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comes in deluxe gatefold edition with lyrics sheets and colored vinyl limited to 500 copies

Early 20th century. Barbarism on an industrial scale. After the final shots had rung out Europe was left a husk, a shell to be rebuilt. And she did rebuild. Slowly, but surely, normality returned. Different zones. Different ideologies. One Europe. Yet not everyone was happy. Within this struggling continent there were those who saw the hand of authoritarianism at the wheel, past criminals ruling and lands being led back to dictatorship. The solution: the sub machine gun.From Reason to Ritual is Rude 66´s most ambitious album to date. Amsterdam´s premier electronic musician maps the rise and fall of terrorism over two slabs of wax. Gruesome naivety, one that led to countless deaths, is given an electro beat on the first record, 'Reason.' Warbling wave vocals from Ruud's wife Shaunna tell a bitter tale of paranoia and looming violence. That violence is truly realised on the second record 'Ritual.' Beats rain like shards of broken glass, constricted acid and echo as the enemy closes in for the final hollow defeat. An album that takes you from manifesto to death march.

RED-BLACK MARBLED VINYL

It is extremely difficult to detect an 'Extrasolar Moon' and this analog dub techno cut has been proved to be as close to the free-floating planet as possible. Its bassline-driven raw jacking acid techno is perfectly aligned with grad_u's signature heavily echoed dub, and the only thing that protects one from escaping the orbit is flipping to side B. There one'll find yet another 10+ minutes of goosebumps, this time erected by 'Geomagnetic Storm', a pure and emotionally vigorous dubbed out bomb.

The 12" from Redscale is an ultimate equity between the outer space of a dancefloor and the inner self of the mind. Last but by no means least is the fact it has been mastered at the legendary Dubplates & Mastering in Berlin.

A year after their impressive last album Burn It Down, Detroit techno legends Octave One are back with a nine track double EP that again shows they are masters of big hypnotic grooves.

Entitled Love by Machine, the album's name is a nod to the fact that the Burden brothers are such revered masters of their hardware. Both in the studio, where they cook up atmospheric house and techno with soaring synths and vocals and also in the live arena, where they are celebrated as one of the most accomplished and forward thinking performers in the game today. That is all the more impressive when you bear in mind they have been active since the '80s, most often releasing on their own 430 West label, which is where they appear again here.

Say Lenny: We've been exploring the theme of connection with this project. How technology gives us the illusion that we are closer to each other more than ever. At some point humanity crossed a line where the devices that we created to bring us together are the same devices that are blocking us from organic experiences.'

Technology is only a tool, which we also had in mind during the recording process.' Adds Lawrence. We decided to go back to how we used to make our records, when we didn't have so many 'sophisticated' audio devices. Back to when we interacted in the studio together as musicians.'

Things open up with the loose metallic percussive line that is In Mono, which sets the machine made tone and is filled with promise. Locator then immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. Just Don't Speak (Midnight Sun Redub) is a more deep and house leaning track with big feel good piano keys and slithering synths that will get hands in the air. Proving they have real range, 7 B4 Dawn is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel.


The second half of the album offers peak time business in the form of the spectacular Bad Love II, the whirring and cosmic Sounds of Jericho and the big loops and fluid grooves of (Where) Time Collides. Pain Pressure is a wonky number with big bassline and a focus on percussive patterns as well as some vocals with real attitude and last cut 8 B4 Dawn ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans.

Megastar Bruno Mars has unveiled his new album 24K Magic (pronounced twenty-four karat magic), with lead single of the same title. Written and produced by Shampoo Press & Curl, with additional production by The Stereotypes.
The last time Mars dropped an album was December 2012 - four years ago, an eternity for a pop star. He's surfed the intervening years like a pro, with two Super Bowl halftime performances (headlining in 2014, and a cameo last February with Coldplay and Beyoncé), not to mention the biggest-selling song of the past few years, his collaboration with Mark Ronson, "Uptown Funk", spending 14 weeks at Number One - tying for the second-longest run in chart history - and winning the Grammy for Record of the Year. To date, it's sold more than 12 million copies, been streamed nearly 2 billion times and made several dragons want to retire.
This is Bruno Mars. Six Number One singles. Thirty combined weeks at the top of the chart (44 if you count "Uptown"). Two albums, 26 million in sales worldwide, four Grammys and counting.
Throughout 24K Magic , Bruno Mars re-creates the R&B he fell in love with as a child - the likes of Jimmy Jam, Terry Lewis, New Edition, Bobby Brown, Jodeci, Boyz II Men, Teddy Riley, and Babyface.

Australian label Nightime Drama, run by Peter Fincher (aka Vibrio) and Shaun Franklin (aka Trebek) now serves up its second standout release of 2016. This four track affair comes hot on the heels of the last by Yoshihiro Arikawa, and is a second release on the label by Aussie live act, DJ and producer Trinity, with Steven Tang and Italian based Andee on the remix. Trinity has also released on OOC, Coincidence and Android Muziq and regularly performs all round Europe. His sound deep and cosmic, heady and hypnotic, as the fresh tracks here prove. Cascade Drive is seven minutes of direct and elastic house with spacey pads and driving drums carrying you through the cosmos. From the Earthmothern label and one half of RK's, Andee strips it back to a slick rubber kick drum then layers in a forceful acid line and icy hi hats to really get you under its spell. The longform groove is physical and cerebral in equal measure. The next original is Expansion, and again finds Trinity serving up a hi tech and soul infused deep techno sound that is lithe and liquid, smeared with great pads and truly timeless. Emphasis boss Steven Tang is the perfect man to remix given his style, and his version flips the cut into a more heavyweight and banging techno effort, but one that is just as littered with sci fi sounds, spaceship trails and intergalactic energies.

Cellaa Music is happy to welcome back Minimal Techno Star, Marc Faenger, with a follow up to his highly acclaimed 2013 'Mild Pitch' EP.
A leading light of the club scene in NRW, Marc has held residency at the legendary Studio nightclub and stayed true to his underground roots through a stream of releases for the likes of Minus, Little Helpers, Aella Music and Trapez Ltd.

Boiler EP sees the boy from Düsseldorf deliver four thumping minimal-tech-tracks, with powerful basslines, catchy sounds and a superstylin' groove, supereffective for the dancefloor. Four different tracks, four times 110% Marc Faenger quality.

Focussing on nowhere else but the dancefloor and designed for no one else but the skilled selector, all tracks act as timeless calls to action for all groove aficionados... And suggest yet another exciting Release for Cellaa Music

Enjoy!!!!

1999...after the global supremacy of Oasis and Blur, the world is looking for some musical freshness. Some artists such as Daft Punk and Air have already contributed to globally popularise what the English called the "French Touch", a new term that refers to a large musical French movement. The first album of Cassius is one of the key pieces of this growing genre, and demonstrates once again the variety of the trend. Indeed, after have cooperated for a long time with MC Solaar, one of France's 90's best rappers, the hip-hop influence of both Cassius members had to have an impact on their personal concept, and it did seduce a lot of listeners hungry for new musical flavours: more than 250 000 units sold worldwide and numerous unconditional fans...Before the release of their new album Ibifornia coming out this summer, we're taking you back to basics with a new release of Cassius' first album, for the ones who didn't have the opportunity to hear it, or for those who only have the CD, and would like to get themselves the vinyl edition !

What if we took you back to your untroubled teenage days, when all seemed complicated and easy to reach at the same time That is exactly what Cassius managed to transpose in 15 Again: a carefree music, coloured by some deep songs; like an emancipated soul, but always tormented. The hit 'Toop Toop", sampled by Madonna or David Guetta, among others, and the intense 'La Notte' illustrate perfectly this state of mind of the youth. Pharrell Williams is present on the song 'Eye Water", a beautiful ode to our planet and its natural resources, and Cassius has got further exciting surprises for you. We're releasing their third album once again for this summer, a real shot of freshness to relieve you from the heat!

Not one to be pigeonholed, highly respected DJ and producer WILL SAUL has always run the gamut of electronic dance music: from deep house to techno and UK bass, his sets and tracks like to rock the boat of any given genre, taking in contemporary impulses as well as classic inspirations. As label honcho for iconic imprints like Simple or Aus Music, he further honed his ear for the perfect groove and was invited to bring his expert selection to the revered DJ Kicks mix series in 2014. A remix collaboration with fellow UK producer October for Michael Mayer's MANTASY REMIXE 2 (KOMPAKT 272) turned out to be a fine first foray into Kompakt territory - now to be succeded by the LOST IN TIME EP, for which he teamed up with Bristol-based soundsmith KOMON. Komon & Will have been collaborating for many years, resulting in tracks on Will's DJ Kicks and remixes for labels such as Ninja Tunes (Kelis) and Houndstooth (Throwing Snow). Komon has been a mainstay on Will's Aus Music imprint, with solo releases and regular collaborations with Appleblim. For Kompakt, they turn in a swooping trio of floor-versed cuts that are no strangers to atmosphere and experimentation, but like to keep the crowd in check with outbursts of pressurized funk. Leading the pack is the title cut featuring quality vocals from BEN WESTBEECH (aka Breach), flanked by the introspective DRONE and immersive mover DIGITAL PARADISE - a versatile and powerful outing from two artists that know perfectly well how to set the scene.
(de) Als einer, der sich nie leicht kategorisieren ließ, hat der hochrespektierte DJ und Produzent WILL SAUL stets die gesamte Bandbreite der elektronischen Tanzmusik zum Thema gemacht: von Deep House zu Techno und UK Bass findet alles den Weg in seine Sets und Tracks, jenseits von Genregrenzen und gerne inspiriert von zeitgenössischen wie klassischen Impulsen. Der Macher hinter gefeierten Labels wie Simple oder Aus Music ist bekannt für sein feines Ohr am Groove der Zeit und hat seine Expertise in 2014 für die berühmte DJ Kicks Mix-Reihe zum Einsatz gebracht. Eine Remix-Kollaboration mit dem befreundeten Klangschmied October für Michael Mayer's MANTASY REMIXE 2 (KOMPAKT 272) entpuppte sich als grossartiger erster Ausflug in Kompakt-Gefilde - nun der Schritt zum eigenen Release mit der LOST IN TIME EP, für die er sich mit dem Bristol-Produzenten KOMON zusammengetan hat. Komon & Will arbeiten seit vielen Jahren zusammen, was bereits zu Tracks auf Will's DJ Kicks and Remixen für Labels wie Ninja Tunes (Kelis) und Houndstooth (Throwing Sbow) geführt hat. Dank seiner Solo-Releases und der Kollaborationen mit Applebim ist Komon ein gern gesehener Gast auf Will's Aus Music. Für Kompakt liefern die beiden ein bissfestes, tanzflur-erprobtes Track-trio ab, das gerne in experimenteller Atmosphähre badet, den Tänzern aber auch gerne mit Hochdruck-Funk Beine macht. Der Titeltrack brilliert mit wundervollen Vocals von BEN WESTBEECH (aka Breach), flankiert vom introspektiven DRONE und dem mitreissenden Schieber DIGITAL PARADISE - eine vielschichtige und kraftvolle Darbietung von zwei Künstlern, die ganz genau wissen wie man den Beat in Szene setzt.

