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After 8 years, 2 albums on BureauB and different small releases RVDS comes back to his roots and releases these 3 Acid Bangers:“Too much Acid” which has 4 TB303 Basslines in one match, which can remind on some Emanuel Topp tracks, then there is the Acid Electro track “Schluckauf” (Hiccup) which expresses hiccups in sounds, the last track “Acid Busline 242” is very soulful and has recordings of the busline 242 in London.

Whispering Signals unveils Schweres Wasser, a new sub-label guided by Thorsten Hoffmann and Markus Offermann, rooted in Aachen’s influential techno scene. Their devotion to dub-techno’s stripped, elemental aesthetics shapes the first release: three dub-drenched, slow, and deeply absorbing tracks recorded more than a decade ago yet still sounding remarkably current. Reworks by long-time friends .VRIL & Danieli underscore the material’s enduring precision and timeless sound.

Cinematic feasts of dramatic strings and cascading pianos that will satisfy fans of Nils Frahm and Ólafur Arnalds' The Ransom Note

On his debut album “Scattered Memories”, the composer, musician and true master on the Iranian spike fiddle kamancheh SABA ALIZADEH blends his instrumental virtuosity with spherical electronics, samples of Persian music instruments and field recordings from his hometown Tehran.

Born in Tehran in 1983 as son of the world renowned Tar and Setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH studied the Iranian spike fiddle with SAEED FARAJPOURY and KEYHAN KALHOR plus photography and later experimental sound art with MARK TRAYLE at the California Institute of the Arts, Los Angeles. His musical activities that lead him all around the globe for performances (a.o. at Carnegie Hall) branch into 2 different areas: on the one side ALIZADEH is a highly reputated virtuoso on his traditional instrument, on the other he likes to approach music from a more experimental / technological aspect in his electronic / electro-acoustic pieces. This not being enough, he founded Noise Works in 2014, a platform and label for organizing experimental concerts and for the transfer of knowledge of music technologies among young Iranian musicians which makes him a central figure at the forefront of the current, very vivid Persian music scene that gained a lot of attention through artists like SIAVASH AMINI, PORYA HATAMI and of course SOTE who included a track by ALIZADEH on the compilation “Girih: Iranian Sound Artists” that he had curated.

In 2018, ALIZADEH self-released his debut “Scattered Memories” on CD in Iran which now, in a reworked version, sees its deserved world-wide release as LP and DL. Over the course of 10 tracks ALIZADEH melts his 2 musical worlds into 1: tradition meets modernism, eastern sounds meet western production, folklore meets contemporary electronics. An album that will appeal to an open-minded “world music” audience as well as fans of current streams like ambient or drone in its most subtle forms.

Mathias Kaden returns to Rekids with the 'Circulate' EP, featuring a William Kiss Remix.

Mathias Kaden is back on Rekids after 2022’s ‘Blackbird’ EP, this time with the four-track ‘Circulate’ EP featuring a remix from the hotly tipped William Kiss. Kaden’s ‘Freedom’ kicks things off with stripped-back machine rhythm, tasteful stab melodies and a deeply satisfying low-end groove before an iconic gospel vocal joins in. Title track ‘Circulate’ is another infectious low-slung crawler with crunchy synth hits and a hypnotic and classy vibe that will get the dancefloor moving.

On the flip, William Kiss remixes Mathias Kaden’s ‘Freedom’ following his recent EP on Rekids' sibling label RSPX and the release of his collaborative project, Not Without Friends, with Luke Alessi and Jordan Brando on RÜFÜS DU SOL’s Rose Avenue. Kiss turns the track into a pumping peak-time cut with additional percussion and plenty of his signature Jackin’
flavour. Closing out the record, Kaden’s ‘Twisting Shadows’ introduces an acidic bassline and warped, dubbed-out vocals before dropping into an energetic trip.

Active since the mid-90s, Mathias Kaden appeared on Radio Slave’s Rekids for the first time in 2019 for ‘Liberate Drums’. He now returns to the label with the ‘Circulate’ EP, adding to his versatile discography on labels like Dyinamic and Vakant while also remixing work by Matthias Tanzmann, Onur Özer, Anja Schneider, and Trentemöller.

What can be said about Joey Beltram’s ‘Energy Flash’ that hasn’t be said already! The track still gets rinsed, week in, week out, across radio stations, clubs and festivals, testimony to the sheer importance of this techno classic.

Released originally in 1990 on the R&S Records label, ‘Beltram Vol. 1’ included the aforementioned ‘Energy Flash’, alongside three equally ground-breaking dance tracks that possibly get overshadowed by the big lead track. But tracks like ‘Subsonic Bass’ broke the mould and went on to influence a raft of rave and drum ‘n’ bass tunes, thanks in part to its use of the now legendary ‘hoover’ bass sound. The sinister acid of ‘Jazz 3033’ still sounds as fresh today as it did 33 years ago, and the menacingly titled ‘Psycho Bass’ reveals the EP’s most passive moment, as its solid breakbeat cuts through ethereal tones and chugging synths.

‘Beltram Volume 1’ has been remastered by Beau Thomas at Ten Eight Seven Mastering, and the release comes in an updated sleeve, faithfully recreating the 1990 packaging.

‘Beltram Volume 1’ by Joey Beltram is available on R&S Records from 10th February 2023.

There are techno classics, and there are techno classics! It’s without doubt that Joey Beltram has played a pivotal role in the growth of the techno sound that gestated in Detroit and was lapped up in Europe during those early years. Beltram spearheaded a darker sound that became a staple in the UK and European rave scene in the early 90s, and a sound that continues to come back around for revival and a new twist on the genre from the producers and DJs of the day.

‘Beltram Volume 2’ was first released on R&S Records in 1991, and despite the huge success of the ‘Energy Flash’ single, released a year prior, ‘Volume 2’, some say, is ‘Beltram’s definitive release on R&S’. Deep, dark and deliciously hypnotic, all four cuts on this EP still sound as raw and devastating 30 years later. Big tunes at seminal clubs like Rage (Fabio & Grooverider) and the network of UK raves soundtracked by the likes of Carl Cox, Colin Faver, Eddie Richards et al, Beltram’s unique sound help spawn the bass heavy drum & bass genre that was also burgeoning at the time.

‘Beltram Volume 2’ has been remastered by Beau Thomas at Ten Eight Seven Mastering, and the release comes in an updated sleeve, faithfully recreating the 1991 packaging featuring Christel Brodahl’s now legendary oil painting.

‘Beltram Volume 2’ by Joey Beltram is available on R&S Records from 9th December 2022.

TO COMMEMORATE THE 10th ANNIVERSARY OF HIS PASSING

DEFECTED HONOURS FRANKIE KNUCKLES WITH SPECIAL EDITION ‘HOUSE MASTERS’ VINYL

Defected celebrates the life and legacy of house music pioneer Frankie Knuckles with a limited-edition vinyl offering of his notable ‘House Masters’ release.

Marking ten years since his passing, join Defected in honouring the enduring legacy of house music pioneer. All proceeds of ‘House Masters: Frankie Knuckles’ will be donated to Frankie Knuckles Foundation as it was when the compilation was originally released back in April 2015.

“Frankie Knuckles, whom many consider to be one of the architects of house music is still highly influential to a new generation. Since his untimely passing ten years ago it has been incredible to see the continued outpouring of love and respect that he has received. His legacy is why the Frankie Knuckles Foundation exists. Through our work we honour him by supporting initiatives that he was passionate about: music education, AIDS and diabetes research, prevention and LGBTQIA+ youth homelessness. This commemorative vinyl release of ‘House Masters’ in association with Defected will allow us to do just that!”

Frederick Dunson, Founder, President & Executive Director, Frankie Knuckles Foundation

The forthcoming vinyl releases will feature a selection of his finest productions and remixes including the seminal ‘Your Love’, ‘The Whistle Song’ and remixes for Chaka Khan and Sounds Of Blackness.

Find out more about Frankie Knuckles Foundation and its commitment to educating and supporting initiatives across LGBTQIA+ communities and AIDs prevention

Paranoid London with Water Machine - Decimated Driver Tested over the summer on the stages of our favourite festivals & hot on the heels of the Nu Groove release & the Medlar remix.
Side A is a proper throbber with a vocal chant from Glasgow band Water Machine.
Side B is dubbier, clubbier & bloodier. More speaker testers from people that should know better by now.

Beijinho do Brasil announce their second release with the highly anticipated follow-up from LA-based producer and multi-instrumentalist James Matthew Seven, featuring guest vocals on the A-side by Rio de Janeiro's Fabio Santanna.

Recorded in a small studio on the beach in Oaxaca, Mexico, "Feels Good, Do It" brings to mind a lost recording from Marcos Valle's time with Leon Ware. Funky and soulful with warm Fender Rhodes and a horn section reminiscent of Banda Black Rio, the tune is a breezy, mid-tempo ode to embracing life's pleasures. Originally with vocals in English, the track was translated and re-recorded in Rio de Janeiro by Fabio Santanna. Fabio has a long-established reputation in Brazil as a torchbearer of modern funk and boogie, continuing in the lineage of artists like Robson Jorge and Lincoln Olivetti. But with his releases on labels like Onda Boa and Dippin' Records (which sold out nearly instantly), his international reputation is steadily growing. He has a new 7" due out on Dippin' Records on October 10th, pushing his name to the forefront once again, right on time to generate more buzz for our next 45!

