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Originally released in 2005, OK Cowboy, Vitalic’s first album, is celebrating its twentieth anniversary with a reissue in several formats (box set, double vinyl, CD, digital), enriched with rare tracks and previously unreleased versions. OK Cowboy is a landmark album in electronic music, a pivotal record between eras. It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.

Esteemed soul man of Panama Mr. Ralph Weeks has in recent years been enjoying a much overdue retrospective of his remarkable six decades-long musical journey with the help of Names You Can Trust. Now onto their fifth record release together since 2019, the label has covered both Weeks' original holy grail material as well as re-cuts and reimagining of some of his rarefied and unreleased songs.

One of Mr. Weeks' two iconic 45 releases on Panamanian label Sally Ruth was a funky soul side called "Let Me Do My Thing," originally recorded in 1971 as Weeks' answer to Charles Wright's big tune "Express Yourself," which had just hit the airwaves in 1970. Weeks' musical response would help define his legacy. He was gonna express himself, he was gonna Do His Thing. This golden age ultimatum recorded with the Dynamic Exciters of Panama as the backing band was a simple, straight ahead number with a defining message that would be carried on throughout Weeks' independent career. The funkified air and creative freedom of the original tune is a prime example of the crossover Combos Nationales sound that flourished in the prolific Panama recording industry of the era, and in the ensuing decades Weeks' tune would live on as a cherished rare groove for souleros, funk fans, and bootleggers alike.

Fast forward to 2023, when Ralph Weeks and Names You Can Trust prepared for a Bay Area appearance at the wonderful Latinos Con Soul weekender put on by San Francisco's Discodelic record shop, the groundwork was laid in the studio for a revival, a reawakening of Weeks' funky fan favorite. A spectacular ensemble of NYCT's All-Star artists and alumni was convened in the studio, including Caito Sánchez on drums, Victor Axelrod (Daptone Records) on clavinet and Sam Day Harmet (La Banda Chuska) on guitar. Anant Pradhan (The Skatalites), Eric Biondo (The Budos Band) and Alex Asher (Los Cumpleaños) occupied the brass section, and Ralph Weeks even lent his still formidable chops on electric bass and keyboards, a little OG flare to back up his silky voice with a deft musical touch. What came out of the sessions was a chance for NYCT to pay homage to Weeks' iconic original, without replacing it, and build a brand new version from the ground up with the maestro and composer himself!

When Chuck D proclaimed "Bass, how low can you go?" on Public Enemy's anthemic 'Bring the Noise,' maybe he was pre-empting or inciting the 10,000 fathoms-deep, spine-bending basslines and sub-quake tremors of 'Implosion.'

Implosion is a crushing split album, appropriately released on The Bug's own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it’s one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction.

As expected from a tag team featuring British soundlab explorer and 'London Zoo' composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz—a long-time graduate of Germany's new school of sound system reggae culture—the duo approaches their target differently yet share the goal of keeping their sound "raw" (Fiedler) and "brutally minimal" (Martin). This proves that opposites can attract, even if their tools are different and their methods sometimes diverge.

From such a disparate combo, hailing from different geographical and aesthetic backgrounds, contrasts are certainly on display, even within each artist's own contributions. From the melancholia and transcendence of 'Alien Virus (West Indian Centre, Leeds),' to the duality of ascension and descension on 'Hope,' or the Sunn 0))) in dub, visceral drone of 'Dread (The End, London),' to the tripped-out repetitions of 'Midnight,' which reinvents Chain Reaction for post-millennials, the result is both sacred and narcotic. Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album—a mastery of tone and texture.

This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler‘s Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design.

Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub's stark rhythm attack, isolationist ambience's eerie drift, dub techno's floatation strategies, and even the relentless riffs of doom metal collide. As the bass-obsessed pair drop what is arguably the heaviest ambient dub album to emerge from any electronic sector—a moody counterpoint to The Orb's fluffy clouds, etc, Martin has cited The Roots Radics, Black Jade, and On U Sound's Pounding System as heavily influencing his approach to the album, while Fiedler has expressed his admiration for Adrian Sherwood's productions and Rhythm & Sound's enchanting soundscape. Yet, the super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond these influences.