LTD 180g!

Cellaa Music are happy to welcome back Artist, Giuseppe Cennamo, with a follow up to his highly acclaimed 2013 'Butterflies In Your Stomach' EP. A leading light of the club scene in Italy, Giuseppe stayed true to his underground roots through a stream of releases for the likes of Desolat, Moan and his own Imprint Carillon.

Three different tracks, three times 100% Cennamo quality and on top the titel Track 'Everyday' is accompanied by two exclusive remixes from Marwan Sabb and Label Head Sven Jaeger.

Focussing on nowhere else but the dancefloor and designed for no one else but the skilled selector, all tracks act as timeless calls to action for all groove aficionados... And suggest an exciting ending year for Cellaa Music.

Enjoy this quality peace of Music!

A hypnotic melodica-led instrumental from singer, composer and
multi-instrumentalist G.T. Moore who first recorded the track at Harry J's Studio in
Jamaica in 1980. This later cut was originally released under G.T's `The
Outsider' guise for Rej Forte's Jah Works label back in 1991 appearing on the
long-deleted album 'The Outsider Meets The Hi-Tech Roots Dynamics at Channel One UK'.
*Now appearing on 45 for the first time backed with a dub version from the deepest vaults..

A couple years ago Developer created a Modularz sub label named " Developer Archive " the idea was to slowly release tracks taken from his personal collection and specifically made for his live DJ sets. Through Developer Archive these tracks are now being released in a limited amount and the chosen selection are the ones that Developer felt made the largest impact in clubs and venues around the world.

Midgar is proud to introduce a newcomer for the third release. A great debut for the maltese Cloned, delivering Sapphire 1990 E.P. The record, way more straightforward and groove centered than the previous Midgar outputs, opens with - Sapphire 1990 - , track that sounds like very nostalgic memories from a timeless rave. On the same side, a live out-take from Cloned's repertory, - The Pendulum - swinging synth-lines which dominate pretty direct rhythmics over a costant background noise. - Belgassem - as the first cut on the B side, is an absolutely heavy one for the label's standards, empowered by a really strong and obsessive acid-line. Closing the vinyl, the slow - Submerging - , groovy drums embraced by very brights heavenly pads.

repressed !

RFBCOLOURS 002 bring L'Atelier on board. This pair from Amsterdam bring you a 4 track EP with a digi only bonus. It starts off with Again, which hits that great sample hard and gets the party started on a disco vibe with a house twist. Then theres XTC which carries on where the A1 left off. On the flip we see a serious piano workout on top of a a grooving drum arragement. To finish off the vinyl package we see Times Are Ruff take the remix on a deeper tip with some seriously crunchy basslines and rolling groove. Then if that wasnt enough theres a digital bonus that will warm up any willing club room.

Feedback:

Telonius (Gomma)
'thanks nice one'

Laurin Fedora (Sleazy McQueen (Morris Audio / Paper Recordings))
'I'm looking forward to this vinyl. Nice return to late 90s filter disco!'

kostas tassopoulos (Ekkohaus (2020 vision, morris audio, cargo edition, liebe detail))
'Solid house record, loving it, thanks....'

Harri (Sub Club)
'liking afew of these'

Gameboyz (Clouded Vision / Relish)
'we dont usually play this kind of house music, but this is very nice! will try! thanks!'

Sebastian Wilck (Sebastian Wilck, Watergate)
'times are ruff remix is strong! support'

Jonny Cade (2020 Vision / Leftroom)
'great house ep'

Tensnake
'wow, that's quite a killer, downloading thanks!'

Lauhaus Lanting (Polder / Intacto)
'nice ep guys, also diging the times are ruff mix. thanx!'

Julien Barthe (Plaisir de France, Pro-Zak Trax)
'yeah remmeber 2000'years'

Julien Sandre (Morris Audio)
'nice music'

Doc Martin (none)
'XTC for Me!!!!'

Tom Findlay (Groove Armada)
'great EP, a little bit of everything and in all the right places....'

Andrew Claristidge (Acid Washed (Records makers))
'good stuff...'

Mihai Popoviciu (Highgrade, Fear Of Flying, Hudd Traxx)
'again is cool for me!'

Dorian Paic (Raum Musik)
'xtc times are ruff remix is the one for me ! cheers Dorian.'

Hector Couto (Tribal Sessions)
'full support for this release! good music!!!'

Gianluca Pandullo (I-Robots)
'LAtelier - XTC (Times Are Ruff Remix) ! I-Robots approved!'

2x12" Vinyl + full cover artwork

One of the world's most in demand DJs and producers, Noir has been responsible for some of the most poignant - as well as explosive moments in clubland's recent history. Arguably best known for his huge dancefloor bomb 'Around', Noir now drops his debut studio album, a project that has been nearly half a decade in the making.'Around', a sexy, synthesizer-tinted groove featuring vocalist Hayze dominated dancefloors across the world for close to two years, making Noir a household name across clubland. And it's still as popular as ever - the Solomon Vox remix of 'Around' has amassed more than 12 million views on YouTube.

As well as 'Around', Noir includes further club hits 'Around feat. Hayze', 'My Fault feat. HRRSN' and current single 'Black feat. Caitlin', evidencing Noir's desire to work with a variety of vocalists to create something far 7 weightier than simply a collection of club tracks. Noir is about telling stories, boating 12 completely unique productions that chart the artist's evolution over the course of his expansive career. With many of its cuts moving away from the strict four-to-the-floor parameters of house music production, the horizons of Noir stretch way beyond the dancefloor. Taking cues from a range of artists from Depeche Mode to Kraftwerk, and Massive Attack to Timbaland - all of whom have heavily influenced Noir's aesthetic - Noir is an emotionally charged and

utterly engrossing body of work. Says Noir of working on the album: 'The album has been in the making since I started working on 'Around' back in 2010, so for me it's a body of work that spans nearly 5 years, with changes to productions, melodies and moods before I was happy with the final tracks. 'What you hear on the album is the culmination of all the music and influences I grew up and have lived with over the years: it is absolutely my identity and honestly represents my musical passions. Unlike many 'dance' albums that are little more than a collection of thrown-together club tracks, Noir combines tirelessly creative songwriting with multi-faceted production that reveals fresh delights with every listen: a timeless release from a truly singular artist.

Its always exciting for us to be introduced to new artists. Here comes the next EP on Cellaa Music, this time from the irresistible electronic Duo formed by Fabio Neural and F.Sonik, whose previous outings have been on labels like SCI+TEC, Antura, Serkal, KD Music, K9 Records, Monique Music. Cellaa is very happy to welcome our Friends to the fold.

Lead track is - Calle Sevilla' that immediately commands attention with it's locked tight Groove, Piano licks and warm Rhodes Keys that lead us to the mighty bassline and we're already feeling the intensity. A Synth riff comes in and builds to the main break and creates an atmosphere that takes us on a trip to the sunshine coast of maybe Ibiza, right before it drops back in!

Second up is- Bario Viejo' which has rolling percussions and a attention grabbing groove that brilliantly leading into the playful piano chords and vocal hook. The break creates a feeling of suspense, hence the name, until the moment in which it explodes to create a track that is sure to cause mass devastation on dance-floors this summer.

Finally Fabio Neural and F.Sonik delivers - Tulside'. Another massive Groover from start to end. Featuring a solid pulsating basslines that works in harmony with an impressive array of percussions, chunky hats and tingling keys peppered with fascinating Vocals. Sunrise or sunset, - Tulside' create a quite stunning balearic moment thats sure to hypnotize any crowd.

The ep is supported with an excellent remix from Cellaa label mate Marc Faenger.
- Barrio Viejo Groovalicious' feeds off its infectious bassline and it is is built upon some deep, rolling grooves. Marc Faenger's remix picks up the pace, adding a signature percussion sound, stripping back the vocals to create a more techier focused version of the track.

Cellaa Music delivers a Winter Smash with this EP.

Keep your eyes on this one!!!!

2x180g vinyl plus download code!
We are very happy to present our first album on Ilian Tape. At the beginning of 2014 we moved our two separate bedroom studios into one and soon after started working on the album. All the tracks were made in about 6 months in our new Ilian Tape Space Studio in Munich. The time felt right to focus on this adventure, but without any pressure. Therefore the process became very natural and we felt free to go wherever the vibe led us. Our intention was to create a very personal and honest sound without any limitations or guidelines. It's a reflection of all the years we've been growing up, working, traveling and playing together and it means a lot to us. But enough said music is not supposed to be described with words, so sit back, close your eyes, light one up and turn up the speakers!

Having been a fan of Reelow for, well, as long as we care to remember, we are really proud to present you his new outstanding EP on Cellaa Music. Now residing on Ibiza, Reelow has enjoyed yet another successful year. With the talent taking a back seat, its the music hogging the spotlight and rightly so. Two new Tracks and two massive Remixes that look to the past whilst sitting firmly in the present.

- Leave Me Alone' riding on massive percussion and a tough house beat, with this tough Drums and drunken, wubby Sounds it is running right through its core. Plenty of sonic details flesh out the languorous but slightly groove and you'd imagine this Track is to be the sort of many Artits will love.

- Your Crowd' is again about little tiny details and how they evolve with time. This one take you on a voyage of natural rhythms and big Drums. Developing from harmonic FX Sounds and a infectious groove, the track is full of surprises as it twists and turns into different sounds that come and go to take it further than the dancefloor.

The first of the remixes comes from the in form, Massimo Cassini. He team up with a hypnotic rework of - Leave Me Alone' that demonstrates just why he is one to keep a close eye on as he gears up on the production front. Massimo is delivering a muscular house bomb, carefully placed FXs and a nice and catchy line to make this a dancefloor mover.

Next we have Cellaa Music Co Founder Martin Heyder providing a soulful tech house surrogate to the original of - Your Crowd'. His remix has a deeper houseier twist with a smooth 303 pad sound and a concrete percussive arrangement to convey a fantastic production.

We'll meet you on the Dance Floor!!!

After the success of the first A-sides compilation in 2012, Adam Beyer has decided its time to release another. With Adam's stature steadily growing as one of the leading talents in the Techno scene and the rise of Drumcode, the standard of demo's that have been sent to Adam have been top notch. Adam has now decided to release two compilations with 10 tracks each, consisting of tracks that Adam has tried and tested.

There are also new artists that have been invited to release on Drumcode for this compilation and others who are a staple in Drumcode's core family. Combining both old and new talents Drumcode have come up with something unique and distinctive to make this two-part compilation something extra special.

After the success of the first A-sides compilation in 2012, Adam Beyer has decided its time to release another. With Adam's stature steadily growing as one of the leading talents in the Techno scene and the rise of Drumcode, the standard of demo's that have been sent to Adam have been top notch.

