Suche:no body

VIER - IIII, a project by: Machinedrum x Thys x Holly x Salvador Breed.

Across its eleven tracks, 'IIII' dissolves borders between breakbeat, trap-meets-gabber, skippy UK shuffle, halftime, jungle and cinematic electronica, music that shifts from serious voltage to full-colour euphoria. What ties it together is philosophy, not genre.

The group's working method began playfully in the studio with a ten-minute egg timer: each member would sketch for ten minutes, then pass it on. That rule became a ritual, a way to keep things human, spontaneous and shared. In VIER, every track passes through four sets of hands; every decision is a test of trust. What could have been chaos instead became a flow state, a cycle of surrender and discovery thatdefines their sound.

Following singles such as Frankfurt, Control, Where Were You, Solitu and Vai Pulando, 'IIII' stands as VIER's first full statement, a body of work that feels both playful and deeply considered. Moments of quiet bloom into distorted joy; melody drifts through broken percussion; endings turn into new beginnings.

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

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

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

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

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

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

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

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

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

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

To mark Grid's second anniversary back in 2023, the label brought together 13 tracks from the bass scene's most forward-thinking artists, all of which sank you into deep sonic chambers. Now, six of those tracks are available on wax for the first time in what is an essential sampler featuring boundary-pushing contributions from forward-thinking artists. Sister Zo opens with the percussive pressure of 'EMP,' Ronan lays down a lithe rhythm that befits its 'Shadowbox' title and Seekersinternational drill down into warped low-end chaos. There is a deftness to Jonny From Space's tumbling perc and E-Unity brings clean lines and a futuristic sheen to his deep dub workout 'Of All The Places I Could Be'. Tammo Hesselink brings ambient soundscaping with his floating delight, 'Paint Reduce Trick.' This is high-quality, original music that moves both mind and body.

“I've always dreamed of making an album where I could bring together artists I deeply admire, curating voices, energies, and sensibilities that have inspired me,” says Brussels-born producer and multidisciplinary artist ShunGu of his new record, Faith in the Unknown. “It took time, and it grew into something very human, rooted in trust, patience, and creative risk. These songs are conversations, not just between me and the artists, but between worlds, eras, and ways of feeling.”
That spirit of dialogue and discovery is what defines Faith in the Unknown. Emerging from years of steady, meticulous work in the underground, the album is both a bold statement of identity and an invitation into Shungu’s world. Across 14 tracks, each a self-contained vignette, ShunGu guides the listener through shifting moods and perspectives- moments of intimacy, defiance, reflection and release, coalescing into a much larger story.
His distinct touch threads through the surefire cast of collaborators - Pink Siifu, Liv.e, Fly Anakin, Chester Watson, Fatima, Maxo, Navy Blue, Dreamcastmoe, Ruqqiyah, Zekeultra and Goya Gumbani — each track unfolding as a new dimension in the same universe.
ShunGu has long been a boundary-pusher, known for weaving jazz-inflected samples, skilfully constructed textures, and MPC-driven grooves into production that feels timeless yet untethered. With Faith in the Unknown he pushes further still: a project as much about collective energy as it is about personal vision. It’s a leap into uncertainty, carried by trust in the process and the people involved.
From the lo-fi beat tapes that first won him a cult following, to collaborations that span the globe, Shungu has forged a body of work rooted in exploration and community. Faith in the Unknown crystallises those qualities into his most ambitious statement yet; a record that doesn’t just blur boundaries between genres, but asks what happens when vulnerability and experimentation are treated as shared ground.
The result is a record that trades in subtlety. Each artistic contribution adds its own shade to the larger mosaic, pulling the listener deeper into an expanding narrative. If Faith in the Unknown has a message, it’s that art can thrive in uncertainty - that in the spaces where trust, risk, and vulnerability intersect, something entirely new can emerge.

“I've always dreamed of making an album where I could bring together artists I deeply admire, curating voices, energies, and sensibilities that have inspired me,” says Brussels-born producer and multidisciplinary artist ShunGu of his new record, Faith in the Unknown. “It took time, and it grew into something very human, rooted in trust, patience, and creative risk. These songs are conversations, not just between me and the artists, but between worlds, eras, and ways of feeling.”
That spirit of dialogue and discovery is what defines Faith in the Unknown. Emerging from years of steady, meticulous work in the underground, the album is both a bold statement of identity and an invitation into Shungu’s world. Across 14 tracks, each a self-contained vignette, ShunGu guides the listener through shifting moods and perspectives- moments of intimacy, defiance, reflection and release, coalescing into a much larger story.
His distinct touch threads through the surefire cast of collaborators - Pink Siifu, Liv.e, Fly Anakin, Chester Watson, Fatima, Maxo, Navy Blue, Dreamcastmoe, Ruqqiyah, Zekeultra and Goya Gumbani — each track unfolding as a new dimension in the same universe.
ShunGu has long been a boundary-pusher, known for weaving jazz-inflected samples, skilfully constructed textures, and MPC-driven grooves into production that feels timeless yet untethered. With Faith in the Unknown he pushes further still: a project as much about collective energy as it is about personal vision. It’s a leap into uncertainty, carried by trust in the process and the people involved.
From the lo-fi beat tapes that first won him a cult following, to collaborations that span the globe, Shungu has forged a body of work rooted in exploration and community. Faith in the Unknown crystallises those qualities into his most ambitious statement yet; a record that doesn’t just blur boundaries between genres, but asks what happens when vulnerability and experimentation are treated as shared ground.
The result is a record that trades in subtlety. Each artistic contribution adds its own shade to the larger mosaic, pulling the listener deeper into an expanding narrative. If Faith in the Unknown has a message, it’s that art can thrive in uncertainty - that in the spaces where trust, risk, and vulnerability intersect, something entirely new can emerge.