About the flip side, "Ilha Racional" (a nod to Tim Maia's Racional era):
I had this dream where I was in a dive bar discotheque somewhere in the Caribbean. A thick cloud of smoke hung in the air as the selector dropped this bass-heavy bop that had the whole crowd vibing. Then, out of nowhere, in walked Tim Maia with a bag of mushrooms. He proceeded to grab the mic and preach about this alien world of rational energy. Shit was bugged out. When I woke up, James Matthew Seven had sent me this track to check out.

Repress!

Second Phase (aka Joey Beltram and Mundo Muzique) are 2 legendary producers whose output shaped an entire generation of ravers, DJs and producers minds.
'Mentasm / Mind To Mind' is one such influential release, literally creating new styles, new directions and impacting on dance music for decades to come. Unique programming and fresh sounds made their records stand out head and shoulders above everyone else's output. 'Mentasm' particularly broke ground with it's now infamous 'hoover sound', influencing house, techno and trance music to come and even spilling over into the nascent hardcore, jungle and D&B scenes where it was often imitated or sampled by producers who wanted that ruff, visceral feel for their own tracks, but didn't know how to create it themselves. A new energy was born and it emanated from this milestone 12". 'Mind To Mind' on the flipside is equally as deadly, but in a deeper, more spaced out realm it maneuvers and pulls into a trippy early morning space, the yin to 'Mentasm's yang. This is a quintessential techno record, a glimpse of innovation from back in the day. File under 'classic'.

This special 2021 edition is reissued by R&S Records from original master sources, remastered by Curve Pusher.

Repress!

Undoubtedly one of the most addictive records of 2017, CamelPhat & Elderbrook's 'Cola' has been a defining musical moment of the year. Growing exponentially since its release, the track has captivated tastemakers, DJs and clubbers alike, topping charts and blowing up worldwide to become a true modern anthem. Leading on from the success of the original and some heavyweight remixes, three of which hit the Beatport top ten - for the first time on vinyl, comes a remix package set to continue 'Cola's' dance floor domination.
Rising superstar Franky Rizardo's suitably heavyweight remix comes correct with a club-friendly update that elevates the unmissable vocal hook and bottoms out the breakdown. Dario D'Attis' vinyl exclusive mix continues the club feel with rolling grooves, teasing breakdowns and shuffling hi-hats in a remix which packs a punch, guaranteed to get people moving from the get-go. Mousse T. flips the track completely, bringing those Glitterbox vibes to Defected, taking 'Cola' to the next level and going straight to Traxsource #1 in the process.

Vaudafunk's 4 best tracks released on Frappé, including 2 exclusive remixes by label OGs.

DJ Marrrtin makes his comeback on Friday's Funky 45 with some dope redrum remixes of Kendrick Lamar's "TV Off" & Latin favourite "Que Se Sepa" - don't sleep - snooze you lose!

Hot Creations Winter 2025 Vinyl Sampler featuring four of the Hottest recent releases on Hot Creations.

First up Jamie Jones marks Hot Creations’ 15th Anniversary with solo return with this year’s anthem: “Murder Mystery. His first solo release on Hot Creations since 2022’s ‘Bionic Boy’ EP, it’s a track designed to move, mesmerize, and captivate with every listen. Rolling basslines, intricate percussion, and a subtle tension pulse beneath the playful surface, making it a record built for late nights, festival main stages, and intimate spaces alike. It’s a statement of intent, and a reminder of why Jamie’s groove-driven productions continue to set the standard for house music worldwide. Next up Darius Syrossian returns to Hot Creations with ‘Bass In Ya Face’, featuring Cortez Walls is a driving, bass-fuelled floor-filler that combines weighty low-end grooves with hooky vocals.

On the flip, Joe Rolét makes his Hot Creations debut with this summer’s underground anthem. Enter: ‘No Hesitating’, the definition of a bassline mover. Stacked with rave-ready pressure and designed for full dancefloor impact, it’s a cut that has already been road-tested to devastating effect by Rolét himself alongside names such as Chris Stussy, Max Dean, and the Hot Creations head honcho himself, quickly becoming one of the most sought-after IDs of the year. Finally Manchester’s AJ Christou is back on Hot Creations with the incredibly infectious: ‘Bang Bang’, which leads with crisp percussion, slinky grooves, and a hook that’s been igniting AJ’s sets worldwide.

Alan Vegas selbstbetiteltes Debüt-Soloalbum kam 1980 raus, zur gleichen Zeit, als Suicide ihr zweites Album "Suicide: Alan Vega and Martin Rev" veröffentlichten. Während Suicides Plattenlabel ZE Records das Duo in Richtung eines synthetischen Disco-Sounds drängen wollte, der von Moroders Produktion von Donna Summers "I Feel Love" inspiriert war, zog es Vega in eine andere Richtung. Er wollte tiefer in die Wurzeln seiner eigenen musikalischen Identität eintauchen, die von Blues, Rockabilly, frühem Rock ,n' Roll und seiner anhaltenden Liebe zu Elvis Presley geprägt war. Vega nutzte die Zeit zwischen den Aufnahmen mit Suicide, um seine selbst geschriebenen Songs auszuarbeiten, begann mit der Produktion seines ersten Albums und trat live auf, um diesen Sound weiterzuentwickeln. Wie auch in seiner bildenden Kunst schichtete Vega Klänge auf minimalistische, dynamische und bewusste Weise. Das Ergebnis war ein einzigartiges Album, das aus rohen Materialien entstand und tief in Vegas künstlerischer Vision verwurzelt war. Tracks wie die klassische Hymne "Jukebox Babe" mit ihrem schwungvollen Rhythmus und ihrer minimalistischen Selbstsicherheit fingen diesen Ansatz perfekt ein und wurden in Frankreich zu einem Hit. "Kung Foo Cowboy" hat einen südstaatlichen Touch und lehnt sich stark an den Blues an, während der goldene Pop-Glanz von "Ice Drummer" mit melodischem, aber klagendem Gesang, marschierenden Trommeln und einem geschmackvollen Mundharmonika-Solo überzeugt. "Bye Bye Bayou" ist ein eindringlicher Mutant-Rockabilly-Song, der den Rock der 50er Jahre mit Vegas exzentrischem Performance-Stil verbindet und später in der Coverversion von LCD Soundsystem aus dem Jahr 2009 neu interpretiert wurde, wodurch Vegas Solowerk einer neuen Generation vorgestellt wurde. In ähnlicher Weise würdigte die Coverversion von "Ice Drummer" durch The Flaming Lips Vegas Außenseitergeist. Jetzt von Josh Bonati anhand der Originalbänder neu gemastert und erstmals auf Streaming-Diensten verfügbar, wurde Alan Vega von Sacred Bones Records originalgetreu neu aufgelegt, wobei die rohe Intensität von Vegas Originalaufnahmen erhalten blieb und sie gleichzeitig für Hörer auf der ganzen Welt neu zugänglich gemacht wurden. "Alan Vega" ist mehr als ein Solo-Debüt, es ist eine Erklärung der künstlerischen Unabhängigkeit und Freiheit eines der einflussreichsten und kompromisslosesten Künstler New Yorks. Ohne die intensive Elektronik von Suicide, aber mit Vegas Außenseiter-Energie und Schärfe, übersetzt das Album den frühen Rock 'n' Roll durch einen Art-Punk-Filter, der sich als eigenständiges Kult-Meisterwerk bewährt hat.

Following his remix of Youthman by Echo Inspectors & Subset, Biodub returns to Primary Colours with his first original release for the label, the Dialogue EP.
The title track, Dialogue, shows Biodub’s familiar warmth and attention to detail, built around deep basslines, subtle textures, with a calm and reflective flow. It’s understated yet full of presence, a fine example of Biodub’s ability to communicate emotion through minimal elements.
Pablo Bolivar steps in for the Dream Dub Remake, offering a refined reinterpretation that expands the original into wider, dreamlike space. His version brings a smooth, rolling energy with gentle synth layers, flowing delays, and a steady, hypnotic rhythm that carries both warmth and clarity. It’s a standout moment on the release, highlighting the shared sensibility between both artists.
Grassland continues with a natural, organic movement, a balance of deep groove and open atmosphere, while Ubiport closes the record in a more introspective tone, marked by subtle echoes and restrained rhythm.Dialogue is a cohesive and thoughtful release that reflects the core sound of Primary Colours: immersive, detailed, and rooted in the deep dub tradition.

Rostøm, Tauceti and Kaiser go full pressure on Carne, four cuts of relentless, stripped-to-the-bone techno built for concrete floors and red-lined systems. No gimmicks, just drive, warped signals and brute force groove. Anothr World 02 is peak-time weaponry for the real heads.

Following his remix of Youthman by Echo Inspectors & Subset, Biodub returns to Primary Colours with his first original release for the label, the Dialogue EP.
The title track, Dialogue, shows Biodub’s familiar warmth and attention to detail, built around deep basslines, subtle textures, with a calm and reflective flow. It’s understated yet full of presence, a fine example of Biodub’s ability to communicate emotion through minimal elements.
Pablo Bolivar steps in for the Dream Dub Remake, offering a refined reinterpretation that expands the original into wider, dreamlike space. His version brings a smooth, rolling energy with gentle synth layers, flowing delays, and a steady, hypnotic rhythm that carries both warmth and clarity. It’s a standout moment on the release, highlighting the shared sensibility between both artists.
Grassland continues with a natural, organic movement, a balance of deep groove and open atmosphere, while Ubiport closes the record in a more introspective tone, marked by subtle echoes and restrained rhythm.Dialogue is a cohesive and thoughtful release that reflects the core sound of Primary Colours: immersive, detailed, and rooted in the deep dub tradition.