Adam has now decided to release two compilations with 10 tracks each, consisting of tracks that Adam has tried and tested. There are also new artists that have been invited to release on Drumcode for this compilation and others who are a staple in Drumcode's core family.

Combining both old and new talents Drumcode have come up with something unique and distinctive to make this two-part compilation something extra special.

After their stunning 2012 debut single "Wish" (FM X / Wish 001) and last year's "Diggin' On You" (D.O.C. 001), the incredibly gifted ELEKFANTZ return to the fore with what can only called a brilliant full-length premiere. The duo of Daniel and Leo first met 20 years ago, when they played together in a blues band. Leo continued his carreer as a professional musician while Daniel started to discover a new musical path.

The latter was born and bred at the electronic music temple in South America, later becoming a resident DJ and local hero, known as the right guy to prepare the dance floor and set up the right mood. He's one of the finest DJs of the Brazilian new wave of electronic aficionados. Leo is a professional drummer, singer and composer since the age of 15. He played and recorded with some of the greatest artists in Brazil.

Their debut album DARK TALES AND LOVE SONGS sports all the intimate melodies, lush harmonies and organic undertones that the duo has become know for and then some: from pop-infused songwriter house to highly emotive prime time anthems, you'll find lots to love about this expertly crafted collection of melodic gems. Engineered to perfection by label head GUI BORATTO, it's an exciting step for the imprint and the project alike - we can't wait hearing where they'll go next.

Kid Culture's sound can be described as electronic soulmusic with passion. He's one of the most exciting prospects to emerge from Amsterdam fertile scene. This EP contains 3 original groovy tracks plus a cool remix from Giomini (half of Abnormal Boyz) and Toolman (aka Francesco Grant) !!

Straddling an intriguing intersection of Drum & Bass, Jazz, Fusion and unidentifiable electronica, ‘You Won't Find Your Way From Here’ is the debut album from Jhauk.

An extremely talented multi-instrumentalist from Sheffield, UK, Jhauk came to Blu Mar Ten’s attention when, in 2017, he created a wild prog-rock inflected remix of BMT’s track ‘Titans’
Further conversations with Jhauk revealed the depth of his unorthodox approach to electronic music and unearthed a treasure trove of production skills, culminating in the album before you.

Oscillating between the late-night, moody calm of late 50s Miles Davis, John Coltrane & Bill Evans, the riotous 70s instrumentation of Weather Report, the modern cool stylings of Matthew Halsall and the gritty edges of modern D&B production, it’s scarcely believable that this collection of tracks came from one person working alone in their studio. With tempos and time signatures skittering all over the place, Jhauk uses genres as catalysts rather than containers, he finds the interesting stuff in the hinterlands of their structural relationships and tensions. 

Talking about the album, Jhauk has strong opinions:

“Drum & Bass emerged as club music, and club music comes with its own logic. Specific structures, specific build-ups, a formula that supports that context. 
That's fair enough, but almost 40 years later, why is 99% of D&B still made the exact same way when 99% of the time it's never heard in a club? The same structure, the same formula, barely any development beyond the core idea. Tracks where you can hear 10 seconds of the drop and know almost beat-for-beat how the next 5 minutes sound. No real musical depth or exploration. People regurgitating the same material ad-nauseum but never actually saying anything for themselves. 
This period of composition for me was about taking what I love about D&B, the rhythmic energy and potential for creative freedom it presents and really stretching it to its limits. Of taking drum & bass as a starting point and seeing where it ends up without an idea of what that destination might be. Most people would probably never call a lot of the results D&B, but that's okay because it was never the point.”

 
Dripping with melancholy, euphoria, longing and pure urgency ‘You Won't Find Your Way From Here’ is unlike anything else you’ll hear this year. The sound of an artist entirely unconcerned with impressing peers or performing on ‘socials’; you're hearing a true musician at work, expressing ideas through the skill of his hands, mind and ears. The album’s secrets aren’t revealed with a single play-through, but bears (or even requires) multiple listens to expose its layers.
In previous times, they called this ‘art'.

The complete LP + 2 bonus tracks - limited edition pressing on 180g vinyl

Miles Davis' quintet formed in 1955 is widely regarded as one of the greatest combos in jazz history. Miles was recording for the independent jazz label Prestige at the time, but after the quintet's success at the 1955 Newport Jazz Festival, Miles received a substantial offer from the recording giant Columbia. 'Round About Midnight was his first album for Columbia.

"First, let me say that you should buy this LP immediately. Perhaps even two copies, since you may wear out one playing it and you will want another. This is the kind of album to which one returns time and time again because it is, in its way, a perfect thing, a slice of modern jazz conceived and executed in the very best style." - ***** Ralph J. Gleason, DownBeat




d 'Round Midnight Prestige Version




d 'Round Midnight [Prestige Version]




[d] a4 'Round Midnight [Prestige Version]




[d] a4 | 'Round Midnight [Prestige Version]

In 1955 Miles Davis played an all-star jam session at the Newport Jazz Festival with Thelonious Monk on piano, Gerry Mulligan on baritone sax and Zoot Sims on tenor sax. This performance immediately drew the attention of Columbia Records' George Avakian, who was so impressed that he immediately offered Davis a contract if he could form a regular band. The group he then assembled would go down in history as Davis' so-called "First Great Quintet", consisting of John Coltrane on tenor sax, Red Garland on piano, Philly Joe Jones on drums, Paul Chambers on bass and of course Miles himself on trumpet. 'Round Midnight is Miles Davis' first record for Columbia and also the first studio recording of the First Great Quintet. The recording sessions began on October 26 1955 but the album wasn't released until 1957 as Davis was still under contract at Prestige at the time. These respective sessions yielded Steamin', Workin', Cookin' and Relaxin'; albums that would go down in history as quintessential blueprints of late 1950s hard bop.

The record is made up of a collection of standards and one traditional song ("Dear Old Stockholm", from the 19th century). Notably, it features what may be considered the most well-known versions of Thelonious Monk's "'Round Midnight" and "Bye Bye Blackbird". That Avakian made a golden signing was sufficiently clear from the start, but no one could foresee that it would be this quintet on Columbia that would go on to change the course of modern jazz forever with Kind of Blue. 'Round Midnight is available as a limited edition of 1500 individually numbered copies on crystal clear vinyl.

For their 6th outing on the Benders imprint, the brothers bend have discovered a long forgotten gem that they can’t quite believe didn’t get more airplay at the time. Reimagining the original with their own twist for a one-off, single sided 12”, Macareno is coming to clear a dancefloor near you. Play with caution. “Some of us remember when that was played non ironically and it will never ever - until the sun expands and consumes us all - be soon enough to play it out again” - Anonymous radio listener. Clearly a marmite record, but U-BEND love marmite

A few words for the album
Moment’s Aeternity:
a 12/8 composition celebrating the raw power of the “moment”, marked by whirling improvised moments between drums, bass clarinet and Harris P’s Armenian duduk.

Pajko, fire in the forest on the mountain:
in Sokratis own words: “I have a really vivid memory as a child. I was staring at the Djena mountain from my window in Archangellos which sits on the Pajko mountain. A little beam of light shone far in the horizon; it was a fire that in my little eyes looked as if the giants of Almopia were trying to communicate with each other using phryktoria (a way of contacting through fire in Ancient Greece).”

Footprints of some Giant Steps:
While the classic compositions of two true Jazz Giants- Wayne Shorter and John Coltrane- are certainly different, they do both connect in a mystical way. Rearranged in 5/8 combining half of each melody and half of each one’s chord progression, keeping the form of the piece for improvisation, still in 5.

Oson Zeis Fainou (Seikilo’s Epitaph):
found in a tomb stone in the Northeast of Greece, this is the only melody saved from the ancient times. It is accompanied by lyrics contemplating the meaning of life:
Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ πρὸς ὀλίγον ἐστὶ τὸ ζῆν τὸ τέλος ὁ xρόνος ἀπαιτεῖ.
‘’While you live, shine
don’t feel blue for anything because our life is short and time demands an end.’’

Here is to Oghene K:
’’Hey man, where is the groove?’’, he would say, just to trigger another wave of inspiration for Sokratis. Oghene was a true force of nature, a well of kindness, a masterful artist that left this world too early. This one is for him.

Balkan Riff (for Milcho Leviev):
Milcho Leviev (1936-2019), was a long-time friend and collaborator and a true inspiration for expression, creativity and colorfulness. Expressing the deep sentiments evoked by the Balkan sound and history, this is a sorrowful dialogue between bass clarinet and contrabass.

Spirits of Djena:
one of the most esoteric and personal moments of the album. Composed and recorded during the challenging times of the COVID-era, you can hear the baritone and tenor saxophone firmly grounded on a crispy, hypnotizing contrabass groove.

Sokratis Votskos Quartet
Kostas Anastasiadis / Giorgos Klountzos - Chrysidis: Drums
Leandros Pasias: Piano
Vaggelis Vrachnos: Contrabass
Sokratis Votskos: Soprano Saxophone, Bass Clarinet and Compositions


Sokratis Votskos is a jazz saxophonist, clarinetist, composer, educator, and bandleader from Greece. Deeply invested in unearthing the folk sounds and heritage music of Greece and Eastern Europe, he weaves these into modern jazz compositions though the use of melodies, polyrhythms, and his reedy, timeless tone. He leads the Sokratis Votskos Quartet, he is one half of Kolida Babo and member of the Reggetiko Project. A highly regarded sideman and ensemble player, he has worked extensively with renowned jazz musicians with several highly acclaimed releases (MiC, Jazzman, Walt Disney and now Fair Weather Friends Records).

He has performed his music in numerous venues and festivals worldwide from Vinterjazz in Copenhagen, to the EFG London Jazz Festival where he performed at the legendary Ronnie Scott’s alongside Greg Foat.

He is also an archaeoacoustics researcher and enthusiast, having completed his Master studies on the field of ancient ritualistic caves of Greece research.

Leandros Pasias was born in Thessaloniki, Greece. At age 10 was introduced to piano, continuing his studies at the Modern Conservatory of Thessaloniki and later at the Conservatorium van Amsterdam in the department of jazz piano.Ηe holds a classical harmony diploma and a BA at the Department of Music Studies at the Aristotle University of Thessaloniki. In 2020 he received jazz improvisation lessons from Aaron Parks.

With a series of appearances in multiple international jazz festivals, Leandros has collaborated with a wide range of musicians from Nicolas Masson and James Wylie to Marina Osk, Ivo Papasov and Haris Lambrakis, among others.

A member of the Yako Trio, he released “OdesSea” on Fair Weather Friends Records (2021).

Vangelis Vrachnos was born in Thessaloniki, Greece, in 1989. While he started playing the bass at the age of 12, alongside his brother, his studies would commence a few years later. Introduced to double bass at the age of 23, he undertook jazz double bass studies at the Codarts Αcademy of Rotterdam. He has participated in several festivals such as the Technopolis and Odessa international jazz festivals. Since returning to his hometown, in 2015, he has been a founding member of Mordana and Yako Trio and has collaborated with a series of musicians like James Wyllie, Sokrates Votskos and Dimitis Agelakis, among others.

