Cerca:new age

2026 Repress

Due to high demand, MEU has revisited two of Mr. K’s classics, previously only available as 12-inch extended mixes, and asked the master editor to pare them down to 7-inch size.

A true top-five peak record at the Garage, Thelma Houston’s “I’m Here Again” was “a highlight whenever Larry played it,” Danny Krivit recalls, “and he played it a lot!” Danny’s edit is a homage to Larry and Frankie Knuckles – in particular a similar private edit that Frankie did back in the day and shared with Krivit. “It was on reel to reel and I didn’t copy it correctly and lost it,” Danny remembers. “Reels were problematic! When I tried to get it again from him, unfortunately he had lost it too.” The song (likely an attempt by Motown to capitalize on the previous year’s monster hit “Don’t Leave Me This Way”) is, in its original form, a virtual retake of Thelma Houston’s breakout single, from the subdued, schmaltzy intro to the “oooh BABY!” leading to the chorus. What sets “I’m Here Again” apart though, is the incredible second half of the song. Naturally, it is here that Mr. K’s edit focuses. Over a vicious groove reminiscent of the Originals’ “Down To Love Town” breakdown (Michael Sutton wrote and produced both “Love Town” and “I’m Here Again”) Houston delivers soul-stirring ad libs as the band crackles with electricity behind her, the piano chasing a descending string riff so eagerly. Pure dancefloor peak energy! And the very first time having all these parts on a 7"!

For our flip, Danny has reached deep into the earliest foundations of his voluminous collection, and come out with a psychedelic pop classic rearranged for today’s sound systems and setlists. Recorded in the Beatles’ Abbey Road studio at the height of the Summer Of Love, the Zombies’ “Time Of The Season” is firmly linked in pop culture to the late ‘60s and the Vietnam era, breaking big in the summer of 1969. Krivit’s edit highlights the parade of lush sonic textures that ornament the hip composition, from the iconic, exquisitely echoed bass-clap-exhale riff that opens the song to the cascading Hammond organ solos of Rod Argent. “It’s a song from my childhood that really struck a chord,” Danny says. “Over the years I often played a rough edit which always seemed to go over great. The song seemed to get better and better, and age like fine wine.” We agree!

These two songs have both appeared on previous (separate) MEU 12-inches, but are presented here in custom new edits for the 7-inch format.

Terry Francis stands as one of the original architects of acid tech house, a genuine pioneer whose influence shaped the sound and spirit of London’s underground scene in the 90s. From the seminal projects with Housey Doingz to his enduring tenure as a core resident at fabric, Terry has remained a constant and uncompromising force at the heart of the scene.

His contribution is impossible to overstate. Across three decades, Terry’s unmistakable sound, forward thinking approach and steadfast dedication have inspired artists across the globe. His work helped define an era and continues to resonate today.

Following a widely acclaimed run of reissues from the golden age of the early 2000s London underground, where the label was born, Sushitech Records now joins forces with Terry for a landmark moment, his first Sushitech LP, featuring various tracks from over the years alongside unreleased session recorded at Strange Weather Studios in 1999.

This special collection brings together eleven tracks, officially remastered from the original tapes and source material for the very first time. These are timeless productions, restored to reveal new depth, clarity and detail while preserving the raw energy that made them so vital and sought after, pressed on 180g vinyl. The release also features standout collaborations with Ricardo Afonso, Gideon Jackson and Haris, further cementing its status as an essential document of an era. A landmark collection, restored with precision and reintroduced in its fullest form.

Terry Francis stands as one of the original architects of acid tech house, a genuine pioneer whose influence shaped the sound and spirit of London’s underground scene in the 90s. From the seminal projects with Housey Doingz to his enduring tenure as a core resident at fabric, Terry has remained a constant and uncompromising force at the heart of the scene.

His contribution is impossible to overstate. Across three decades, Terry’s unmistakable sound, forward thinking approach and steadfast dedication have inspired artists across the globe. His work helped define an era and continues to resonate today.

Following a widely acclaimed run of reissues from the golden age of the early 2000s London underground, where the label was born, Sushitech Records now joins forces with Terry for a landmark moment, his first Sushitech LP, featuring various tracks from over the years alongside unreleased session recorded at Strange Weather Studios in 1999.

This special collection brings together eleven tracks, officially remastered from the original tapes and source material for the very first time. These are timeless productions, restored to reveal new depth, clarity and detail while preserving the raw energy that made them so vital and sought after, pressed on 180g vinyl. The release also features standout collaborations with Ricardo Afonso, Gideon Jackson and Haris, further cementing its status as an essential document of an era. A landmark collection, restored with precision and reintroduced in its fullest form.

The Is It Balearic crew has long held down all things blissed out and downtempo, and their once secretive but now essential side label Magic Wand is doing just as much vital work. Veteran house head Peter Blaker is next up after an already solid showing on Razor-N-Tape in April, and he offers two lush flips. The first is a chord-laced and gently waving rework of Kenny & Dolly that has a lovely new age wash, and the second is a more beat-driven and textured take on 'You Belong In The City.' It has a layer of percussion, big drums and a sort of rhythmic sway that is perfect for the outdoors.

"Pretty Close", Ethel Lindsey's debut LP, marks the beginning of a new musical journey, showcasing the talent and heartfelt nostalgia of this gifted singer-songwriter. Deeply rooted in the sound and spirit of the 1970s, her work draws from the golden age of Soul, Funk, Disco, and AOR, blending these genres with elegance and authenticity. Her songwriting and vocal delivery are so true to the era that one could easily imagine this album emerging straight from a California studio in 1976.

Entirely composed, written, and performed by Ethel Lindsey, Pretty Close is a deeply personal and cohesive body of work. From lush harmonies to groove-driven arrangements, the album captures the warmth and depth of vintage recordings while offering a fresh and intimate take on these timeless sounds.

Once again, Favorite Recordings brings its signature dedication to the project, ensuring every step of the process—from production to final mix—remains faithful to the sonic and aesthetic codes of the era. The album was produced using a maximum of vintage analog equipment, staying true to the texture and character of original 70s productions.

This is not merely a nostalgic tribute—it’s a sincere continuation of a musical tradition. With a deep respect for the past and a forward-thinking spirit, Ethel Lindsey breathes new life into classic genres, reaffirming their relevance in today’s musical landscape.

As Ethel herself puts it:
"The songs on this album offer but a fleeting glimpse into the whimsical, melodic reveries that may have danced through the mind of a young girl growing up in the northeastern suburbs of Paris, France during the early to mid-1980s. They are, perhaps, the earliest echoes of a fraternal musical upbringing—an inheritance both consciously absorbed and unconsciously imprinted—shaped by shared moments, half-remembered sounds, and the mysterious alchemy of childhood imagination. This collection is, in essence, a first distillation of that early inner world: playful, imperfect, sincere."

Flash Atkins has pulled together a crack team of musicians for Sanza Mibale Ya Bo Pemi.
It is a tribute to the golden age of Afro-Disco, when the sounds of 70's New York found their way to the continent and fused with local musical styles and rhythms.
Felix Ngindu sings in his native Lingala language from the DRC over a locked bass, congas, keys, percussion, rhythm guitar and a brass section from Haggis Horn's Atholl Ransome and Malcolm Strachan.
Funk, disco, soul and jazz all blend for a peak time jam.

The Flash Dub strips things back to the rhythm section for heads down, dubby action and a tracky take that still packs a dance floor punch.
The incomparable Bosq steps up for remix duties and knocks it out of the park. Layered drums and percussion give things a more Latin swing before the beats break, piano enters the fray, and it's a tropical-funk party-starter all the way. The dub does the beat thing, rocking a hard groove for the dancers.

Hands in the air? F**ck yeah!

LTD Edition in individually sprayed sleeves !

Nigerian-born, London-based singer, songwriter, musician and producer Steven Bamidele presents his keenly anticipated sophomore album, 'THE CRASH!' – a sonically rich exploration of purpose, doubt and personal reckoning. Written against the backdrop of an ever-changing world, the album combines soul, rock, jazz, acoustic and electronic textures, along with daydream-esque storytelling for a thought-provoking journey in pursuit of something real in an age of hyper-curation and superficiality.
At its core, 'THE CRASH!' is a soulful meditation on the weight we place on relationships, the fundamental cost of growth, and the search for direction in an imperfect world. It's a deeply personal project, shaped by Steven's own journey through faith, disillusionment and self-discovery. Raised in a strictly Christian household, Steven's first crisis of belief came at 17, when he began questioning the very foundations of existence. As his faith unravelled, music became his new guiding force – a source of direction, discipline and identity. But as he turned 30, disillusionment crept in once again. The stark realities of the music industry, coupled with global uncertainty, reignited that same despondent weight he had battled in his youth.
"It was an intoxicating feeling when I was younger and had no responsibilities, to foolishly believe I was the first person in history who'd worked something out that no one else had. It gave me this twisted sense of power and was a big creative motivator. Where I'm at now, nihilism is debilitating, boring and unhelpful. I've worked to find a way to channel those feelings into this project. I'm really proud of it."– Steven Bamidele

Having established a reputation as one of the most versatile and respected producers in the game - with over a decade at the forefront of UK bass music, spanning UKG, grime, bassline and drum & bass, Flava D needs no introduction. Now, with her debut drum & bass album Here & Now, she levels up once again, channelling years of dancefloor know-how into a project that's as weighty as it is emotionally dialled-in.

A self-proclaimed fan of Hospital Records from the age of 14 - the first drum & bass CD she ever bought being 'Hospital Mix Vol. 1' - Here & Now marks a particularly paramount milestone for the Bournemouth-born beatmaker. Across 15 tracks, Here & Now captures the breadth of Flava D's musicality, offering a bass-charged, genre-spanning statement that's rooted in experience but tuned into the present moment. With a star-studded bank of collaborators, including MPH, Anais, Unglued, SOLAH and more, the album highlights Flava D's curatorial ear and the strength of her network across the scene.

At its core, Here & Now is a meditation on presence - a fresh, fearless chapter from one of the UK's most consistently innovative producers. The album is equal parts masterful and functional, giving fans what they came for while revealing new layers of Flava D's ever-evolving sound. Through its stacked line-up of collaborators, Here & Now also connects voices who are helping shape the future of dance music, from the underground up.

DMA debuts its new series with a vision to showcase the music that shaped their path while fostering a sense of community around the label. The first release is a two-track EP featuring Twovi and Sixam, blending Italo house roots, progressive house textures, and that distinctive touch of nostalgia that runs through the DMA sound. Pressed in a strictly limited edition, DMA & Friends is a platform for music, friendship, and memories.

When it comes to Latin soul, Bobby Matos And The Combo Conquistadores 'Tema De Alma Latina', has to be up there as one of the heaviest tracks ever recorded. This much-loved Latin workout has been rocking dancefloors for years with its infectious, driving energy and pulsating rhythms. Released in 1968, the 'My Latin Soul' album on Philips Records now receives a welcome reissue on Mr Bongo. It’s a sheer delight throughout and a premier example of the Nu Yorican sound that was thriving in New York in the ‘60s.

From a young age, the Bronx, New York-born Latin jazz percussionist Bobby Matos found inspiration through the conga drum masters Mongo Santamaría and Patato Valdez (who he had informal backstage lessons with) and timbales legends Willie Bobo and Tito Puente. Bobby was drawn into New York's club scene and began playing in the vibrant ‘60s beat / bohemian Greenwich Village cafes, followed by stints in a wide range of different venues. These included Bronx dance halls and after-hours clubs in El Barrio, through to the elegance of Carnegie Hall, Central Park concerts, and off-Broadway theatres.

Later relocating to Los Angeles, Bobby played an important role in spreading Latin music far and wide. He became an inspiration to many on the jazz dance and acid jazz scenes in the ‘80s / '90s where his recordings were picked and played, becoming prized collector items amongst DJs. The track 'Tema De Alma Latina' was immortalised as a classic for many, after being featured on the Gilles Peterson’s Street Sounds Jazz Juice 5 compilation in 1987. A captivating listen from start to finish, the album features other treats such as the dynamic album opener ‘Nadie Baila Como Yo’, the blazing flute led 'Mambo Maxims', and the blistering piano shuffler 'Raices'.

A truly iconic Latin classic whether you’re being reunited with it like an old friend or discovering it as a fresh new find.

On September 26th, 2025, two decades and seven albums into his career, American musician, composer, and academic John Maus will release his most transcendent work yet: Later Than You Think. Arriving via his new label YOUNG, the album explores themes of grief, justice, rebirth, transformation, and spiritual warfare - coalescing into a work of confession and confrontation: an aural metaphysics where affect, intellect, and spirit converge in search of the beautiful, the truth and the real. Written, produced, and recorded in the Ozarks of Southwest Missouri, Later Than You Think spans 16 tracks and contains multitudes - the lush and the bare, the sacred and the profane, minimalist discipline and maximalist indulgence, counterpoint and simple pop harmony. At its core, the album reaffirms John Maus’ commitment to radical sincerity and emotional truth in an age of alienation. Powered by confrontation, faith and transformation - driven by the urgent belief that meaning still matters, and time is of the essence. Holding a degree in experimental music from CalArts and a PhD in political science from the University of Hawaii, Maus has been dubbed a “philosopher pop star” and “analog futurist” for the way he merges academic rigor with lo-fi synth-pop aesthetics. His influence spans genres and generations—from UK grime icon Skepta, who sampled his track “I’m Only Human,” and Gen-Z rapper nettspend, to filmmaker Josh Safdie, actor Natasha Lyonne, and photographer Wolfgang Tillmans. His track “Cop Killer” features in the 2025 film Friendship, underscoring his continued relevance across high and low culture. With five previous albums under his belt - Songs (2006), Love Is Real (2007), We Must Become The Pitiless Censors of Ourselves (2011), Screen Memories (2017) and Addendum (2018) - Maus has carved out a singular path where irony, grief, joy, and absurdity can coexist and gained a cult following along the way. On Late r Than You Think Maus doesn’t just return—he confronts, confesses, and transforms. The result is not only a career-defining work, but a rare artistic offering: one that dares to believe in meaning, beauty, and the possibility of transcendence

A compilation of rare and unique pop songs sung in Okinawa's unique musical scale with rock and soul grooves. It is based on “Ryukyu Rare Groove” released in 2003 and its sequel “Ryukyu Rare Groove 2” in 2006. This is a renewed version of those two albums, with more carefully selected and new songs included.