Der legendäre Club-Hit von 1987 ist zurück! **Robotiko Rejekto – Rejekto! **, einer der prägendsten Tracks der Electronic Body Music (EBM) und Synth-Pop-Ära, erscheint jetzt wieder – als limitierte farbige Maxi-Single.

Mit seinem markanten Vocoder-Gesang, treibenden Beats und futuristischem Sounddesign war Rejekto! ein absoluter Clubburner der späten 80er und gilt bis heute als Meilenstein der elektronischen Tanzmusik.

Die Maxi enthält insgesamt 4 Versionen, darunter die begehrten Club- und Extended-Mixe – perfekt für DJs, Sammler und Fans elektronischer Klassiker.

Ein echtes Sammlerstück – **Robotiko Rejekto – Rejekto! **, der Kult-Hit von 1987, jetzt wieder auf Vinyl erhältlich!

The legendary club hit from 1987 is back! Robotiko Rejekto – Rejekto!, one of the most influential tracks of the electronic body music (EBM) and synth-pop era, is now being rereleased as a limited edition coloured maxi single.

With its distinctive vocoder vocals, driving beats and futuristic sound design, Rejekto! was an absolute club burner in the late 80s and is still considered a milestone in electronic dance music today.

The maxi contains a total of 4 versions, including the coveted club and extended mixes – perfect for DJs, collectors and fans of electronic classics.

A real collector‘s item – Robotiko Rejekto – Rejekto!, the cult hit from 1987, now available again on vinyl!

Danza Tribale — the visionary label founded and curated by Adiel — presents Connessioni, the new release from Tamburi Neri, a two-part sonic exploration of connection, vibration, and ritual. Rooted in the spirit of tribal modernism, Danza Tribale has become a platform for artists who transcend genre boundaries — channeling raw energy, rhythm, and emotion into sound. With Connessioni, this philosophy deepens further, inviting listeners into a realm where body, city, and earth speak the same language. Connessioni is the reflection of water moving with the melody, the breath of air between intertwining lungs, the intersection of glances and voices that speak. It is an invisible map — cables carrying frequencies to speakers, amplifying not only sounds but also stories, emotions, and encounters. The release unfolds across two EPs that resonate on different frequencies yet share a single voice: that of the body, the city, and the earth.

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

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

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

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

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

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

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Metalheadz and Quartz present Interloper, a body of work years in the making that captures the evolution and persistence of a truly singular producer. Sparked by an invitation from Goldie in 2018, the project developed organically into a statement piece, shaped by shifting environments and a relentless drive to refine his craft. Quartz, also known as Elliot Garvey, has long stood apart from the noise. A Welsh producer with little interest in visibility or self-promotion, he has built a reputation on substance alone. Interloper reflects that focus: textured, brooding, and meticulously detailed, balancing grit and clarity while maintaining the looming tension that defines his sound. The album’s title hints at Garvey’s place within the culture - present but never fully belonging - and the music carries that same sense of quiet defiance. Intense without theatrics and deeply personal without pretence, Interloper is a record that doesn’t ask to be seen, only to be felt.

2025 Repress

Amotik recruits Norway's Kameliia and Dallas-based Decoder for the third split EP on his increasingly essential AMTK+ label.

Kameliia's hypnotic and atmospheric music has appeared on the likes of Overbalance and Unterwegs, where she has previously flexed her sophisticated take on sound design and heady soundscapes with driving and physical grooves. Decoder recently started his new Toca label with Jay York and has previously appeared on labels like Subsist, Float and Jeff Mills' legendary Axis.

Kameliia kicks off with the heavy and thumping 'Beyond', combining forceful drums and a slow, mystical synth lead that encourages you to follow it deep into the night. '8-12' is another perfect fusion of the head and body with supple percussion smeared with balmy and cosmic chords for a classy and immersive cut.

Decoder opens the B-side with 'Kalpavriksha', a twitchy and paranoid cut laced with bleeps and pulses, crafting a futuristic soundscape that grows ever more intense. 'Swayambhu' brings experimental shades with its tightly interlaced drums and synths beneath an unsettling synth line that whistles like a storm. Closing the release is the excellent 'Velinattu,' a buoyant track that's warm and full of delicate percussive layers.

Dies ist das erste Release von Saxophonist, DJ und Produzent Marc Spieler auf seinem neu gegründeten Label FLOVE.