Kostas Anastasiadis is a tireless researcher, that has been diligently studying Tradition and its evolution, creating a fresh amalgam of sound moods. His mature improvisational virtuosity highlights a uniquely individual artistic expression and was recognized with the ̈Unique Individual Stylist" award by the PIT (Percussion Institute of Technology) in Los Angeles, California. He has been associated with various ensembles that have garnered significant interest in the global music scene. As an educator, he is the founder of "The Harmony of Rhythm" musical method, which aims to explore and establish the elements that constitute the concept of rhythm.

Giorgos Klountzos-Chrysidis was born in Thessaloniki in 1991. Following studies at the Modern Conservatory of Thessaloniki, he moved to France and the Conservatoire de Nice. With performances at well-known festivals like Nice Jazz Festival, Nuits du Sud and Jazz à Vienne, he had the opportunity to meet the American drummer Leon Parker, who encouraged him to move to Paris, where he spent the next two years under his tutoring and guidance.

In 2016, came a defining moment in his career as he traveled to New York for the first time. He participated in the quartet of saxophonist Diego Rivera for a series of performances and attended lessons by Rodney Whitaker and Randy "Uncle G" Gelispie at Michigan's State University.

Collaborations include Xavier Davis, Ricky Ford, Nicolas Masson, Diego Rivera, Craig Bailey, Baptiste Herbin, Marc Abrams, Pantelis Stoikos, Antonis Anissegos, David Lynch, Ziad Rajab and Ivo Papasov, among others.

Reissue of seminal ’90s house LP ‘Super Discount’ from Étienne
de Crécy, a founding classic of the French touch sound feat. Air,
Alex Gopher & more. Double LP housed in a gatefold sleeve.

Released in 1996, ‘Super Discount' is the debut album by Étienne de Crécy, one of the most influential figures on the electronic music scene and one of its most inspired producers.

Over time, this record has become one of the pioneering records of the French Touch and a founding classic of electronic music, both in France and abroad. It was a critical and commercial success from the start and is an icon of its time..

"Time Is Slipping Away is an album by American R&B/jazz fusion producer, composer, keyboardist and vocalist Dexter Wansel. It is the last of four studio albums released at Philadelphia International Records. The album contains songs with different styles from P-funk to sophisticated quiet storm music to instrumental jazz-funk. It features the two popular songs ""The Sweetest Pain"" and ""I'll Never Forget (My Favorite Disco)"". The former song features vocals by soul singer Terri Wells. Time Is Slipping Away is available as a limited edition of 500 copies on purple coloured vinyl and includes an insert with lyrics."

BOOH opens the record with a slow subterranean rumble before the machine locks in with full force. Welding Groove is a dense and relentless techno tool, built on a heavy low-end foundation and punctuated by sharp breaks that release tension only to snap back harder. A floor-ready opener that sets the tone for what follows.

Powder wastes no time. The groove hits from the first bar, driving forward with precision and urgency through a series of tightly chopped breaks before the bass reclaims the floor. Physical, direct, and built for the peak hours.

BOOH flips the record with Spectrum, the most patient track of the four. A long, layered intro slowly stacks elements one by one before the groove finally takes over and holds its ground without letting up. Wide and immersive, it carries the energy of a long set deep into the night.

Jackson Poliakov is the most unpredictable of the bunch. Opening with a wide, full-spectrum groove, it shifts midway into darker, more hypnotic territory before a final break brings everything back for the closing stretch. Two faces in one track, and the perfect way to close this chapter.

Genesis' Foxtrot is the band's fourth studio album, released in 1972. Regarded as one of the seminal albums of the progressive rock genre, it marked a significant milestone in Genesis' discography.

AllMusic's Stephen Thomas Erlewine says Foxtrot is where where Genesis began to pull all of its varied inspirations into a cohesive sound. The startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power, he writes, giving the album a 5-star review.

"There's might and majesty here, and it, along with 'Get 'Em Out by Friday,' is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer "Supper's Ready," a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose." — AllMusic

This is the rare art-rock album that excels at both the art and the rock, and it's rightly celebrated for its enduring impact on the progressive rock genre, making it an essential listen for Genesis fans.

Analogue Productions has given Foxtrot the deserving full reissue treatment: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

All Nice Records returns with the 006 instalment, welcoming Raw Takes to the roster for a self-titled six-tracker that lives up to its name. No frills, no fuss, just pure, unfiltered club music pressed on wax Side A kicks off with House of Phreaks, a dense Chicago house sledgehammer built around a heavyweight bassline that sets the pace from the first bar, no introduction needed. Last Figure pulls the tension tighter before One For Gehm closes the first side as a heartfelt nod to Andreas Gehm - the legendary German acid pioneer whose influence continues to ripple through the underground. Flip it over and Piano Jam brings an unexpected melodic warmth to the centre of the record, while AECD wears its influences proudly, a 303-drenched acid workout rooted deep in the classic Chicago house tradition, the kind of track that feels like it could have come straight out of the Warehouse era. Crime Times seals the deal... gritty, atmospheric, and built for the late hours.

“Danny Elfman’s musical score was to die for, and
it was incorporated into ‘Wednesday’’s joyfully
bleak coming-of-age story so brilliantly.” -

 Double LP on Purple Goth with Smoky Shadow
vinyl, with full colour gatefold sleeve and inner
sleeves.
 Composed by four-time Oscar nominee, two-time
Emmy winner Danny Elfman (‘Milk’, ‘Big Fish’,
‘Men in Black’, ‘Good Will Hunting’, ‘Live from
Lincoln Center’, ‘Desperate Housewives’, ‘The
Simpsons’) and three-time Emmy nominee Chris
Bacon (‘The Tick’, ‘Bates Motel’, ‘Smash’,
‘Gnomeo & Juliet’, ‘Sherlock Gnomes’,
‘Immanence’).
 Elfman also composed music for Tim Burton’s
‘Beetlejuice’, ‘Batman and Batman Returns’, ‘The
Nightmare Before Christmas’, ‘Mars Attacks!’, ‘Big
Fish’ (for which Elfman earned one of his four
career Oscar nods) and ‘Alice in Wonderland’,
among others.
 Chris Bacon is a protege of the great James
Newton Howard, and won an HMMA for ‘Gnomeo
& Juliet’, which he shared with James and Bernie
Taupin (Elton John).
 Online - Promoted through all Lakeshore Records social
media.

Release week Focus Track: Paint the Rain RELEASE TIMELINE 12/10 - TMR signs Natalie Bergman Announcement with video on Youtube: I Will Praise You (Live) 01/27 - Announce w/ PreSave/PreOrder IG1: Talk to the Lord + (music video) 02/24 - IG2: Shine Your Light On Me + (music video) 03/24 - IG3: I Will Praise You (album version) 04/21 - IG4: I’m Going Home Potential Video Asset - Live set of all the IG tracks released 05/05 - IG5 and Official Music Video: Paint the Rain 05/07 - STREET DATE w/ Focus Track: Paint the Rain Mercy is Natalie Bergman's debut, a self-produced solo album recorded in the strangest of times, during a personal period of profound sadness and reinvention. It's startling, and often beautiful — a rush to the edge of the cliff, with an unflinching look below Recorded at her brother's home studio in Los Angeles, CA, Bergman has already had a lengthy, successful career as one half of the brother-sister duo Wild Belle, but this is the first time she wrote and played all the material. This record absolutely pulses with redemptive power; it is replenishing and original, and deeply cathartic. And before we go any further, you should know that this is kind of a gospel record. It should also be said -- Natalie made this record because she absolutely had to. The music of Mercy began to germinate a few months after she lost her father in a wrong-way, head-on collision. He and her step-mother were killed by a drunk driver. Shortly after, Natalie visited a monastery in the southwestern desert, and there she began to embark on this album. "The first song I wrote on Mercy was 'Home At Last,'" she says. "It is the best song I have ever written. I sing a lot about home on this record. Believing in that place has been my greatest consolation. I had an urgency and desperation to know that my father was there. His sudden death was a whirling chaos that assaulted my mind. This album provided me with my only hope for coming back to life myself. Gospel music brings hope. It is the good news; it’s exemplary. It can bring you truth. It can keep you alive. These songs have kind of written themselves, and they rely on me to sing them.” Natalie Bergman made one of the first great albums of 2021.

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

Who Cares A Lot? The Greatest Hits spotlights some of the biggest tracks released by Faith No More between 1987 and 1997. It includes massive hits such as “Epic”, “Easy”, “Evidence” and their first single “We Care A Lot.”

Presented in chronological order, this collection highlights the journey Faith No More went on, starting with tracks such as “We Care A Lot” and “Introduce Yourself”; tracks sung by original lead singer Chuck Mosley. After his departure in 1988, the band turned to current frontman Mike Patton, who’s first album with the band was the renowned “The Real Thing.”

Faith No More have maintained a cult status, being widely credited for developing alternative metal and having influence on bands such as Limp Bizkit and Slipknot. Founding member and bassist of Nirvana, Krist Novoselic, cites Faith No More as one of the bands who paved the way for Nirvana. This record presents a true celebration of Faith No More’s music and is on gold vinyl for the first time.

The band had previously announced a European tour in 2020, which had to be postponed due to the COVID-19 pandemic. These dates have now been rearranged for dates across the UK and rest of Europe during June and July of 2021, with an Australia and New Zealand tour to follow.

Taking place in the Paras district, Cangallo province, in the Ayacucho region of the Central-South Sierra of Peru - this is a recording of a ritual held on February 5th 2020 for the one year anniversary of the death of Mrs. Sofía Miranda de Bellido, recorded by her grandson Hánkel Bellido.

At noon the coffin of "Mamay Sofía" was presented, so that her relatives could say goodbye for the last time. Following tributes from family members, these songs dedicated to her life and her passing were sung.

The townspeople were notified of the events by the sound of bells that produce a peculiar and powerful sound, and that can be heard in the other nearby towns of Paras. It is said that these bells were greased with human fat, and brought from the Cerro de Pasco region during colonial times. The bells must be played all morning until the change of mourning takes place.

At midnight the songs of the Almakunapaq (also known as San Gregorios) mass began. These are unique to the Andean peoples - a fusion of Andean and Christian syncretic traditions - and are said to help the dead to enter the eternal Kingdom.

It was 4am when the change of mourning took place, and in accordance with traditions, the friends & family announce the presence of harp and violin players, to liven up the proceedings with songs of joy and merriment until the next day.

"Mamay Sofia, manan wañukunkichu, kawsakuchkankim sunquykupi; sichus qunqarusqaykiku, chaymi ichaqa wañukunki!"

"I have not died, I will die on the day that you forget me!"

