1978 in Amityville, Long Island, VAP Records (Virgin Archer Production) became a cult independent label known for its infectious dance grooves, soulful vocals, and DJ-friendly 12” singles that lit up clubs from New York to beyond. Now, for the very first time, the label’s most iconic tracks are compiled on vinyl in one explosive package.
What’s inside?


This “final edition” includes the best of VAP’s rare 1979–1983 output, with tracks from the label’s flagship act Final Edition (“No Limit”, “Betcha Can’t Love Just One”, “We’re Moving On Straight Ahead”), alongside club favorite Broadway – “Let’s Make It”, plus deep gems from Kevin Keys, Jazzee, and Olivia McClurkin.
Why is this essential?


• “Betcha Can’t Love Just One” gained legendary status after appearing on General Hospital and HBO’s How to Make It in America.


• Armand Van Helden’s old-school remake of Final Edition’s B-side “I Can Do It Anyway You Want” went viral, surpassing 10+ million views on YouTube, proving these grooves still ignite dancefloors.


• Original VAP 12” singles are impossible to find and often sell for hundreds of dollars. This reissue brings those classics back, mastered from the original tapes.


Collectors, DJs, and boogie enthusiasts – this one is for you. With its blend of raw disco energy, soul-drenched vocals, and timeless funk, Best of VAP Records – Final Edition is not just a compilation, but a celebration of a family-run label whose legacy shaped the underground dance scene.

Default Mode by Raleigh & Takenaga continues the newly established X series – Harmony’s platform for new voices and limitless exploration. Hailing from Prague, the duo embodies the next wave of adventurous sound design and musical talent from the imprint’s home town.

Incentive Program opens the EP’s A side with a drifting, trance-tinged flow wrapped in sweeping pitch movements and fractured vocals. The track sets a shadowy, almost sinister atmosphere, pulling all witnesses into its slow-burn gravity. It’s a steady build, tipping the floor over the edge. Stiff Envelope pulls you into its depths as it continues to build tension with resonating synth hits that quiver over a powerful trance foundation. With a few moments of silence that let its unsettling atmosphere settle across the stereo field before swinging back in at full force, this one is tailor-made for big systems.

B side’s Ground Floor carries on with metallic swells and shimmers that ring underneath the surface as the tension built on the A side bursts, settling into a grounding four-on-the-floor moment and leaving just enough time to breathe before Raleigh stirs up a concoction of devious vocals, snappy percussion, and a seductive bassline that lifts the mood tastefully. Takenaga wraps up the record with Head Count, a razor-sharp blend of crisp percussive cuts and stuttered crumbles that are seeking the perfect pitch all the way, climbing up and down. Heads are counted on a lively groove that radiates playful momentum and commands the dance floor to get in formation, keeping a tight rhythmic focus. Infused with the pulse of UK club culture, this track delivers a fresh and forward-thinking sound perfect for adventurous turntables.

Hot on the heels of Luv (LuvLuv) comes a sublime new Drum Chums from midland's madlads Wrekin Havoc.
Over the years we've shared great tunes, fun times and A-grade dance floor debauchery with these permanent party people (our first encounter almost exactly like that Spiderman pointing meme) so it made more sense than we usually do to invite them aboard the V*nga bus for some Balearic-Disco edit excellence.

Things kick off with the sexy throb of 'Shine A Light', a stonewashed funk workout complete with Paisley guitars, Troutman bass grunts and some big time blue-eyed soul vocals. It's a bit like an extended and unheard collaboration between George Michael and Tears For Fears recorded immediately after a particularly heavy night at Future. Unsurprising perhaps that this one's been getting a whole lot of love from DJ Harvey.

'Mars Bar Party' grabs you by the hips from the first bar of its swaying Mediterranean house rhythm, then tugs at every single one of your heartstrings with melancholic pads and a silken vocal croon. Fuuuuuuckin' hell! Sorry, was totally bewitched by the primal power of piano house magic - it's like John Rocca was in the room for a second. Armed with an awesome arrangement and clocking in at ten massive minutes, this may be the ultimate Balearic house journey.

If all this wasn't enough to have you stocking up on 5-HTP and sinus rinse, those crafty cats close the set out with the shimmering disco euphoria of 'Leccy Meet Her'. The bottom end pulses endlessly, Cowley synths trill and a crystal clear Vox soar above, sending us far off into mirrorball orbit. If this isn't a hit at Horse Meat, we'll neck a bottle of poppers and never eat a tomato again.