Ein wahres Meisterwerk, das seine einzigartige Art elektronische Musik zu produzieren und seinen unverwechselbaren Style präsentiert.

Jeder einzelne Track ist ein wahres Kunstwerk. Gönn dir diese Platte und lass dich von seiner emotionalen und echten Musik treiben und verzaubern.

Hol dir jetzt dein eigenes Exemplar der limitierten Vinyl Auflage inklusive einem im Bleisatz handgefertigten Kunstdruck Cover.



This is the first release from saxophonist, DJ, and producer Marc Spieler on his newly founded label FLOVE.

A true masterpiece that showcases his unique way of producing electronic music and his unmistakable style.

Every single track is a true piece of art. Treat yourself with this record and let yourself be carried away and enchanted by his emotional and authentic music.

Get your own copy of the limited vinyl edition now, including a handcrafted art print cover in lead type.

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

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

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

Enjoy, This Is Real Talks Records.

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

A surefire Salsoul classic and comfortably one of the label's finest moments, the self-titled LP from The Strangers was originally released in that golden year of 1983 and is one of the greatest albums of the post-disco era. It’s one of Be With's favourite ever LPs and it's a complete honour to be giving it our reissue treatment.

Still strangely overlooked but not for much longer, The Strangers contains flawless tracks with truly top tier production and includes the eternal Paradise Garage favourite "Step Into My Dream."

Are they Strangers to us? Well, no, they shouldn't be. The Strangers were a US electronic-funk studio concept group comprising Edward "Tree" Moore, Howard King and Hubert Eaves III, all key members of Mtume and Gary Bartz NTU Troop and, in the case of Eaves, one half of D-Train.

Now I KNOW you're gonna dig this!

We kick off with the dope electro-funk of "Wanna Take Your Body" which features Gary Bartz on sax (!) and becomes more sensational and irresistible the longer it plays. The wonky super-bomb "Let Me Take You Home" has a punk-funk, post-Prince feel, driving and delicate all at the same time while "Show Me How You Like It" is pure FUNK, the groove just pure fire.

Side B is perfection. It kicks off with the NTS favourite "Love Rescue", a track so slick it positively SLAPS out the gate and, while it bangs throughout, the vocals and melodies elevate this to the status of EMOTIONAL POP.

Next up, "Step Out Of My Dream" swaggers forth, the undisputed masterpiece that was huge with the London DJs and UK Soul fraternity; it's not hard to see why. It's a gliding, smooth, soulful piece of once-in-a-lifetime magic.

2025 Repress

The mighty Falsetto voice of Mr Cornell Campbell is another we believe, unsung hero of the Jamaican music scene. Who in our opinion should have broke through to a wider audience, than his cult status currently provides. We have unearthed straight from the master tapes an album that was due for release around the mid 70’s. A few of these cuts, found their way out on limited 7”s, that were mainly for the domestic Jamaican market. But as a complete body of work, never found a release until now. We hope like us, once you have played the tracks, you will feel that this set of cuts, stands up amongst Cornell’s finest work. Cornell Campbell (born 1948, Jamaica), made his first recordings in the early 1960’s for Coxone Dodd at Studio 1. Tracks like ‘Under the Old Oak Tree’, ‘My Treasure’ and later as a duo with Roy Patton ‘Salvation’ and ‘Sweetest Girl’, were local hits on the Jamaican Sound Systems. A short spell with the Uniques was followed by his roll as lead vocalist with the Eternals, under the monicker of Don Cornell. Their finest moment being the classic ‘Stars / Queen of the Minstrels’ cuts which still stand up today as some of Jamaica’s finest.

The 1970’s saw Mr Campbell move on to work with producer Bunny ‘Striker’ Lee, for whom he cut most

of his big tunes. He and fellow singer Johnny Clarke, would become Bunny’s 70’s equivalent to his 1960’s stable of singers like Slim Smith, Pat Kelly and Ernest Wilson. They would provide the voice to his many hits of the day. Bunny not being called ‘Striker’ for nothing. Cornell also had a series of hits around his theme as the ‘Gorgon’. The mighty figure unbeatable at the dances in the Greenwich Town district of Kingston. ‘The Gorgon’, ‘The Conquering Gorgon’. ‘Natty Dread in a Greenwich Farm’. These were all firm favourites at the dances in Jamaica. He also worked with other notable producers around this time. Winston ‘Niney’ Holness “I Heart is Clean’, Tappa Zukie ‘Follow Instruction’

and culminating in a massive hit ‘Boxing’ in 1979 for producer Joe Gibbs. But it was his time with Bunny Lee that set the levels for his record output. This unreleased album is from this period in time, when Cornell Campbell never sounded sweeter......