Rhythm Cult returns with another hypnotic cut from JESUSLOVESACID, joined by Red Pig Flower and the one and only Mathew Jonson. Deep, trippy and full of tension, Verbal moves somewhere between micro house and emotional club energy.
Jonson takes it further on the flip, twisting the groove into his unmistakable world of pulse and melody.
A proper underground record. Nothing more, nothing less.

Grad_U returns to his legendary Redscale imprint with a re-press of one of the label’s most sought-after 12-inches. Originally released as part of the series that helped define modern dub techno, Redscale 02 showcases the Lithuanian artist’s unmistakable sound, deep, analog, and endlessly evolving.
Both sides carry Grad_U’s signature weight: hypnotic low-end movement, rolling chords, and perfectly balanced textures that blur the line between club tool and meditative listening piece. Once again, Redscale reminds us why it stands as one of the most respected labels in the global dub techno scene: no hype, no compromise, just deep, timeless sound.

Andrea opened this sophomore album Due In Color mostly during 2020 and 2021. You may reverb that those times were slightly crazy due to the small matter of a pandemic which is what lead the artists to explore a world of more hazy and experimental jazz sounds. That in turn inspired him to use more acoustic sounds in his music and so this is a record that turns its back on dark and booming club spaces and heads instead towards blooming fields of expansive downtempo, textured ambient and dreamy soundscapes.

The Danish label arbitrary presents Framework / Zwischen Remixes – a remix by German artistJan Jelinek and one by musician & label founder Mads Emil Nielsen originally made for a digital compilation, now published on 7" vinyl (arbitrary22).

For the CRXSSINGS release, Jan Jelinek remixed Nielsen’s Framework 10, a track from the Framework Book/CD (arbitrary01) based on sequences/recordings of sine waves and noise.

Side B: a rework by Mads Emil Nielsen of Jelinek’s voice collage and electronic sounds, from Zwischen – Marcel Duchamp, would you like or expect people to spin the wheel on your kinetic object Roue de Bicyclette?

Framework 10 (Remix) written & produced by Jan Jelinek, Berlin, 2019.
Zwischen/Marcel Duchamp (Remix) written & produced by Mads Emil Nielsen, Copenhagen, 2019.
Graphic design + score (cover, back: Framework 10) by Mads Emil Nielsen.
Mastered and cut by Kassian Troyer at D&M, Berlin.

Multidisciplinary Brussels-based artist Sagat steps up with a new mini album on the Basic Moves side label, Gems Under The Horizon, featuring a remix by Slovenian ambient bird e/tape. A few years ago, Wiet Lengeler, aka Sagat was invited by Basic Moves to create a live visual show using an analogue video synth setup to accompany a 5-hour dj set by e/tape at Face B in Brussels. From that moment on, the synchronicity between the two artists was clear - and this EP is the result.
Besides his visual work, Wiet Lengeler is also known for his contemporary techno music, primarily released on Brussels’ cult label Vlek Recordings. For this mini-album, Gems Under The Horizon 003, he presents four grainy ambient and textured electro-acoustic explorations. The tracks unfold organically — like ivy — gradually revealing layers of sound and hidden textures beneath babbling streams of electronics. e/tape’s remix feels like a natural continuation of Sagat’s sonic universe, together forming a mesmerising whole that explores the fringes of ambient music. In addition to the release, a limited run of the release + 30 x 3 riso printed posters from the visual show at Face B, made by Sagat and hand numbered are made available.
Mastering and lacquer cut was done by Frederic Alstadt at Angstrom Mastering. Artwork & inserts are designed by renowned Ghent-based visual artist Dieter Durinck.

Sit back and enjoy the wonderful aural world of Sagat and e/tape.

Sincerely,

The Basic Moves team.

Warehouse Find

Few producers have had the same seismic impact on techno and rave music as Joey Beltram. Hailing from Queens, New York, Beltram was a key architect of the early '90s rave explosion and responsible for some of the most influential electronic records of the era - and it was Belgium’s R&S Records that gave many of these tracks their first home.

Originally compiled and released by R&S in 1996, Classics brings together the core of Beltram’s groundbreaking early output - namely the Beltram Vol. 1 (1990) and Beltram Vol. 2 (1991) EPs, alongside the legendary Second Phase productions ‘Mentasm’ and ‘Mind To Mind’ (1991), plus a selection of aliases and collaborative work from the same period, including tracks under Mental Mayhem, Open Mind, and Disorder.

Now remastered and reissued as a 2LP set for 2025, Classics is available on vinyl for the first time since 2006, offering a long overdue opportunity to own these timeless cuts in their purest form. Across the 13 tracks, you'll hear the sheer force and innovation that made Beltram a household name in underground techno.

Integral to this collection are ‘Jazz 303’ and ‘Psycho Bass,’ co-produced with Norwegian techno innovator Per Martinsen (aka The Alien), which stand out for their experimental, forward-facing sound - highlighting a futuristic edge even within Beltram’s already pioneering catalogue. Elsewhere, his Second Phase project with Mundo Muzique delivers the seminal ‘Mentasm’ and ‘Mind To Mind,’ two foundational tracks that introduced the infamous “hoover” sound to dancefloors worldwide. Rounding out the set are deeper cuts under his aliases Mental Mayhem, Disorder, and Open Mind, capturing the breadth of Beltram’s restless creativity and technical command during his peak R&S years.
Classics’ by Joey Beltram is available on R&S Records from 25th July 2025.

Another excellent find here, an unreleased dub/instrumental album compiled by Lloydie Slim at the end of the 70s, featuring exclusive dubwise & instrumental cuts to many of his rhythms from earlier in the decade. As a bonus we've added 2 more tracks to the original 10 track album tape - the vocal & dub cuts to Johnny Clarke's "I'll Never Fall in Love Again", one of Slim's personal favorites of his productions. This single was originally released in 1975 in JA on his Don One label, and again in New York a few years later on his namesake Ivanhoe the Conqueror label. This album is a great listen which reminds us of the classic Channel 1 Revolutionaries instrumentals of the mid/late 70s.

For a few years, Slovakian born & Czech-based artist pantata (Stefan Barcak) has been making music for himself, while running a record store slash coffee bar (called 25,2 rpm) in Prague. Over the course of a month in 2024 pantata made many songs with different analog machines and selected the favourite tracks out of this. His music is very laidback -almost empty- analog music that reminds of K. Leimer and Tara Cross mixed with Czech & Slovakian childhood memories and love and honesty of nowadays memories. "I was born on March 3, 1998, in a small town in eastern Slovakia. In the distance, you could see the Slovak mountains. That image of big mountains on the horizon still inspires my work today. In my early years, before my family and I moved to Prague, I was quite an outsider, I liked drawing and painting and I never stopped. Nowadays, I have a nice setup at home. A few synths: Sequential Circuits Six-Trak, Pro-One, Yamaha DX7, Roland Juno, JP-8000, S-1 (a small SH-101 clone), and classic Roland drum machines like the 909 and 707. I also use a few effect pedals, an old mixer, and a Tascam Portastudio where I record everything to tape. When I make a track, I usually need to finish it in one day. I start playing my instruments, and whatever feeling I have that day needs to be recorded. If I leave a song for tomorrow, I might lose the feeling and feel something completely different, so I prefer to start a new track instead."

“I II III” is pure voltage. An EBM synth-punk blasting assault forged in the concrete heart of Kyiv. These tracks don’t just move: they hit, with brutalist force, fury, and cold rage. Each beat stomps forward like a clenched fist, a sound for strobe-lit riots and blacked-out warehouses. Body music as survival instinct and harsh rhythm as revolt. Raw. Unrelenting. Necessary Presented in ONE- OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid RED vinyl, All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

El Elektro Compilado Padrísimo Vol. 1 is a double 12” compilation curated by Spanish artist Elektro’s Grandfather, Dark Vektor featuring his personal selection from today’s scene. A fearless snapshot of the Spaniard national electro scene. Established figures stand shoulder to shoulder with new blood, generating a current where tradition and innovation collide in sparks. Every track is a charged fragment of a collective identity, soldered into one unstoppable groove. A declaration that the Spanish electro underground is alive, mutating, and absolutely padrísimo. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

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

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

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

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

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

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

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

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

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

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

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

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

Do you remember the last time you were breathing consciously? Either way, you are likely doing it now. On his new album Observation of Breath« for the Swiss-based Hallow Ground label, Lawrence English worked exclusively with an organ for four compositions that are exercises in »maximal minimalism,« as their creator himself notes in a nod to Charlemagne Palestine, who coined this term. While it seems somewhat fitting that those four pieces based on a steady flow of air were conceived and recorded in a situation of accelerated standstill caused by a respiratory disease, the Room40 founder is not so much concerned with capturing the zeitgeist than rather incorporating the spirit of time itself. »It is a record about presence and patience,« he explains. Exploring the unique sonic affordances of a singular instrument, »Observation of Breath« is not only devoted to the durability of sound but also to its density. That it marks his debut on Hallow Ground after having shaped its sound by mastering most of the label’s releases in recent years is just as fitting then as its release following albums by Kali Malone and FUJI|||||||||||TA, whose innovative work with organ instruments have facilitated a rediscovery of their possibilities.English’s compositions however are neither directly indebted nor responding to these musicians. His exploration of the organ’s many facets started a decade ago when the composer was given access to an instrument built in 1889 that is presently housed at The Old Museum in Brisbane. After it had already played a crucial role on his seminal albums »Wilderness Of Mirrors« and »Cruel Optimism,« last year’s self-released »Lassitude« was the first record that English entirely composed and recorded with that instrument. »During the soft lockdowns, I spent many days playing to an empty concert hall, recording the pieces that became ›Lassitude‹ and then, this album,« says English in regards to an unfortunate situation that fortunately provided him with time and space—two major themes but also key qualities of the four new compositions. In this sense, he goes on, »Observation of Breath« resolves a number of the questions originally raised by »Lassitude.

Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS), release date 2024-10-24. After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo’s #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside.

One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band’s more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams’ love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow.

Speaking to the history & the inspirations behind the album, Abrams offers: “We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school.” Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon.”

The core NIS ensemble heard on Perseverance Flow always address Abrams’ writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams’ invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time.

Refracting the band’s signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once —”energetically nutritious” (October 2025 Issue 500 The Wire) supernatural information society.

“Perseverance Flow is skipping rope in slo-mo. A dance of co-operation to rally guts & humors & keep marching through pouring tears” (Abrams).

The Power Station celebrates the 40th anniversary of the band and their debut album, with a 2LP gatefold vinyl of the remastered album and a 4CD including the remastered album, the unreleased live performance from 1985 as well as Live Aid recordings, raw instrumentals and remixes.
The Power Station were a rock and pop music supergroup from the 1980s/1990s comprising of singer Robert Palmer, former Chic drummer Tony Thompson, and Duran Duran members John Taylor and Andy Taylor.

One of the leading Japanese alternative rock band, GEZAN’s leader, MahitoThePeople’s director debut film, i ai was released in March 2024, and it is an atypical coming-of-age film decorated with tinge of red.

　The film takes place in Akashi and Kobe, Hyogo prefecture. This film’s main characters are Ko (Kentaro Tomita), a rookie member of a band and a brother-like figure of his, Hee (Mirai Moriyama) who Ko idolizes and the story of this movie is based on their struggles with life and death. The story is also based on Mahito's real-life experiences and while reality and fiction are duplicated, the boundary between them slowly melts away. The film co-stars Honami Satoh, Kazuki Horike, Mitsuru Fukikoshi, Eita Nagayama, Kyoko Koizumi, K-BOMB, Ichi Omiya and many other unique personalities. It should also be noted that the transparent images filmed by photographer, Masafumi Sanai gives the film, a special emotional quality.

　The film is not bound by any film theory but it poses a theme common to GEZAN's recent works and Mahito's writing activities: How can we live in a crumbling society while interacting with others? We can never live alone but living with others is also never easy. How can we overcome this time of extreme division of the world?

What left quite a strong impression in this film that not only Mahito personally directed but also wrote the script and composed the soundtrack as well was the main theme song, entitled “i ai”. This new piece of GEZAN is an extension of the work that this band has continued doing over the last few years. This 12" single, contains the song, “i ai” and it will be the first time released on vinyl.

Led by soft guitar arpeggios, the song gradually builds to a fever pitch, condensing the mood of the film which encompasses both tranquillity and intensity. The chorus of ineffable, multiple voices united together sounds like a lament that has spilled out of society or a cry of joy. GEZAN's collaboration with the 15-member chorus group, Million Wish Collective has been in development of late and the cultivated sensibilities through their activities are put to use in this song.

The song can also be considered a slow, relaxed dance track that lasts 9 minutes and 8 seconds. It has something in common with organic dance tracks from South America and other regions, and it is significant that GLOCAL RECORDS which represents glocal music from around the world in Japan are releasing it as a DJ-friendly 12-inch single.

The B-side features a remix by COMPUMA who is also closely associated with GEZAN. The song starts with an African styled percussion, with a thumb piano in the middle of the song and then returns to that memorable chorus. This song feels like a 18 minutes and 18 seconds long short movie like suite, with some dizzying changes from the beginning to the end. It is remix filled with enormous drama!

The cutting and mastering of this 12” was done by TOREI who is also active as a DJ and the artwork was created by jvnpey, a visual artist and graphic designer based in Tokyo. Their loving work also makes this 12" very special.

When I asked AI to find a synonym for the word, “division,” it displayed in succession, a series of words: “integration,” “consolidation,” “unification,” “unity”, and “reconciliation". All of these phrases are somewhat whitewashed and embarrassing but the mirage-like chorus echoing in the song, “i ai” seems to be trying to find a new word, that is a synonym for the word, "division. In this film, “i ai”, the message, “Let's live together after the end roll” was thrown out but included in this 12-inch, the message, “Let's live together after the music stops”, emerges.

Challenger was the debut and unique album from the iconic and unique italo disco band Baby's Gang. Altough oficially it had only two singles (Happy Song and Challenger), some other labels found extra tracks to be released as single (America) when Memory Records decided to focus on new releases. Produced by Anfrando Maiola (KOTO), Stefano Cundari and Alessadro Zanni, 'My LIttle Japanese Boy' is one of those tracks so it was worth buying the album. The album did not neither included the original version for Happy Song, but a 'Remix'. Probably someone back in the days should have made this EP including both track...now we have done it. This 12" included the original versions plus two Razor's Edit to make it more DJ Friendly.

DJ Honesty returns on Syncrophone and drops tight techno / house cuts, flipped hard by Satoshi Tomiie on the remix. Pure underground heat, wired for the floor and the heads.

In March 2025, "On the Love Beach" performed solo shows in Shanghai and Beijing with Toushi Naoki to great success.

2025 marks the 30th anniversary of their memorable debut album, "On the Love Beach," and the band's first three albums are being reissued on CD and vinyl!

All three albums use the original master tapes, and each has been thoroughly remastered under the supervision of Shinji Shibayama for high-quality sound!

"On the Love Beach"'s third album, released in 1999, is a two-disc masterpiece that holds a unique position in the band's history, and many fans secretly cherish
the original LP version.

Shibayama's motivation for recording this album was to explore whether the concept he experimented with with Hallelujahs—"pursuing the uniqueness and
improvisation of the performance itself within the format of a pre-written song"—would work in a fixed band format rather than a session, and what the results would be.
It was a bold (and reckless) production approach: all basic tracks, including the lead vocals, were recorded live in the studio in one take, with no re-recordings allowed,
and overdubs like the chorus were kept to a minimum.

Although there are discrepancies between the punk-inspired performances and vocals due to the unedited concept, this is a rare example of the wild energy of a
band captured so authentically with such high sound quality in Jap-rock, and, regardless of its merits or demerits, it is undeniably compelling.

The raw sound quality, capturing the irreversible, fleeting interplay, demonstrates the outstanding engineering sense of Peace Music's Nakamura Soichiro,
and the pride of the rock band "Nagisa Nite" is evident throughout.

It's also noteworthy that this "Nagisa Nite" album contains the most solo works by Masako Takeda. Naturally, it's meticulously remastered from the original
master tapes for exceptional sound quality!

Alan Vegas selbstbetiteltes Solo-Debütalbum, das ursprünglich 1980 rausgekommen ist, eröffnete ein neues Kapitel für eine der einflussreichsten und kompromisslosesten Stimmen New Yorks. Vega stürzte sich voll und ganz auf die Wurzeln seines persönlichen Sounds, inspiriert von Blues, Rockabilly und seiner großen Liebe zu Elvis Presley. Ohne die konfrontative Elektronik von Suicide, aber mit Vegas Außenseiter-Energie und Stimme, filtert das Album den frühen Rock 'n' Roll durch einen Art-Punk-Filter und ist ein echtes Kult-Meisterwerk. Minimalistisch, eindringlich und zutiefst persönlich hat es sich einen einzigartigen Platz im Underground-Kanon erobert. Die limitierte Deluxe-Doppel-LP-Edition kombiniert das neu remasterte Originalalbum auf der zweiten Platte mit bisher unveröffentlichten frühen Demos und bietet einen seltenen Einblick in den kreativen Entstehungsprozess dieses Kultklassikers sowie exklusives alternatives Artwork. "Alan Vega (Deluxe Remastered Edition)" ist ein Begleitwerk, das neues Licht auf Vegas Schaffensprozess und Vision während dieser entscheidenden Ära wirft und es zu einem Muss für Sammler und langjährige Fans macht.

"An Eternity Still" delves into the theme of closure, capturing the emotional journey of closing one chapter and beginning another. It evokes a stirring blend of nostalgia and the need to move forward, balancing bright memories with the desire for growth and new challenges.

For this project, Vanity Productions' Christian Stadsgaard teamed up with close collaborators Emma Acs and Malthe Fischer, who joined in the compositional process. While the album maintains Stadsgaard's signature melancholia, it also introduces a fresh sonic palette, incorporating vocals and guitar alongside the project's hallmark broken electronics and dark, evocative melodies.

The Album also features remixes by acclaimed artists Farzané and Ireen Amnes, further enriching the album's collaborative spirit and adding new dimensions to its haunting soundscapes.

To mark what would have been Mikis Theodorakis' 100th birthday in 2025, Intuition released a very special album: 'Lost Songs' - fourteen previously unpublished compositions by the world-renowned Greek composer, presented here for the first time in a remarkable solo piano version by German pianist Henning Schmiedt. A remarkable moment took place in 2009 at Mikis Theodorakis' studio in Athens: Henning Schmiedt personally played his piano arrangements of the 'Lost Songs' to Theodorakis himself. Some of the melodies sparked the composer's memory, while others did not - but he listened attentively, offered comments and gave guidance that directly influenced the final versions of the pieces.

As such, 'Lost Songs' can be considered a posthumous release with the composer's blessing. These pieces offer a glimpse into Theodorakis' expressive power and artistic maturity from a very young age - most of the 'Lost Songs' were written in the early 1940s and provide a compelling window into the formative years of one of the most important composers of the 20th century.