Each and every track Wrekin Havoc touch is a pearler, but we're particularly chuffed with ourselves for snapping this top trio up.

100% Drum Fun Guaranteed. .

Pager Records returns with catalog number sixteen, dropping another essential slab of wax: The Aquatic Genie — a 5-track journey that blends house, disco, funk and a wink of humor — this time from Aladdin, a French DJ and Producer based in Lyon, coming in HOT with his unique approach to house music, influenced by jazz, funk and reggae. Drawing from these influences his sound feels fresh yet rooted in the DNA of Pager’s signature aesthetic.

Intro (Flying Carpet Airlines) – hazy lift-off joint, saturated samples and dubbed-out FX pulling you into a low-slung groove. Cosmic Lounge Energy…

Forever – breaky house with elastic low-end and vocoder shimmer that sneaks into your head. Pure sunrise material…

You Smell Like Fish – house on a g-funk trip! Funk-driven bass, warm keys, and talkbox heat bringing a modern boogie twist — guaranteed eyebrow-raiser.

Doyoulike2dance – straight-up party trigger with a smile. Funk-loaded drums and a hook that says it all. Pure body music.

Rock The House – stripped-down, Detroit-tinged funk workout to shut it down raw and sexy…

Playful and funky — The Aquatic Genie keeps one foot in the house nation and taps the other into the disco world. Full of character, bounce, and club weight — another Sureshot from Pager for both DJs and Listeners <3

Limited Vinyl Pressing. Don’t sleep on it.

Ambroos De Schepper and Pepijn Gyssels became roommates when PiP moved to Brussels in 2021. Both paid close attention to each other’s musical approach and interests. One year later, Ambroos moved out. When he swung by to pick up some boxes, they decided to record something for the fun of it. Between May '23 and November '24 they continued experimenting with textures and improvisations. This collaboration has become the deepening of a friendship and a way to maintain it at the same time.

PiP: “We would have coffee or the occasional beer and everything we recorded came very organically. Ambroos would just bring his saxophone, a clarinet, some FX pedals or a weird flute. Whatever he felt like on that particular day. A few hours later he would usually be on his way again, leaving me with the recordings. I could treat them as I pleased.”

Ambroos: “I liked the idea of working with someone focussing on the physical side of music. Not so much on chords and tonality, but on texture and atmosphere. This gave me a framework with less concrete references, using words like “dark” or “busy”. I could improvise freely and we would try and catch a particular moment."

“l’Esprit de l’Escalier” is meant to be a musical meditation, opening up a continuous and detailed sound palette, aimed for the right mental state to listen with. Ambroos came up with the melody in COVID times and later in PiP’s studio, they recorded it on clarinet.
“Sans Loup” is the first jam the duo did together, after Ambroos and Lou moved out of the apartment they shared. Lou Wéry eventually found her way back to the album, as she can be heard playing the wing piano in this track.

PiP: “We recorded in the apartment we used to rent together. Since the title track and the entire album are named after Lou being absent in this dynamic, it seemed only natural to invite her in a later stage.”

“Spring Whistle” was an attempt to embed Ambroos’ musicality in dreamy textures and “Bring Back Bones” was built around an endlessly evolving krakeb recording that PiP took home from on a trip to Morocco. Both tracks are not aimed to end or evolve drastically, they just make the clock tick slower.

To conclude this release, “Velours de Tendre” is built out of a deconstructed groove and a field recording of the “Ronde van Vlaanderen”, a small reference to the countryside where PiP grew up. The reverberating chords you hear are the echoes Tijn Driessen squeezed out of an old harmonium, in a staircase of De Grote Post in Ostend.

PiP: “During a residency in De Grote Post we recorded in a staircase with a spaced pair of omni microphones. And you can take ‘spaced’ quite serious; one was positioned 5 stories higher and the other 3 stories lower.”