The Yara Families, the symbol of this series, as well as songs by Shokichi Kina, the originator of Okinawan folk rock, Mitsuko Sawamura, who made a breakthrough from Okinawa into American musical films, and Teiko Saito (Teiko Taira), a jazz singer who released her debut album in 2022 at the age of 86 and became a topic of conversation, The album contains 14 precious tropical groove songs. A renewed version of “Ryukyu Rare Groove” is now available in analog format!

The compilation “Ryukyu Rare Groove” became a hot topic as many people became addicted to its unique groove, which was created by applying Western arrangements to Okinawan scales and traditional Okinawan music. Ryukyu Rare Groove Revisited” is now available in analog format.
It features 14 precious tropical grooves, including not only the iconic Yara Families from this series, but also songs by Shokichi Kina, the originator of island song rock, and Teiko Saito (Teiko Taira), a jazz singer who released her debut album in 2022 at the age of 86 and became a hot topic.
Ryukyu Rare Groove Crossover,” a selection of jazz arrangements of Okinawan melodies and folk songs, was also released simultaneously, featuring MURO selection
‘Diggers Dozen’ and Kiyoshi Yamaya's Okinawan folk song Jazz Funk, which was featured on the ‘Ryukyu’ 7-inch from Tropic Night Records. and other instrumentals,

including Latin big band jazz by Naoteru Misuna and the Tokyo Cuban Boys.

Linval Thompson is one of the great roots vocalists that ruled the dancehalls of Jamaica in the mid 1970’s. His distinctive vocal style and roots lyrics, that spoke of the struggles that faced the Rastas, hit a chord with the people of Jamaica, and provided a string of hits for him in the dancehalls. This in turn, would set a tone that he carried on through his musical career and future production work. Linval Thompson (b.1959, Kingston, Jamaica) was actually raised in Queens, New York. He cut his first record there at the age of 16 ‘No Other Woman’ with future Third World singer Bunny Ruggs. He also cut a couple of tracks for a US producer E Martin ‘’Jah Jah Deh’and ‘Weeping and Wailing’. In 1974 he returned to Jamaica and cut ‘Mama Say’ and a version of D Brown’s ‘Westbound Train’ for producer K Hobson which got Thompson noticed by producer Phil Pratt. Pratt took him to Lee Perry’s Black Ark studio’s where he cut ‘Kung Fu Man’. Thompson’s friendship with fellow singer Johnny Clarke led to a meeting with producer Bunny Lee. His first track cut for Lee was ‘Don’t Cut Off Your Dreadlocks’ and it became a big hit in Jamaica. Bunny Lee was the producer of the moment and Linval added to his long list of hit singles with ‘A Big Big Girl’, ‘Cool Down Your Temper’, ‘Ride On Dreadlocks’ and the title of this compilation ‘Jah Jah Is The Conqueror’. He seemed to hit a musical height working for Bunny Lee (who as he has done with many of his singers) encouraged Linval into production work himself. Which has led to another chapter in Linval’s story. Working with an array of artists including, Freddie McGregor, Johnny Osbourne, Barry Brown, Rod Taylor and many more. But it is his singing career that we focus on here and that great period in reggaes history the mid 1970’s where Linval delivered a string of classic hits that we have compiled for you here. Hope you enjoy the set.

We are excited to announce the return of the iconic Totally Wired series with a brand new collection on LP and CD. The first 50 orders will include a special art print of the artwork. We are also doing a limited edition T-shirt to celebrate this milestone!

In 1988 Acid Jazz released its first compilation album ‘Totally Wired: A Collection From Acid Jazz Records’. Compiled by Eddie Piller and Gilles Peterson it collated 11 tracks that summed up the early days of our scene, mixing new label signings, cool new records being played in our clubs and a couple of oldies. It sold well to the then small scene and set the template for a series, that in the wake of the international success of The Brand New Heavies, Jamiroquai, The James Taylor Quartet and others exploded. By the time that Volume 5 appeared, we were selling tens of thousands of copies, with major label artists vying for inclusion.

By that point ‘Totally Wired’ was a phenomenon, that sign-posted changes in both the directions of new music, but of the oldies that were played on the scene. It gave DJs new tunes to play and soundtracked 1000s of Cafés and bars the world over in the age of the CD. It was largely retired at the end of the 90s and as times changed.

Over the years we have been asked to return to the scene of the crime, but it has never quite felt right, until now. With vinyl back, and the need for easy to digest compilations becoming neccessary in the chaos of streaming’s ‘I can listen to anything I want, but can’t think what that might be’ is evident, but also we are feeling excited about where Acid Jazz is right now. New artists on the label are making great records, Matt Berry has a Top thirty album, and The Brand New Heavies are headlining the Royal Albert Hall. It’s easy to make an exciting album when that is happening.

So we are releasing “Totally Wired: A New Collection From Acid Jazz” and treating it like the important milestone that it is. From the Acid Jazz sid we have new and exclusive recordings by Matt Berry, Chris Bangs and new signings Earth-o-Naut and Quiet Fire, there is also a recent white label only 45 cut by the Soul Revivers – released ahead of their new album due this Autumn and featuring Kokoroko’s Shiela Maurice-Grey and Anoushka Nanguy. For the oldies we have dug deep into our own archives to bring you the Acid Jazz Orchestra’s version of Corduroy’s ‘Something In My Eye’ and The Brand New Heavies astounding funk take of Aretha Franklin’s ‘Rock Steady’. These are all joined by recent scene records by Carmy Love – one of the greatest voices in the UK – The Romero Brothers, and BDQ, carrying the series onwards at last.

Makhunik Records Presents: "Withdrawals" - A Bold New Vinyl Release by RAKANS Withdrawals, the highly anticipated follow-up to Emergence EP and Deep State (Midnight Stallion) EP, marks a bold new chapter in RAKANS's ever-evolving sonic journey.

Set for release on I Makhunik Records, Withdrawals explores the tension between desire and detachment, featuring five tracks that blur the lines between electronic, experimental, and club sounds. Available on vinyl, Withdrawals invites listeners to experience the raw and intimate emotions that inspired its creation. Following the success of Emergence EP (Gently Leftfield Techno from a Core Dresden Artist - Resident Advisor/Single Review by Andrew Ryce) and Deep State (Midnight Stallion) EP on Boudica, which gained recognition for their atmospheric intricacies and deep, immersive textures, Withdrawals delves deeper into personal and societal themes, paired with the artist's signature ethereal soundscapes and captivating beats. Each track carries a narrative, from late-night reflection to hedonistic encounters, with a pulsating intensity that mirrors the artist's own process of creative and emotional release. With Withdrawals, RAKANS continues to push boundaries, creating a profound listening experience that resonates both in its melancholy and its intensity.

Description of the Title: The title Withdrawals reflects a state of emotional and mental transition, where one is caught between the craving for connection and the unsettling effects of isolation. It symbolizes the artist's inner turmoil and process of reclaiming personal agency after experiences of burnout and separation. The tracks are an expression of that journey-tracking the highs and lows of life in a world that constantly demands more. Through these melodies, RAKANS has captured the intensity of longing and the aftermath of desire, inviting listeners to confront their own internal conflicts. The narrative is personal yet universally relatable, and the title speaks to the often painful but necessary process of letting go, detoxifying from past habits, and learning to be at peace with oneself. "With Withdrawals, He wanted to channel the emotions that often come from the struggle between desire and self-preservation, between the drive to connect and the need to retreat. he's journey, both as an artist and as an individual, has been filled with moments of intense reflection, self-discovery, and sometimes, disconnection.

These tracks are the culmination of that inner conflict, a raw exploration of what it means to both lose oneself and find a deeper, often painful, form of clarity. Like the music he's created before, the sound of Withdrawals speaks to the space between tension and release, the liminal space where truth is often revealed in its most vulnerable form. He's always believed that music is a mirror to the soul, and in this EP, He's tried to reflect that feeling of being both pulled in and out of something greater. It's a raw and intimate look at the way we navigate modern life, often feeling like we're running toward something that we can't quite reach, yet constantly pulled back into our own personal truths.

This EP is personal, but it's also for anyone who's ever felt caught between two worlds, the one they want and the one they need. I hope it resonates with listeners who are experiencing their own form of withdrawal, whether it's from people, places, or even from themselves.

Death Is Not The End release a second part collecting pre-partition film music, compiled by Gary Sullivan of Bodega Pop.

As the 1940s began, South Asian cinema entered a transformative phase. Playback singing, still a new idea in the previous decade, quickly became standard practice. Actors no longer had to sing, and singers no longer had to act, opening the door to a wave of dedicated vocal talent that redefined the sound of the industry.

Voices like Noor Jehan, Shamshad Begum, and Suraiya rose to prominence, becoming household names across the subcontinent. Behind them, composers like Naushad, Anil Biswas, and Ghulam Haider were expanding the sonic palette of film music, blending ragas with Western orchestration, folk tunes with jazz-era instrumentation. Harmoniums, sarangis, violins, accordions, and clarinets filled out increasingly complex arrangements, while ghazals and qawwalis continued to influence mood and structure.

Although the post-Partition years are often considered to be Bollywood's "Golden Age," thanks to filmmakers like Raj Kapoor, Bimal Roy, and Guru Dutt, the music started its peak just before the divide. By 1947, Naushad and others were producing some of the most emotionally rich and musically intricate work in the industry's history, compositions that would prove challenging to surpass in the decades that followed.

Yet this high point came during a time of immense upheaval. The Second World War, the Bengal famine, and the crumbling of colonial rule all loomed large. Film songs often reflected the uncertainty, sometimes mournful, sometimes romantic, sometimes defiant. And when the Partition finally came, it fractured the world that had created this music. Artists became refugees, studios were split, and careers were thrown into flux. Noor Jehan, who would go on to become Pakistan's most iconic singer, recorded many of her most beloved songs in Bombay. Khursheed, another major star, faded from public life after migrating. K.L. Saigal, a towering figure of the 1930s and '40s, died in Lahore just months before the split.

This collection spans those final years before Partition, a time of creative flowering and looming catastrophe. Like Part 1, these songs were sourced from immigrant-run music shops in New York and New Jersey. They are fragments of a vanishing world, each one a snapshot of the art, longing, and resilience that defined this extraordinary era.

FIRST-EVER VINYL RELEASE OF CULT 1980 CASSETTE-ONLY ALBUM BY EGYPTIAN SINGER NAGAT EL SAGHIRA, CURATED AND ANNOTATED BY DISCO ARABESQUO. INCLUDES PRODUCTION BY EGYPTIAN FUNK LEGEND HANY SHENOUDA

Following the highly-acclaimed "Sharayet El Disco" compilation, Wewantsounds is delighted to team up with Disco Arabesquo for the reissue of Nagat El Seghira's cult 1980 album "Eyoun El Alb"

Originally released only on cassette on the Egyptian label Soutelphan, the album has since become a sought-after classic on the Arabic groove scene and this is the first time it is released on vinyl. Consisting of four tracks, the album features two tracks produced by Hany Shenouda whose group Al Massrieen is a reference on the Arabic disco funk scene.

Remastered for vinyl by Colorsound Studio in Paris, the album features the original cassette artwork plus a two page colour insert featuring liner notes by Disco Arabesquo.

When it comes to Arabic Divas, Oum Kalthoum, Fairuz and Warda usually take the lead in the poll list. But in her native Egypt, singer Nagat Al Saghira comes very close to this triumvirate. Born in Cairo in 1938, Nagat began singing when she was still a child gaining her stage name "El-Saghira" ("the young one") at this occasion as she started giving concerts at the age of seven, pushed by her father, the famed calligrapher Muhamad Hosny (Nagat's half-sister is the renowned actress Soad Hosny).

Nagat quickly rose to fame in the late forties and became an essential part of classic period of Arabic music, interpreting songs by such titans as Mohamed Abdel Wahab, Baligh Hamdy and Kamal Al Taweel. She also sang the works of Syrian poet Nizar Qabbani whom she introduced to a mainstream audience. Nagat started singing shorter songs but then upgraded to longer ones, often performing/recording them live as it was the trend in the 60s and 70s.

One such song is "Eyoun El Alb" ("Eyes of the Heart") which makes up the whole of Side 1 of the original cassette. Written by Mohamed El Mougy and Abd al-Rahman al-Abdouni, Eyoun El Alb is a love song made up of several distinct sections enhancing Nagat's hypnotic singing, accompanied by a percussion-heavy, traditional Egyptian orchestra.

Side 2 is the "diggers" groovier side featuring two floaters,"Bahlam Ma'ak" ("I Dream with You") and "Ana Basha El Bahr" ("I Adore The Sea") produced by cult Egyptian musician and producer Hany Shenouda, whose albums with his group Al Massrieen are highly sought after on the Arabic funk and Disco scene. One Al Massrieen track features on the "Sharayet el Disco" set compiled by Disco Arabesquo who notes that "Hany Shenouda had made waves with his new musical style that weaved in western funk and disco sounds into Egyptian music"

Both tracks feature an infectious slow-burning groove and incorporate funk influences with fat bass and lines of synth and clavinet that adds a funky tone to Nagat's soft singing. The third track "Fakra" ("Do You Remember") brings the best of both world with a syncopated rhythm and arrangements that are slightly more traditional than the Shenouda-produced tracks.

Originally released in Egypt on Cassette in 1980 on the venerable Soutlephan label, the album is now making its vinyl debut on Wewantsounds annotated by Disco Arabesquo and remastered for vinyl by Colorsound Studio in Paris for the joy of Arabic funk and Global beats worldwide.

DJ Support: Support by Kenneth Bager, Colleen "Cosmo" Murphy, Phil Mison, Chris Coco, Erki Pruul, Steve Cobby, Max Essa, DJ Gripper, Phil Cooper, La Guardia De La Luz, Johan Blende, Bill Brewster, Mike Salta, Pete Herbert, DJ Dribbler / For Mankind and many more.



Greek duo Bonnie & Klein serve up an Aegean musical escape with their new Glam Pulse EP on Hell Yeah.

George Fountzoulas and Thanasis Skouzis are lifelong Balearic brothers who offer up their own soul-stirring take on the sound on labels like Music For Dreams and NuNorthern Soul. They are inspired by the sunsets and seas of their homeland and bring great imagination to their melodies as this new outing proves.