Spiritual, intimate and revolutionary, yet firmly rooted in Brazil's folklore. Africadeus was the breakthrough album of the mighty Naná Vasconcelos, in which he discovered the berimbau to the world and took the instrument to a universal level, abstracting it from its original context of capoeira. Having played in the shadows for other artists such as Milton Nascimento, Gato Barbieri or Som Imaginario, Naná is here finally in the spotlight.

Recorded in 1973 in France for Pierre Barouh's Saravah label, this is the album that definitely imprinted Naná's name in the international scene, on his track to becoming one of the best percussionists of all times.

Immensely proud to offer a quality reissue of both his early 70s albums for the French label Saravah.

Africadeus comes in its original gatefold cover, and is available in standard black vinyl and a limited edition of 200 copies on red transparent vinyl.

Devoting an album entirely to the Persian poetry of Jami, aluminary of the Sufi tradition, was one of Haji Ghulam Farid Sabri"s cherished ambitions for a long time. This dream came true for the Qawwali icon when he visited Berlin in July 1991 at the invitation of the Heimatklänge ("Home Soundsfrom Home Planet Earth") festival, accompanied by his 14-year-old son Amjad. After Ghulam Sabri"s untimely death on the 5th of April 1994, Amjad Sabri became his musical successor, thereby passing on the Sufi Qawwali mastership of the Sabri family to the next generation. This all came to an end when Amjad was murdered for his Sufi beliefs in the streets of Karachi on the 22nd of June 2016. Thus, Jami is not only a memorial to the Sufi Muslim tradition and the Persian poet but also to Ghulam Farid Sabri and Amjad Sabri. It remains their only record in Farsi.

A fragile sense of time and memory runs through 'Thrill', the third collaborative album from Yana Pavlova and Pavel Milyakov. Recorded across four years and completed shortly before Pavlova's passing in February 2025, the collection expands the delicate language they introduced on Blue. The 14 scratchy, diaristic pieces move between ambient drift, field recordings and loose jazz inflections where haunted vocals, blurred guitars and faded textures surface then dissolve again. Rather than settling into fixed forms, the music unfolds patiently, revealing quiet emotional weight and space. It makes for a fitting closing chapter and a great document of Pavlova's singular, ethereal voice.

Soul Jazz Records’ long out of print classic ‘Studio One Funk’ collection is being re-released in three new one-off limited-edition coloured pressing 18th anniversary format editions!
Firstly, a heavyweight special limited edition one-pressing only red 2xLP vinyl + download. Secondly, there is also a new special limited-edition one-off pressing edition red-pressed CD enclosed in jewel case and slipcase. And thirdly there is a very limited unique new one-off pressing red-cased cassette format (200 copies only)! 18 years on from its original release Studio One Funk remains one of our Studio One releases most in-demand titles and like all our earlier special coloured editions is sure to sell out fast!
Studio One Funk is made up of rare and unreleased Reggae Funk from the vaults of Studio One. Ever since the birth of Funk in America, the sound has been an ever-present ingredient in the melting pot of Studio One’s musical output.
The music on this release is a combination of originals, US covers and versions of existing Studio One cuts. Jackie Mittoo shows his appreciation for Booker T and The MGs, the studio group at Memphis’ famous Stax Records with ‘Hang Em High’, itself a cover of a film soundtrack by Dominic Frontiere. Incredibly this version has never before been released. Booker T’s super-funky ‘Melting Pot’ is also covered by the little-known Underground Vegetables.
Other versions include Isaac Hayes’ classic Blaxploitation soundtrack ‘Shaft’ again by Cedric Im Brooks track - another unreleased gem, straight from the tape master. Motown gets a look in with Alton’s stripped-down version of the Spinners classic ‘It’s A Shame’, written by Stevie Wonder and Syreeta.
James Brown is apparent in spirit with the JBs-inspired groove on the super rare cut “Now” by Lee Arab. Lloyd Williams similarly does a fine Kingston-style version of the hardest-working man in showbusiness on ‘Reggae Feet’.
Version-wise, we have ‘Idleberg’, Cedric Im Brooks tough instrumental cut on Horace Andy’s seminal ‘Skylarking’. The little-known Prince Moonie gives us a rare DJ cut of another Horace Andy classic, ‘See A Man’s Face’.
Pablove Black’s cut of Sidewalk Doctor (A/K/A Poco Tempo) is one of a handful of Studio One releases featuring Augustus Pablo’s trademark instrument, the melodica, played by Black himself.
Add to these original cuts from Studio One’s heavyweight session players including Leroy Sibbles, Jackie Mittoo, Leroy Sibbles, Eric Frater, Leroy ‘Horsemouth’ Wallace, Richard Ace, Vin Gordon and more and you have one of the finest selections of reggae and funk you will ever hear.







"This collection goes deep into the Brentford Road vaults and unearths a rake of previously unreleased gems alongside hard to find classics. Heavy and inspirational, totally unique and essentially timeless." Straight No Chaser
"An absolute treasure trove for the collector as well as being great for the ears and feet. Jackie Mittoo's 'Hang Em High' is worth the price of the album on its own." Echoes
"A superb collection that shows how much many Jamaican musicians were influenced by the heavy funk belting out of American studios from the early seventies onwards.” Touch
"The most satisfying listening experience so far in the Studio One series." The Wire
"Rare and unreleased grooves from Jamaica's house of excellence." Mojo

Shooting Daggers are a band that never seems to stop. Sal, Bea and Raquel are one of the hardest working outfits out there, constantly playing shows and lending their support to myriad causes all around the U.K. and Europe. So, it’s always an exciting prospect when the band takes some time out from the maelstrom to write and record new material. And 2 years on from the release of their acclaimed debut album ‘Love & Rage’ the band have been in Bear Bites Horse Studio with Wayne Adams (Big Lad, Green Lung) at the controls to come up with the goods once again. ‘The Real Life Thing’ is the latest hardcore sonic missive from one of London’s must-see bands, and it absolutely does not disappoint. Shooting Daggers are the real deal; the best, and most exciting and adventurous hardcore-inspired band in the country. A ‘mini album‘. 7 songs and 20 minutes of driving rocket fuelled punk meets melody picking up from their debut to go further into their own space. A selection of songs that are marked by a fierce energy, variety and cool musical nous, but always with a message firmly at its core. The band says … ‘It's a crucial time to focus on what really matters. Be present, be aware of real things happening in the world, with integrity and love we can make a difference as a community. There is hope out there, and if we all start treating nature, people and animals with respect and empathy we will be able to become better humans and coexist. In this mini album, we express the full range of our emotions through various sounds and genres. From cheerfulness to anger and hopefulness.

From hardcore punk, to shoegaze, to post hardcore and riot grrrl. We embrace our authentic self, with sensitivity in response to injustice, we act out, and all the while savouring every moment, being unapologetically yourself, empowering ourselves and each other’. With the help of some very special guests in the form of ‘The Menstrual Cramps' and Dennis Lyxzén from Refused, that message is driven home ‘big time’. ‘Adrenaline’ is as full on and heavy as Daggers have ever been, all buzzsaw riffs and rousing vocals, it’s a smart and catchy punch in the face to kick off proceedings. ‘My Oh My’ sweetens the vibe if only a bit with its layered post shoegaze guitars and anthemic vocals, exquisitely arranged we may add. It really shows how Daggers have taken the 90’s elements from Love & Rage and expanded it into something all their own. ‘T.R.L.T.’ back to ‘in yer face’ Daggers trademark off kilter punk, chants, fast bit, slow bits all straight into your head. ‘We just Wanna Play’ is, as Daggers put it ... ‘Empowering playground song for girls and queers to sing and play’. The perfect intro to … ‘Loud Mouths’ the first track to feature bestie guesties ‘The Menstrual Cramps’. A riotous call to arms. We are united with our sisters and queer folks in punk and hardcore, queercore is strong and more alive than ever. Together we will denounce problematic behaviours unapologetically, we won't shut up. Things must change and it’s happening when problems are pointed out and sorted. The scene is for everybody, and we are making it happen’. ‘Le Soleil’ is another step forward … a left field, almost dubby vibe with a dreamy melodic swirling vocal performance from Sal.

When Daggers decide to step outside the box, they do it seductively in style. ‘Glow’ is the second collaboration; this one featuring Dennis Lyxzén from Refused on dual vocal duties. A no brainer it seems … ‘Refused has been a band that never wanted to fit in with a specific sound, they are pioneers of experimental punk while still being rooted in hardcore. They believe in what we believe in, antifascism, veganism, social justice and Dennis on stage is anything but a generic hardcore singer’. It’s a celebration. It’s fuzzy, it's hooky and it’s heavy with, dare we say it, a bit of My Bloody Valentine in there too, generic hardcore it is not. And that pretty much sums up ‘The Real Life Thing’. This album and this band are anything but ‘generic’. They never stand still and continue to push the boundaries of what is ‘hardcore’ or ‘punk’ or whatever people think they are. T.R.L.T. is a delight and a surprise from start to finish, refreshing, abrasive, melodic and with a true beating heart. Embrace it.

Produced by Manilow and longtime collaborator Michael Lloyd, What A Time brings together an eclectic and cross-generational group of collaborators, including Kenneth “Babyface” Edmonds, nine-time GRAMMY® winner Dave Cobb, and longtime co-writers Bruce Sussman and Adrienne Anderson. The result is a collection that pairs Manilow’s signature melodic grandeur with fresh textures and stylistic turns — from classic, string-swept torch songs to groove-driven R&B flourishes, heartland rock touches, and gospel-inspired crescendos.

On her new album, Neon Summer Skin, Bedouine, the project of Azniv Korkejian, explores this feeling of safety long before one can fully understand the concept. Written with vivid, honest and intimate imagery after visiting her family in Saudi Arabia, it tells the story of family and upbringing, and mourns the end of her childhood. There is a singular resonance and newfound heft in this music previously unheard in Bedouine’s discography. Bedouine is known for making gentle, lilting folk songs that build fingerpicked guitar melodies into tsunamis of emotion. Her masterful songwriting and timeless melodies have earned her praise from publications like Pitchfork, who said her music “boasts a surreal calm and lived in glow,” and Rolling Stone, who lauded her “humble folk-pop brilliance,” plus an NPR Tiny Desk Concert, and tours with the likes of Fleet Foxes and Father John Misty. While working on the record, Bedouine realized the pain of displacement, of searching for home, has been a throughline in her family history. Other relatives have also experienced this sense of loss as they’ve migrated between Armenia, Syria, and Saudi Arabia. “I felt so frustrated about the places that I'm from becoming war torn or difficult to return to,” she says. “My family has been split apart time and time again.” This realization prompted her to document and honor her parents’ lives and stories. On a family trip to Houston, Bedouine recorded a conversation with her mother and sampled the introduction to “Canopies.” The song tells the story of her mother’s time in an orphanage. She was put there by her own mother as a way of escaping her abusive father. Nearby, her mother would sing about feeling her daughter’s essence in the air: "The waves of Beirut's beaches flutter, and how sweetly they blow my darling's air." It’s a story of profound yearning told with the quiet profundity of a flower blossoming.