FJAAK return with FJAAK014, a four-track EP packed with their signature analogue energy, funk-driven grooves and unmistakable Detroit-inspired synth work. This release is raw, percussive and unapologetically dancefloor-focused: Across four tracks, FJAAK once again prove why they remain one of the most vital voices in electronic music. The EP kicks off with 'Soulfriction', a cut built on a groove where power house meets jungle. It's a pure body-mover, all pulse and propulsion, with layered percussion that nods to classic warehouse sets while pushing things forward in true FJAAK fashion. On 'Run To Me', the duo bring soulful vocals in, weaving them into a driving rhythm that fuses housey breakbeats and thick analogue grooves. The result is a warm, kinetic blend of Detroit flair and modern funk sensibility, tailor-made for peak-time dancefloors. The B-side starts with 'Keep The Balance', a track that strips things down a touch. More introspective, but still locked into a deep, funky flow. It's mellow without losing movement, full of crisp drums and glowing chord progressions that let the groove breathe. Closing the EP is 'What's My Name?', a true FJAAK-style banger: Punchy kicks, sharp vocal cuts and a commanding low-end give it that warehouse edge. It's a punchy blend of groove and raw-energy, making it the perfect club weapon. The Berlin duo has been sculpting their sound identity with hardware-heavy, genre-blurring releases that span techno, breakbeat, house and jungle. With FJAAK014, they further refine their groove-forward vision, blending soulful vocal textures, infectious breakbeat energy and timeless Detroit-style synth work, making this EP another bold statement from a duo that remains on the frontlines of electronic music evolution.

This project seeks connections between what is happening in biogenetics (cloning, biomechanical grafts), in art (the body as a territory to be redesigned), and all modern practices of intervention in music such as remixing, cutting and pasting, sampling.
To consider the sonic landscape as an unstable, moving cell culture, which allows experimentation on the body of musical pieces, on their chemical composition in an entirely artificial way. Surgical score, altered rhythms, reworkings.
Music is a mirror of what is happening in our time.

From the soulful underground of Argentina comes a new chapter on Abuelo Negro Limited, the Taylor Fass EP. A beautifully crafted release that bridges emotion, groove, and timeless aesthetics. Each track unfolds with subtle depth: warm pads, dusty percussion, hypnotic basslines, and that unmistakable deep-house pulse that feels both classic and fresh. It’s music for intimate dancefloors and late-night reflection, the kind of sound that connects body and soul without ever forcing attention. Taylor Fass EP embodies the label’s spirit, raw yet refined, deeply human and full of feeling. The stunning artwork completes the vision, reflecting the warmth, nostalgia, and understated elegance of the music itself. A heartfelt release from Buenos Aires to the world, for those who still believe that house music is more than rhythm, it’s emotion.

BodyParts presents "We Need You" by Fabe, a four-track release that taps into raw club energy and brings a fresh vibe to the label’s Vinyl Series. Fabe delivers stomping grooves, creative vocal work, and vibrant textures that BodyParts fans will recognize, but with plenty of surprises.

'We Need You' opens the EP with a tech-house roller that nods to UK swingers. Slapping bass, processed vocal snippets, atonal melodies, and bit-crushed synths come together in a track that demands movement. 'Ah Gee' keeps the energy going with a spacious, deep-groove feel, filtered melodies, catchy vocals, and a nod of French Touch house, blending classic styles with a modern edge. 'Teach Your Body' brings tension with a breaky, bass-driven house cut, sensual vocal fragments, and sharp drums, all carried by syncopated grooves. 'Down With The Dolphins' wraps up the record with warmth and color, offering deep house and breakbeat energy that lights up the dance floor — perfect for those early morning moments when light cuts through the darkness of the club and new energy breaks through.

Over time, BodyParts has built a reputation for consistency, with a signature fusion of minimal, tech-house, and groove that always feels dancefloor-worthy but never formulaic. With "We Need You," Fabe delivers another peak-time ready record that sits comfortably in the label's legacy while pushing it just enough to keep ears alert and bodies engaged.

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern underground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while staying firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Entertainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

Stiletti City Tape Archives is the fourth Stiletti-Ana album, showing off the Finnish mastermind’s talent for making electronic music that’s immediately inviting while generously rewarding the focused listener.
Following on stand-out work for labels like Public Posession and Höga Nord – not to mention all sorts of odd jobs within the Sex Tags multiverse – Stiletti-Ana presents his latest offering: eight irresistible jams cooked up in the hallowed halls of Helsinki’s Haista II studio.
Here, vintage and modern synths joined forces with live drums and the occasional robot-voiced interjection, resulting in a body of work that’s dazzlingly off-kilter, rich in detail and instantly addictive. The artist himself states: “I think the music has a sense of urgency which relates to city life. Still,
Stiletti City is a small and cozy place, a bit freaky and not gentrified.” Stockholm label Studio Barnhus is delighted to invite fellow travellers into this secret town – welcoming and full of surprises.

From the depths of Greyscale’s acclaimed Mood Series, a new chapter rises to the surface: Deemkeyne – Ending Dynasty.

Across four immersive cuts, Deemkeyne sculpts a sound world rooted in the foundations of dub techno yet unafraid to push into fresh territories. Each track is built with raw textures and spatial awareness, weaving hypnotic patterns that echo through space like sonic architecture. Sub-bass pulses anchor the body while hazy chords and shifting atmospheres guide the mind into a deeper state.