Sans Loup is the first vinyl to release on PiP’s label. They look alike, but none will be identical. The cover is screen printed in various combinations + a risograph insert. A highly personalized object.


credits

Released on Zitstill Records
Recorded in Brussels, Horebeke, Morocco and elsewhere, between September 2021 - November 2024

Music, mixing and production by Pepijn Gyssels
Saxophone, flute and clarinet by Ambroos De Schepper
Grand piano on “Sans Loup” by Lou Wéry
Harmonium on “Velours de Tendre” by Tijn Driessen
Mastering and lacquer cut by Anne Taegert at Dubplates & Mastering
Pressing by Objects Manufacturing
Layout and graphic design by Liselotte Van Daele & Otis Verhoeve
Photography by Willem Mevis

Special thanks to: Stijn Cools, Victor De Greef, De Grote Post

Disco De Jure made a great debut with its first release and now backs that up with more quality for lovers of classic disco with a contemporary twist. It is the rather mysterious Nico Bellari who steps up to edit this into his own vibe. 'If The Music Makes You Feel Like Dancing' gets underway with lush strong stabs, rolling drums and squelchy synth work that will get those hands in the air. The dub De Jure is a glossy version paired back to the groove, and on the flip, the timeless joys of Gloria Estefan's 'Rhythm Of The Night' get a subtle update with more club-ready kicks. A dub concludes this useful package.

Our journeys into uncharted lands of the Reducerverse continue.

Essential must-buy shit for all disciples of: The Rootsman x Muslimgauze, Love's Secret Domain era Coil, Chris & Cosey, Meat Beat Manifesto, early Reinforced Recs, Shut Up & Dance, He Dark Age, Zombies Under Stress, SPK.

If you've just joined us: Reducer ARE the greatest lost dub punks. Rumoured to have almost signed to On-U Sound but told Sherwood to stuff it when he wanted his hands on the desk. Fame never found them, cos they didn't want it anyway. Living in the obscure memories of the select squatters and weirdos lucky enough to have had their minds blown, their first recordings were scraped off the linings of the cosmic dustbin recently through a series of self-released 12"s, cassettes, USBs and strangest of all a 3D performance screened at the Cube (in association with pals Bokeh Versions).

In short: Reducer's the most thrilling fairytale resurrection these pages have been privy to, joining 23 Skidoo, Killing Joke, PiL, Slits, Terminal Cheescake etc on the Mount Olympus of the Punky Reggae Party.

This latest slice of karmic justice comes from The Human Aerial aka Reducer's guitarist and prime mover Hooly. And ohhhh what a justice it is. Drawing on 40 years of private solo recordings across 7 tracks from Abu Ama style dabke jaguar steppas punishment to thumping bass-led electro, peak Depth Charge dubby big beat to careening breakbeat hardcore, trashcan gamelan spirituals and Jamie Vex'd style maximalist beats blissouts,

Tying together this jaw-dropping range of styles and fashions is a relentless sampladelic bombardment. The Human Aerial's habitual pilfering of TV and radio for into lovingly spliced tape loops and samples showcases humanity at its best and absolute worst. Tele-evangelists rub shoulders with long dead chieftans: "there is no death, only change of worlds" "We're MAD AS HELL AND WERE NOT GONNA TAKE IT ANYMORE" "THe land is sacred, a cathedral of the spirit". These wisdoms and grave sins slip into us subliminal through the dance, the needle drops like a waking dream.

While the Reducer archives may be running low, we assure you the Human Aerial coffers are full. And long may our minds be blown by this ongoing renaissance.

Lost Gospel Gem - Exitiment "Rap For Jesus" by Columbus Native Kenneth Jordan Rediscovered Nearly 40 Years Later

Columbus, GA — In the late 1980s, Columbus native Kenneth Jordan was such a powerhouse on the local music scene that talent shows had to rewrite their rules. His voice was so captivating (and his wins so frequent) that some claimed the competitions were rigged.

Jordan, deeply rooted in the city's thriving R&B circuit, eventually turned his creative energy toward faith-based music. Teaming up with several local musicians, he recorded "Excitement (Rap For Jesus)", a gospel-infused rap track that aimed to connect with a younger audience enthralled by the sound of hip-hop. His goal was simple: to give youth something uplifting to rap about and listen to.

In 1985, following a personal health scare and a period of reflection, Jordan transitioned from R&B to gospel music. "I took it as a sign from above that it was time to make a change," he later shared. Though his lyrics found new purpose, his signature soulful style remained unchanged.