'Lost Songs' is available on 180g vinyl and digipak CD editions.

DHR First Vinyl EP DHR001 providing 90's tech house & acid inspired flavours from up and comer ATST, with remixes from hard hitters Papa Nugs & Phasmid

Multi Talented Sheba Q debuts on Over/Shadow with 2 tracks that highlight her unique style and sound. Asterix has been doing the rounds for a while after being made with Nectax and Sovereign projects Margarets vocal skills with Outrage on the buttons.....and to top it all off we have a Dub one Remix!!!!

repressed !

4 To The Floor is committed to delivering seminal house music to wax, making sought after heritage tracks readily available on vinyl for crate diggers to add to their collections. Classics Volume 2 kicks off with a slice of Defected 2012 goodness; ‘Around (Solomun Vox)’ by Noir & Haze. When Solomun took his turn at remixing this Ibiza anthem, it was heard everywhere from Hackney warehouses to Pacha Ibiza, and showed a different side to the heavier original. On the B-Side is the Moodymann Edit, where he makes subtle changes to Solomun’s mix by interweaving tribal drums and stripping back some of the techier elements, followed by Chicken Lips’ electro banger ‘He Not In’ which thunders through. An instantly recognisable record, even if they’re not aware of its name or who wrote it, with an unmistakable bassline that has truly stood the test of time.

Yes, after a hiatus of 15 months, The ReMix Collection makes a highly anticipated return as Yotto steps up to take on the Shakra Mix of Power Circle’s ‘Garden Of Peace’.

Originally released in 1993, the track was an immediate Renaissance anthem, finding favour with all their key DJs. However, it became synonymous with one man in particular, namely, John Digweed, who cemented the track’s legendary status when he included it on his Journeys By DJ compilation the following year. Even today he’s been known to slide it into the mix, most recently episode 10 of his legendary Bunker streams. And the track has other contemporary fans too; a certain Mr. Plex was heard dropping it in 2020.

In short, it’s one of those records that’s stood the test of time and grown in stature year on year. Now, its evolution takes yet another step as it joins the ranks of Renaissance’ flagship ReMix Collection series.

Yotto’s modern interpretation is a high-octane juxtaposition of thunderous bass, rising pads and THAT vocal. ”Garden Of Peace is a record I missed first time around as a kid and had only heard on a mix, never knowing what it was, so when Renaissance approached me about a remix there was a strange sense of familiarity,” he explains, “The original is full of classic progressive house mystery and, while I took the whole thing apart, I wanted to keep that emotion with my interpretation.” On the B-side there’s a re-mastered cut of the original Shakra Mix, which isn’t released digitally and remains exclusive to vinyl only.

Homehitters strike again, knocking a couple of sure shot funk bangers out of the park and making their debut on 45. Guaranteed party starters every time!

Brooklyn-born David Forman was steeped in soul music and Brill Building songcraft in the early 1970s while earning his living as a Hollywood set builder. He developed a soul singing style through his friendship with Aaron Neville, with whom he used to sing and jam on his apartment rooftop. He met Jack Nitzsche through his work on the 1972 film Greaser’s Palace (for which Nitzsche created the soundtrack) and later asked Nitzsche to produce this album. Forman’s original record deal with Davis was shepherded by the critic Stephen Holden of Rolling Stone and later the New York Times, and later by Paul Nelson, also of Rolling Stone.Fun fact about Forman: He was an assistant to Phillip Petit on his daring tight rope walk between the twin towers in 1974. And Forman later became a jingle writer and wrote and sang the famous Tums theme song (“Tum tum-tum-tum, TUUUUMS."This release features remastered audio, a plethora of archival photos, and a 24-page booklet with a 5500-word essay from noted journalist and producer Joe Hagan, a staff writer at Vanity Fair and producer of the 2022 compilation 'Earl's Closet' for Light In The Attic. Hagan is also fully committed to promoting the release through his network of key media gatekeepers, as well as his personal connections with legendary musicians, writers, and other cultural tastemakers.

"Eau" is the lovely new album from aus, the solo project of Tokyo-born composer and producer Yasuhiko Fukuzono, who has gained attention, in Japan and overseas, for his thoughtfully paced and sensitively skillful music as well as his intriguing sound design for exhibitions and experimental cinema. Having worked primarily with keyboards and electronic sound up to this point, "Eau" is a slight yet fascinating shift for aus; the album, while still primarily an electronic work, revolves around the sonic world of a stringed acoustic sound source, the koto, that most characteristically Japanese of musical instruments. The very accomplished Eden Okuno provides the delicate-yet-rich koto sounds on offer here; Fukuzono, in the liner notes, acknowledges the importance of Okuno's artistry to the project.

The compositions on the album are designed to balance the sound of the koto, with its subtly variable attack and flickering resonance, with the timbre of other instruments. The delicate decay and metrical flexibility of the koto is enveloped by sustained synthesizer sounds and contrapuntally constructed piano melodies, creating a flowing ambience with absorbing undercurrents, a languid and liquid quality that reveals the suitability of the title.

Avid fans of contemporary Japanese music might hear the influence of pioneering works such as the the 1979 Hiroshi Yoshimura composition "Clouds for Alma", realized by koto player Tadao Sawai, and the 1993 album "Koto Vortex I: Works by Hiroshi Yoshimura" which featured performances of Yoshimura's works by the Japanese koto quartet Koto Vortex. These works attempted to remove the koto from its traditional context and place it within the context of ambient and techno. "Eau" is available on CD/LP/cassette/digital, with E/J liner notes by aus. "Eau" is the first collaborative release by EM Records and FLAU, the label run by Yasuhiko Fukuzono (aus).

Blues and Soul Award winner and double MOBO Awards nominee Ronnie Herel is back with his 2nd volume of his excellent compilation series Neo-Soul Sessions. Ronnie, a massively important figure in the UK Black music scene, is a radio presenter with Mi Soul and includes BBC 1xtra in his broadcasting credits. He is a DJ of international renown and was one half of the Quartz production duo which scored memorable hits with Dina Carroll. His undisputed love for and knowledge of the Neo-Soul genre shines through in the Neo-Soul Sessions and this latest, volume 2, is no exception. Featuring tracks from artists such as Vula, Terri Walker, Aname Rose and Slakah the Beatchild, among others, Neo-Soul Sessions volume 2 is a brilliantly curated and pieced together selection of twelve tracks that absolutely nails the beauty of the later releases in the Neo-Soul genre. Played from start to finish the track selection and order is a pre-made DJ set that flows in a way that would soundtrack a dancefloor, a house party and an excellent backdrop of tunes for any time and day of the week. Ronnie's passion for championing independent artists is also evident in his selections here and the compilation serves as a platform for those voices who deserve to break through. The decision to choose six of his favourite tracks to sit alongside six exclusive and unreleased gems means that a light is now shined on every artist featured on the compilation. An absolute must for serious lovers of Neo-Soul, RnB and Black Music, Neo-Soul Sessions volume 2 is released on double vinyl LP and CD formats.

Das Debütalbum der Musiker aus Boston aus dem Jahr 1997. Von Bassist/Sänger/Toningenieur Araby Harrison als ,Junk" bezeichnet, zeigen die acht Songs die Affinität von Jejune zum Pop-Punk und ihre Ambitionen im Bereich Alternative Rock mit jugendlicher Energie. Tauchen Sie ein in einen 30-minütigen geografischen Sampler aus Gilmangaze, Midwest Emo und Masshole Hardcore, remastered und aufgefrischt aus dem originalen, abgegriffenen Atlas. Klebeband nicht enthalten.

Die zweite Emo-Welle atmet den letzten Atemzug des Alternative Rock. Jejunes zweites und letztes Album ,This Afternoons Malady" demonstriert ihre Vorliebe für Midwest Emo durch eine Corganesque-artige Wand aus knurrenden Gitarren. In Zusammenarbeit mit Ted Leo von Chisel produziert, mischen die zwölf Songs von ,Malady" Handklatschen und Herzschmerz zu gleichen Teilen, alle remastered und endlich zum ersten Mal auf Vinyl erhältlich. Sie können die Picture Disc nun entsorgen.

KOIZUMIX PRODUCTION, a collaborative project between Kyoko Koizumi who worked under a different name in the 1990s and club culture artists and creators,
is finally being released in analog format. These two works, now difficult to obtain, are making their long awaited debut on vinyl.

The release is a complete analog version of the 1998 CD, which could be considered a KOIZUMIX PRODUCTION remix best-of.
It includes all tracks from the original CD, plus additional remixes that were previously available only on vinyl, compiled into a 2-disc set titled “89–99 COLLECTION”.