There are two versions of this album:

1. numbered 100 copies of limited black 180g vinyl made in collaboration with U JAZZ ME Records

2. transparent orange 180g vinyl

LINER NOTES:

" When AJ Lee stepped back into the ring in September 2025 - after a ten-year break - she introduced herself to a new generation of fans with the words: 'If you haven't heard of me, I am your favorite wrestler’s favorite wrestler.' That is exactly what came to my mind as a lead for this blurb when Pokusa asked me to write it. Because that’s what they are: your favorite indie darlings' favorite indie darlings (even though no one uses that term anymore, let alone identifies as such). They are your favorite cool jazzcats’ favorite jazzcats. And they are probably your favorite young jazz act - if you don’t usually (or ever) listen to jazz.

This, I always thought, is their greatest strength. Half the battle (in my eyes) is recording a sick jazz album - one that a jazz magazine would fawn over. The real win is getting someone wearing a heavy metal T-shirt into it; someone who’s never listened to jazz and has never stepped foot in a place like Pardon, To Tu, but heard Pokusa and decided to change that. I am such a person. I didn't learn about jazz because of them, but they’re definitely the reason I started rating it.
Głowy (Heads) is, in a way, a classic album. If someone played it for me and - relying on my lack of knowledge and gullibility - tried to convince me that it was recorded in the Polish Radio Studios in 1975, at Akwarium Club in Warsaw in 1985, at Club Rura in 1989, somewhere in Tri-City in '94, or at Mózg in Bydgoszcz, I would probably believe it. Its 'classicness' goes hand in hand with its timelessness. I could write about how the album fits into the catalogs of Lado ABC, GOWI, or Biodro Records. I could dig for connections to Yass, Tzadik, or a number of other things.
But what Teo, Natan, and Tymek create here is as important in its experience as it is in its music. For me - an artist active in a similar time - each Pokusa album, including this newest release, is a record of a period of time and the experiences hidden between the notes. The Indian spices in food served before a show in Mózg. A headache from all the cigarettes smoked listening to tapes in Eufemia. Marveling at the graffiti over the sink in Młodsza Siostra. The narrow steps at Chłodna 25. The wider but slippery steps to Pogłos. The quirky and uncomfortable steps in Ziemia. The mosquitoes at Ladomek. The dilemma of whether to wear a nice polo instead of a T-shirt to SPATiF. The wonder of turning off Monciak into Dwie Zmiany. Why is a club like this on such a strip? Why is Pokusa playing here? And why do they sound so good?
On one hand, you can find journalists writing that Pokusa grew out of the classic free jazz of the 1960s; some might mention Albert Ayler. On the other hand, there’s Unsound Festival and young critics writing about 'post-jazz.' All of them are correct. This is universalism. This is that timelessness. Whether you pick up this album the day it comes out or in the year 2046, it will be good. In twenty years, people will still reach for it. Of that, I am certain."
Michał Turowski

There are two versions of this album:

1. numbered 100 copies of limited black 180g vinyl made in collaboration with U JAZZ ME Records

2. transparent orange 180g vinyl

LINER NOTES:

" When AJ Lee stepped back into the ring in September 2025 - after a ten-year break - she introduced herself to a new generation of fans with the words: 'If you haven't heard of me, I am your favorite wrestler’s favorite wrestler.' That is exactly what came to my mind as a lead for this blurb when Pokusa asked me to write it. Because that’s what they are: your favorite indie darlings' favorite indie darlings (even though no one uses that term anymore, let alone identifies as such). They are your favorite cool jazzcats’ favorite jazzcats. And they are probably your favorite young jazz act - if you don’t usually (or ever) listen to jazz.

This, I always thought, is their greatest strength. Half the battle (in my eyes) is recording a sick jazz album - one that a jazz magazine would fawn over. The real win is getting someone wearing a heavy metal T-shirt into it; someone who’s never listened to jazz and has never stepped foot in a place like Pardon, To Tu, but heard Pokusa and decided to change that. I am such a person. I didn't learn about jazz because of them, but they’re definitely the reason I started rating it.
Głowy (Heads) is, in a way, a classic album. If someone played it for me and - relying on my lack of knowledge and gullibility - tried to convince me that it was recorded in the Polish Radio Studios in 1975, at Akwarium Club in Warsaw in 1985, at Club Rura in 1989, somewhere in Tri-City in '94, or at Mózg in Bydgoszcz, I would probably believe it. Its 'classicness' goes hand in hand with its timelessness. I could write about how the album fits into the catalogs of Lado ABC, GOWI, or Biodro Records. I could dig for connections to Yass, Tzadik, or a number of other things.
But what Teo, Natan, and Tymek create here is as important in its experience as it is in its music. For me - an artist active in a similar time - each Pokusa album, including this newest release, is a record of a period of time and the experiences hidden between the notes. The Indian spices in food served before a show in Mózg. A headache from all the cigarettes smoked listening to tapes in Eufemia. Marveling at the graffiti over the sink in Młodsza Siostra. The narrow steps at Chłodna 25. The wider but slippery steps to Pogłos. The quirky and uncomfortable steps in Ziemia. The mosquitoes at Ladomek. The dilemma of whether to wear a nice polo instead of a T-shirt to SPATiF. The wonder of turning off Monciak into Dwie Zmiany. Why is a club like this on such a strip? Why is Pokusa playing here? And why do they sound so good?
On one hand, you can find journalists writing that Pokusa grew out of the classic free jazz of the 1960s; some might mention Albert Ayler. On the other hand, there’s Unsound Festival and young critics writing about 'post-jazz.' All of them are correct. This is universalism. This is that timelessness. Whether you pick up this album the day it comes out or in the year 2046, it will be good. In twenty years, people will still reach for it. Of that, I am certain."
Michał Turowski

This tune was destined to be the one when Adam and SG Lewis met in Los Angeles in 2023. They hit it off immediately—why wait to collaborate on something when you can use the time in between Coachella weekends to go to a studio in LA together? That’s where „Be The One“ came to life. Refined and road-tested in the months that followed, it’s finally seeing the light of day as a record that thrives on both artists’ mutual penchant for captivating hooks and heartwarming emotional depth.

Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

8-Tracks features eight essential classics selected from the Pink Floyd’s 1971 – 1979 era. The track list includes the instantly recognisable hits ‘Money’, ‘Wish You Were Here’, ‘Another Brick in the Wall, Part 2’, ‘Time’ and ‘Comfortably Numb’, alongside earlier cuts in ‘One Of These Days’ and ‘Wot’s… Uh The Deal’, as well as an exclusive full version of ‘Pigs On The Wing’, previously available only on the 1977 Animals 8-Track cartridge release. The track sequence has been edited by Steven Wilson for a continuous listening experience. 8-Tracks documents the full measure of Pink Floyd’s transition into their breakthrough era, propelled into superstardom throughout the 1970s. The eight-year period this special release celebrates encompasses music from some of the band’s most successful and celebrated records ever. 1971’s Meddle, 1972’s Obscured by Clouds, 1973’s The Dark Side of the Moon, 1975’s Wish You Were Here, 1977’s Animals and 1979’s The Wall. 8-Tracks offers a brilliant insight into this incredible period of creativity. A starting point for new listeners to discover the depth and breadth of Pink Floyd’s peerless album catalogue, as well as a carefully curated collection for longtime fans to appreciate.

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special.

Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too.

Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet.

We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word.

Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths.

Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work.

There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

Michigan Band EJ & the Echoes: Rediscovering a Soul Legacy

The story of EJ & the Echoes represents a remarkable chapter in Michigan's music history and the early American soul scene. Its origins date back to the late 1950s, when Everett J. "EJ" Gronda was already active as a young musician. While studying at Central Michigan University in the early 1960s, he met the talented vocalist Manuel "Manny" Holcolm. Together with other musicians, they formed vocal groups that soon performed throughout the state and even recorded near Detroit's legendary Motown studios.

In 1963, Gronda founded EJ & the Echoes, a band that quickly gained popularity at dances, clubs, and weddings across Michigan. With Manny Holcolm as lead singer, the group developed a distinctive harmony-driven sound, blending influences ranging from the Beatles to James Brown. The band served as a house band in Traverse City, opened for national acts, and performed regularly at well-known Detroit venues.

Between 1964 and 1967, EJ & the Echoes released several singles on the Diamond Jim Records label. Although major commercial success eluded them at the time, their recordings later found international recognition. Today, their songs remain staples of the British Northern Soul scene.

After the band dissolved, the members pursued different paths. EJ Gronda became a schoolteacher but remained devoted to music throughout his life. In 2006, the musicians reunited for an emotional jam session. EJ Gronda passed away in 2022, followed by Manuel Holcolm in 2024. Their musical legacy endures-on this vinyl release, dance floors, and in the memory of a remarkable era.

Our sincere thanks go to author and blues historian Fred Reif. He wrote the accompanying text and provided all the pictures of the band printed in the gatefold cover. Without him, this project would not have been possible.

Filmmaking and music-making share a common element of worldbuilding. Whole cloth, environments are raised in which a perspective can be placed; the viewer, the listener, is taken on a ride into the unknown for a time. Movie, the newest album by DMV-based duo Lifted, is like a film shot with microphones rather than cameras, using the pacing, spatialization, and semiotics of cinematic sound design to lead us through a surreal soundworld that draws as much from Foley artistry as dub, jazz, and electronic music. Musical elements and field recordings shift in and out of focus, collaged in spontaneous improvisation sessions on CDJs by the core duo of Andrew Field-Pickering (Max D, Dolo Percussion, Beautiful Swimmers) and Matt Papich (Co La, Ecstatic Sunshine). We may not see where we are, but our ears give us all the information we need.

We open on a pedal steel, played by More Eaze, but it’s been warped and slowed, gradually pitching upward until it's met by drums and electronics. Imagine the THX logo emerging onscreen. Movie is bookended by two related themes, “The Ice Chewers (Opening Credits), ” and “Midnight Snack (End Credits), ” giving the spatial experiments at the heart of the record form and focus. If there’s a broader narrative to latch onto, it’s in the transition moments, the juxtaposition of various field recordings that indicate movement of characters through space and life happening at its own pace. Tracks are defined by other thematic elements: a wandering piano in "Repossessed, " the drone of Duncan Moore’s bagpipe on “Melts Very Nasty, ” the delicate dance of Dustin Wong’s guitar over Jeremy Hyman’s drums on “Midnight Snack. ” Even with such an expansive ensemble cast, the focus remains squarely on the flow from one scene to the next.