Fast forward to December 2022 in Little Rock, Arkansas, where record collector and producer Brian Sears stumbled upon a well-loved copy of "Excitement (Rap For Jesus)" while purchasing over a thousand vinyl records from the trunk of an SUV in a Lowe's parking lot. Struck by the track's energy and message, Sears went into "detective mode" to uncover the story behind the voice—and the man—on the record.

Today, Kenneth Jordan continues to share his gift with his community, leading spirited performances every Sunday at his local church in Columbus. Nearly four decades later, his music and message still resonate with the same joy and conviction that first made him a hometown legend.

First Contact features CROÍ, Lukey, KAIR, Sahm, and HVSN. Our first release is a compilation of tracks that we’ve been collecting and to seize all the styles and genres which we will deal with in the future.

‘First Contact’ is the first song of the VA, opening with an invitation with a combination of a nostalgic ambience followed by the drums that go along with the vocals pointing to the start for our journey. In Irish, the word "CROÍ" (pronounced KREE) means "heart". ‘Target Lock’ from Lukey, is a track that will definitely surprise you. This song is meant to push you back to the dance floor with a feeling which you don’t get very often from listening to these kinds of songs. Everything is cool with ‘Target Lock’, drums, nice trippy vibes, and how the bass fits there… You should be blown away by this song. In a real old school style! Lukey has previously caught the eye of industry labels like Hot Creations, also his release on Carpet & Snares Records, Into The Wizard's Sleeve, The Void Project was hammered by some of the great DJ’s in the world.

KAIR introduces himself to us in his own way with ‘Let's Get it!’ Because this bomb won’t fail to make you dance and feel good! It’s pure house and joyful music that makes you dance and get lost within the music. Also, ‘Let's Get it!’ is just a preview of the upcoming EP. ‘Rainbown’ is a track which shows us that Sahm knows how to come out with a brilliant house track. A groovy old school house with heavy percussion, comes from a young talented producer from Brazil! This will be the track that you’ll be playing years from now on. And ‘Bust This’, you will hear among the bass, the claps and drums, a high energy that will make you move your body. HVSN presents his vision of how to bring the right emotions of a dance floor full of energy and the connection between the bass, synth, drums and melody is back!

Enjoy, This Is Real Talks Records.

VA – First Contact RTR001 incl CROÍ, Lukey, KAIR, Sahm, HVSN

After years of shaping the UK underground from behind the scenes, Alex Nut steps out with his first official solo EP, serving up an intoxicating blend of Spiritual Jazz, Deep House, Dub, Hip Hop and analog electronics. The Present Under Construction EP is rooted in a deep musical language and future-facing energy, it captures a moment of creative transformation and exploration.
Built up over a few years from rough sketches made on an old MPC2000XL, the tracks were revisited, reshaped and eventually brought to life in the studio with longtime friend and collaborator Sam Crowe (Cleo Sol, Lianne La Havas). Together, they added a range of analogue sounds using the Dave Smith Prophet Rev 2, a Fender Rhodes, and a Moog Sub 37. Those recordings were then chopped, resampled, and restructured into the versions you hear on the record today. The records lead track 'andthenitstarted' features saxophonist James Mollison (Ezra Collective, Nala Sinephro) and includes remixes from Detroit House legend Patrice Scott and fellow Eglo Records alumni Last Nubian.

Best known as a DJ, broadcaster, curator and co-founder of Eglo Records, Alex has spent over a decade championing soulful underground music, through fabled Radio shows to legendary club nights, his fingerprints are all over a scene that continues to evolve. Initially making noise alongside the likes of Floating Points, Steven Julien, and Fatima, Alex Nut has long been a cornerstone of the UK's soulful underground. His work continues to champion the evolution of Jazz, Soul, House, and Broken Beat — nurturing a generation of artists now reshaping the global soundscape.

Once upon a time, a Romanian man named Bogdan crossed the mountains into Switzerland in search of something, though even he couldn’t quite name it. By chance, he settled near a young record store, Legram Vinyl Garden, where he stumbled upon exactly what he never knew he was missing.

Between long digs and countless unforgettable gatherings, the Bogdan sound began to take shape, growing into an almost untameable yet undeniably magnificent beast.

This EP gathers our favourite Bogdan tunes from a lost but never forgotten time, now preserved both in plastic and in our memories. A timeless collection of raw, flavourful creatures, each one alive in its own way.