This is dub techno and house at its most essential- music for true heads who understand the beauty in restraint, the subtle power of repetition, and the art of detail. Whether in the intimacy of a late-night set or the solitude of a headphone journey, Ending Dynasty unfolds with timeless weight and precision.

Pressed with care and presented on vinyl for the first time, this release is not just another record, it’s an invitation to step inside Deemkeyne’s world of shadows, echoes, and infinite space. A must-have addition to the shelves of anyone dedicated to the underground continuum.

Serygraphied sleeve / green transparent 10". Playing 45 loud cut. Comes with a sticker inside.

Superb mental music...
An aesthetic vinyl, to listen or mix, with a beautiful design and a great sound.
Astral travel sound !

Notice some sleeves are randomly phospohrescents...

Notice ブナ means beech in japanese.

Effortlessly charming, inquisitive and generous in spirit: 'Total internal reflection' is the beautifully crafted debut album from DJ ojo, returning to Blank Mind, following his acclaimed 2023 EP ‘Coiled up’.

The vivid sound design, irreverent flourishes and elastic rhythms of his past work remain, yet here he leans further into his enduring love of house and techno music. An impressionistic take on the forms, with a light, considered touch that allows his idiosyncrasies to shine through. There’s a synaesthetic quality here, that implies a gestural play between sound, colour and form.

It is functionality that is the key embrace: eight tracks, two discs, two tracks per side. A cohesive body of work purposefully presented to be played out. These guiding principles complement the uniquely skewed style of ojo: there’s always a groove, but it might trip over itself; there’s always a sense of cohesiveness, but it’s never clear; there’s always a dancefloor, but it’s slippery when wet.

The record features art by photographer Thomas Steineder, who interprets the record visually, by bouncing light through analogue film wrapped around a prism, capturing a reflection turned inward.

With ‘Total internal reflection’, ojo has somehow become even more himself, refining his vision into something playful, profound and enduring.

From the shores of Lake Erie to the heart of the dancefloor, DJ Romain opens a brand new chapter with The Cleveland EP, his latest release on legendary UK house imprint Hard Times.

Having relocated from his beloved New Jersey to Cleveland, Ohio, Romain dismantled and rebuilt his studio piece by piece, laying the foundations for a new wave of creativity. Following his acclaimed Lost D.A.T.S. series and The New Jersey EP, this marks the first body of music born entirely from his new northern base.

The EP kicks off with the haunting vocal and ghostly chords of 'Change Your Mind', before diving into the rattling hats, crisp snares, and plucked bassline of ‘Crysis’ - a pure Romain floor-tool. 'Cuz You Like' rolls deep with warm, shuffling UK vocal energy, while closer 'Deep Reaktor' lands with preaching tones and heavyweight bump, sealing the collection in signature style.

With The Cleveland EP, Romain bridges past and present - new city, same uncompromising house spirit.

Cybernetic disco maestro Patrick Cowley graces Dark Entries once again with Hard Ware, an LP of far-out funk and synthpop celebrating what would have been Cowley’s 75th birthday. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley’s friends and family to uncover the singular artist’s lesser-known sides, including his soundtracks for gay pornographic films, which the label chronicled on compilation albums School Daze, Muscle Up, and Afternooners. Hard Ware presents the closing chapter in a trilogy of unreleased Cowley dancefloor bangers that began with 2022’s heavy-hitting Male Box and was continued with the soul and garage-inflected From Behind in 2024. The most expansive release in said trilogy, Hard Ware delivers ten tracks of pure, uncut Cowley: sultry, psychedelic, sarcastic, and just a bit sleazy. Cowley devotees will delight in “Tech-No,” a sparse instrumental demo version of his epically dystopian “Tech-No-Logical World.” You could soundtrack your next aerobics session with cheeky numbers like “Pajama Party Massacre” or “Shake It Up,” both of which feature Cowley himself on vocals. The frenetic “Big Ass in Motion” is built around samples from Rudy Ray Moore and The Madam’s infamous “Sensuous Black Woman,” an X-rated comedy record that would later feature in classic booty house records. Mid-tempo cosmic groovers are well-represented with jams like “Hellfire” and “Megablue,” which perfectly capture Cowley’s bathhouse-in-outerspace sensibilities. No collection of Cowley’s work would be complete without an interstellar floor-filler, and we’ve got quite a few here, like “Jungle Jump,” which pits whirling beats with dub-laced swirls of synth, or “Spellbinding Lover,” a Donna Summer-indebted melancholic boogie masterpiece that features Sylvester backup singer Jeanie Tracy. Hard Ware closes with the chilling synth-hymn ”Ice Age,” in which Loverde vocalist Peggy Gibbons sings of a coming frosty apocalypse. The story told in “Ice Age” mirrors the coming AIDS crisis and feels like a haunting premonition from Cowley. The record comes in a sleeve with a hand-airbrushed circuitboard-inspired design by Gwenaël Rattke, and includes lyrics as well as liner notes by Andrew Ryce and Peggy Gibbons. Hard Ware is another crucial document of a tremendous talent taken too soon.