'Glam Pulse' sets a gorgeous tone from the off with wavy grooves and a peppering of percussion. As well as some singing guitar riffs, sundown synths and shimmering chords make this a steamy and seductive gem. 'Haleakala' is another perfect soundtrack to lazing on the beach and watching the sun sink into the sea while new age motifs wash over you and carry away your woes. Proggy guitars speak to the soul on 'Horizon Avenue' as woody xylophones and wispy leads ride on dubby bass and 'Sunion' closes with hints of melancholy - a lament for the final dance of a long hot summer with lingering trumpets lodging deep in your heart.

Bonnie & Klein tap into real Balearic magic on this EP and effortlessly transport you to a sandy paradise.

Hot off their two smashes for Marvel’s blockbuster lm Venom: Let There Be Carnage, CZARFACE is back, triumphantly swinging into your universe with their all new CZARMAGEDDON! Expect many twists and turns as Wu-Tang’s Inspectah Deck and Esoteric go to war with an all-new, all-different soundscape from Czarface producers the Czar Keys. Alt-rap icon Kool Keith shatters the lyrical glass and the enigmatic Frankie Pulitzer, who rst appeared on the Venom soundtrack on Czarface’s Today’s Special, is back with guns blazing. Fans will crash the gates for this all new chapter of the Czarface saga.

Includes:
-Collector's Lunchbox with embossed Czarface art on front and back
-Series 2 Trading Cards only available with the Lunchbox
-Cassette of CZARMAGEDDON! only available in the Lunchbox

Veteran Japanese electronic music producer, AKIO NAGASE, a leading player in the Kansai underground music scene since the late 1990s teams up with Yukino Inamine, a gifted and young female singer from Okinawa who magically mixes traditional Ryukyu (Okinawa) folk songs with her sanshin (Okinawan Shamisen) playing into the modern age, to create this wonderful collaborative album, Yugafu ai KAJI. This album is set to be released on GLOCAL RECORDS, a record store/ record label run by Genta Minowa, an ex-staff at the record store, Disc Shop Zero in Shimokitazawa, Tokyo and who still continues to introduce a great selection of dubby, club music from his HQ in Harajuku.

AKIO NAGASE regularly organised parties at his own venue, as well as ran a record store of the same name while actively being part of the Kansai scene at legendary clubs such as Tsuru no Ma, Sound Channel, etc., the best of what was offered in the Kansai underground dance scene in the 2000s.

As an artist, he released his own productions out of labels such as Sound Channel and RUDIMENTS run by Minowa. His album, Make Dub was released in 2003 out of the label, Sound Channel featured an innovative, techno meets dancehall track, Dance Hall King which connected techno, acid house with reggae and dub. This album is an undiscovered gem whose sound still emulates freshness and originality today (my wish is for it to be reissued on vinyl!) After a brief hiatus of releasing music, he released the EP, Delusion out of Chillmountain Records, a label run by his friend, Ground in 2018 and at his own leisurely pace, he has been slowly but surely releasing material that oozes originality, expressed through a robust acid sound and a variety of elements such as afro and Ryukyu folk music that is then incorporated into the medium of dub. Recently, he has also started to gain international attention by releasing original material and remixes out of labels such as the UK label, Emotional Especial, etc.

For this album, NAGASE teams up with Yukino Inamine who brings her own distinctive singing and sanshin playing magic into this collaboration and they fuse electronic music sounds with Ryukyu folk songs to create this wonderfully imaginative album that has no precedence or equal. Apart from the song, Ishikawa Koiuta, all other songs are covers of Ryukyu folk standards that were handpicked by NAGASE from the repertoire of songs that Inamine regularly performs live. They met up when NAGASE was commissioned to remix one of her original compositions, Miyagi Kaigan that was released in 2023 and that evolved into a collaboration with a concept that mixed Inamine singing Ryukyu folk standards with a backing tracks produced by NAGASE. Whenever she went to the the Kansai area, she would work on the basic track material created by NAGASE at the dub master of Osaka, Soulfire’s studio, HAV who would then additionally edit her takes to create the finishing tracks.

This album, Yugafu ai KAJI opens with Shirahamabushi, a track that slowly builds with an interesting mix of slow acid techno and sanshin and then moves onto the easy-going electro dub of Tinsagu nu hana (it is actually a cover of the track of the same title that first appeared in the label sampler, Comuni ó n Especial that was released on Emotional Especial. NAGASE initially wanted to feature Inamine on vocals for this track but due to scheduling issues, it did not happen but with good fortune, the new version of this track is now included in this album). A side closes with the optimistic Balearic sounds of Tsuki nu Kaisha that converges immaculately with slow-mo steppers. It is also worth noting that the person who introduced NAGASE to Inamine was the Okinawa dub master, HARIKUYAMAKU. They met at a concert held by both him & Yukino Inamine hosted by BUN BUN THE MC at the venue, RAGGA CHANNEL. From this encounter, this album came into fruition and they also asked HARIKUYAMAKU to produce an earthy, traditional rootsy, dub version of Tsuki nu Kaisha that is included as the 3rd track on the B Side.

Ashimizubushi, the track that magically blends old school Chicago house ala TRAX with Ryukyu folk music starts off the B side and it carries on to an uplifting track with a Skaouse (ska + house) feel, Hounen Ondo. Inserted after HARIKUYAMAKU’s dub of Tsuki nu Kaisha, this album closes out with the song, ‘Ishikawa Koi Uta’, the only song written by Inamine who said that she wrote it after falling in love with chill-out music. It is an ambient dub track with a collage like flavour, reminiscent of early The Orb (remixed by Mad Professor) and the latter half of the track finishes off with a message presented by Masao Itokazu (her uncle) who received tutelage from the prior owner of her sanshin that Inamine plays, Moritomo Inamine (her grandfather).

Incidentally, the album title, YUGAFU ai Kaji is derived from an auspicious word from Okinawa, Yugafu which means fruitful year, happiness, prosperity and ai (indigo) is a word that Yukino found inspiration few years ago (she wears a Okinawan indigo clothing called kinonuno in the front cover of this album).

The unique indigo colouring produced by nature overlaps with the unique charm of the human personality, and she wanted to present that current along with the music so the name was integrated to ‘indigo wind’, and the two were connected to form the album title, ‘YUGAFU ai Kaji’.

The photo of the front cover was taken by a young, Uchinaanunishie—- (meaning a boy from Okinawa) 17 year old photographer named Ratio and the designer of this album is Anmonaito who is a childhood friend of Inamine who also did the artwork for her album, Miyagi Kaigan. And the mastering and cutting of this album was done by Rei Taguchi.

The cosmology existing in Yukino Inamine’s singing is fully amplified by AKIO NAGASE’s spacey, abundant with many ideas, dance machine beat~ambient music and all of these elements are organically linked by the adhesive effect of dub.

RE:WARM Records are very pleased to announce their next release 'Rituals', a new compilation series from the curator and DJ, Josh Mason-Quinn, aka Somewhere Soul.

For Volume 1 Josh takes us on a journey through the various shades of his ritualistic listening habits across twenty-four hours. From rising first thing in the morning, radiating positive energy throughout the day, retreating into the evening before finally releasing your inhibitions on the dancefloor.

The compilation spans four sides of vinyl and is presented in a double gatefold sleeve. The release will also be available on CD and digital formats.

The album is a celebration of new and emerging talent from the underground Jazz, Soul, World and House Music spheres, sitting neatly alongside artists already carving their way into the collective conscience of those who have been curious enough to dig deep.

The record is due for release on 25th July 2025 with the pre-order available 23rd April 2025 via the Warm Agency Bandcamp and selected record stores.

We are very happy to announce the re-issue of this new age / synthpop masterpiece from the early nineties. An uptempo and timeless floorfiller with extra unreleased mixes on vinyl: Low Spirite Remix and the German lyric version of Golden Dreams.
The band come up with a totally new cover design making this release truly special. Limited copies.

As rRoxymore, Hermione Frank has been exploring the outer edges of the dance floor and producing music that goes beyond traditional genre boundaries for more than a decade. In that time she has covered plenty of ground from caustic and abrasive techno to long-form and immersive grooves, always with a focus on contrasting tempo, texture and tone. On previous albums she intertwined the electronic and the acoustic with elements of psychedelia and jazz. With Juggling Dualities, Frank takes a sideways look at New Age and Wellness culture.

Writing the album came about after many months of being unable to create during a complicated personal time which left her lacking inspiration, feeling creatively stuck yet emotionally uprooted. What helped was distance - taking time and space to disconnect from the struggle. That brought a different rhythm to life and a fresh perspective that allowed exploration without any expectations. A six-week surge of intense creativity followed in which the majority of the album was written. As she explains, "The record represents a journey of reconnection that conveys an underlying message of hope and healing at its core. I think it is my most honest
work to date."

Initially conceived as a New Age project but with a signature personal twist and some subtle humour, there is a familiarity to Juggling Dualities. It is warm and comforting with a sound palette that is refined but familiar - there are soothing signifiers and organic designs that nod to the motifs of New Age but passed through a more contemporary lens.

Juggling Dualities is an invitation to reconnect with yourself. It's music that encourages you to take a pause, be in the moment and reflect on the fact that no matter what challenges come your way, they shall eventually pass.

This album, “Crystallization,” was released in 1978 as the second release on Vanity Records, a leading indie label in Osaka during the post-punk era.
The epic musical odyssey envisioned by the then 19-year-old musical prodigy known as SAB was 'crystallized' on magnetic tape using electronic music equipment.
It is a masterpiece of pre-New Age music that emerged before the term “New Age” became popular in Japan.
Although he was supported by two musicians on the recording, the majority of the work is so-called “home recording” based, produced by SAB himself with multiple recordings.
In the midst of the new age revival that has emerged in recent years and the rediscovery of Japanese environmental music, the music has taken on an even more brilliant musical value over time.
This definitive edition features AD conversion/the latest high-res mastering from the original masters, plus correct song titles that clear up long-standing misconceptions!

A new album, a new era for Adam Beyer and his music. The revered Swedish producer, DJ, and label head of Drumcode and Truesoul has consistently pushed the boundaries of techno in his own 30+ years of releases, while his imprints have launched many new artists and boosted the clout of major stars.

‘Explorer Vol. 1’ see's Adam Beyer showcasing his inspiration from his whole past creative journey whilst continuing to explore different sounds and new genres. It reflects permutations of Adam’s headspace and who he is, celebrating his personal interests and influences including in sci-fi, both musically and visually. A new age for Adam Beyer, after a prolific slew of superb EPs, singles and collabs which have spanned 20 years since his last LP.

Italian artist Raffaele Attanasio kicks off the New Year for Mutual Rytm with his superb 'South Signatures' EP, channelling multiple techno styles into one potent package.

Landing as Raffaele Attanasio's second outing on SHDW's Mutual Rytm label, following his incredible debut 'Quasar' and recent appearance on the third instalment of the label's Federation Of Rytm compilation, the EP is a showcase of an exciting artist with a new school take on techno while bringing real respect for the roots of his sound. He has played live on stage with the legendary Jeff Mills, and is involved in several other musical projects in different genres but reserves his finest techno for his own name.

'Madrigal' opens the EP, with Attanasio crafting an apocalyptic anthem composed of one sound, the Nord Wave 2 synthesizer and a pumping groove. It is pure dance floor heat with unrelenting drums that lock in the crowd. The brilliant 'Heat' then brings tribalism, with a powerful rolling groove peppered with chord stabs that bring it to life. 'Aogiri Tree' features rousing drums that emerge from the undergrowth and accompany the macabre lead synth. Its mischievous notes hint at hidden danger and keep you on your toes.

Keeping the energy high, 'Stratford Fog' delivers a battle between drums and the constantly pulsing bass. Edgy chord stabs and raw percussion make for a breathtaking groove that never lets up and keeps you utterly engaged. The title track is a laser-focused production that harks back to the golden age of Neapolitan techno with a perfectly designed groove, before digital bonus 'Eleven' brings hints of stylish Detroit techno with its lush chords and arpeggiated saw bassline, creating a continuous flow right to the last beat.

2025 Repress

It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences - from blues to folk to Latin to dusty funk, soul and hip-hop - one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow.There's something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it's a kind of funk-fuelled, melody-driven, groove-based magic. There's a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's two of his most vital LPs that we're honoured to reintroduce.The originals were quietly pressed on to a single piece of vinyl so we've worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.A Little Bit Of Somethin' is a quietly majestic gem. Brimming with Guerrero's horizontal "loose grooves", these brief but innovative instrumentals demonstrate a rich variety and, as such, comprise an LP that is aptly titled. An enchanting start-to-finish listen, it was instantly regarded as essential upon release via Mo Wax in 2000. It has aged remarkably well.Throughout this inspired collection, simplicity is key. In deploying it, Guerrero presents a beautifully crafted melodic soundscape. The distinctive, mellifluous approach of his guitar style, blending Brazilian, Cuban, Mexican, soul and jazz motifs, is at once startlingly new and tantalisingly familiar. Set against unrushed percussion, the music releases a crystal clear stream of healing frequencies to create a fragile, hypnotic atmosphere.Each track clocks in at around three minutes and, with a lack of studio polish or commitment to traditional song structure, it's a wonder how this enigmatic record demands your attention. However, through its gentle dynamism and impressive playing, it does just that. Whilst resolutely low-key, this lo-fi aesthetic feels genuinely organic and remarkably personal, its powerful intimacy truly connects. It's what makes this album so beloved of those lucky enough to be already familiar with it. From Margaret Kilgallen's truly iconic cover artwork to the music contained within, it's all brilliantly effortless.Guerrero's musical ideas are consistently compelling throughout, making it impossible to select highlights. The album's laconic drift touches upon jazz-fusion workouts and slow-mo hip-hop drums, Tortoise-style experimental post-rock and cinematic sound textures. It's at once hazy, light and bouncy yet sombre and bluesy. The Latin soul of El Chicano blends with the breezy jazz of Grant Green. By employing guitars and drum machines to create a stripped down rhythmic tapestry of spellbinding, addictive songs, there are even traces of The Durutti Column. A little bit of country, a little bit of rock & roll. A Little Bit Of Somethin', indeed.