Robert Altman’s use of sonic perspective shifting, as well as Apichatpong Weerasethakul’s intricate construction of environmental ambience and aural representations of the unknown, were both inspirational for Lifted’s focus on sound as a way to establish set and setting in film. We hear Altman especially in the way dialogue emerges and recedes: as Papich puts in a sandwich order, as Field-Pickering browses the grocery store. These techniques have been a part of the duo’s arsenal in Lifted and their own projects for years, but here, without the mandate to make something overtly musical, they are foregrounded and placed in crisp focus. Here is another way to listen to the world, to understand how time, place, and personality are communicated through sound as Lifted closes the gap between artforms. What you can’t see only drives the imagination to more brilliantly invent.

Mike Cooper returns to Discrepant with The Dream Island of Birds, a release that blurs the lines between memory, field recording, and reimagined sound.

In the early 1990s, Cooper met illustrator and writer Charles van Sandwyk while walking on a small island in Fiji. Van Sandwyk was living there quietly, working from a modest bamboo house near the beach. Years later, Cooper learned that following a serious car accident, van Sandwyk experienced vivid dreams during his recovery — one of which became a small illustrated book titled The Dream Island of Birds. A signed postcard from that book still hangs in Cooper’s studio.

In 2012, Cooper spent a month as artist-in-residence on Pulau Ubin, a small island between Singapore and Malaysia, recording birds and insects across the island. Home to more than 300 resident and migratory bird species, Pulau Ubin provided the source material for this album, later combined with electronics and digital processing. The track titles reference some of the island’s more evocatively named birds, though the sounds themselves are not literal representations. One piece is not derived from live birds at all, but imagined entirely through electronic means.

Neither documentary nor abstraction, The Dream Island of Birds sits between field recording, memory, and invention — an island heard through time and circuitry.

"Nusa" is the last part of a trilogy started in 2020 with Masao Yamamoto and Akira Uchida. A project that began with light (“Sasanami”, 2020), moved through darkness (“Kurayami”, 2023), and returned to the ambivalence of the two (“Nusa”, 2026), which ultimately sustain and complement one another in all their variations and complementarities. Both in terms of tones and in the humanity that runs through us in these times of such stark contrast.

For this last part of the trilogy, Masao Yamamoto and Akira Uchida travelled to the island of Hokkaido at the beginning of 2026 to supplement the project with photographs and audio recordings of the ice and the surrounding landscapes.

Graduated in saxophone from Senzoku Gakuen College of Music, Akira Uchida explores sound through tuning, medieval music, and acoustics, supporting jazz pianists as a piano tuner. After training under instrument maker Masahiro Adachi, he became an independent clavichord builder. In 2020, he created an instrument for Ryuichi Sakamoto. In 2021, he crafted one using reclaimed wood from Kiyomizu-dera Temple (FEEL KIYOMIZUDERA). His work focuses on making, tuning, and performing instruments.

BBE Music’s celebrated J Jazz compilation series reaches its fifth and final volume in early 2026, culminating in a track list that maintains the exceptionally high standard first set with volume one back in 2018. This final volume features a selection of tracks that is as diverse as it is deep, reflecting the rich and varied Japanese jazz scene that spanned from the late 1960s to the late 1980s, a golden era of innovation and creativity. J Jazz volume 5 sees compilers Tony Higgins and Mike Peden dig ever deeper into their respective record collections to reveal tracks that encompass myriad styles including white hot jazz funk fusion from Toshiyuki Honda (Eastern Legacy) and Mikio Masuda (Sonic Barrier), super rare ethnic jazz crossover by Christal Zone - their one-off 45 promo release from 1971, Rai Rai, a deconstructed and abstract jazz classic by Yasuhiro Kohno with his solo piano rendition of My Favourite Things, and Mile and Half’s skin-tearing, shredding freak-out from their mega rare private press album.

A track that is so relentless, it leaves the listener in need of oxygen and a Valium. These hand-picked selections sit alongside other specially chosen numbers that embrace hard-driving samba (Seiichi Nakumura’s Judy’s Samba), epic head-nodding soul jazz (Masaru Imada’s World Line), psychedelic private press fusion (Aoyama Gakuin 101’s Fervor), angular post-bop tear-ups (Akira Miyazawa’s Nijimasu), intense and insistent fusion (Motohiko Hino’s Olive Step), serene cinematic pianism (Hideo Ichikawa’s On the Trade Wind) and tripped-out hallucinogenic tribal funky jazz (Masahiko Sato’s Garandoh’s Africa to Africa). Most of the tracks on this collection are being reissued for the first time, many of them only available previously on extremely limited and mega-rare private press or independent releases. J Jazz volume 5 is a fitting end to a compilation series that helped create a new audience and appreciation of Japanese jazz Some of the albums the tracks are drawn from are featured in the large format book J Jazz: Modern and Free Jazz from Japan 1954-1988, by Tony Higgins and Mike Peden, published by BBE Music in 2024. With almost 7000 words of extensive sleeve notes, J Jazz volume 5 comes in a triple 180g vinyl set inside a deluxe gatefold sleeve with obi strip, and comes with a 4-page insert, with photographs from the renowned Tokyo Jazz Joints project. It is also available as a double CD and digital download. Mastered at the Grammy-nominated Carvery Studio by Frank Merritt, this latest collection is a worthy successor to the preceding four volumes that set the bar so high. The J Jazz series is curated for BBE Music by Tony Higgins and Mike Peden.

On March 20, 1964, legendary American comedian and harpist Harpo Marx joined the Riverside Symphony on stage at a benefit for the Southern California organization. By then, the comic had been in semi-retirement, and after a series of heart attacks in 1961, he was told to stop working altogether. But to a lifelong performer, nothing compared to the feeling of being on stage. Benefit shows, he slyly argued, were not technically work, since he wasn’t getting paid. For the next few years, Marx’s wife and doctors grudgingly went along with the pitch. Harpo Speaks! The Riverside Symphony Concert, out June 5 from Ramseur Records, captures a considerably remarkable, one-of-a-kind performance: The silent Marx Brother, the one whose trademark persona led many audiences to believe he was actually mute, spoke. As Harpo Marx’s first, and last—recorded just six months before his death—live album, Harpo Speaks! places listeners in the room, immersed in the swell of the Riverside Orchestra as Marx performs alongside the symphony and leads them in a narration of Peter and the Wolf. In another unusual move for Marx, he allowed the recording of the show for posterity, though the tapes seemingly disappeared after his death. Harpo Speaks! is the result of heroic archival work. Recently discovered by longtime Marx Brother archivist John Tefteller, he and Marx biographer and expert Robert Bader set out to restore the long lost recording. “The fact that we have a recording is a miracle,” says Bader. “It was not the most professionally recorded thing.

It was very haphazard. The work that was done to rehabilitate it is stunning. It’s as if you’ve found something covered with layers of mold and dirt, got it all cleaned off, and now are able to see something brand new underneath it.” Across the recording’s near-43 minute runtime, Marx, alongside the Riverside Symphony, takes the cheering audience through the delightfully lighthearted “Toy Symphony” and carries them into the softly romantic “Moon Medley,” (a medley of “Fly Me to the Moon” and “How High the Moon,” arranged by his son Bill, alongside his own composition, “Moon Tune”) and a rare instrumental performance of his composition “Guardian Angels.” And then the concert’s true highlight: the near 22-minute long riveting narration of Peter and the Wolf. For the first time, Harpo reveals his voice: deep, yet soft-spoken, refined, yet still retaining the slightest hint of his New York City origin. And, in speaking, he entertained, getting laughs not just for his physical gags, but for the storytelling itself: the dramatic inflections in moments of suspense, the arch mischievousness, and tongue-in-cheek references to Goldwater, Rockefeller, and Nixon.

Bassmæssage is the oldest and most consistent bass night in Leipzig Germoany, pushing local soundsystem culture and grass roots artivism. We are about to welcome a fresh release "for all who like it low and want it vibrant"!

After two installments of bass-heavy multi-genre various-BPM grooves on Volume One in 2015 and on Second Drop in 2023 here comes the full triplet in this line of bass music vinyl compilations featuring acts who have been mÊssaging our nights. This time on Threenity, one side side is running garagewise 130, flipped by a more dubsteppish 140 area, all drowning in dark sinister midranges, mindful drum programmings and heavy-weight lows for huge speakers, to be released around 9th May 2026 on a 2 floor DIY soundsystem night in Connewitz!

Opening with genre wizzard LUI from Leipzig, showing how dirty and fonkey a garage bit can actually go. Bricks of beats on a fundament of nasty bass concrete, roofed by a vast selection of uplifting samples are vibing for sure.
Trainsient is the deep bass moniker of Leipzig's Plastiks running DDNBC, delivering a heavy tribal statement of a lost place of a deep grime, overgrown with flutey leaves and dreamy synth lianes hiding da moddership.
Psionide from Dresden with estonian roots is celebrating a vinyl debut with a slow-jungle dream-breaks bit between retro and future, braindance and dance, listening and bassline coaster.
Son du Maquis outa Toulouse sneaks in low in a classic dubstep manner, only to drop the lowest wobble possible right throughout the ride.
Miles Won transmitting from Plugwhiz, nails headnodding with his beat writing skills. Where bass meets hip hop, the grass has never been greener.
Finally, veteran like Dub Across Borders cabling from Copenhagen is delivering the contemplating outro: a melancholic 140 halftime not only to send you home but right into the night sky.

These six peaces are found on a heavy cut vinyl, ready to shake your system. As bonus there is another papercraft Basstelbogen cover, which lets you build your own BM logo and a 1:3 ratio record player on top. Mach's mit, mach's nach, mach's b‰sser!

"I decided to just let myself go," Zzzahara says of their new record, 'Spiral Your Way Out' "I think I finally came to this acceptance that I don't have to be perfect. I want to be a good role model to my fans and stuff like that, but I also don't want to hide who I am." Zzzahara's music wades into the deep waters of love, lust, and self-discovery in a part of the world where artifice and authenticity co-exist. Emerging from the heart of LA's alternative music scene, their sound is raw in feeling and rebellious by nature.

Their 2022 debut album, Liminal Spaces, chronicles a coming- of- age in Highland Park, following painful childhood memories through to late- night, live- fast coping mechanisms, and the changes the neighbourhood has endured over the same period of time. Their 2023 follow- up, Tender, marked a period of slowing down, looking inward, and embracing a softer side of being. 'Spiral Your Way Out' sees Zzzahara evolve again. Emotionally, its foundations are built on scorched earth.

The album finds Zzzahara in the aftermath of a relationship spent trying to fit someone else's mould, being jerked around by indecision, and then hitting "emotional rock bottom." Made in a three-month burst that let all their pent-up frustrations loose, 'Spiral Your Way Out' is in part a work of self-reclamation, swapping there 2nd album Tender's meditative state for something fiery and more assertive. The new album marks another sonic evolution as much as an emotional one. Zzzahara's songs have always come wrapped in a warm glow that reflects how they were written -namely at home in their bedroom.