Following a breakout year that saw them torch the Sonora Stage at Coachella, storm Europe on the HONEYPAQQ TOUR, and rack up co-signs from Carl Craig, LSDXOXO, Jamie xx, Crystalmess, SHERELLE, TELFAR, Tinashe, Smino, Nia Archives, Earl Sweatshirt, and Denzel Curry, HONEYPAQQ VOL. 1 captures HiTech at their most ambitious: unfiltered, explosive, and impossible to pin down.

Across a stacked track list, the trio bring together the raw DNA of Detroit techno, Chicago house, rap, and punk, honouring the roots of Black electronic music while taking the scene to new global heights. Features include boundary-pushing collaborators like George Riley, ZelooperZ, and Na-Kel Smith, adding warped soul, razor-edge bars, and unruly energy to the HiTech universe and demonstrating how HiTech are the only act straddling underground chaos and mainstage euphoria while unifying global scenes across electronic, rap, and rock in one breathless body of work.

This exciting new collaboration between Cara Tolmie and Rian Treanor is a highly kinetic and playful endeavour. Body-centric vocal explorations merge with intricate rhythmic systems forming a deliciously disorientating, hypersurreal space of semantic modulations, concrete poetry, cut-up beats and mimicked samples. Their sound is singular and tactile: dissociative dance music that reassembles contorting vocal lines and knotting biomechanics in an explorative network of unstable forms. It's a blur of bodily fragility and ecstatic disruption, where swells of meaning rise and fall through clouds of synthetic buzz, fleeting breath, and stream-of-consciousness imagery.The duo first performed together when Counterflows Festival paired them for a new commission at the historic Arches venue in 2023. Glasgow-born, Stockholm-based vocalist and performance artist Cara Tolmie brought her hypnotic vocal technique, Internal Singing _ an intimate practice using breath, movement, and touch that explores the subtle binds between voice and body in an unsettling, engrossing sonic space. Treanor's richly innovative work provided a compounding counterpart: radical, rave-infused structures that bent and contorted around Tolmie's incantation.Growing out of a series of charged, improvisational performances, Body Lapse was recorded between Stockholm and Rotherham in 2024. Echoes of their live energy run throughout _ a voice shaking through the body, responding to touch and physical modulation, translating performance into something tactile and immediate. Body Lapse marks their debut release together, it conjures a sound of unsettling beauty and frictional intensity _ a playful, physical mesh of computer music, voice, and speculative storytelling. In this gnawing, dreamlike space, breath and body become sites of both connection and disruption, sparking thrilling encounters with the unexpected, the playful, and the decisively weird

Mister Joshooa consolidates his delivery on Party store this time with a proper full length EP,
with 3 originals and 2 remixes from Delano Smith and Mass Prod that will keep the dancefloor
busy for a while.
A very solid release that goes from Bass to House to Techno, all solid club tools that will keep
the club busy, five bangers that all evoke the Party Store blueprint feeling: FRESH OUTTA JAIL
Strong of his release on Planet E and his Performances in the world's temple of Techno Music
between his own Detroit and Berlin, Josh is always on point with cutting edge productions that
go straight to the point, to party.
Cosmo is a timeshifting bass tool, so abstract yet so powerful, so empty yet so present that it
will allow you to take your crowd towards the most twisted cuts of club music, perfect to merge
Bass, Minimal House and Techno.
Delano Smith and Mass Prod both deliver a more 4 to the floor/ Club friendly version of Cosmo.
Delano takes the core groove of the track and brings it up on a monstrous Detroit House Tool,
heavy on basseline and chords, it flows like water on day 3. you just wanna play this more and
more, the more you listen to it.
Mass Prod delivers a darker, lower body versions of the title track, a Minimalistic after hour tool
where aerie vocals and percussions are rolling over a primitive House groove that will keep the
dancefloor simmerin for a while.
Adult use is a perfect party track to set the vibe and to get completely weird. Dub Acid Stepper
at his best, proper after party fuel, one to make people stand from couches and blankets in the
morning!
Ketchup popsicle is a pure Detroit Banger with psych vocals and digital acid at his best with full
on trancey effects and percussions, not for the faint of heart, a track that will take you to new
levels of party time!

On its ninth release, Fantastic Planet presents Batenko’s Body Free - a record that fuses rave-era chaos with contemporary club precision. Expect broken rhythms, weighty basslines, and a nod to Prodigy’s anarchic edge. The remixes push the EP into new zones: Eoin dj dives into shadowy minimalism, while Blu:sh unleashes a full-throttle dancefloor weapon.

Terence Fixmer Reissues Two Cult Techno Anthems on Red 10 inch Vinyl

Techno pioneer Terence Fixmer re-releases two of his most iconic tracks - Electrostatic and Electric Vision - now remastered for a more contemporary and powerful sound, and pressed on a limited edition 10 inch red vinyl.

Originally released on Gigolo Records in the late 90s and early 2000s, both tracks quickly became underground anthems. Played by legendary DJs such as Dave Clarke, Sven Vath, and many others, they were also named Tracks of the Year by renowned techno publications like Groove magazine.