Mr Bongo proudly presents Ritmo Italiano ‘Unspoken Sounds of Italian Tamburo’ a captivating compilation of percussive-driven, Italian gems curated by Sardinian multi-instrumentalist, percussionist and producer, Gabriele Poso. A journey into the heart of Italian musical history, it celebrates Italy’s rich rhythmic traditions, showcasing a selection of genre-traversing, Italian treasures from the ‘60s to the early ‘90s. Honouring the timeless rhythms of Italian percussion masters, alongside a brand-new exclusive composition by Gabriele, ‘Ritmo Italiano’ shines a light on the universal, primal language of the drum.

A connection sparked from an early age; percussion has always deeply resonated with Gabriele. It led to years of studying percussion traditions across Cuba, Puerto Rico, and Brazil, crafting his own songwriting skills in the process. An acclaimed producer and compiler, his releases on Yoruba Records, BBE and Soundway Records have garnered global support. Yet a growing need to rediscover the essence of his country’s cultural heritage laid the foundations for this new compilation.

In Gabriele’s own words, “Italy has always been a crossroads of civilizations, with influences from the Mediterranean, North Africa, the Middle East, and Europe converging over centuries. Ports like Naples, Genoa, and Venice played a crucial role as gateways for musical exchange, a melting pot of sounds and cultures brought by sailors, merchants and travellers. These influences blended with Italy’s own folk and religious traditions, creating Italy’s unique and emotionally resonant rhythms.”

Across the 12 absorbing tracks, there’s jazz influences, Italian library music aesthetics and experimental beats mixing with Afro-Cuban and Mediterranean rhythms. It’s a broad selection anchored by the drums. The synth-heavy, ‘80s jazz funk flavours of Gegè Munari's ‘Police Man’, sit side-by-side with the samba-infused ‘Napulitano D' 'O Brasil’ by Don Marino Barreto Jr. Tribal, earthly energy radiates from Naco’s ‘Volando Con Milton’, with Tullio De Piscopo serving up cosmic disco brilliance, and blistering jazz funk mastery coming courtesy of Agostino Marangolo. Taking the name of the compilation, a new original track by Gabriele, ‘Ritmo Italiano’, blends traditional rhythms with contemporary energy, Afro-Latin influences with Italian jazz essence. Recorded live in one take, it captures a raw, unfiltered vibe.

“Each track tells a story, connecting the past with the present, and highlighting the deep-rooted traditions that shape Italy’s rhythms. The collection also offers a glimpse into the diversity of Italian music with a variety of styles from the organic, earthy beats to the more experimental and modern takes on traditional rhythms. It’s a reflection of how these rhythms have not only shaped Italian culture but also influenced global music.”

J.E. Movement's groundbreaking ‘Ma Dea Luv’,

Toward the end of the 1980s South Africa's recording industry was booming. Searching for a sound that could cross over to all in the country's segregated society while also eyeing international success, a new duo emerged that quickly rendered its 'bubblegum' predecessors obsolete. Drawing on international trends and crafting lyrics for local ears, J.E. MOVEMENT — a duo made up of James Nyingwa and Elliot Faku — exploded onto the local scene with their debut album, 'Ma Dea Luv'. The future had arrived.

A talented bassist and composer, Nyingwa was at the time employed as an in-house producer at TRS Studios in Plein Street in downtown Johannesburg, run by two Greek immigrants, George Vardas and Chris Ghelakis. Together they formed a close bond as friends and musical partners at what would become CSR Records, recording original hits with acts like the NEW AGE KIDS and SIDNEY, while also cashing in on cover versions as BLACK BOX.

The six tracks on J.E. Movement’s 1988 debut give firm nods to UK Street Soul, New Jack Swing and Stock Aitken Waterman's 'Hit Factory' sound and infuse them with an African rhythmic flair and homegrown lyrical sentiment. Though not expressly political, the title track was received by many as a play on words referencing then-jailed and banned Nelson Mandela (coming after the similarly styled 'I'm Winning My Dear Love' by Yvonne Chaka Chaka in 1986 and 'We Miss You Manelow' by Chicco in 1987), giving it an added potency for those in the know. 'Jack I'm Sorry' was an underground hit in the townships, while 'Marco', 'Friends', 'Funkytown' and the eponymous closer are similarly bass and drum-driven, with hiphop-styled vocals.

BPitch präsentiert die nächste Ausgabe ihrer WE ARE NOT ALONE Compilation-Reihe - ein vielfältiges Paket mit Sounds, die den Geist der WE ARE NOT ALONE-Partys widerspiegeln und einen Einblick in eine Szene von Künstlern geben, die sich dem Underground verschrieben haben. WE ARE NOT ALONE pt. 8 bietet zwölf unverzichtbare Tracks für DJs, Raver und Musikfans, die eine breite Palette an Genres abdecken und dabei nie den Dancefloor aus den Augen verlieren. Die neue Compilation spannt die Fäden zwischen den Genres und dokumentiert mit der gewohnten Qualität des Berliner Labels das nächste Kapitel in seinem stetig wachsenden Beitrag zur Kultur.

WE ARE NOT ALONE pt. 8 zeigt, dass das Label keine Pläne hat, die Hitze zu drosseln, mit einer weiteren Runde reinstem Hedonismus für die Ewigkeit.

BPitch present the next iteration of their WE ARE NOT ALONE compilation series - a diverse package of sounds reflecting the spirit of the WE ARE NOT ALONE parties, and offering a glimpse into a community of artists that have committed themselves to the underground.

Touching on a wide range of genres whilst never losing sight of the dancefloor, WE ARE NOT ALONE pt.8 offers twelve essential cuts for DJs, ravers, and music heads alike. Tying the threads between genres, and with the mark of quality expected from the Berlin label, this new compilation documents the next chapter in its ever-growing contribution to the culture.
Returning to the label appearances on both BPitch and its accompanying label UFO Inc. - Turin-based duo Boston 168 open the club doors with a masterful fusion of trance build-ups and stripped back pointillism on ‘Feeling You’. Another member of the BPitch roster having just released an EP on the label, Tigerhead steps up with heavy kickdrums and uncanny pads on the aptly-titled ‘Alice Through The Looking Glass’. Stepping into more minimal territory, Sina XX - founding member of the Paris rave collective Subtyl - offers a warm, bouncing cut that teeters between the dark and euphoric with a masterful balance. Taking a swift 180 into the darkest industrial spaces, Endlec serves up a gritty percussive workout on the formidable ‘Panther’.

Theo Nasa - a South London-based purveyor of weird, melodramatic techno - moves into hazier spaces on ‘Sex and Acid Pleasure’, an eccentric dose of acid for the senses. Shaleen - a resident of the WE ARE NOT ALONE event series - continues into the warmth with a headspin of analogue sounds and modular experimentalism with ‘Vernalagnia’. Öspiel, the French-Korean producer and label head known for his cinematic sounds weaves together angular rhythms underpinned by a strong sense of minimalism. In hot pursuit, Puglia’s Raho comes through with a cyclone of bouncing kicks and harsh leads.

Diana May, a Berlin-staple and resident at KitKat offers us a welcoming spiral on ‘Just Shut The F*** Up’. Plunging into deep industrial caverns, KRTM ’s ‘Küss Mich Jetzt’ is a pounding glitch of hardcore techno for the biggest speakers. VUUDUU’s ‘SNAXX’ shifts the speed up a gear with an expansive gothic rave banger. Rounding things off is madwoman’s ‘Chaos Theory’, a sparse but unrelenting cut of atmospheric techno from deep inside a warehouse.

WE ARE NOT ALONE pt.8 shows the label have no plans on lowering the heat in 2024, with another round of pure hedonism for the ages.










j d1 | KRTM - Küss Mich Jetzt (04 05)

Nothing said new or modern or futuristic quite like a synthesiser in the 70s and 80s. If you were shooting an advert and you wanted your product or your company to appear forward-thinking and ahead of the game, then you would want something electronic, something out of the ordinary. When TV producers and advertising directors started searching for music that sounded like “Tubular Bells” – and then Tomita, and later Jean Michel Jarre – music libraries such De Wolfe, Bruton, Parry and Chappell had to have the tracks readily available.

Compiled by Bob Stanley, “Tomorrow’s Fashions” varies from advertising jingles and TV themes to space exploration and gorgeous, beatless ambience. Though it’s 40-to-50 years old there’s a real freshness to this music. Older jazz players Brian Bennett, John Cameron, Alan Hawkshaw and others seized the chance to operate a synth; younger pups including John Saunders and Monica Beale were simply intrigued by the new technology being wheeled into the studios. There’s a tangible sense of adventure.

“Tomorrow’s Fashions’” brand of electronica anticipated new age and ambient music. It also had both a direct and indirect influence on pop – the early Human League and the future sounds of Warp Records are all over this collection. Electronic library tracks have been sampled by everyone from MF Doom to Kendrick Lamar.

One person’s primitive and experimental is another person’s space-age lullaby. This was music made in the shadows – in Soho’s secretive music library studios – that has now become desirable and influential. The chances are chunks of it will be sampled and used on hit records that have yet to be written. If the musicians’ aim was to soundtrack tomorrow’s fashions, they couldn’t have got it more right.

Simon Herody put together a live solo performance sequencing electronic devices on stage for him to jam over with acoustic instruments. He played a lot in hotels and lobbies. The music had to be present but not too intrusive. Subtle electronics to guide his saxophone and flute playing. The setup proved successful and inspired him to compose the works that would become 'Hard Lounge'.

'At the same time, I was working at a bar/record store in Neukölln called Motif. Everything changed when I discovered the album "Heisei No Oto - Japanese Left-field Pop From The CD Age." I remember this guy, Jamie, who would sometimes bring new releases to the shop. This album really changed things for me; I was constantly playing it and it inspired the creation of these works tremendously.

The composition process for "Hard Lounge" was pretty unclear. I never really made conscious choices; I wanted to escape the conflicts that come with picking the right chords. I aimed to create music that transports your imagination to a sort of retro 80s jazz lounge, where people feel comfortable and at ease just sitting and listening. I wanted to act like a music designer, giving people a chance to listen without demanding too much of their attention.'

here may still be electronic music artists in this age of overflow and convenience who follow their own artistic vision regardless of what attention it might bring, if any. With an output that shows individualism, ideas and a signature sound. An ongoing creative process, uncompromising and adventurous, even eccentric, with results of consistent quality and determination. Dennis Busch aka James Din A4 is an archetypical example for this type of artist. He flooded the scene with releases in the 00s with numerous monikers, mostly on his own Esel imprint, and they were all great. On the outside you had his singular artworks (he is also a very accomplished collage artist) and quirkily humorous titles, and on the inside you had his music, also seemingly informed by a collage approach (only with samples), managing to sound focussed and out of focus, often at the same time. If you listen to a James Din A4 track it probably is simultaneously playful and disciplined. Anything can happen, and a lot if it actually does.

For quite some years, music releases by James Din A 4 were scarce. Jan Jelinek, an ardent fan, re-interpreted some of his favourites from the vast back catalogue as an album in 2014, then ten years later the album „Ins Licht“ appeared, and it quite nonchalantly continued what seemed to have stopped, right on the same level of greatness. And now we know that it still continues, as the label Live At Robert Johnson releases the new album „Never Look Back“. Its title should not be taken too literally, as all the trademarks of his musical legacy are perfectly intact. You will find the light and air that seems to seep through the sounds, the frisky structural details, the jolly melodies, the subtle deepness, the minimalistic yet not too strict grooves.

But do not be mistaken, this album is not looking back too much, of course. After all, this is music that is still evolving. Let’s hope for more glimpses of James Din A4‘s special and spacious world, they are ever
needed.

3volution in the recent past, Divide is like a bridge between old generations and new ones. Its sounds range from Sci-Fi techno to 90's techno, characterized by minimal sequences, heavy drum patterns, and an accurate sound design.
Third and last chapter for the VA vinyl trilogy on R3volution Records called

This edition includes exclusive tracks by the following artists:

- UVALL, from Tbilisi, Georgia. Born there and at the age of 23, he is no longer at the beginning of his musical journey and the refinement of his taste and style. Always on the cutting edge, he has been impressing with productions and releases on labels such as Semantica, WSNWG with Rohad, Float Records, Hayes, MALoR, and many many more. Already well known in our roster thanks to a previous collaboration for a remix, the talented young music producer delivers deep, muscular rhythms in his portfolio and translates this energy into a raw, dancefloor oriented session.

- Operator, there is no need to spend many words to describe one of the most talented and innovative British artists on the scene for a long time, recently appearing on

- Divide co-owner of EvodMusic and South Berlin Studio, with recent appearances on all the top labels on the planet (WarmUp, Semantica, MindTrip, Tremsix, Hayes, to name a few), and several collaborations and remixes for

- PTTRNRCRRNT aka Dave Brody from Antwerpen - Belgium. Characterized by efficiently percussion tunnelling through juggled textures, PTTRNRCRRNT's technical know-how and conceptual intentions can be masked by the efficiency and singularity of his music. Taking techno's tendency to constantly reinvent itself as a priority and researches between experimentalism and futurism. He is one of the artists with the most collaborations within our roster (some of his remixes are memorable), he alternates his productions on our label with frequent appearances on highly referenced labels in the scene, such as Soma, Materia and Devotion among others.

Hitting release number three, Slush Records remaster and reissue Spacer IV aka James Zeiter’s sought-after 1997 EP on Pleasure Records. The man behind a slew of lauded records under a variety of different aliases, his sound is one that is cherished for orbiting the spheres of progressive trance and atmospheric dub techno. This four-track EP, however, saw James venture into unchartered territory, exploring a more melodic, house-tinted spectrum, before flipping back into the progressive techno-trance underbelly.

Having started life in 1995, Spacer IV had already gone from the leagues of limited white labels, to being the name stamped on one of Pleasure’s biggest-selling records by the time this EP came out. With only 195 white labels of his first record ARC 1/ARC 2 pressed, a copy was passed to Pete Robinson at Robs Records. ‘ARC 2’ was plucked from that release, supplemented with a new cut ‘ARC 3’ and given a proper pressing on Robs Records offshoot label Pleasure to notable success.

Fast forward to 1997 and James chose to depart the trance-infused techno sound of those first releases. Absorbing elements by osmosis, this EP sees James dipping his toes into fresh waters. Using what limited hardware he had available, including an Akai S950 sampler, Ensoniq ESQ-1 and Novation Bass Station 1, James laid down four distinctive and versatile club cuts.