Shadowy and elusive, there’s a mysteriousness at this record's core. A haunting moodiness oscillating between nostalgia and future shock. Despite the deadly fixation with SLOW and HEAVY, the album maintains a totally hypnotic swing throughout. Implosion and its lead single 'Imploded Versions' are testaments to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers.

Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio, this record is heavy as f-ck without resorting to continuous distortion. It’s low-end worship taken to an absolute extreme, yet remains highly listenable and definitely danceable, albeit at the slowest of paces. Sacred and narcotic, this is low-end worship amplified to the max. Dive in if you dare.

The organist’s classic 1970 album. His third record for Blue Note and one of the key soul-jazz workouts of the era. Recorded at the Van Gelder Studio on 12th December 1969. Produced by Blue Note co-founder Francis Wolff. Featuring a red-hot backing band of tenor saxophonist John Manning, guitarist Melvin Sparks and drummer Tommy Derrick. Highlights of the album include Wilson’s dynamic originals ‘Bus Ride’, ‘Orange Peel’ and the title track, plus great covers of Eddie Floyd’s ‘Knock On Wood’ and Edwin Starr’s ‘Twenty-Five Miles’. Wilson recorded two subsequent Blue Note albums: Set Us Free and A Groovy Situation.

François X closes The Skin Between Us with a final chapter that sharpens his vision.

Where Part I explored heritage and tension, Part II brings clarity — two new tracks that affirm his belief in techno as something lived, not abstracted.

Before I Knew The World is immersive and weighty, built on reverberant kicks and magnetic pads. In Memory Of is more direct — a driving, knight-like piece balancing percussive force and tenderness.

Rooted in the legacy of Black American dance music yet shaped by the European club experience, François X’s sound remains hybrid, sensual, and human.

This vinyl edition gathers the complete project — all five tracks from Part I and Part II — pressed into one record, capturing the full journey from friction to clarity.

Verb T – Homer Loan 1 & 2 (Half 'N Half Splatter Vinyl Release)
UK hip-hop veteran Verb T returns with the long-awaited vinyl release of Homer Loan 1 & 2. A definitive collection capturing two distinct creative periods from one of the scene’s most respected voices.

Originally released digitally, the Homer Loan series has become a cult favourite among Verb T fans, offering an intimate glimpse into his trademark balance of sharp lyricism, dry humour, and unfiltered honesty. The vinyl release brings both volumes together for the first time, celebrating the evolution of a prolific artist still pushing his craft forward. Homer Loan 1 is entirely self-produced, showcasing Verb T’s production skills and ear for soulful textures and lo-fi warmth. Built around introspective rhymes and smooth, laid-back beats, it reflects the self-contained creative process that defined its making.

With Homer Loan 2, the palette expands — featuring production from Cuth, Farma G, and Forrest Moon, each contributing their distinctive sonic fingerprints while complementing Verb T’s unmistakable flow and storytelling. The result is a cohesive yet dynamic project that bridges the personal and the universal, the underground and the timeless. The Homer Loan 1 & 2 Yellow and Purple Half 'N Half Splatter vinyl release stands as both a collector’s piece and a testament to Verb T’s consistency and artistry within UK hip-hop’s ever-changing landscape.

Modularz presents its 94th release, a new full-length EP by label head and renowned producer Developer, marking another milestone in a prolific year of studio work from his base in Berlin. Following the recent release of UHFVHF—a striking collaboration with Ukrainian sound architect Stanislav Tolkachev—Developer returns with Mesmeric Movements, a project that dives deeper into his signature terrain of hypnotic techno and rhythmic storytelling.