With these two groundbreaking cuts, Terence Fixmer helped open a bold new chapter in the history of techno - giving birth to Techno Body Music (TBM), a genre blending the raw, industrial force of EBM with the driving energy of techno. Electrostatic, in particular, is considered a foundational track of this hybrid style.

Now regarded as true techno classics, Electrostatic and Electric Vision have stood the test of time and are still played regularly by DJs worldwide, continuing to energize dancefloors decades after their release.


This is the first official repress in over 20 years, and the first time these two cult tracks appear together on one record - sharper, louder, and more essential than ever.

Remastered by Endrik Schroeder

Olof Dreijer (ex-The Knife) returns to Dekmantel with Iris, a new 4-track EP out this September, just in time for his North America tour. Featuring remixes by Nidia and Verraco, Iris follows his 2024 collab with Diva Cruz, remixes for Björk ft. Rosalía and Röyksopp, plus acclaimed solo EPs on Hessle Audio and AD 93.

Think breakdance-era energy, sound-humour, and body-synth mischief. Iris plays like a garden of sonic creatures—synths mimicking bodily sounds, chopped-up vocal textures, and ‘90s-style chord stabs inspired by Olof’s high school b-boy phase. It’s playful, raw, and weird in the best way.

With over two decades of shapeshifting behind machines and decks, Dreijer’s been a force in electronic music—from festival headliners across Europe to pushing the boundaries with his Oni Ayhun alias. He also co-founded Stockholm’s Bamba Club, a hub for progressive, percussive sounds.

Further recent highlights include co-producing tracks on Fever Ray’s latest album, producing Houeida Hedfi’s debut LP, contributing to projects by Planningtorock and Zhala, remixing Nine Inch Nails, Röyksopp & Robyn, and Emmanuel Jal.

Part 3 of 3 opens with an absolute weapon of a track from Medlar, ‘Hardly Workin’ is a peak time track of the highest order fusing straight up House with a UK baseline to rattle any system. Next up is Texan Father Sheed (full EP from him coming very soon) with a jack track to get the body moving.

Over on the B-side Kenny Blacksmith takes us in a deeper direction with ‘Church’ full of lush pads and warming baselines. To close out the record Dim City takes it up a notch with an end of the night rave anthem.

Tom Carruthers returns on Syncrophone with Move My Body, his second EP delivering four raw, club-ready cuts with sharp grooves and a no-frills old-school touch.

Fetter’s Body of Noise erupts at the threshold between ravey hypnosis and avant-pop experiment, slithering through the hinterlands of unconscious desire. Nine shape-shifting tracks conjure haunted landscapes where beauty refuses clarity and dancefloor logic warps underfoot. Vocals swoon, drift, and demand—stacking into fragments that multiply and weave through saturated pulses and shimmering, snarling synths.

Opening track "Like a Rose" traces a dreamer’s transition into the unstable physics of a perplexing but familiar dream world, where they gradually become lucid. “Beast” follows up humming with shadowed urgency, threading a path through self-sabotage and metamorphosis. “Spathiphyllums” drifts a while in a lush lostness, aching for something new before fracturing into wild, cathartic collapse. Side B’s “Do I Exist? (D.I.E)” and “The Longing” spiral into existential wonder, searching for a human origin story—both personal and collective—against a backdrop of uncertainty, while “Headache” thrusts forward as an absurd and insistent manifesto to stay the course and harness one’s own power within the madness.

Body of Noise is crafted not only for sweating bodies in motion, but for distorting time and opening psychic portals, where surrender becomes strategy and uncertainty transforms into ecstatic navigation. Rooted in all-hardware improvised production and shaped by Fetter’s years of boundary-blurring visual and performance art, their debut LP feels alive and in flux. Reminiscent of a spectral pop chorus trapped in a loop of broken machinery, or a lost broadcast from a dancefloor in a parallel realm, Body of Noise is a journey into chaos, transformation, and a bold refusal to be contained.

About Fetter:
Fetter makes clubby self-destructing noise pop to dance and weep to. Oscillating between ethereal and pounding, their all-hardware, largely improvised live sets take listeners through a foggy wilderness of saturated rhythms and menacing synth lines, a golden voice guiding the way through. Fetter is the stage moniker of multimedia artist Jess Tucker. Their performances take place in clubs as well as galleries, often incorporating video, installation, and interactive performance art elements to create other-worldly surrounds of mesmerizingly unhinged bodies and faces.

With their musical roots deeply immersed in the fertile soil of Afro-American music, the Buttshakers have found a new direction for their nostalgia-heavy soul music. With Lessons In Love, their third album on Underdog Records, their early heartaches and furies have faded in favor of a more composed harmony – a sound enveloped in love and soaked in the blues. Guided by their singer Ciara Thompson, the Buttshakers have taken a more intimate path, whose compass, in the chaos of emotions and the modern world, points only in one direction: the light.



Seen from the sky, the view appears limitless. Accentuated by the sun, the ochre and sandy hues of the open road only reinforce this feeling of immensity. The sky stretches and the green stands out in striking contrast. In lighter tones, a road is drawn -- without bends or contours. This is the worn and weary road of soul music, which The Buttshakers explore on each album in new and unique ways. Soul music – a rare place to find a French band.