Alan Vegas selbstbetiteltes Debüt-Soloalbum kam 1980 raus, zur gleichen Zeit, als Suicide ihr zweites Album "Suicide: Alan Vega and Martin Rev" veröffentlichten. Während Suicides Plattenlabel ZE Records das Duo in Richtung eines synthetischen Disco-Sounds drängen wollte, der von Moroders Produktion von Donna Summers "I Feel Love" inspiriert war, zog es Vega in eine andere Richtung. Er wollte tiefer in die Wurzeln seiner eigenen musikalischen Identität eintauchen, die von Blues, Rockabilly, frühem Rock ,n' Roll und seiner anhaltenden Liebe zu Elvis Presley geprägt war. Vega nutzte die Zeit zwischen den Aufnahmen mit Suicide, um seine selbst geschriebenen Songs auszuarbeiten, begann mit der Produktion seines ersten Albums und trat live auf, um diesen Sound weiterzuentwickeln. Wie auch in seiner bildenden Kunst schichtete Vega Klänge auf minimalistische, dynamische und bewusste Weise. Das Ergebnis war ein einzigartiges Album, das aus rohen Materialien entstand und tief in Vegas künstlerischer Vision verwurzelt war. Tracks wie die klassische Hymne "Jukebox Babe" mit ihrem schwungvollen Rhythmus und ihrer minimalistischen Selbstsicherheit fingen diesen Ansatz perfekt ein und wurden in Frankreich zu einem Hit. "Kung Foo Cowboy" hat einen südstaatlichen Touch und lehnt sich stark an den Blues an, während der goldene Pop-Glanz von "Ice Drummer" mit melodischem, aber klagendem Gesang, marschierenden Trommeln und einem geschmackvollen Mundharmonika-Solo überzeugt. "Bye Bye Bayou" ist ein eindringlicher Mutant-Rockabilly-Song, der den Rock der 50er Jahre mit Vegas exzentrischem Performance-Stil verbindet und später in der Coverversion von LCD Soundsystem aus dem Jahr 2009 neu interpretiert wurde, wodurch Vegas Solowerk einer neuen Generation vorgestellt wurde. In ähnlicher Weise würdigte die Coverversion von "Ice Drummer" durch The Flaming Lips Vegas Außenseitergeist. Jetzt von Josh Bonati anhand der Originalbänder neu gemastert und erstmals auf Streaming-Diensten verfügbar, wurde Alan Vega von Sacred Bones Records originalgetreu neu aufgelegt, wobei die rohe Intensität von Vegas Originalaufnahmen erhalten blieb und sie gleichzeitig für Hörer auf der ganzen Welt neu zugänglich gemacht wurden. "Alan Vega" ist mehr als ein Solo-Debüt, es ist eine Erklärung der künstlerischen Unabhängigkeit und Freiheit eines der einflussreichsten und kompromisslosesten Künstler New Yorks. Ohne die intensive Elektronik von Suicide, aber mit Vegas Außenseiter-Energie und Schärfe, übersetzt das Album den frühen Rock 'n' Roll durch einen Art-Punk-Filter, der sich als eigenständiges Kult-Meisterwerk bewährt hat.

Andrew Lloyd Webber’s The Phantom of the Opera is one of the most celebrated musicals of all time, and this original London cast recording from 1986 remains the definitive recording. Michael Crawford’s Tony Award-winning performance as The Phantom and Sarah Brightman’s portrayal of Christine Daaé helped make this the best-selling cast recording in history. Re-issued for the first time in decades, this classic album brings the unforgettable score to a new generation of listeners. From the title song to “The Music of the Night” and “All I Ask of You,” every track reflects the power and beauty that continue to make The Phantom of the Opera a global phenomenon nearly forty years after its debut. Since its premiere, The Phantom of the Opera has been seen by more than 160 million people in 195 cities and has received over 70 major theatre awards. It holds the record as the longest-running show in Broadway history and was the first British musical to debut at number one on the music charts. The recording has been certified Platinum in six countries.

Das französische Duo Lilly Wood & The Prick, bestehend aus Nili Hadida und Benjamin Cotto, prägt seit 2006 die Pop- und Indie-Szene. Bekannt wurden sie zunächst durch ihre Mischung aus Folk, Pop und Elektro, bevor der internationale Durchbruch mit dem Robin-Schulz-Remix von Prayer in C gelang - ein Welthit mit über 1 Milliarde Streams und Diamant-Auszeichnung. Für ihr Debütalbum Invincible Friends erhielten sie den Victoire de la Musique-Preis als "Publikumsentdeckung". Es folgten erfolgreiche Alben (The Fight, Shadows, Most Anything) und weltweite Tourneen, von europäischen Festivals bis nach Australien. Mit CHRISTINA, ihrem fünften Studioalbum, schlagen Lilly Wood & The Prick ein neues Kapitel auf. Produziert von Myd, steht das Album für klare Beats, elegante Hybrid-Sounds und eine kompromisslose Richtung. Der Titeltrack Christina ist mehr als ein Song: Er thematisiert Schönheitswahn und Selbstinszenierung im Social-Media-Zeitalter - verpackt in hypnotischen Electro-Pop. Weitere Highlights wie Swear zeigen die neue Energie des Duos: direkter, moderner und voller popkultureller Wucht.

"Collision Drive" ist Alan Vegas zweites Solo-Studioalbum, das ursprünglich 1981 rausgekommen ist. Während sein Debütalbum den Grundstein für eine rohe, minimalistische Interpretation von Rockabilly und Blues gelegt hat, erweitert Collision Drive" die Palette mit einer raueren, vielschichtigen und ungefilterten Energie. Hier greifen Vegas Texte universelle Themen auf, die in seiner Faszination für das Straßenleben, Science-Fiction, Politik, Comics, Liebe und die Geheimnisse des Universums verwurzelt sind. Es ist ein Album, das vor Gefühl und Rebellion pulsiert und das gesamte Spektrum menschlicher Erfahrungen sowie Vegas sich weiterentwickelnde Vision zeigt. Alan erfand sich immer wieder neu, schuf und verfeinerte seine Meisterschaft der Variation und behielt dabei seine eigene unvergleichliche und unverwechselbare Ästhetik bei. Klanglich ist dieses Album dynamischer als sein erstes. Collision Drive" verzichtete auf Drum Machines zugunsten eines Live-Drummers und holte eine Hardrock-Band als Begleitung hinzu, wodurch es eine andere Sichtweise auf Vegas künstlerische Vision bot. Der schmerzhafte Punk-Rockabilly von Magdalena 82" entfaltet sich mit einer hypnotischen Mischung aus Gitarren-Slides und frenetischer Energie, während Vegas Cover von Be Bop A Lula" Gene Vincents Klassiker in ein aggressiv aufgeladenes, manisches Heulen verwandelt. Andere Tracks wie der treibende kosmische Rock 'n' Roll Raver" dringen in Psychobilly-Gefilde vor. Vega war unerbittlich innovativ und beschritt ständig neue Wege. Hier werden wir Zeugen seines vollständigen Aufstiegs in seine eigene Mythologie: teils Rockabilly-Outlaw, teils kosmischer Prediger, teils visionärer Außenseiter. Collision Drive" ist breiter angelegt als sein Debüt, aber genauso kompromisslos und eine mutige und persönliche Erkundung von Klang und Identität. Roh, elektrisierend und bahnbrechend bleibt es ein Kult-Meilenstein des Outsider-Rock und ein Prüfstein für die Entwicklung des Art-Punk und des experimentellen Pop von einer der furchtlosesten Ikonen New Yorks. Collision Drive" wurde von Josh Bonati anhand der Originalbänder neu gemastert und erscheint nun in einer ehrfürchtigen Neuauflage bei Sacred Bones.

"Collision Drive" ist Alan Vegas zweites Solo-Studioalbum, das ursprünglich 1981 rausgekommen ist. Während sein Debütalbum den Grundstein für eine rohe, minimalistische Interpretation von Rockabilly und Blues gelegt hat, erweitert Collision Drive" die Palette mit einer raueren, vielschichtigen und ungefilterten Energie. Hier greifen Vegas Texte universelle Themen auf, die in seiner Faszination für das Straßenleben, Science-Fiction, Politik, Comics, Liebe und die Geheimnisse des Universums verwurzelt sind. Es ist ein Album, das vor Gefühl und Rebellion pulsiert und das gesamte Spektrum menschlicher Erfahrungen sowie Vegas sich weiterentwickelnde Vision zeigt. Alan erfand sich immer wieder neu, schuf und verfeinerte seine Meisterschaft der Variation und behielt dabei seine eigene unvergleichliche und unverwechselbare Ästhetik bei. Klanglich ist dieses Album dynamischer als sein erstes. Collision Drive" verzichtete auf Drum Machines zugunsten eines Live-Drummers und holte eine Hardrock-Band als Begleitung hinzu, wodurch es eine andere Sichtweise auf Vegas künstlerische Vision bot. Der schmerzhafte Punk-Rockabilly von Magdalena 82" entfaltet sich mit einer hypnotischen Mischung aus Gitarren-Slides und frenetischer Energie, während Vegas Cover von Be Bop A Lula" Gene Vincents Klassiker in ein aggressiv aufgeladenes, manisches Heulen verwandelt. Andere Tracks wie der treibende kosmische Rock 'n' Roll Raver" dringen in Psychobilly-Gefilde vor. Vega war unerbittlich innovativ und beschritt ständig neue Wege. Hier werden wir Zeugen seines vollständigen Aufstiegs in seine eigene Mythologie: teils Rockabilly-Outlaw, teils kosmischer Prediger, teils visionärer Außenseiter. Collision Drive" ist breiter angelegt als sein Debüt, aber genauso kompromisslos und eine mutige und persönliche Erkundung von Klang und Identität. Roh, elektrisierend und bahnbrechend bleibt es ein Kult-Meilenstein des Outsider-Rock und ein Prüfstein für die Entwicklung des Art-Punk und des experimentellen Pop von einer der furchtlosesten Ikonen New Yorks. Collision Drive" wurde von Josh Bonati anhand der Originalbänder neu gemastert und erscheint nun in einer ehrfürchtigen Neuauflage bei Sacred Bones.

Gatefold clear 2LP


Lorna Shore hat unerwartete Höhen erklommen, vor den größten Zuschauermengen ihrer Karriere gespielt und ist buchstäblich durchs Feuer gegangen, um »I Feel the Everblack Festering Within Me« zu veröffentlichen. Das neueste Album des Quintetts aus New Jersey knüpft dort an, wo sie mit dem mittlerweile klassischen »Pain Remains« aufgehört haben.