‘Sirocco’ opens the EP, a tingling hit of endorphins that only the most timeless of tracks can elicit. Echoing pads feed acid murmurings, that sit atop dusty breakbeats and rattling sub-bass. An aural exploration, that is equal parts ethereal and empowering, taking cues from breaks, ambient, chill out and house. It’s one of those rare tracks that has the power to float you away or fuel your buzz, giving a healthy tug on the heartstrings in the process.

‘Mono’ follows, merging heads-down dancefloors with the embrace of warmer climates. It’s deep and Detroit-infused yet bolstered by a dream house bassline straight out of the Italian riviera. A dose of eyes-closed euphoria that hits just right.

The flipside sees James in more familiar territory with ‘Jetson’ and ‘Dust’. The former is a hit of space-age progressive house. Trippy, hypnotising, driving goodness, showcasing James’ ability to lock your body into a groove, yet send your mind to another world. The latter rounds out the EP, serving up an acid-swirling club stomper, forever building in intensity before dropping you into the vacuum of deep space.

Multi platinum-selling musician and multi-instrumentalist Jamie Cullum today announces The Pianoman At Christmas - The Complete Edition. Due for release on 19th November via Island Records. The deluxe album completes last year’s critically acclaimed hit album The Pianoman At Christmas Part 1, with its Second Part - featuring 11 covers of classic Christmas songs, as well as two original songs, including lead single ‘Christmas Don’t Let Me Down’, out now.

Drawing from the past and inspired by the present, The Pianoman At Christmas - The Complete Edition sees Jamie team up with London jazz innovators Kansas Smitty’s, as well as composer and producer The Vernon Spring and acclaimed LA-based jazz singer Lady Blackbird to complete a piece of work that is imbued with seasonal sophistication. Alongside his two original tracks, Jamie breathes new life into classics such as ‘Winter Wonderland’, ‘Silent Night’ and ‘Frosty The Snowman’, ranging from ‘Amazing Grace’ to ‘Man With The Bag’ and ‘Sleigh Ride’. The Complete Edition will be released on double CD and double black vinyl formats, alongside a limited run of 180G Heavyweight coloured vinyl in red and gold.

Speaking on the release, Jamie said -

“I had a huge amount of fun creating part two of TPAC. Recorded live, all in the room together - it’s the party after the big show, with friends, drinks and some of the finest musicians on planet earth.”

Released almost a year to the day before The Complete Edition is due out, The Pianoman At Christmas featured 11 original songs played by 57 of Britain’s best musicians, recorded in Abbey Road’s famous Studio 2 and produced by Greg Wells whose The Greatest Showman soundtrack spent 28 weeks at number 1. The album sold over 37,000 copies, spending 6 weeks in the album chart and peaking at number 11. In December Jamie broke the Guinness World Record for the largest music lesson ever, when he held a virtual piano lesson for 2,282 people, teaching them the carol ‘In The Bleak Midwinter’ with special guests Robbie Williams, Sigrid and Dodie.
With 10 million album sales and over 890 million streams to date, Jamie is a celebrated musician the world over with loyal fans in every corner of the globe. With a career spanning over 20 years, his legendary live shows have seen him perform and work alongside artists as diverse as Herbie Hancock, Pharrell Williams, Kendrick Lamar and IDLES - Jamie writing on the latter’s album Ultra Mono. The success of Jamie’s major label breakthrough, Twentysomething in 2003 and its follow up Catching Tales saw him nominated for a BRIT, Grammy and numerous other awards around the world. In 2020 he won an Ivor Novello Award for his track ‘Age of Anxiety’, taken from his acclaimed 9th studio album Taller. In addition to his enduringly successful recording career, Jamie has also established himself as a multi-award winning music broadcaster; his BBC Radio 2 show celebrated its 11th year on air this year.

With her debut album Black Acid Soul earning critical praise, Lady Blackbird is a revelatory new talent with music that transcends the jazz scene through which the LA-based artist is rooted. Reflecting influences as varied as Billie Holiday, Gladys Knight, Tina Turner and Chaka Khan, with critics drawing comparisons to Adele, Amy and Celeste, Lady Blackbird’s distinct and beguiling voice is not one to be missed.

UK band Kansas Smitty’s have developed a musical voice wholly unique from what’s happening around them. They are led by band leader and producer Giacomo Smith who's cinematic compositions feature on their releases, most recently 2021's acclaimed Things Happened Here for Berlin based label !K7. In 2015 they launched their own east London venue and bar, of the same name, which became one of the conception points for the current UK jazz boom.

Londoner Sam Beste aka The Vernon Spring is a polymath in music who has production, writing and performance credits as eclectic as Amy Winehouse, Matthew Herbert, Kano, Joy Crookes, Beth Orton, Blood Orange, Gabriels and MF DOOM. Since 2019 he has been making waves with solo project The Vernon Spring, which foregrounds his rare capacity to hold sophistication and simplicity in the same hands through highly intimate muted-piano compositions and improvisations.

The London trio of Molinaro, Moreiya, and Wendy Lavone aka Rest Symbol's self-titled debut brings together exotica, orchestral ambience, psychedelic dub and smoky soul for Brian Foote's new label FO. It's a record that reinvents downtempo music by transforming crumbled breaks into gooey caramel with string phrases aged under tape noise and Moreiya's voice sunk deep into endless reverb. There is a surrealist style to this album that brings new life to the embers of trip-hop as crackling samples and orchestral drones make for something decidedly futuristic.

Daryl Systems: The Wall Street Investor Turned Synth Maestro_
Daryl Systems, a former Wall Street stockbroker, found his true calling in music after a successful career in finance. Born and raised in the heart of New York City, Daryl made his fortune in the high-stakes world of stocks during the booming 90s. By the mid-90s, he had amassed significant wealth, allowing him to retire early and turn his attention to his lifelong passion: music.
Daryl relocated to Sweden, a country known for its rich history of electronic music, and began amassing a vast collection of vintage synthesizers. Inspired by the analog sounds of 70s and 80s synth music, Daryl became deeply immersed in the world of electronic production, creating lush, nostalgic melodies with a modern edge. His music blends the warmth of classic synths with innovative soundscapes, capturing a sense of retro-futurism.
Daryl's work is rooted in the tradition of vintage synth music, drawing influences from early electronic pioneers, while adding his own contemporary twist. He quickly gained a reputation within the underground scene for his impeccable taste in synthesizers and his ability to weave intricate, atmospheric tracks. His unique background and sound have made him a sought-after producer within the global electronic music community.

Mr. Fantasy: The Latin Italo Lover and Synth Collector
Mr. Fantasy is a true embodiment of the Italo disco movement, with a deep love for the genre and a keen passion for synthesizers. Hailing from Latin origins, Mr. Fantasy’s music is a vibrant tribute to the golden era of 80s Italo disco, blending nostalgic melodies with rich, rhythmic layers. With a particular obsession for collecting vintage synthesizers, Mr. Fantasy's music brings the analog warmth of the past into the present, creating a captivating blend of melodic hooks and captivating synths.
He grew up listening to the Italo disco classics, developing a fascination for the genre's distinctive sound, which he now incorporates into his music. Mr. Fantasy’s tracks are filled with pulsating beats, dreamy synths, and smooth basslines, all influenced by the golden age of Italian disco and electronic music.
His passion for synthesizers is matched only by his dedication to creating the perfect track. By blending his Latin roots with the shimmering sounds of Italo disco and the energy of modern electronic dance music, Mr. Fantasy has carved a niche for himself in the underground electronic scene.

The Collaboration: "Sensazione Elettronica" EP
In a highly anticipated collaboration, Daryl Systems and Mr. Fantasy have teamed up to release a new EP for the Italian record label Maledetta Discoteca. This collaboration brings together their shared love for vintage synthesizers, the Italo disco influence, and a passion for deep, atmospheric electronics.
Sensazione Elettronica features four electrifying tracks that blend retro vibes with fresh, forward-thinking production. Drawing from their unique backgrounds—Daryl's transition from the world of finance to full-time music production, and Mr. Fantasy’s deep connection to Italo disco—they have created a sound that is both nostalgic and innovative.
The EP showcases their mastery of classic synthesizers, with catchy melodies, driving basslines, and smooth, atmospheric textures that transport listeners to a world of neon-lit discos and timeless electronic rhythms. It’s an exhilarating project that marks the beginning of an exciting new chapter in both of their musical journeys.

fabric Records has enlisted Turkish-Italian DJ and producer Carlita for the next instalment of its prestigious mix compilation series, ‘fabric presents’. Set for full release on April 11, fabric presents Carlita will showcase her meticulous curation, featuring two new original tracks.

The double vinyl sampler features eight full length tracks taken from Carlita’s mix. Her two exclusives ‘Raf’ and ‘Stop Now’ are cut to A1 and C1 respectively.
The two black vinyl plates are 140g and are packaged in black inners, inside a matt printed reverse board printed sleeve. The vinyl package accompanies the CD, digital download and streaming of fabric presents Carlita mixed compilation across all major platforms on 11th April 2025.

The announcement of Carlita’s mix arrives alongside the release of the first single, “Raf,” a collaboration with Toronto producer Andre Zimmer, out now via fabric Records. “Raf” is a high-energy fusion of classic house and rave influences, crafted with the dancefloor in mind. The track pairs infectious, soulful vocal elements with punchy synth stabs and rolling breakbeats, all anchored by a deep, groovy tech-house bassline. “Raf,” along with an additional original from Carlita, “Stop Now,” is nestled among storied house and techno juggernauts such as Butch, Alex Metric, and Paco Osuna, as well as rising underground producers Prunk, Toman, Alinka, and more.

Beyond the club and festival circuit, Carlita is a leading figure at the intersection of music and fashion. She’s been featured in British Vogue and on the cover of Vogue Italia, performed at exclusive events for Louis Vuitton, Versace, and Fendi, and curated performances featuring The Blessed Madonna and Heron Preston at her own multi-sensory Senza Fine parties. Most recently, she collaborated with Audemars Piguet to mark the release of her debut album, Sentimental.

Carlita (real name Carla Frayman) comes from a background of musical mastery, having played classical cello for the Royal Academy of Music in London in her earlier years (after learning to play piano at age 3). Since her earliest memories, Frayman has never stopped developing her musical talent, picking up more instruments, learning music theory, and after university, saving up enough money to pursue it full time. She hasn’t stopped chasing her dreams and is now playing high-profile DJ slots (check out her Cercle set at Cinecittà in Rome), and has quickly risen as a producer with her phenomenal debut album Sentimental on Ninja Tune last year, as well as remixes for Disclosure and RÜFÜS DU SOL.

Coming up, Carlita be performing at festivals and clubs in Puerto Rico, Switzerland, Germany, and many more. On April 12, celebrating her fabric presents release, Carlita will be taking over Room 2 at fabric alongside Jennifer Loveless, Tommy Gold, and Pedrose.

Burnski's agenda-setting garage label Instinct is back with killer new beats from Mance. 'Atmos101' gets things underway with sparking melodies zipping about the stereo field over chunky drums and with a filthy bassline. There is more of a throwback feel to the dusty drum loops of 'Stone Cold, Baby' complete with great vocal samples and spiralling pads. 'All Night' shows another look again with dry, stripped-back beats and big hits under warped synth stabs and more brain-melting bass. 'I Can't Help It' shuts down with silky pads work and soulful vocals.

MM Discos presents 'Freedom Spirit' by Pleasure Voyage: a sonic journey into the essence of Balearic Beat From the sunniest corners of the Balearic imagination, MM Discos opens the doors to a new musical expedition with Freedom Spirit, the highly anticipated vinyl release by Pleasure Voyage. A tribute to freedom, nature, and the connection to the ethereal, this EP encapsulates the spirit of eternal summer with six carefully crafted tracks that move between ambient landscapes, hypnotic downtempo, and immersive grooves. This work is a testament to Pleasure Voyage's talent for capturing the magic of the sea breeze and the ebb and flow of the waves in sound form. From the first chord of Cloud Waves (New Age Balearic Mix) to the deep reflection of Cloud Waves (Ambient Meditation Mix), each track is a gateway to a state of escape and immersive enjoyment. Side A kicks off with Cloud Waves (New Age Balearic Mix), an enveloping anthem with celestial pads and floating arpeggios, followed by Surf Meditation, an ode to the ocean with pulsating basslines and ethereal percussion. Verano Española closes the A-side with a warm groove and guitars that evoke golden sunsets and cocktails by the sea.

The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.

Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop. 

180 G. BLACK VINYL WITH LINER NOTES IN CREOLE, FRENCH, ENGLISH

Originally released in 1979, "Spiritual Sound" lives up to its name, a soaring, triumphant album, six tracks of spirit magic from Guadeloupe.

Telluric, intense, terribly alive, the gwoka drums of Guadeloupe carry the identity of a painful and fervent island. Marked forever by the crime of slavery, Guadeloupe's créolité cherishes the ka drums and their natural environment: the low-pitched boula drum with male goatskin, the high-pitched soloist makè drum with female goatskin, the chacha, ti bwa, triangle, calabash and other percussion instruments that surround them, and the voices - the fiery, proud, timbred, urgent voices of the gwoka.



This album is also a legend for its voices: in his then dazzling youth, singer Lukuber Séjor was one of the first gwoka artists to largely feminize the chorus of répondè, who converse with his text delivered in a straight and powerful voice.

And everything here sets new standards. In 1979, Mizik Filamonik - Spiritual Sound proclaimed a spiritual patriotism of ferocious intensity. The album by Lukuber Séjor - whose spelling alone is a battle - sets out to give Guadeloupe the intangible weapons of self-respect and self-knowledge, through a singular practice of traditional music.

The genesis of gwoka music is less straightforward than one might imagine... The drums performed the servile task of accompanying the work of slaves in the fields and during the “corvées” imposed by the administration, before being freely practiced by the common people after the abolition of 1848. At the heart of the conviviality of the Guadeloupeans furthest from the cities - geographically and socially - the gwoka drums come out for carnival, funeral wakes and neighborhood celebrations, but also during strikes, fits of anger and armed vigils of the riots and revolts that have punctuated the island's history. For generations, governors of the colony and then the prefects of the overseas department of Guadeloupe have been viewing the gwoka as a potential for turbulence and a threat to public order.