Vast, the musical direction could have taken them to lighter pastures. Yet the Buttshakers chose to evolve in a different way; to take a heavier load. Two paths – one sparked by social unrest, the other purely sentimental, Lessons In Love explores the deep roots of soul music, in the steps of Curtis Mayfield or Al Green. It is here that the heart and mind cross paths, merge, and become one. A weary road -- that brings together the agitation of a world where good intentions never rise above the level of digital outrage, and a faith in love which, however it manifests and expresses itself, remains the only truth that never loses its power.



Less rage and more compassion, it is through the haunting words and now tempered inflection of Ciara Thompson's voice, which opens to distinct emotions and perspectives, that the listener is guided. With its gaze fixed on the horizon, the acoustic guitar of Gotta Believe invites us on an intimate stroll through the open plains, while Dream On carries us away with a clavinet riff and a possessed saxophone; reconnecting the electric heat and neurosis of a city full of dreams. The senses are moved by the conjuring potion of the guitar which distills throughout Troubled Waters; the body is brought back into a visceral dance by the keys and brass section that are put to the test by Sure As Sin and its irrepressible rhythm. Passing through clouds of dust and sand has left a bluesy imprint on their groove: the miles travelled became hundreds, then thousands.



All of this leaves the listener bewitched by the halo of resilience that now surrounds Ciara's performance, as the ten tracks let the light fade. But certainly not hope in a better day. Like the sunflower that always lifts its head towards the sun’s rays, the Buttshakers continue to resource their sounds in the deep roots of soul music. Into the rich layers of African-American music of the 60s and 70s, The Buttshakers capture the spirit as much as the musical aesthetics of the epoch. A sound that reaches into the meanderings of the soul, bringing light to dark places and hope for all. A sound for the most parched of hearts, living in a damaged world, Lessons In Love confirms that even the tiniest beam of light can illuminate one’s path.

"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."

a A1 James Russo (2)– Winged, Written-By Dialogue – Quentin Tarantino


d A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

Following the success of the 12” “Trip To Your Mind (The Reworks)”—where Delfonic and LTJ Xperience both brought their own magic to Hudson People’s disco/jazz-funk anthem—we’re back with a fresh twist: DJ Friction steps in for an official 7” rework, breathing new life into this cult classic in his own unmistakable style.

For those who’ve been following the story, you know “Trip To Your Mind” is a true favorite among DJs and collectors since decades, from its creative inception by the writer Reginald Hudson with the GI funk band Body Heat, to the original recording taking place in the late 70s in London that eventually paved the way for disco lovers to produce this recent string of reworks.

Where the 12” reworks stretched out the groove with extended intros and club-friendly builds, Friction’s version keeps things tight and energetic. He adds his own drums, claps, synth touches, and some new vocal layers—combining the standout parts from both the original mix and the classic UK remix. The result is a punchy new take that’s perfect for DJs who want maximum impact in a short format, but still want all the funk and psychedelic flavor that’s made this song a dancefloor staple for decades.

And for collectors? The original 7” of “Trip To Your Mind” is notoriously hard to find—and pricey when it turns up. This new release finally makes it easy to spin a fresh, fully licensed version on 7” wax, expertly mastered for today’s systems.

Whether you were hooked by the Delfonic or LTJ Xperience edits, or you’re just discovering this tune for the first time, DJ Friction’s rework is a natural next step in the ongoing journey of “Trip To Your Mind.

Braiden, an artist synonymous with the UK’s underground continuum, makes a powerful return after his hiatus with Raindance, a four-track EP of original productions on his own Off Out imprint. First emerging during the post-dubstep era with standout releases on Joy Orbison’s Doldrums and iconic Dutch imprint Rush Hour, Braiden carved a unique path as both DJ and producer through long-standing residencies on Rinse FM and NTS, where his boundary-pushing selections became essential listening.

The record channels the energy of the club and the scene he emerged from, blending freshly explored influences into a focused yet diverse body of work.

The EP opens with its title track, an unruly and visceral cut that channels early grime’s skeletal power into a hypnotic techno landscape. Clattering claps, cascading strings and a guttural bassline drive it forward, shimmering with movement and wired with an unpredictable edge. Touch The Sky, featuring a vocal contribution from multidisciplinary artist KESH, follows as a meditative centrepiece — a weightless, emotional interlude hovering with restrained melancholy and awe. X5x ramps up the energy again, urgent, euphoric, and devastatingly effective, its acid-licked synth line and thunderous kicks recalling the vastness of late-night warehouse catharsis. Lagrangian Point closes the EP on a different axis altogether; a time-dilating drone that strips away the percussion entirely while retaining the physicality and ethereal tone that runs through the EP.

Also a visual artist and photographer, Braiden’s finely tuned aesthetic runs through the record, with him self-designing and photographing the artwork printed on a full colour sleeve. Raindance arrives as a meticulously crafted statement: fierce and cinematic, a notable evolution from his earlier single-led releases, with additional mix engineering support from friends Joy Orbison and Objekt.


b A2. Touch The Sky ft. KESH