Five years after the release of 'The First Circle' Neroli celebrates its 25th anniversary with a new volume.
'The Second Circle' picks up from where its predecessor left and expands its aestethic into more musical territories.
The album moves from still ambience and majestic uplifting strings to quirky electronics, it explores expansive fusion landscapes till landing into Detroit beatless territories accompanying the listener to multiple musical places and to embrace this unique spiritual journey. Featuring original unreleased compositions by: Nu Era, Lar Bartkuhn, Molinaro, Claude Young jr, Joe Claussell, EDB, Jordan GCZ, Other Lands, Stephen Lopkin, Meftah, Zopelar and Volcov.

Black Midi war von Anbeginn der Band ein illustres wie kreatives Tummelbecken für die Mitglieder der britischen Band - nun löst sich Geordie Greep mit seinem am 4. Oktober bei Rough Trade Records erscheinendem Solo-Debüt noch mehr von jeglichen Einschränkungen und Kompromissen! Eines der Hauptthemen von Anthony Powells Roman "A Dance to the Music of Time" ist der Kontrast zwischen jenen Charakteren, die nur von Macht getrieben werden, und jenen, die mehr mit den sinnlichen Freuden des Lebens in Einklang stehen. Unweigerlich holen die Zeit und das Schicksal jeden Protagonisten ein, und der Leser kann darüber nachdenken, ob ihr Schicksal gerechtfertigt ist oder nicht. "The New Sound" wirkt oft wie eine Wiederholung von Powells Thema, untermalt von einem schrägen - und völlig verkabelten - Palm Court Orchestra. Das Album ist mit Sicherheit eines, das den Hörer über die gesamten elf Tracks hinweg voll in seinen Bann zieht. Greep: "Ich war besorgt wegen der Länge, um nicht zu viel zu verraten. Aber ich bin es auch verdammt leid, Musik zu hören und im Voraus zu wissen, was sie bedeutet oder was sie zu tun versucht. Bei all meiner Lieblingsmusik geht es darum, dass der Hörer sich mit dem auseinandersetzt, was vor sich geht. Meine Lieblingssänger, wie Peter Hammill oder Nat King Cole, sind buchstäblich einmalig. Das liebe ich. Vor allem bei Texten, bei denen man nicht genau weiß, worum es geht, aber man weiß, dass es nicht nur abstrakte Gedanken sind."

Beau Wanzer is back with another meaty morsel of undercooked music for the starving beat eaters. This slobbery slab serves up a mix of gothy goobers and techno toddlers....scavenging the dance floor for another hit to make it through the night. Who will win?

His 7th release on his recently reactivated self-titled imprint. A conveyor belt of gurgles and spurts for the doomed dancer.

,Psychic 9-5 Club" schlägt ein neues Kapitel HTRK auf. Es ist ein Album, das zurückblickt auf eine Zeit der Traurigkeit und der inneren Kämpfe und das in diesen Kämpfen auf Hoffnung, Humor und Liebe stößt. Es ist das erste Album, das Jonnine Standish und Nigel Yang komplett als Duo aufgenommen haben - ihr ehemaliger Bandkollege Sean Stuart starb mitten in den Aufnahmen zu ihrem letzten Album ,Work (Work, Work)" von 2011. Obwohl ,Psychic 9-5 Club" von den ersten Tönen an nach HTRK klingt - der Gesang von Standish ist noch immer das Hauptaugenmerk des HTRK Sounds, während die Produktion charakteristisch schlank und dubbig ist - lässt sich die Band ausreichend Raum für Experimente. Verschwunden sind die in Hall und Verzerrung aufgehenden Gitarrenexperimente der 2009er Platte ,Mary Me Tonight" und die zerfuzzten Growls, die sich durch ,Work (Work, Work)" zogen. An ihre Stelle tritt etwas zärtlich-samtig Poliertes. Dies ist HTRK, doch ihr Sound wurde entfettet und richtet das Rampenlicht auf die nackten Arrangements und minimalistisches Sound Design. Das Album wurde mit Nathan Corbin von EXCEPTER in den Blazer Sound Studios in New Mexiko aufgenommen, der bereits Regisseur des Videoclips zum Track ,Bendin von ,Work (Work, Work)" gewesen war. Anfang 2013 wurde ,Psychic 9-5 Club" in Australien fertiggestellt und schließlich über den Sommer des Jahres in New York auf Hochglanz poliert. Das Kernthema des Albums ist die Liebe. Das Wort webt sich durch die Texte und Songtitel; die Liebe als Ablenkung, die Eigenliebe und die Liebe zu anderen. ,Psychic 9-5 Club" ist ein Album für den Körper und die Seele.