But as the Beatlesmania, “chanson engagée” and rock revolutions unfolded in Europe, young people turned to the drums of mizik a vié nèg (“bad negro music”, in Creole), which Guadeloupeans had learned to despise by following the “assimilation” process advocated by the school system and most of the political class. At the end of the sixties, in a Guadeloupe mourning the deadly repression of the May 1967 social movement, they played traditional music, refusing to wrap it up in tourist prettiness and madras folk costumes. Instinctively, they played a rough and contemporary gwoka, led by the incendiary Guy Konkèt. This was the era of decisive 45 rpm records such as Robert Loyson's Kann a la richès, which brought to light the fieriest words of union rallies.

At his home in Sainte-Anne, Lukuber Séjor played with flautist Olivier Vamur and his brother Claude Vamur, who cobbled together a drum kit from tin crockery and became, a few years later, the most influential drummer in Kassav'.

These were the years of the Bumidom program, when young Guadeloupeans were encouraged to emigrate to mainland France. At the age of twenty, Lukuber Séjor embarked on the liner Irpinia, disembarking at Le Havre and taking the train to the Gare Saint-Lazare - the route taken by thousands of young West Indians who went on to study or looked for work, all the while trying to maintain a link with their homeland. In this case, it's at the Antony university residence, where Lukuber played the drum and participated in a thousand gwoka updates and aggiornamentos, while exile reinforced the need for a spiritual link with the native land.

In 1978, Guy Konkèt played at the Salle Wagram, a historic event for West Indian music. After serving as répondè - i.e. backing vocalist - on one of his home-recorded albums, Lukuber joined his live band. Little by little, he became one of the key artists on a circuit parallel to French show business. At a student party in Caen, he met a young woman from Martinique who, at the time, was more motivated by her ambitions as a visual artist than by her vocation as a musician. Her name was Jocelyne Béroard and, a few years before she plunged into the Kassav' adventure and became the greatest West Indian singer of her generation, she designed the cover of Lukuber Séjor's LP.

This ambition was obvious and imposed its will. A more or less regular band was formed, with Roger Raspail, Rudy Mompière and Éric Danquin on ka drums, Claude Vamur on ti bwa, Olivier Vamur and Françoise Lancréot on flutes and Annick Noël on keyboards. Lukuber Séjor is set on wanting to extend the gwoka palette to other instruments, as the jazz-rock revolution opens a thousand new doors. Annick Noël will play a wide range of timbres and textures on electric piano and synthesizer. Another novelty: the répondè are two men and two women, Roger Raspail, Olivier Vamur, Françoise Lancréot and Maryann Mathéus ...

Mizik Filamonik - Spiritual Sound is a self-production in which the singer and leader sank all his savings, allowing him no more than a single day in the studio. The first side is more of a musical manifesto, with the first two tracks, Éritage and Penn é plézi, being instrumentals. The third, Son, forcefully celebrates the need for Guadeloupeans to connect with the gwoka. In fact, Jocelyne Béroard's cover shows a tambouyé in the shadow of a cloudy sky, against which a radiant sun is rising and whose light will soon flood the entire landscape. The silhouette and face of this man strongly evoke the immense Vélo, master of the ka, rejected at the time on the fringes of society.

The second side of the LP is surprising. Formally, three tracks are explicitly linked like the three parts of a triptych. Primyé voyaj evokes the appalling tribulation of Africans deported as slaves to Guadeloupe; dézyèm voyaj speaks of the Bumidom program and the economic, political and social forces driving young Guadeloupeans towards the mirage of prosperity in France; twazyèm voyaj closes the cycle with the emigrants' return from Europe after years away from their island...

This gwoka, obsessed with the need to save Guadeloupe spiritually, appeals far beyond the politicized audience. Mizik Filamonik - Spiritual Sound instantly became a classic, although Lukuber Séjor never really made a career for himself as a musician.

After all, the album was released in 1980, with no promotional resources in France or Guadeloupe - and therefore no concerts. The thirty-two-year-old author, composer and performer made his own third trip back to Guadeloupe. He set up a small woodworking business, which he lost in Hurricane Hugo in 1989. His other activity, teaching in a medical-educational institute, became the core of his professional life. He continued to be an active campaigner - a campaigner for the Creole language, a campaigner for the reawakening of identity, a campaigner for special education, a campaigner for a thousand causes that he ignited with his generous and perceptive enthusiasm, such as the defense of breadfruit fries...

The echoes of his 1979 album have not died down. Of course, the use of Penn é plézi as the theme tune for Radio Guadeloupe's funeral notices from 1980 to 1992 kept him in the collective memory, but he continues to sing and compose sporadically, as with his all-female

vocal group Vwapoulouéka... Still convinced that music is a means of liberating the spirit, he continues the journey of a young man eager to deploy the power of Creole music and language.

Bertrand Dicale

Liner Notes by Martyn Pepperell

A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light. River: The Timbre of Guitar #2 Rei Harakami signals a new level of awareness and understanding of both Rei Harakami’s significance and Ayane Shino’s undeniable talent.

VITAL SALES POINTS:

In 1996 Tokyo-based label Sublime Records received a cassette demo from Rei Harakami, a 26-year-old Japanese experimental filmmaker, and musician. Within one year Harakami’s debut LP ‘Unrest’ was released. As the 21st century dawned, Harakami was becoming a critically acclaimed figure, and there was a feeling in Japan that Harakami would be an inevitable successor to such luminaries as Haruomi Hosono and Ryuichi Sakamoto. Sadly Harakami passed away at age 40 in 2011, leaving behind a musical legacy that seemed to deserve more recognition. A fitting tribute now comes from the incredibly gifted classical guitarist Ayane Shino. Continuing her album series ‘The Timbre of Guitar’ (the inaugural release of which was ‘Sakura’ - a cover album of Susumu Yokota's seminal album, released through the Swiss label, Mental Groove Records in 2021), she now presents ‘River ???? : The Timbre of Guitar #2 Rei Harakami’. Ayane has reworked some of Harakami’s standout tracks into an album of tranquil yet complex compositions helping to build a new level of awareness and understanding of Rei Harakami’s significance. A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light.

In the years that followed Harakami’s untimely passing, Sublime Records continued to sign and support new artists emerging from Japan’s rich and fertile electronic music scene. This eventually led to a meeting with gifted classical guitarist Ayane Shino in 2020. Although a new name within electronica, Shino’s classical resume is impeccable. She has performed with a range of prestigious orchestras in concert halls and at music festivals across Japan, Europe, and South America while playing classical guitar for numerous animations, movies and television commercials and holding various educational roles. These days, she also hosts the Tokyo Harmonics radio show, which is syndicated through Hyogo prefecture’s Ashiya Radio and TJS Radio in Los Angeles.

During her time completing a masters at Tokyo’s University of the Arts, Shino became fascinated by Brian Eno, Aphex Twin, Oneohtrix Point Never, Steve Reich, and, closer to home, Harakami and Susumu Yokota. ”I found myself in an environment where I was surrounded by fellow students who produced computer music, live electronics, and installations,” she explains. Following her meeting with Sublime, Hideoki Amano, the producer and owner of Musicmine, the parent company of the label, asked Shino if she would be open to transcribing and recording an album of covers of the late, great composer, producer and DJ Susumu Yokota’s music in incorporate into then-upcoming events commemorating the 5th anniversary of his death and reissues of his past works. “Yokota made music with the Roland TB-303 bass synthesizer and samplers, not in a way like a conventional instrumentalist, so I was aware it might be more of a challenge for her,” Amano explains. Fittingly, Shino was up for his suggestion, leading to ‘Sakura: The Timbre Of Guitars #1 Susumu Yokota’. Song by song, Sakura highlighted Shino’s free-flowing playing and prowess at translating electronic music into classical guitar shapes.
After considering Harakami’s background as an instrumentalist, Amano felt revisiting his catalogue should be the next step for Shino. Well-versed in how often classical versions of electronic music tend to fall flat, he asked her to examine Harakami’s songs closely, select the musical phrases suitable for guitar and create arrangements that would sound interesting to music listeners with a deep engagement with ambient, techno and electronica. In Harakami’s discography, Shino discovered “a sense of simplicity, warmth, moisture and a floating sensation.” “I was gripped by his songs, which had an array of sounds that gave me a sense of mystery but also coexisted with a sense of familiarity,” she explained. Moving beyond his official releases, Shino began digging through YouTube to find live recordings, radio appearances and obscure outtakes. Within her mind’s eye, imagining playing his songs on guitar was effortless. On her approach to the album, Ayane explains: “For this album, I succeeded in spinning some exquisite, silk thread like delicate tones, interwoven with human warmth, gentleness and simplicity. And I was also able to rework Rei Harakami's distinctive sound with a floating feel to it and transform it into a very classical guitar sound. I hope many people will be able to receive this group of sounds that I created in this album that I played with all my heart.” A record of limitless innate beauty, ‘River ???? : The Timbre of Guitar #2 Rei Harakami’ is a delicate and thoughtful body of work. A true masterclass in deconstruction and subsequent rebuilding, and an eternal lesson in how the art that we leave behind can outlive us all.

At the start of the 1980’s X-Plode’s dad had a second-hand colour TV business in Bolton, Lancashire where he would buy, sell, repair and trade TVs. He would come back home with all kinds of things he had traded for a TV but the most memorable, to a 10 year old kid at that time, were the keyboards. He use to watch his dad play songs from the 1960’s on these keyboards and when his dad had gone out, Lee X-Plode would sneak on them and start messing about, experimenting with the drum programs and fiddling with the buttons, trying out ideas. He had to move fast though because these keyboards didn’t stay in the house for long as his dad would trade them again for something else; one time that was an old analogue echo chamber, which Lee also messed about with when his dad was out. That echo chamber was a revelation to Lee and opened up the possibilities of what was possible with sound. So by the time Lee was 16, he decided he wanted his own keyboard and started saving. When his 17th birthday came around he had saved up £200 and visited his local Argos where he bought himself a Yamaha PSS 680, an FM synthesizer with memory banks and a basic drum machine incorporated. ‘It was shit quality like, but I didn’t mind. I just wanted it for the programmable drum machine, the synth and the memory banks that came with it” Lee recalls. The year was 1987 and by this time in Lee’s life he was into reggae and hip hop, the latter he first embraced in 1983 by the way of breakdancing and listening to electro, so all he wanted to do when he got his gear was make reggae and electro sounding beats. Recalling his youth and the fun he had with the echo chamber, the next edition to his home set up was to acquire one of those, which he did via a mate of his. But by the time he got his minimal set up sorted in 1988, his musical tastes had changed. House music had landed here in UK and this was Lee’s new passion, so from that point on wards he started experimenting, trying to nail a decent house groove. ‘I wanted 808 sounds, but I didn’t know what one was!’ Lee explains.

Around late 1990 or early 1991, Lee started to improve upon his set up, purchasing an Atari STE, a Cheetah MS6 , a 6 voice polyphonic/multi-timbre analogue rack mounted synth that linked up to his Yamaha – “It wasn’t a great bit of kit, I kept getting electric shocks from it. Eventually it just blew up!” Lee had acquired a cracked copy of Cubase on floppy disk from his local computer game shop but struggled with it. “It was so complicated to understand and took me ages to get used to it. I was stoned a lot back then and I just couldn’t concentrate on anything for long” Lee laughs, continuing “I also picked up a 4 channel sampler/sequencer which plugged into the side of the Atari and that’s when I first started sampling, I think this would have been late 1991. I had the Simon Harris ‘Breaks, Beats and Scratches’ vinyl that he put out on Music for Life which were a godsend back then. I was also sampling a lot from cassette tapes, especially reggae. I would also record the Stu Allan show on Key 103FM, one of the main stations broadcasting out of Manchester. He would do a 3 hour show with hip hop and house, and then hardcore house came along. Eventually he dropped the hip hop altogether and it was just house and hardcore. I recorded the shows onto cassette most weeks and started to learn more about how house and hardcore was put together by listening to those shows.”

2025 Repress

Fuse lands again with a third release of ageless techno, brimming with grit and soul by Sweden's own Dold

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy."

Repress! Limited to 100 Copies


Garage Hermétique, returns with a new EP of music from Views, presenting the ‘Kyoto Love’ EP. An alias of Atilla Fidan - producer & live performer, founder of the Berlin label Tape Archive, and also known for releases as Waitress/ASWA - each of the four tracks hits a naturalistic groove driven by vintage Chicago-esque rhythms and warm, acidic tones.

On opening and title-track ‘Kyoto Love’, charming bird song flourishes into a rubbery bassline. ‘Go Well (Part 2)’ embarks on a similar tip, before loosening up into a soaring, somewhat new-age atmosphere, while never sacrificing it’s watertight drums.

On the flip, ‘Kimura’ and ‘Systems (Last Mix)’ move in deeper directions still; The former is a sparkling, detailed cut that rolls out nocturnal dance floor depth, while the latter rounds off the release with transcendent choral breaks.

Unspecified Enemies, the project led by Louis Digital (Numbers, Counterattack, Arcola) present their debut album Romance in the Age of Adaptive Feedback.

Written and produced by Louis Digital, the album incorporates fragments of music data generated by long-time collaborator CiM (Ann Aimee, Delsin). Describing the title track, Louis Digital states:

“It’s the microelectronic sound of a city playing strange light games with itself, evoking bitcrushed desires and floating images, an urban phantasy stored on the broken circuits of an Ensoniq ASR-10.”

The origins of Romance in the Age of Adaptive Feedback trace back to 2006, when Louis Digital launched Diamond Sea, a series of events at London’s ICA that introduced the Unspecified Enemies project and a label called City of Quartz. The vision was to merge the hi-tech electronic textures of contemporary R&B with the sampling and sequencing techniques of pioneers like Anthony Shakir and Soundhack. However, the music was lost in time, and City of Quartz never released a single record.

Yet, the story took an unexpected turn. At one of these events, Spencer from Numbers received a CD containing early recordings. Years later, Numbers encouraged Louis Digital to reconstruct the lost music for an album. The result is a work resurrected from the past and reimagined for the future—retrieved in fragments from a broken Iomega Jazz SCSI Drive.