Während die erste Single des Albums, »Oblivion«, klassische Lorna Shore-Klänge sind, hört man erst in Songs wie dem hymnischen »Unbreakable«, dem pathetischen »Glenwood« oder den triumphalen Gitarrenmelodien von »Lionheart« den Sound von Extreme Metal, der seine eigenen Grenzen überschreitet – geprägt von den Erfolgen auf riesigen Festivals und Arenenauftritten mit Künstlern wie Gojira und Mastodon.

Lorna Shores Aufstieg war schlichtweg atemberaubend, und »I Feel The Everblack Festering Within Me« ist nichts weniger als ihr karriereprägendes Album.

**2010 Grammy Award Winner: Best Traditional Folk Album **

‘Marvelous…exuberant’ - Rolling Stone

Nonesuch Records releases a fifteenth anniversary edition of Carolina Chocolate Drop’s 2010 Grammy Award-winning album Genuine Negro Jig, featuring founding band members Dom Flemons, Rhiannon Giddens, and Justin Robinson. The reissue includes the original album and nine bonus tracks: seven previously unreleased tracks plus a 2025 remaster of ‘City of Refuge’ and a 2025 mix of ‘Memphis Shakedown’. This release marks the album’s first time on vinyl since its original pressing in 2010.

Genuine Negro Jig was released on February 16, 2010, reaching the top ten on the Billboard Folk chart and the top of the Bluegrass chart. It won the 2011 Grammy Award for Best Traditional Folk Album. Produced by Joe Henry, it was the first of three releases on Nonesuch followed by The Carolina Chocolate Drops/ Luminescent Orchestrii EP (2011) and the Grammy nominated album Leaving Eden (2012), produced by Buddy Miller. Widely acclaimed as one of 2010’s best, Genuine Negro Jig appeared in year-end lists of NPR, Paste, and more, and was featured in Rolling Stone’s 25 Best Country-Soul Albums in 2024.

“Genuine Negro Jig remains fresh fifteen years later not only because of the Carolina Chocolate Drops’ influence on American popular culture but also because it’s an excellent record in itself,” says Dr. Dwandalyn Reece and Dr. Steven Lewis of the Smithsonian National Museum of African American History and Culture in the album’s liner notes.

Carolina Chocolate Drops formed after band members Dom Flemons, Rhiannon Giddens, and Justin Robinson met at the Black Banjo Gathering in Boone, NC in 2005. All three trained in the Piedmont banjo and fiddle musical tradition under the tutelage of Joe Thompson, who was one of the last musicians of his era and his community to carry on the southern Black string band tradition. While old-time Southern string music is often associated with Caucasian musicians from Appalachia, Giddens pointed out in an NPR interview that “it seems that two things get left out of the history books. One, that there was string band music in the Piedmont, period. And that Black folk was such a huge part of string tradition.” Carolina Chocolate Drops sought to not only correct this misunderstanding but also to keep the centuries-old string music tradition alive and developing.

The members of Carolina Chocolate Drops, who came from diverse musical backgrounds, shared singing duties and swapped instruments throughout their sets. The band recently reunited for a single show at Rhiannon Giddens’ Biscuits and Banjos festival in Durham, North Carolina in April 2025. In celebration of the 20th Anniversary of the Black Banjo Gathering, the documentary Don’t Get Trouble In Your Mind: The Carolina Chocolate Drops’ Story by Filmmaker John Whitehead was released on Amazon Prime, Apple TV, and YouTube Free4all streaming platforms.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

The Final Album recorded by Nikki Sudden release posthumously by friends o Now after consultation with all band members and producer John Rivers the album has been re assembled re mixed and re mastered to create the best sound it's ever been o Lavishly designed by Dave Twist includes notes by band members and photos from the sessions o The Lp comes in de luxe gatefold sleeve with printed inner bags o Contains bonus tracks and has been reordered to the last email nikki sent on the subject

Dan O'Farrell & The Difference Engine's fourth album (recorded and produced by Andy Lewis ) arrives at the start of 2026 like a cold, sharp bucket of water in the face. Bracing and troubling - like a tongue returning to a sore tooth - these songs probe life's dark waters: loss of family, faith, community & self- confidence - but also remains empathetic and rousing, ultimately cathartic. Once you've scraped the bottom, the only way is up. Creation is always an act of joyful defiance. Based in Southampton, and formed from the ashes of John Peel-endorsed indie-band Accrington Stanley , the band bring layers of warmth and subtlety to the uncompromisingly lyrical alt-folk songs of Dan O'Farrell, English-teacher by day and angry, leftist complainer by night.

The Just Joans' new album Romantic Visions of Scotland finds the Glasgow band in characteristically melancholic form, pairing shambling indie pop with sharp observations on romantic pratfalls and everyday dis-appointments, all delivered with sardonic Scottish wit, fronted by siblings David and Katie Pope, whose wry lyrics and heartfelt vocals remain at the heart of the band’s distinctive sound.
Originally inspired by a grandiose exhibition title spotted on Glasgow buses in 2019 for a show at the Nation-al Museum of Scotland called Wild and Majestic: Romantic Visions of Scotland, the new album arrives six years later as a collection of semi-autobiographical snapshots from the Central Belt of Scotland. Whilst some of the details have been exaggerated for comic (or tragic) effect, the songs are based on personal experience of mundane failings, bitter regrets and missed opportunities that make up an unremarkable life.
Recurring themes of nostalgia for a bygone era and the fear of being left behind by lovers, friends and peers run throughout the album. Musically and lyrically, the band channels Village Green-era Kinks, with nods to The Television Personalities, The Smiths and Dolly Mixture.
In the past they have always recorded by themselves in a variety of bedrooms, living rooms – and the occasional toilet. For the first time they have abandoned their DIY recording practices to create what songwriter David Pope calls, “a corporate behemoth in an actual studio.” The album was recorded at Chem19 in Blan-tyre with Paul Savage, who is best known as a founding member of local legends The Delgados. He has also produced and recorded the likes of Teenage Fanclub, Arab Strap and Camera Obscura, and has captured a slightly more muscular version of the band while retaining their ramshackle charm.
The album artwork by vocalist and painter Katie Pope depicts Motherwell Train Station – an ordinary, boring place that speaks to the subject matter of the songs, but with a hint of potential escape. As David Pope ex-plains, “For me, the painting reminds me of the ending of Billy Liar in which Billy tries and fails to leave his hometown for the bright lights of London. Half the band also live in Motherwell, so it seemed appropriate.”
Funded by Creative Scotland, the recording allowed the band to bring in bass and cello arrangements, adding depth and a sheen of musical proficiency to their signature sound.
About The Just Joans - The Just Joans were formed in Glasgow in 2005 by songwriter David Pope. Early demos were collected together and released as a loose concept album, Last Tango in Motherwell, in 2006. Chris Elkin joined on guitar and was followed shortly after by David’s younger sister, Katie, on vocals and Fraser Ford on bass. Over the years they have released EPs and albums on WeePOP! and Fika Records and have gained a cult following as Scottish pop miserabilists.
The current line-up consists of Katie Pope (vocals), David Pope (vocals, guitar), Chris Elkin (lead guitar), Fraser Ford (bass), Arion Xenos (keyboards) and Jason Sweeney (drums).
Press Quotes:
“They fit snugly into the scratchy, low budget Scottish indie tradition of The Delgados and Arab Strap… There’s mischief in this miserabilism.” - Mojo 4*s
“Glasgow’s The Just Joans have documented the romantic pratfalls of a generation of indie kids with sardonic wit and a shambling musical style where Stephin Merrit lies down with The Vaselines.” - Uncut
“Funny and sad, it’s the kind of song that made Red House Painters, The Magnetic Fields and The Wedding Present’s early albums so easy to embrace; an unpretentious sharing of relatable gloom.” - Record Collector

Das legendäre Debütalbum der norwegischen Funkateers Xploding Plastix, "Amateur Girlfriends Go Proskirt Agents" (2001), erscheint als Deluxe-Doppelvinyl mit 6 zusätzlichen Bonustracks. Mit ihrer Mischung aus obskuren Jazz-Samples, coolen Beats, melodischem Feeling, einer unkonventionellen Herangehensweise und einer gehörigen Portion Humor schufen Xploding Plastix ihren ganz eigenen Stil. Eine Art älterer Amon Tobin trifft auf Scott Walker in einem verraucht-schmuddeligen Jazzclub. Dazu noch ein Faible für Film Noir, Balearic Beats, Lo-Fi, absolut abgefahrene Sounds – einfach genial! Der NME schrieb damals: "Währenddessen bieten die Norweger Xploding Plastix – zwei Verrückte mit vielen kleinen Boxen und einem schrecklichen Namen – auf dem Jam Festival eine ganz andere Art von Umbruch. Ihr Sound ist ein lauter, desorientierender Future-Jazz-Krach, eine Mischung aus DJ Foods verrückten Drums, Aphex Twins Taktarten und den stimmungsvollsten, cineastischen Passagen von The Herbaliser. Fantastisch!"