Comprising four vinyl tracks accompanied by four exclusive digital cuts, Mesmeric Movements offers an immersive journey through layered percussive architecture, pulsating low-end frequencies, and evolving textures that reflect Developer’s enduring command of tension and groove. Each piece unfolds with precision, revealing a meticulous approach to sound design that has cemented his position as one of techno’s most consistent and visionary figures.

With Mesmeric Movements, Developer reaffirms his artistic direction—refined, powerful, and unmistakably his own—while hinting at the evolution still to come from both artist and label in the year ahead.

Brat pack crossover stars Charlie XCX loved Altern 8 rave generation anthem FREQUENCY so much they not only sampled it for the remix of their smash 365 but started their live shows with the remix.

The resulting renewed interest in FREQUENCY has led to four 2025 remixes of the gem which was originally released as a 10,001 numbered limited edition in 1991. That sold out instantly and is now acclaimed as one of the Rave scene’s most enduring classics.

Altern 8’s Mark Archer links up with long time collaborator Shadow Child for the A1 M.A.S.C Extended Remix which delves into the tougher strata of House. A2 comes from Tenerife’s DJ Jonay who delivers a stunning old skool influenced breakbeat mix. A3 is the Aires remix. This was done especially for Altern 8’s appearance at Glastonbury and various other summer festivals where IT WENT OFF! A4 Kin’s Back To 91 Remix is full on drum & bass.

Label artwork is a “tribute” to Charlie XCC graphics - the samplers got sampled and repaid the compliment. Limited edition vinyl.

Break 3000 - Human Nature EP

A special collaboration with Partout records from Paris. Break 3000 digged deep in the archives for this one and found some old unreleased music on his dusted DAT tapes ranging from 1993 to 2002.
Now released for the first time ever on vinyl 12” and digital.

“Human” and “Komputerok were produced in the same project in his Maastricht bedroom studio back in 2002 and reflect to great influence artists like David Caretta and The Hacker had on his sound back then, a mix of banging Electro Clash meets EBM, 80s Proto House.

“Overdrive” opens the B-side and a window to the late 90s. This track was produced together with his classic “Plastique People” around 98/99 and was an instrumental track luckily found again, Break 3000 added a new vocal and made a fresh shorter Edit. Thanks to the excellent mastering by Salz Music this one is back in todays sound standards.

The next pearl from the past is a real favourite and is the oldest track featured on this EP. “Ambizone” was recorded back in 93/94 and marks the transition from his first musical project Amazone to becoming Break 3000. Recorded in an amazing analog studio in Venray Netherlands where Break 3000 worked on a full album.
More music will follow from these old sessions! Stay tuned.

Closing out with “Nature”, a true hommage to the early Rephlex sound and produced around 97/98. Acts like Bochum Welt, D’arcangelo and µ-Ziq had an immense influence on Break 3000 and are a reason why he started to make more electro orientated music.

All tracks mastered by Salz Mastering in Cologne.

Souldynamic swings back onto the Samosa label with the mesmerizingly rhythmic West-Side Of Afrika Vol. 2.

We kick off the A-Side with ‘Touma’ – a truly hypnotic tribal afro vapour that entices you into the fire-lit night. A heavy dub-style bass just about dominates above the rhythmic ensemble, whilst the haunting chanted vocals elevate the track to ethereal levels. Stunning. No wonder Ron Trent has been spinning this one in his sets for the past few weeks – it’s right in that spiritual zone where deep house meets ancestral ritual.

Second track on Side A is the happiness trip that is ‘M.I.L’. Rolling drums, marimbas and a killer bassline merge with the flighty guitar riffs and smiling vocals. You could be in a bar listening to the music live in the room, smoke filling the spaces and dim lights offering a glimpse of good times.

Heading over to Side B and you find the enchanting ‘DJA’ awaiting. A deep roller of a tune, Souldynamic shifts the gears whilst serving the entrees. A truly magnificent slice of West-African vibes, ‘DJA’ has it all from the gorgeous vocals to the chugging, hypnotic beat.