The Punky Rocking Christmas came over two different Xmas’s for the punk connoisseur. The first back in 1977 when the Sex Pistols took themselves up to Huddersfield to play a gig for the firemen but also as they arrived in the afternoon a gig for the local kids. After much cake throwing and high jinks and with the kids all cleared out the Pistols played the evening show for the adults. This it would turn out to be the Sex Pistols last show in England, as they went to America in January 1978 and imploded. That as they say is another story.
The second Christmas Punk bonanza took place in London’s Ladbroke Grove area when The Clash, possible inspired by the Sex Pistols previous Xmas gig, decided to play their own Xmas gig in 1979 on
Christmas Day at The Acklam Hall. The added bonus was they also played at the venue on Boxing Day. So there you have it the two biggest punk bands giving two xmas treats to their fans. To celebrate these festive treats Mal-One has written two songs to celebrate both events and dubbed up both versions for this Maxi-12” special. He has also provided two sleeves a Sex Pistols sleeve 250 copies and a Clash sleeve 250 copies plus a signed print in each. As they say what more could you want in your xmas stocking.

Ho Ho Ho and a punky rocking happy Xmas to you all.

The follow up to his 2017 album, Produced With Love II is a collection of brand new songs from one of the UK's most longstanding, respected and fiercely independent artists. In a flash-in-the-pan industry like music, Dave Lee's career is notable for both its longevity and consistency. As a record producer and remixer, DJ and curator, he's now clocked up well over 30 years and, if such things existed, would be nailed on for a carriage clock for long service to add to the numerous hits and landmarks he's enjoyed over a storied career. His latest album, Produced With Love II, continues the work he started with 2017's superb collection. Incorporating aspects of house, soul and disco and crafted with the attention to detail you'd expect from someone of Lee's heritage and calibre, Produced With Love II comprises 12 brand new songs and will arrive in June 2022. The writing process has always remained the same and Dave has always preferred to work face-to-face with artists whenever possible - albeit with a few enforced remote sessions due to the pandemic.

Over the past couple of years, Frits Wentink has blessed us with four releases as part of the FRITS X WOLF series. Each 12” showcasing Frits classy & impeccable productions. To round off this chapter WOLF and Frits present a special remix EP with fresh takes of their favourite tracks from the series.

Up first is Bonafide legend, Ian Pooley with his exceptional take on the killer About You, even blessing us with some bonus beats.

On the flip, Prince Palmer elevates Intentions into a peak time burner that is sure to turn any dancefloor into a frenzy. Rounding off the EP, Dominic Oswald lends his signature sound to Club Land, deep, groovy and hitting all the right spots.

Another essential addition to the FRITS X WOLF discography. The previous releases haven’t stuck around for long so as always buy or cry!

2026 Repress

Atmospheric Vol 2 is the second single to be taken from Deepchord's latest full length but sees him stray from the album tracks, bringing 3 exclusive pieces to the vinyl, keeping in the same musical vein as Ultraviolet Music.

Exploring the North & Pinewood Lodge see Rod Modell on more Deep Techno excursions as beautifully sweeping pads and glistening synths drift by ever evolving, perfectly processed atmospheres. Deepchord's unique use of subtle field recordings throughout give both of these tracks a real heady/druggy quality and his seamless loops allow you to drift of into his fully developed dream world. Shot Point delves into straight up ambient territory with Deepchord striking an unearthly balance between the natural and synthetic world. Yet more flawlessly collected field recordings wash away on an ocean of reverb soaked pads, drowning the listener within its mesmerising tides.

With CAPTAIN, BNXN takes the wheel. The Nigerian singer-songwriter has always blurred the lines between afrobeats, R&B, and soulful introspection—but this time, he’s driving with full control, no co-pilot. The album marks a defining moment for BNXN (pronounced "Benson"): a confident, fully-formed statement from an artist who’s learned to trust his instincts, sharpen his pen, and follow his own creative compass.