Expanding on the album’s themes, Louis Digital reflects:

“By the late ’90s the cinematic image of Los Angeles and the sound of Detroit techno had crystallised a new style of living in time and space. In 1997 Mike Davis — the political activist, urbanist, writer and historian of Los Angeles — suggested that it all had “something to do with a microelectronic aesthetic of very transient and decaying states”. It was a romantic vision — one where the city’s glass surfaces reflected a musical desire for futurity not yet dominated by data-driven corporate life. These were strange days to live through. This album evokes the embers of this fibre-optic moment, when urban revolution in an age of digital reification still felt possible.”

The album features full sleeve artwork and a poster designed by Ben Drury. In support of the release, an NTS show titled Romance and Reification will explore the cinematic and electronic music influences behind the album.

Glasgow’s Cloth announce their return with new music by way of a four-track EP and their first release for their new label Rock Action Records. ‘Lucid’ is resplendent yet brooding, offering airy dream-like, haunting vocals over dark guitar riffs and resonating percussion - a perfect moment of minimal alternative rock.

Guitarist Paul Swinton says, “It was the first song we wrote for the EP and it felt like it set a tone for where we should go with the other songs - somewhere darker and bigger. The song is about being wrapped up in a situation you feel you have no control over then realising you do have the ability and agency to change things for the better.” Ice blue coloured 12” vinyl with digital download code. For fans of The xx, Cocteau Twins, Beach House and War Paint.

Mr Bongo proudly presents an official reissue of an iconic, exploratory album by Indian maestro of the sitar, Ananda Shankar, aptly titled 'Ananda Shankar And His Music'.

Released on His Master's Voice in 1976, the album is a sublime collage of sitar-funk, traditional Indian classical music and psychedelic grooves, from the Indian sitarist, composer and musician. Nephew to India’s legendary sitar virtuoso Ravi Shankar, Ananda’s musical family and upbringing led to a deep respect and love of the wealth of music that emanated from his birthplace. His travels to the west coast of America in the late ‘60s though, saw Shankar immersed in the full swing of psychedelic rock. The collision of these two musical worlds with a whole range of other Eastern and Western influences on 'Ananda Shankar And His Music', is a truly entrancing combination.

First big in the UK in the mid-‘90s jazz/rare groove club scene, when it was unearthed by adventurous DJs and crate diggers, the sensational Indian-funk tracks 'Streets Of Calcutta' and 'Dancing Drums' became firm dancefloor favourites. The mixture of drum-heavy funk with Indian music and psychedelia is the perfect melting pot. Flavourful and balanced, it still feels fresh and exciting 40 years on.

Like a fine wine, this album keeps getting better with age and once-overlooked tracks are now seen in a new light. Aside from the main 'club' cuts that many have praised and loved, 'The River' is a part blissed-out, Balearic gem, part cosmic wild west soundtrack, that would provide the perfect complement to any sunset session. Elsewhere, 'Dawn' is a spiritual and meditative journey into Indian classical music, with ‘Cyrus’ floating you away to heavenly heights. On a different tip, 'Back Home' fuses styles and themes via an organ and Moog-infused, tripped-out excursion, whilst 'Renunciation' hits with a psych-rock sentiment to its sitar-soaked grooves.

A beautiful time capsule of Eastern culture meets Western influence, where experimentation and intrigue produced a fusion of sounds that still sound as vibrant and alluring as they have ever been.

Marbles is the legendary 1970 proto punk / dance classic from John McLaughlin’s US debut album 'De?otion', recorded at the time in which he played on Miles Davis' Bitches Brew and taped the Record Plant session with Jimi Hendrix.
Marbles didn't just deliver jazz rock's most danceable 4/4 beat, played by Band of Gypsies / Electric Flag drummer Buddy Miles. It is also centered with a once-in-ageneration bass line performed by Billy Rich. Larry Young's otherworldly Hammond textures predate a lot of what synthesizers were about to do much later, and the blowtorch energy emanating from John McLaughlin's cranked amp went beyond what most would had dared during the defining era of heavy rock guitar. An apex achievement at the intersection of jazz rock, guitar rock and dance music without parallel, before or since.
Background: John McLaughlin arrived in New York in 1969 to join Tony Williams' new group Lifetime which also featured Larry Young and eventually Jack Bruce (of Cream). On the second day in town he found himself in the studio with Miles Davis, recording 'In a Silent Way.' His playing would also take center stage in Bitches Brew, Jack Johnson, On The Corner and several other Davis key works of his much beloved first electric era. In between a busy schedule with Lifetime and Davis, McLaughlin also recorded two solo albums in 1970, 'De?otion' with an all-electric group and ‚'My Goa|’s B?y?nd' as its acoustic counterpart. By the time he formed his group Mahavishnu Orchestra in 1972, John McLaughlin was firmly established as the most important practitioner of his instrument of his generation within and well beyond the emerging jazz rock / fusion genre, and he has continued to evolve and surprise until today.
Here, a thorough remaster is supplemented by a new and throbbing techno version by Stefan Goldmann.

Archeo Recordings serve a special delight with two extended and alternate reworks from the all star cast behind the recent AR025 Aqua Cheta remix 12”. Dipping into the cool waters of Infradisco’s original LP once again, Hear & Now and Manu Archeo look to the horizon and channel the horizontal with a couple of ambient suites, new age dreamscapes and day trippers, each awash with positive vibrations and healing frequencies.
Perugia's peerless Hear & Now open the 12", cultivating pulsing chords, hazy reverb and elegiac fretwork for a White Isle romance steeped in the sunset lineage of the Café Del Mar. Heart-swelling piano and restrained bass throbs conspire to see the rest of the world melt away, with occasional percussion the only reminder that time is still passing. Though radically different from their dance-floor driven revision on the 12", this is no less impactful, swapping the club sonics for the sensation of sheer beauty.
Not content with making a spectacular production debut via his dubbed out diversion of "Dulcis" last time out, Manu Archeo makes further waves with a meditative masterpiece - spaced out and sprawling through a sultry thirteen minutes. An echo drenched meditation script gradually sinks into the immersive ripple of balmy horn, delicate hand percussion and watery pads, making room for a succession of stunning lead-lines and glistening sequences. If you thought the new age of New Age was over, it's time to open your mind.

Forgotten in the mists of Dutch electronics, when Anacalypto Records began their quest for Fairytails, they uncovered more than they bargained for. Dusting off a 1994 DAT, lettering began to reveal itself—four tracks from the original release and two unheard, unreleased works! A decision was made: two tracks from the original 12” for Side A, and the two new discoveries for Side B.

The spellbinding Fairytail Track 3 opens the record. Rich basslines and ruffled beats dance as strings soar and swoop in this fantastical floor-filler. That touch of fantasy twinkles throughout the entire EP, with dreamy mellowness weaving through key shifts and stepping grooves. This dreamy atmosphere carries into Fairytail Track 4, where snares rasp and snap above delicate notes and mischievous pads.

The flip is dedicated to the DAT discoveries. Fairytail Track 5 is a joyous romp through twilight woodlands and sweaty basements, with cascading chords and lively piano lines reveling over earthy patterns of percussion. The journey concludes with Fairytail Track 6, a bright and magical finale. Overtones of rave energy glow in this ageless, tongue-in-cheek melody, infusing the EP with a timeless vibrancy.

Four trance-dipped house treasures returned to the faithful on this remastered gem that will sprinkle happiness on any floor.

‘Belgium is too small for pianist Alex Koo’ – De Tijd

‘Stunningly original’ – Downbeat Jazz Magazine

‘Fabulous technique, sounding downright genius at times.’ – London Jazz News

‘When listening, Keith Jarrett’s name came to mind several times. Not because Koo’s playing is similar to that of the American master, but because it is of the same exceptionally high level.’ – Trouw

‘Koo’s compositions and playing are absolutely world class.’ – Written in Music

The son of a Belgian missionary sent to Japan in the seventies and a Japanese peace activist, pianist and composer Alex Koo refuses to be boxed into any traditional category. As the renowned German Jazzthetik magazine put it, "Alex Koo defies categorization."

With ten uniquely personal tracks, Blame It on My Chromosomes is more than a musical statement; it is a form of self-therapy. "The only way not to spiral into depression as a jazz musician nowadays is to vent and lose yourself in the music," Koo shares. "Music needs a purpose beyond self-promotion. For me, it's about accepting who I am and letting go of anything else."

Featuring celebrated trumpeter Ambrose Akinmusire on two tracks, Blame It on My Chromosomes highlights Koo's fearless versatility. One of these tracks, "Jonass," is dedicated to Koo's childhood friend who tragically passed away, adding a deeply personal layer to the album. "When we were kids, we would skate and do stupid things with shopping carts, inspired by Jackass," Koo recalls. "That's why we called Jonas 'Jonass'-he had the biggest smile you could imagine, his laugh was contagious, yet he also was the most reckless one among us."

Koo, praised as "stunningly original" (Downbeat Jazz Magazine), is known for creating music that transcends genre boundaries, blending jazz, indie, contemporary classical and film music with innovative freedom. A native of rural West-Flanders, Belgium, he began his musical journey as a classical piano prodigy at the age of five. In his teens, he developed a passion for jazz and improvisation, earning praise from jazz legends such as Kurt Elling, Kenny Werner, and Brad Mehldau. Koo has even been described as "of the same rare high level as Keith Jarrett" (Trouw). His 2019 album, Appleblueseagreen, featuring Mark Turner and Ralph Alessi, was included in Downbeat's Best Albums of the Year.

Alongside Koo, Blame It on My Chromosomes features his longstanding trio, whose fearless interplay brings the album's narrative to life. The trio, with Koo on piano, Dré Pallemaerts on drums, and Lennart Heyndels on bass, represents the very best of the Belgian jazz scene. Their intuitive chemistry and artistry are the driving force behind the album's emotive power, with special guest Ambrose Akinmusire adding a transcendent layer on two standout tracks.

Ring the alarm - multi-instrumentalist Jimi Jules scheduled for the album „+“ in 2022, executive produced by Innervisions label boss Dixon. The album features the most sought after and requested tracks of the last month including „My City's On Fire“, revolutionary „Der Aufstand“, dancefloor romance „Burning“ and „Clinomania“ featuring Joy Tyson, and fabulous Lily Allen / Elton John drummer Nathan Curran. The artwork concept is developed and designed by iconic graphic artist Trevor Jackson, whose multi-disciplinary works formed the graphical identities of design, music, fashion, and art by the likes of Soulwax, HFD / Comme des Garcons or Apple Music. Jimi Jules’ second album signifies his return to future-focussed album concepts. A welcomed novelty and venture. Exploring themes such as free thoughts and togetherness after a period of interpersonal absence. Better Together Forever.

A unique character in the electronic music scene, Jimi Jules is a multi-instrumentalist and school-trained musician with much more to offer than the standard four-to-floor sound. Jimi plays nearly everything from drums to trumpet and sings almost all the vocals himself. The talent probably lies in his roots, as many of his family members are known for their playing in jazz bands and classical ensembles. Most recently awarded a silver disk marking 200,000 copies of the 2020 track “Pushin On” in the UK, Jimi Jules also commenced a new collaborative partnership with Berlin-based booking agency, Temporary Secretary, earlier this year.

As the new era is underway for Innervisions, Jimi Jules “+” takes center stage of the label’s fundamental core - artist first, label second. For Jimi Jules especially, this new project represents the beginning of a whole new platform and innovative space for collaborations and symbiosis of mixed media.

2025 Repress on clear orange Vinyl!

10th Anniversary Edition features: Transparent Green vinyl. Gatefold vinyl including lyrics. 18"x24" Strange Pleasures poster. Download code, including bonus track "We Have the Future on Tape". Digipak CD with lyric booklet. In celebration of STRANGE PLEASURES turning 10, Still Corners are releasing a very special remastered 10-year anniversary edition on transparent green vinyl. The album has been remastered by John Davis at Metropolis London, described by Jimmy Page (Led Zeppelin) as ‘a master of his craft’. The anniversary edition includes all the album’s lyrics (for the first time) on a gatefold album sleeve, Strange Pleasures poster, digital download, including a bonus download ‘We Have the Future on Tape’. Originally released on Sub Pop, STRANGE PLEASURES has developed cult status since its release in 2013. Opening song, ‘The Trip’, captured people’s hearts with one YouTube video acting as a virtual community for like-minded fans around the world. ‘Fireflies’ (Pitchfork, Best New Track), ‘Strange Pleasures’, ‘Beginning to Blue’ and ‘The Trip’ have been used across film and television since the album’s release.

This double vinyl contains remixes of the legendary Source Code - I'm Not A Number that was first released on K.N.O.R. records in 1992.

Repress!

Charlotte de Witte​ marks the homecoming to her own imprint ​KNTXT​ with her brand new EP ‘​Return to Nowhere​’. The captivating record exists out of four long-awaited tracks called ‘Return to Nowhere, ‘Ensemble’, ‘Sgadi Li Mi’ and ‘What’s In The Past’.

Further exploring her sonic realm, the record features techno sound reminiscent of her ‘Selected’ EP, but switches out the acid stabs for haunting hymns. The result is a gripping dismal soundtrack that feels desolate yet hopeful. With this spellbinding EP which combines her iconic hard-punching techno with mesmerizing chants effortlessly, Charlotte proves once again why she remains at the forefront of the industry.

The release of ‘​Return to Nowhere​’ fits perfectly in these uncertain times. ​Charlotte​ says: “I made the EP before the current COVID-19 crisis. After being inspired by recordings of age-old traditional chants. So, I never intended it to be a “Corona record”. However, it did grow on me during this period of isolation.”

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

Prepare to embark on an immersive sonic journey with Rites of Passage, the self titled debut album from the enigmatic duo Atiq and dreadmaul.

Released on vinyl and digital, this album delivers an overwhelming and hypnotic interpretation of the age-old concept of transformation and initiation.
With each track, the listener is invited to delve deep into an otherworldly soundscape where mysticism and archaic rituals blend seamlessly with the pulse of modern electronic music.

Crafted with meticulous attention to detail, Rites of Passage transports you to a pre civilization era, incorporating organic elements like bone flutes, haunting throat singing, and shamanic invocations.
These sounds are woven into the fabric of intricate electronic arrangements, creating a unique atmosphere that feels timeless yet contemporary a delicate balance between the ancient and the modern.

This concept album is not just a collection of tracks its an experience, a ceremonial rite that transcends the listener from one state of mind to another.
The vinyl format, with its warmth and physicality, only heightens the immersion, making it an essential addition for collectors and audiophiles alike.