Track 2 on Side B is the sultry ‘N.T.F.P’. The BPMs are touched down a notch for this one but don’t let that fool you. ‘N.T.F.P’ is a musical celebration of joyous beats, slaps, claps, brass and Afro vocals. You don’t get it much more authentic than this.

West-Side Of Afrika Vol. 2 is like a shapely hand in the perfectly fitted glove that is the Samosa label. A truly stunning piece of vinyl with every track as strong as the last. A sure-fire winner.

Skylax Records is proud to unveil the reshaped and definitive edition of Blue Mondays’ "The Homage" EP – a record that bridges the golden age of Italo Disco, the raw proto-house energy of Frankie Knuckles & Ron Hardy, and the resurgence of true underground dance music. This release has been meticulously refined to give it the space it deserves: a future classic, driven by iconic reworks and a visual identity worthy of its legacy. A1. The Homage (Vedichecista Mix) delivers a hypnotic journey into Italo Disco euphoria, A2. The Homage (Instrumental) strips it down to pure musical essence, and A3. Countach (Driving Mix) propels us into the unstoppable energy of classic Italo Disco, showcasing Blue Mondays’ unmatched ability to capture the era’s true spirit. On the B-side, B1. The Homage (Floorfillers Remix) injects a raw acid energy designed for peak-time floors, while B2. The Homage (Jolene Remix) delivers a filtered French house gem straight out of 1998, crafted by one of our leading torchbearers of the "real music" renaissance. Wrapped in a stunning sleeve designed by H5, evoking the iconic aesthetics of Joy Division, New Order & Peter Saville, "The Homage" EP captures the essence of an era when the dancefloor was sacred, the music was raw, and the underground thrived. We took our time to reshape this release because it deserved nothing less. Now it’s ready – sharpened, elevated, and destined to become a definitive Skylax classic. This is not just another EP. This is Blue Mondays. Skylax. The resurrection of the underground.

Als Pionier der elektronischen Musik, vereint The Bloody Beetroots seit 2005 Elemente aus Electro, Punkrock und Dance zu einem unverwechselbaren, genre-übergreifenden Sound. Hinter dem Projekt steht der italienische Musiker und Produzent Sir Bob Cornelius Rifo, der mit Tracks wie „Warp 1.9“ (feat. Steve Aoki) und Alben wie Romborama, Hide und The Great Electronic Swindle internationale Bekanntheit erlangte. Jetzt kehrt „The Baddest Man in Electronic Music“ mit seiner neuen EP “FOREVER PART ONE” zurück. „Dieses Projekt ist mein Leben“, sagt Rifo. Und das spürt man in jedem einzelnen Beat. Keine Grenzen, keine Kompromisse. Stattdessen persönliche Geschichten, Gedanken und Momente, die The Bloody Beetroots über Jahre hinweg geprägt und geformt haben. „Dieses Release ist sowohl ein Danke als auch ein Statement. Denn in einer Welt, die Anpassung belohnt, glaube ich immer noch daran, dass wahre Rebellion darin besteht, sich selbst treu zu bleiben.“ - Sir Bob Cornelius Rifo Das ist The Bloody Beetroots. FOREVER.

FOREVER PART ONE erscheint als Digipak CD und auf limitiertem Grey Marble Vinyl.ist eine Auseinandersetzung mit dem eigenen Werden: damit, was passiert, wenn man sich der verzerrten Version seiner selbst stellen muss - der Version, die durch Schmerz entstanden ist.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

2025 Repress

When people think of Tough Gong they usually think of Bob Marley and rightly so, as he was nicknamed and often called Tough Gong and from this his early releases which came out on the Tough Gong label. But Tough Gong was also the name of a recording complex named after Bob Marley hat included a top level recording studio, pressing plant and distribution centre that would allow reggae music to carry on many years after his sad and too early demise.