From the cinematic opener to the late-night confessionals tucked between glossy hooks, CAPTAIN feels like a diary written at cruising altitude. BNXN threads personal stories through rich instrumentation—balancing Yoruba and English lyrics, weaving between amapiano pulses, stripped-down ballads, and smoky alt-R&B. Standout moments find him unpacking fame’s isolations, questioning loyalty, and wrestling with what it means to lead without losing yourself. There’s growth in every verse, not just in what he says, but how he says it: sharper, more intentional, and wholly unafraid to take risks. This is BNXN unfiltered—charting new territory without ever losing sight of home.

The sixth Subetasch release comes from long-time friends and collaborators TakaTuka and vaZdaZ.

Side A opens with Stamina, a hard-hitting tekno track by TakaTuka, the result of his first deep dive into the DFAM synth he’d just gotten his hands on. Track two, Olga by vaZdaZ, hits just as hard - driven by the screams of a free smartphone synth, it sounds like it’s been tearing up proper parties for the past decade.

On Side B, TakaTuka and vaZdaZ join forces on both tracks, diving into their shared love for breaks, ambient and IDM. The first, Teenage Carcrash, is driven by the tiny drum sampler “PO-12,” which also inspired its (hopefully not too controversial) title. But don´t worry, your Car´s Hifi-System isn´t broken, it´s just gritty distortion and a pulsating bass, sweetened with a catchy tune.

The final track, Unknown Food Can, originated in a circuit-bending session with a trashy old electric piano. Starting out calm and melodic, it slowly unfolds - this food can was found in Kamyshovo, who knows what's hiding inside?

‘The Jamaican Recordings Allstars’ have gone back to the Reggae heydays of 1968 / 1969 as a strong influence on their snappy instrumental track. The flash points of Harry J Allstars ‘The Liquidator’ and Dave and Ansell Collins ‘Double Barrel’ come to mind. No reggae 7” single would be the same without its version b-side, so please flip the single over for part two where the beat is pulled up to the fore. Hope you enjoy rocking to this future classic !!!!

As the label floats into it's first release with a set of euphoric tinged VA, featuring 6 tracks from artists with different influences and backgrounds, RYS is proud to present Killer Tracks Chapter 1.

Each rider of the grooves had stamped in their unique sound for rumble & clatter.

This release reveals the diversity and amplitude which label will stand for future releases.

DJ Support: Raresh, Marco Corola, Jamie Jones, Joseph Capriati, Chris Stussy, DJ Seinfeld, D'Julz, Djebali, Voigtmann, Arapu

For Amsterdam’s Julian Anthony, club culture has always been about movement - between sounds, between scenes, and increasingly, across continents. Rooted in the Dutch underground, his path has taken him from intimate local spaces to international stages, with appearances at institutions such as Berlin’s Hoppetosse, Ibiza’s DC10, and London’s fabric. Along the way, he’s formed close ties with crews such as Slapfunk, VBX, Half Baked, and S.A.S.H, while recent tours across South America and Australia have further widened his reach. His connection with Enzo Siragusa and the FUSE family is longstanding, having previously dropped his track ‘It’s Showtime’ on sister label LOCUS while making appearances at both FUSE and LOCUS events across Europe, including this year at FUSE Malta, during ADE, and November’s fabric takeover. Now, his ‘Missing Pieces’ EP extends that relationship further, marking his fi rst release on FUSE and off ering a natural progression while showcasing his versatility as a producer.

In his productions and his sets, Julian threads together house, techno, and electro infl uences with a playful touch, resulting in a style that feels fl uid yet sharply defi ned. Title track, ‘Missing Pieces’, sets the tone with a heavyweight bassline at its core, coupled with a hypnotic groove and percussive drive, while ‘Endless Echoes’ stretches into more atmospheric territory, weaving rolling rhythms with cosmic textures. On the fl ip, ‘No Sleep’ ups the intensity with zipping synths and sharp drum programming built for peak-time play, before ‘TTS’ closes the record on a captivating note, fusing deeper house nuances and playful rhythms into a late-night trip.

With a growing catalogue across respected imprints such as Dungeon Meat, X-Kalay, and Bee You, and a touring schedule that continues to expand globally, Julian’s first outing for the London favourites highlights his talent for crafting tracks that are simultaneously precise, playful, and built for the club.