Sun I Tafari I / Tashomi Balfour
Tracks 2 + 4 remixed - Mafia & FluxyRecorded and Mixed - Jamtone Studio by Darren Mathers
2020PRODUCED - CHANNEL ONE SOUND SYSTEM

LORNA SHORE haben ungeahnte Höhen erklommen, vor den größten Zuschauermassen ihrer Karriere gespielt und sind auf dem Weg zu "I Feel The Everblack Festering Within Me" buchstäblich durchs Feuer gegangen. Das neueste Album des Quintetts aus New Jersey knüpft dort an, wo sie mit dem Klassiker "Pain Remains" aufgehört haben. Während die erste Single des Albums, "Oblivion", ein klassischer LORNA SHORE-Song ist, kann man in Songs wie dem hymnischen "Unbreakable", dem von Pathos getriebenen "Glenwood" oder den triumphalen Gitarrenmelodien von "Lionheart" den Sound des Extreme Metal hören, der seine eigenen Grenzen sprengt, geprägt von Erfolgen auf riesigen Festivals und Arenen mit Bands wie Gojira und Mastodon. Der Auf-stieg von LORNA SHORE war atemberaubend, und "I Feel The Everblack Festering Within Me" ist nichts weniger als das Album, das ihre Karriere definiert.

Joaquin Joe Claussell Presents the Second Installment of His Acclaimed Alias: BlackSalsoul

Brooklyn, New York City — Renowned producer, DJ, and spiritual music visionary Joaquin Joe Claussell returns with the second chapter of his celebrated alias, BlackSalsoul. Continuing his lifelong exploration of deep, soulful soundscapes, this latest release focuses on edits and reinterpretations across Spiritual Jazz, Soulful Disco, and African Dance traditions.

Following the success of the debut 7” (Cat# UEDNEXT.1), which sold out within weeks and remains a one-time pressing despite overwhelming demand, the BlackSalsoul series reaffirms its commitment to exclusivity. Each edition will be available strictly on limited 7” and 12” vinyl—a tribute to the physicality and ritual of true record culture.

Blending the warmth of analog production with Claussell’s signature spiritual energy, this release bridges eras and continents, honoring the roots of soulful expression while speaking directly to today’s dance floors.

For fans of Fusion Jazz, Soulful Disco, and Afro-inspired Edits, the new BlackSalsoul record offers another essential journey through rhythm, emotion, and transcendence.

Originally released in 1999. A very hard to find piece now re-issued for the first time with a respectful remaster.

Berlin native T.H. Reingold (aka Tom Clark) has been an integral part of the scene there for for over 25 years - establishing Gold Plate and Highgrade Records along the way. Together on this E.P. with former Tresor resident Mad Max, the much sought after 'Sophisticated EP' is a heady blend of old school house, techno and loopy disco chops. Foundation music - part of the eclectic soup that became known as the Berlin club sound.

Following on from the first KMS Sampler, PDD in conjunction with Armada Music & BEAT Music Fund return for Volume 2 in the series. Once again mining the delights in the expansive catalogue, Volume 2 showcases four more essential cuts. Up first is the classic MK Mix of R-Tyme’s – Use Me. Next up on the A side we have the legendary pairing of Chez Damier and Ron Trent with their remix of Inner City – Share My Life. On the flip, the D’Pac Dub of Dionne opens the B side and then rounding off the EP is the second Inner City track, this time remixed by another Detroit hero, Carl Craig.

Just like Volume 1, the audio has been lovingly remastered by AIR Studios and their team of celebrated engineers, fully utilising their mastering knowledge. Another brilliant volume from KMS!

Axel Boman’s critically acclaimed double album LUZ/Quest for fire from 2022 gets a remix & dub treatment from one of Scandinavia's finest reggae-and-beyond soundsystems, Trensum Tribe.
”Great, now they sound better that the originals” said Axel when he heard the remixed versions for the first time, excitedly starting to collect the best ones for an album. Having been heavily inspired by Mad Professor’s work for Massive Attack since a young age (listen to No Protection for example), a project like this had been a dream of Axel Boman's for decades.
There is a certain freedom that comes with remixing, where you can step outside yourself as a producer and take risks and chances you might not in your own work, and Trensum Tribe really took an adventurous new path when they approached this music. On this homage to soundsystem and rave culture, jungle, dub, disco and house all become best friends in front of a huge stack of homemade speakers, standing tall on fresh dew in a Swedish forest on a cold summer night.

A timeless classic - coming up on nearly 20 years since the original 12's were released and the very first time this LP has collectively been available on wax. (over 15 years since last in circulation) This edition was remastered to analog perfection from the legendary Stefan Betke (POLE) sonically sculpting the original work into a true masterpiece - this album has never sounded so alive! This is truly a multidimensional sound experience; it's like taking a swim in an analogue ocean and being immersed into the deepest end of the Marianas Trench. This edition features two cuts, "A Night To Remember" (as featured on Richie Hawtin's ENTER: Ibiza 4XCD mix) & "Under The Ocean" from the original 2009 edition of the album. The remaining tracks were selected from CD2 including "Tswana Dub" (Phase90 Restructure) as featured on Deadbeat's classic mix "Radio Rothko" on NYC's theAgriculture. Also included is a "live" (recorded from the house booth) performance at "dub echoes" in NYC (a screening for the feature film).

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
Remastered 4:44

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

[g] D1: Love In Lofi [Remastered] 13:00
[Remastered] 4:44

Fides Records pushes further into its 10-year anniversary journey with X3, the third chapter of the series. Staying true to the label’s decade-long commitment to forward-minded underground techno, this new instalment sharpens the focus with five cuts that move between peak-time impact, melancholic tension, and dubwise pressure—each one a different angle on the Fides aesthetic.

Side A opens with Dustin Zahn’s “Madness”, a no-nonsense peak-time weapon built on stomping momentum, immersive pressure, and relentless drive—proof of why the US veteran remains a constant reference point. Marco Bruno follows with “Aura”, where melancholic leads and detuned synths shape an introspective yet heavy-hitting groove, capturing the Italian producer’s emotional weight and versatility. Closing the side, JANEIN (co-founder of Seelen Records) delivers “Polaris”, a spatial, bleepy roller that leans into darkness while keeping the propulsion locked forward.

Flipping to Side B, Yant’s “Fractured” shifts the palette: playful yet precise, kinetic in motion, with textures that keep mutating as the rhythm snaps into place. DHÆÜR “Sealand” captures the mood of a young Italian artist carving a new lane in minimal, elegant, unapologetic techno—energized and raw, yet defined by clean design, confident restraint, and a sharp personal signature. The record concludes with Hadone’s “No Longer Observed”, a dub-tinged stomper rich in detail and low-end depth; club-weight with an emotional undercurrent, balancing elegance and power in a way that feels unmistakably Fides.

Man O To from the elusive producer NU is finally set to be released as a single on Crosstown Rebels, featuring remixes from Parisian producer Pépé Bradock who producers two amazing takes on the original. Since its inclusion on Acid Pauli's Get Lost Compilation in 2012, the track has gained huge support and become a modern-day electronic classic.
A nomad of modern times, NU has travelled the continents with his diverse music to unearth his imitable style. Represented heavily in Man O To, where instruments amalgamate with electronic production to become solid rhythms. An extra spark come from its lyrics, outtakes from an old Persian poem from the well known poet Rumi, who speaks of true happiness in love here performed by Ghazal Shakeri from an original recording made by renowned French composer Armand Amar.
Julien Auger aka Pépé Bradock is a widely respected producer best known for his ground breaking remixes and releases on labwes such a Avatisme, Classic and Versatile Recordings. As a DJ, he has spun in almost every major club in the world and is known for his versatile, and mesmerising style. Bradock conjures a trippy remix and dub version of Man O To and fitting ode to the original.

Fifth Era remastered (32 Bits) 6 of his classics tunes from Fifth Era 05, 06 and 07.

Remastered by Fifth Era and cut by Simon Davey @ The Exchange.

Side A has been remastered and B is the original master.

Almost universally accepted as one of the crowning glories in the UR pantheon, and Motor City Soul at it's finest, Hardlife has been a stone-cold classic at Rubadub heights since it's initial release in 01

Back In Stock!

Grammy Award winner Louie Vega has the unique ability to spotlight and highlight the most essential elements of classic dance tracks and remix and recreate them to create something just as powerful for today’s audiences. Currently in the midst of putting the finishing touches on his forthcoming album, Expansions In The NYC, Louie took some extra time to gather together the original members of the seminal New York – based disco funk band Unlimited Touch and collaborate with them at Log Cabin Studio in Manhattan and his own Daddy’s Workshop Studio in New Jersey to produce the 2020 edition of “I Hear Music In The Streets.”

Unlimited Touch consists of Audrey Wheeler (lead singer), Phil Hamilton, Tony Cintron, Sandy Anderson (RIP), Stephanie James and Lenny Underwood. “I Hear Music In The Streets” was originally released on legendary imprint Prelude Records in 1981.

Growing up in the Bronx, from an early age Louie had an affinity and love for all the various musical genres that were bubbling up in New York during that era defining creative period. It is that passion that has stayed with him during a career that has brought him Grammy’s, several worldwide hit records, and a status as one of the world’s most sought after DJs. It was especially fulfilling for Louie to work with the original members of Unlimited Touch, He quickly realized that their talents were still as strong as ever as they performed musical and vocal elements from the original song, and that they had the vision to see how the song could be re-energized by having Louie add his unique production elements to this seminal tune.

Louie is in the midst of an especially prolific and productive period. In 2016 he released the Grammy nominated Louie Vega Starring….XXVIII full length album; 2018 saw the release of the widely acclaimed and chart topping NYC Disco 2 X CD and 4 X vinyl album on Nervous Records. Known universally as “The Maestro” due to the standards of excellence he maintains in his productions, DJ Performances and live appearances with his Elements of Life Band, Louie Vega is now ready to unleash another gem to add to one of the music industry’s most remarkable body of work.

Warehouse Find!