Whether youre a fan of experimental music or simply seeking something transformative, Rites of Passage delivers an unforgettable journey through sound.
A ritual in itself, this album truly earns its name.
Dont miss your chance to own a piece of this alchemy Rites of Passage on vinyl is a musthave for those ready to enter a new sonic dimension.

The enigmatic Ukrainian label Jerelo presents a 4-track vinyl-only EP by the talented Greek producer Cirkel Square. Each track on the release is like an antique sculpture — exquisite, graceful, and made with attention to every small detail. This comparison is not accidental, as Cirkel Square dedicated each of the four “sinister harmonies” to one of the gods of ancient Greek mythology. The opening track, “Kronos Reckoning”, with its new-age melodies bristling with pathos, carries the spirit of the greatness of the age of Titans, frozen between the dense bricks of a micro-house beat. “Hades Symphony” and "Persephone's Whisper" are inspired by existential reflections, while “Ares Beat” surprises with an inventive pseudo-acid drop.

The Malevolent Harmonies EP features tracks perfect for the dance floor, especially when played on a high-quality PA system. Despite each track's unique style, the EP as a whole is surprisingly cohesive. Just as the mentioned gods in the EP are related to each other, the
tracks share common elements, showcasing the high skill level of the rodub / rominimal producer from Stockholm.

Time Ghost Technologies - Ghost One - E-Control “Evasional Feelings” Mini Lp.

A Childhood Intelligence Project.

Our newest record label was born from the urge to represent electro music through our Childhood Intelligence Universe. “Time Ghost Teknologies” is an entity dedicated to timeless and futuristic electro—one of the genres with the deepest roots in the age of technology, which has established itself into the 21st century and beyond. Tales of sci-fi endeavors, forgotten technologies, UFOs and outer world civilizations, yokai and spirits — electro has united mysticism and magic as one of the ancient pillars in electronic history.

The title track, Pink Velvet is as smooth as velvet and as playful as pink. Featuring a full string and horn section in the choruses. Harking back to the glory age of musical sounds heard at iconic places like Paradise Garage and The Loft, but with modern production and arp synth lines and solos filling verses.

A2 Don’t Wait was a 'note to self'. Life’s short, do the thing, do the thing now. Funnily enough the track is kinda the opposite, it meanders, it noodles, it’s a journey, until… until the choruses, then it doesn’t wait, it drops, it happens, just like life!!

Flipping over to the B side, On My Mind is a love song, a ballad if you will. This dubbed out, solo ridden number explores existential themes like life, love, thought and spring reverb… all things fundamental to human existence.

And rounding out the EP, really giving you something for every occasion - B2 features Inkswel’s masterful REMIX/reinterpretation of On My Mind featuring two new vocalists LYMA bringing that sultry magic he is becoming renowned for and Elf Trazporter laying down the absolute heat. It’s broken beat in feel and party in nature.

Aged Acid EP. The name speaks for itself. Like a well aged wine, DFD aka Troy Anderson shows how to make acid sound smooth and superior. This EP contains 4 deep atmospheric grooves, each with its own unique style and love for detail.

Troy has been releasing electronic music under aliases like Waverider and Cityboy since the 90s. Recently, he started cooking up fresh new tracks and released an EP on the legendary label Down Low Music. Also, some of his releases from back then are now available on We're Going Back. Enjoy the ride!

Astral travel with Cybotron into the meta-narrative of the Parallel Shift, a new sonic fiction that raises many questions about military science of the near-future and the possibility of other worlds.
Descending backward through the rhythms of time, the Skynet module retracts from the hyper-structural society of 2100, edging toward the mid-century modern age teetering on the brink of what was then the frontier of “the future”. The system boots the Infiniti process, morphing into a cosmotechnic vessel coursing the superhighway of burgeoning general intelligence, seeking data from just before “the overshoot and collapse.”
R&D methods, rhythmanalytically applied, dissect the aftermath of an industrial society that burst through the ecological capacity of Spaceship Earth. Fractal visions of war and innovation spike and recede from and into the surfaces of reality being bent and guiding the eyes, ears, touch towards a laboratory in the year 1961. A nuclear expert, Don Lewis, receives orders to decrypt the mysterious black dodecagonal disc known as Fortec and the extraterrestrial biology unearthed in Roswell. He joins a team disassembling Fortec and studying the recurrent dodecahedral patterns linked to the human nervous system.
Through dismantling and probing, the team cycles through a saecular search devoid of finite conclusions, limited by Earth’s intellectual and technological prowess. One 1960s night, Lewis, while meddling with Fortec’s cyborganic innards, accidentally electrifies himself. His cyclotron and missile experience guides him to circuit-bend Fortec, stirring the entity from a mechanical slumber. Lewis and Fortec communicate in resonances, until it drifts back into a tranquil stasis.
The US Defense and contractors, unbeknownst to them, observe this breakthrough. They later permit Lewis to exit military service as the Air Force forms the Foreign Technology Division. Concurrently, MJ12 evolves into CY12, delving into second-order cybernetics. Lewis clandestinely keeps working on Fortec fragments, transitioning from military engineer to musician, pioneering the LEO module, a fusion of Fortec’s essence and audio engineering.
He shares his insights with Roland founder Ikutaro Kakehashi, aiding the creation of the iconic TR-808. Meanwhile, Fortec branches out, coining “Cyberspace” – a collective illusion of liberty unshackled by physical, political, or spiritual bounds, anchored in the equitable distribution of The Golden Ratio across realities. Yet “Cyberspace” morphs into a chaotic truth reservoir, spilling over into deception.
The Parallel Shift manifests in the perpetual “Now,” a collapsed event horizon where past and future are ensnared in a relentless present, unfurling along a dissolving timeline, overseen by a monolithic simulation under ceaseless watch…
— The Rhythmanalyst aka DeForrest Brown, Jr.

“Sleep Deprivation” began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take centre stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you’re pushed to your limits, both physically and creatively.

The REER collective breaks new ground with its debut 2x12" VA release featuring some of the best established and emerging names the industrial scene has to offer. The revolution starts here.

Wellington, New Zealand-based producer, drummer and band leader Cory Champion aka Borrowed CS delivers his second release on Planet Trip Records ~ Rise N Shine EP, expanding the infectious outsider boogie sound he explored on ‘Mystic Shuffle’ (off 2020’s Balance/Ascend EP) into a six-song suite of neon-lit machine funk, mutant post-disco and uptempo future soul. Draped in synthesisers that sparkle and glitter like summer sunlight hitting the harbour waters, the programmed Roland TR-606 drums and keyboard bass on these club tracks absolutely snap, wobble and groove.

From the space-aged melodies and throwback electro bounce of ‘All My People’ (featuring the pioneering British electronic soul vocalist Steve Spacek) to the dialled-in dancefloor weaponry of the title track and ‘Potplant’, the A-side of Rise n Shine unfolds like Friday night at a 1980s roller disco. On the flip, Champion reconnects with the idiosyncratic Māori singer-songwriter Mara TK to pen another golden-voiced chapter in the hi-tek South Pacific future soul story with ‘Hearsay’ before diving into some deep mid-tempo body music on ‘Subsonix’ and ‘Mystic Dream’. One for the dancefloor dreamers, Rise n Shine, will be available in 12” vinyl (limited to 300 copies) and digital versions.

We are excited to welcome back Bruno Sanchioni, the creative force behind legendary projects like Age of Love, and BBE. As a pioneer in the electronic music scene, Bruno has left a lasting impact over the decades, especially through his work at Diki Records with the renowned Emmanuel Top.

"Capture EP 1" celebrates Bruno Sanchioni’s musical legacy, combining a sense of nostalgia with a modern twist. With his distinctive style on full display, this release is essential for both new and longtime listeners. Each track reflects his talent and deep passion for electronic music. This EP signifies his return to the studio and demonstrates his skill in innovating while staying true to his roots.

The EP is available through Art Max Records, a new division of Diki Records dedicated to pushing the boundaries of sound and artistry.

Donald’s house and DJ Chrysalis give the UK’s Not An Animal Records the intercontinental treatment with a four track transpacific delivery of psyche-laden progressive house music melded with the sleazy stylistics we have come to expect and love from NAA releases, the outcome is a cohesive late-night package who’s sound is exceptionally current whilst somehow remaining thoughtfully reminiscent.

Title track Pound Bend leads in with a breakbeat whilst the scene is set by layers of proggy synth patterns before descending into a powerfully dark, driving bassline.

Apiento’s remix of the title track takes a more introspective approach, stripping the package back to a reprogrammed bass groove, infectiously enlivened by an earworm synth loop that is likely to stay with you for eternity.

A Curious Warmth delivers a bassline that ploughs through a soundscape of delicately programmed drum patterns layered with pads and new-age trance synths. A scattering of housey breaks and pads reinvigorate the track in the latter half.

Tingler Ring brings things down to a slower burn as the bassline is left to drive the track, accented by a haunting of delay laden stabs whilst acid synths sit at the forefront to take the EP to its close.

Celebrating thirty years of collaboration, Loren Connors and Alan Licht performed for two nights at OTO on May 5 and 6th, 2023. The shows celebrated a new release titled “At The Top of the Stairs”; a document of the pair's reunion in 2018 after a period of 8 years not playing together. It’s a dark, swirling two-sided spectral noir session, put out by the duo’s home label, Family Vineyard, and we expected a similar kind of atonal abyss to appear at the OTO residency. On the second night however, with the stage lit in blue, Connors took up a seat on the piano stool whilst Licht picked up the guitar. What followed was the duo’s first ever set with Connors on piano - one of only a few times Connors has played piano live at all - here captured and issued as The Blue Hour. Its spacious warmth came as a total surprise live, but makes complete sense for a duo whose dedicated expressionism takes inspiration from a vast spectrum of emotion. Both opening with single notes to start, it doesn't take long before a surface rises and begins to shimmer between the pair. A run up the keys, the drop of a feedback layer on a sustained and bent note. When the two begin to exchange notes in tandem, brief touches of melody and chord hover and the hush of the room is palpapale. After a while, Connors picks up the guitar, stands it in his lap and sweeps a wash of colour across Licht’s melody. Sharp, glassy edges begin to form, open strings and barred frets darkening the space. When his two pedals begin to merge, Licht finds a dramatic organ-like feedback and it’s hard not to imagine Rothko’s Chapel, its varying shades of blue black ascending and descending in the room. When Connors goes back to the piano for the second side, the pair quickly lock into a refrain and light pours in. It’s a kind of sound that Licht says reminds him of what he and Connors would do when the duo first started playing together 30 years ago. It’s certainly more melodic than some of their more recent shows, and the atonal shards of At The Top of the Stairs seem to totally dissolve. What is always remarkable about Licht is that his enormous frame of reference doesn't seem to weigh him down, and instead here he is able to delicately place fractures of a Jackson C Frank song (“Just Like Anything”,) amongst the vast sea of Connors’ blues. Perhaps it's the pleasure of playing two nights in a row together, or the nature of Connor’s piano playing combined with Licht’s careful listening, but the improvisation on The Blue Hour feels remarkably calm and unafraid. There’s nothing to prove and no agenda except the joy of sounding colour together. Totally beautiful.

Purple Disco Machine's third studio album "Paradise" will be released on September 20th. On the album, Purple Disco Machine has collaborated with artists such as Metronomy, Jake Shears, Duke Dumont, Sophie and the Giants, Nothing But Thieves and many more.

With over 1.8 billion streams worldwide, a Grammy win for Best Remix for Lizzo's "About Damn Time" in 2023 and being named Beatport's #2 artist of all time, Purple Disco Machine continues to dominate the global dance music scene with each new release. His recent successes include collaborations with international superstars Nile Rodgers, Benjamin Ingrosso and Shenseea on 'Honey Boy'.

Purple Disco Machine grew up in Dresden and developed his passion for disco and house music, which has seen him become a worldwide radio and streaming sensation with hits such as "Hypnotized", "Fireworks", "Dopamine", "In The Dark" and "Substitution". Beyond radio, Purple Disco Machine is a respected force among DJs worldwide, while the tracks 'Body Funk', 'Dished (Male Stripper)', 'Playbox' and 'Devil In Me feat. Duane Harden & Joe Killington' continue to dominate dance floors. Purple Disco Machine has remixed tracks for Dua Lipa, Mark Ronson, Calvin Harris, Sir Elton John & Britney Spears, Fatboy Slim, the Rolling Stones, Ryan Gosling's "I'm Just Ken" and many more

The maestro of nu disco is also a dedicated performer. His energizing festival appearances include Coachella, Tomorrowland, Lollapalooza, Ibiza and many more. Purple Disco Machine will embark on his own sold-out PARADISE tour of mainland Europe in the fall.

Purple Disco Machine's influence on the global dance scene is undeniable. His tireless commitment to inclusion and diversity in music ensures that his legacy will endure for generations to come.

The album PARADISE is another homage to the new age of disco and surprises with numerous top-class dance features, as well as of course the big hits of recent months.

ARR049 Brizman - Tomorrow Is A New Day Craving for that perfect serving of benchmark minimal house with a flavor of psy-chill and euromantic? The Kyiv based vinyl label Artreform Records is ready to treat you to a tasty new EP by the long-established chef Roy Brizman. His new release, Tomorrow Is A New Day, looks well-prepped for repeating the success of Midnight Tales, the previous Artreform offering by Brizman from 2021. Brizman is a star of the Israeli electronic scene. Roy is also known as Gel Abril in Tel Aviv and far beyond. He has been in great creative form lately, releasing many new tracks and remixes his latest twist on Depeche Modes Policy of Truth" is just one example. Roy offers three new tracks in one sitting this time-a triad united by an overarching mood and atmosphere. It's the perfect soundtrack for diving deep into your feelings and thoughts right on the dance floor. The producers signature micro-house groove is so clear and transparent that you can hear the distant echoes of past electronic music-from New Age to Balearic. The release concludes with the lead track remixed by the ro-minimal star Floog. This gifted producer is alternatively known as George G-a member of the Premiesku project, which also includes Livio and Roby.

2024 Reissue

Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.

‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.

• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era

Mike Inzinger comes with a mighty 4-number beast and the magnificence of a new sound. A journey into the adventurous ice age. Big and fat and powerful, raw dark sound but elegant pulsating intensity. What more could you ask for?