Bob Marley had take over the former residence of Island Records boss Chris Blackwell the Island House, 56 Hope Road around 1974. Just before the 'Smile Jamaica' concert on 03rd December the same year the house was ambushed by gunmen. Bob's manager Don Taylor was hit 5 times AND Bob was shot in the arm and his wife Rita Marley was hit in the head by a stray bullet. How no one was fatally injured is staggering. Immediately after the concert Bob Marley started his self imposed exile from Jamaica, settling in London, England. This would lead to the aptly named exodus album being recorded there in the summer of 1977. It would not be until the 'One Love' peace concert in Kingston's national arena on the 22nd April 1978 that would see Bob's return to the island. Marley felt is was important to show his commitment to the people of Jamaica and on his return to 56 Hope Road he began construction of his own recording studio with the help of music mogul Tommy Cowen. Unfortunately Bob Marley's short life would end on the 11th May 1981 from cancer which originated form a football injury. His passing would lead to 56 Hope Road being turned into a museum to the legend of reggae music.

A new location would have to be found to carry on Bob's work which was 220 Marcus Garvey Drive, Kingston 11. The buyer would be Rita Marley and the Tough Gong International Organisation.

Engineers working at the new facility included Errol Browne who had worked at Treasure Isle studios and Hopeton Overton Browne known as 'Scientist', named by the great producer Bunny 'Striker' Lee who worked with him previously at King Tubbie's and Channel One's studios described his ground breaking style as being like that of a scientist.

We focus for this release on the work carried out by the great Scientist on the songs of the Black Solidarity Label run by Ossie Thomas (aka Joe The Boss) recorded at Tough Gong studios. One of the foremost recording, pressing and distribution facilities on the Jamaican island set up from the work of Bob Marley to carry forward reggae music. Hope you enjoy this set......

The neon "pdqb Arcade" sign in Port Astra flickered with the same chaotic energy it had decades ago. Six men, now with more gray hair and worries than they once had, stood at the entrance. They were the "Lucky Six," reunited after years of scattered lives and separate paths.

"I can't believe this place is still here" said Noise, who had flown in from Tokyo. "It hasn't changed 8 bits, haha". CEM, now a father of 3340 synthesizers from Bari, replied with a grin. "We have. Look at Galaxian, he's unrecognizable!"

Each of them held a single, precious coin. Their plan, born of a wave of nostalgia and the understanding that they couldn't stay forever, was simple: one coin, one game, one last chance to be a legend. Each man would choose the game that meant the most to him and play the round of his life…

At the end, pdqb, the arcade owner, came up to the guys. "Don't be sad", he said. "Even if it was your last credit, there's always one more somewhere in some game". He then walked through the arcade and played four different machines that just happened to have an extra credit on them. "See?", he said.

Synaptic Cliffs proudly presents pdqb together with six black belt gamers (PRZ, Noise&Noise, Galaxian, CEM3340, Dark Vektor, Mesak), each a legend in their own right. They don't just replay pdqb's 8 1/2 Bit album; they become it. Together, they embark on a journey through legendary worlds, creating a place filled with soundscapes and challenges that blur the line between music and game. They move with the rhythm of the music and face the challenges within, weaving their own stories into the fabric of the iconic work.

2025 Repress

Two revered dance music institutions come together here as Pye Corner Audio steps up to Emotional Response with his debut EP for the label. What's more, it is a two-parter with the second half also available now. This one from Martin Jenkins finds him making an homage to the acid house he has always loved with opener 'Stegan Acid' starting with slow grocers and foggy moods run through with subtle 303 modulations. 'Magnetic Acid Three' is another deep and stripped-back sound with rumbling drums and bass coloured with soft acid contours and 'Thermionic Acid' gurgles a little more as the icy hi-hats cut through a mutant deep techno swamp. 'Magnetic Acid One' is one final meditation on acidic house depths.