That glow remains on 'Spiral Your Way Out', but it also packs an ambitious streak and a gutsy punch. Taking a more collaborative approach than usual, Zzzahara worked with a range of producers including Jorge Elbrecht (Japanese Breakfast, No Joy, Sky Ferreira), Sarah Tudzin (boygenius / Cloud Nothings / The Armed), former Ducktails guitarist Alex Craig (Jelani Aryeh / re6ce) and Halsey tour drummer Franco Reid, who helped harness their intimate style of writing and blow it up into something more panoptic. After a year of upheaval, Zzzahara finally feels "calm." The musical equivalent to going several rounds on a punching bag, 'Spiral Your Way Out' finds solace between extremes. It licks its wounds in a place where pain and love, healing and abandon, sit side-by-side. If it has a message, it's one of standing tall in your own shoes - scuffs and all.

"I decided to just let myself go," Zzzahara says of their new record, 'Spiral Your Way Out' "I think I finally came to this acceptance that I don't have to be perfect. I want to be a good role model to my fans and stuff like that, but I also don't want to hide who I am." Zzzahara's music wades into the deep waters of love, lust, and self-discovery in a part of the world where artifice and authenticity co-exist. Emerging from the heart of LA's alternative music scene, their sound is raw in feeling and rebellious by nature.

Their 2022 debut album, Liminal Spaces, chronicles a coming- of- age in Highland Park, following painful childhood memories through to late- night, live- fast coping mechanisms, and the changes the neighbourhood has endured over the same period of time. Their 2023 follow- up, Tender, marked a period of slowing down, looking inward, and embracing a softer side of being. 'Spiral Your Way Out' sees Zzzahara evolve again. Emotionally, its foundations are built on scorched earth.

The album finds Zzzahara in the aftermath of a relationship spent trying to fit someone else's mould, being jerked around by indecision, and then hitting "emotional rock bottom." Made in a three-month burst that let all their pent-up frustrations loose, 'Spiral Your Way Out' is in part a work of self-reclamation, swapping there 2nd album Tender's meditative state for something fiery and more assertive. The new album marks another sonic evolution as much as an emotional one. Zzzahara's songs have always come wrapped in a warm glow that reflects how they were written -namely at home in their bedroom.

That glow remains on 'Spiral Your Way Out', but it also packs an ambitious streak and a gutsy punch. Taking a more collaborative approach than usual, Zzzahara worked with a range of producers including Jorge Elbrecht (Japanese Breakfast, No Joy, Sky Ferreira), Sarah Tudzin (boygenius / Cloud Nothings / The Armed), former Ducktails guitarist Alex Craig (Jelani Aryeh / re6ce) and Halsey tour drummer Franco Reid, who helped harness their intimate style of writing and blow it up into something more panoptic. After a year of upheaval, Zzzahara finally feels "calm." The musical equivalent to going several rounds on a punching bag, 'Spiral Your Way Out' finds solace between extremes. It licks its wounds in a place where pain and love, healing and abandon, sit side-by-side. If it has a message, it's one of standing tall in your own shoes - scuffs and all.

With Superstring, one of the greatest trance classics returns to vinyl. Originally released by Cygnus X, the track became a landmark in trance history and remains instantly recognisable decades later. Its hypnotic melody and emotional drive helped shape the sound of the genre and continue to resonate with fans and DJs.

This special edition includes an exclusive, never-before-released remix by Oliver Lieb as well as the iconic versions by Rank 1: the celebrated Rank 1 Remix and the Deep Dub Remix. Each interpretation brings a different perspective to the timeless core of Superstring, showing why it remains one of trance's defining records.

Pressed on vinyl for collectors, DJs and trance enthusiasts, this release celebrates the enduring legacy of a classic that still feels relevant today. It represents trance's ability to connect generations through melody and emotion.

Kercha’s debut album ‘Open The Door’ arrives this April via DNO Records. The Black Sea artist’s mystical, disorienting style has set the tone for the label since he dropped the inaugural release six years ago. Now, across 16 tracks — including collabs with Mystic State, Congi, NST, Khromi and Finnoh — his smoky sampledelic dubstep is tighter, heavier, and more curious than ever, with a new sense of danger and bubbling rage that feels fit for our chaotic times.

Themes of movement and change course through the LP. On the opening gambit ‘A Path Into The Unknown’, twinkling arpeggios emerge from the gloom like stars lighting the way. Tracks like the eponymous ‘Open The Door’ and ‘Mind Extraction’ deliver that classic Kercha sound, where left-field samples dart in at right angles. ‘Dangerous Road’ weaves between the call and response action of grotty stabs and devilish subs. ‘Take A Break’, featuring Mystic State, goes on the attack with searing acid. ‘Can’t Wait For Today’, though lethargic in its pace, sees San Francisco-based rapper Finnoh deliver stream-of-consciousness bars that skewer our present and nudge us to revolution.

Work took place over the course of several years, during which Kercha relocated with his family from Russia to Georgia, where he now resides in the capital, Tbilisi. “Sometimes I wrote music while travelling on a bus, sometimes late at night while my family was asleep, sometimes just sitting on the grass in a park, and of course in my home studio as well,” he says. “By the time the album was finished, it included music from different periods, and it may vary in sound and concept.”

Any major upheaval in life will result in moments of hardship, but also hope. Both can be found throughout ‘Open The Door’. There’s times when the darkness threatens to envelope everything: during the cold, crackling ‘Disclosed’ and the eerie, dystopian ‘Infection Of Lies’; on ‘Trigger Activation’, with its grunting lows and broken glass hook, and ‘Ballistics’, where a wall of sub-bass is pierced by shrapnel stabs.

The balancing light comes on ‘4 AM’, featuring Nottingham duo Congi, when clashing swords and cinematic strings, meet a soft Rhodes piano — the juxtaposition between heavy low-end and floaty keys and vox reflecting those moments of transcendence often found in the early hours. From the injection of garage energy on ‘Bubs’, with Edinburgh’s Khromi. And on with ‘My Feeling’, featuring South Russian vocalist NST, which closes the album on a deep but expansive note, bookending the experience with more starlight synth tones.

“It’s a reflection of my life journey and the changes connected with emigration and overcoming various difficulties,” explains Kercha. “This period means a lot to me, which is why the album includes tracks from the time of preparing to leave up to adapting to a new country.”

Still, he wants listeners to be able to derive their own understanding. “I think the essence lies in the ability to contemplate, not in any predetermined meaning,” he says. “I can only say one thing: thank you for appreciating what I do and for your support. I hope it inspires you to make the same firm decisions to change for the better as it did for me.”

Out via 4 x 12” vinyl, ‘Open The Door’ is a captivating artistic statement, showcasing the journey of an artist with a truly original signature sound — a rarity that should be treasured and celebrated.

Rhythms of postmodern realism at the very bottom of the DNO.

Bolka is known as the man with the cap. His cap has lived through a lot: his glitchy and microtonal experiments, studies at Institute of Sonology in The Hague or through countless performative works. A few years ago, Bolka’s cap fell apart. By that time he was already a fixture on the slovak experimental scene, but only releasing his debut album, “smutné stropy.” He started wearing new caps from then: somehow reminiscent of the old one, but much more varied — same as “smutné stropy,” bubbling with motifs, charming humour and pop sensitivity layered over detailed soundscapes popping with surprises.

On schwarzkopf, Bolka returns wishing for a thick black hair. With his charming love songs, that are positioned somewhere between a tightly run freak folk orchestra, deconstructed ballads and colorful ecstatic melancholy, he creates an album that thrives on juxtapositions that are completely unique, yet strangely familiar. Bolka’s songwriting is at once tender and irreverent — lovestruck whispering suddenly tripping over absurdist jokes and surreal images that fizz like soda. His songs move in that strange space between vulnerability and mischief, where intimate confessions collide with radical playfulness and the poetic rubs shoulders with the delightfully ridiculous.

On schwarzkopf, Bolka expands his world with a wide circle of collaborators and an even richer sonic palette. The album is meticulously detailed yet carefree: delicate moments sit next to sudden explosions, drifting from gentle pop to bursts of noise. Toward the end, the album even slips into a footwork-infused remix by Kodiki, passes through Julek ploski’s signature neon-baroque string perspective, and briefly wanders into Lénok’s cinematic sonic world. Bolka sings that he wants to dissolve into a healing ointment, to be ground in a mortar with calendula — and he invites us into this musical spa with him: a place that stings a little but ultimately soothes, a gorgeous soundscape that is both painful and joyful at the same time.

BAILE & Nuage land on Shall Not Fade with their ‘Back 2 Earth’ EP

Four deeeep timeless tracks on this 12 inch. Sleek, progressive, acidy house & trancey ethereal breaks ‘Back 2 Earth’ is full of that headsy 90’s energy à la Underworld and Orbital…..we’ve been getting very lost in these ones!

Written remotely between Brooklyn, New York (BAILE) and Yerevan, Armenia (Nuage) both producers are more than a decade deep in their craft and it shows. They say “this all began with Nuage sending over a few short demos. BAILE took those pieces and constructed them into more fleshed out tracks, after which the two passed the songs back and forth slowly filling in the blanks.” …and that's the key here - no rush, no agenda just the realest takes expertly hewn.


Same Beat on the A1 is just that.. breakbeats, spoken word vocal chops and repetitive synth lines, but less is more. The percussion, bassline and programming do the work. Sometimes it's more about what you leave out than what you put in.

On ‘TSP’ you Nuage’s signature metallic synths. It’s a definite eyes closed/hands in the air weapon. Hypnotic flow building and ratcheting up the energy.

Flip over to title track’ Back 2 Earth’ and we get a trancey, garage and house blend. Sleek synths & arpeggios and minimal chops that seem to whisper ‘heaven…earth’.. BAILE utilized the Prophet Rev2 for pads and synths and a Moog Little Phatty and Minitaur for the bass but we want to know can a breakbeat soothe?

'Catch Yourself' closes out the EP.. More breaks and arpeggios but this time with an acid lead from the TB-03, grungy bass and warm gated synths underneath. Sample spotters you aren’t scoring any points here, the “I know that sample” vocal here come from Felicia Douglass (a frequent collaborator of BAILE’s who is in The Dirty Projectors and Ava Luna) and makes double the point that this EP is one of those ones that even on first listen you already know it. ‘Back 2 Earth’ has been on the SNF schedule for a minute so big up BAILE & Nuage for the patience but what that extra private time has meant, is that we can say with certainty that this EP keeps sounding better & better & better..

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

With “Louder Than Fate”, Jared James Nichols delivers his fourth studio album and easily his most powerful and fully realized statement to date. Raw, unapologetic, and deeply rooted in the lineage of blues-driven hard rock, the album captures an artist at the peak of his creative confidence, channeling grit, groove, and soul with relentless intensity. Produced and mixed by Jay Ruston (Anthrax, Stone Sour, Amon Amarth, Uriah Heep, Steel Panther etc.), “Louder Than Fate” balances muscle and melody, combining thunderous riffs, searing solos, and emotionally charged vocals with a modern, punchy production. The songs move effortlessly between hard-hitting rock anthems and more reflective, dynamic moments, showcasing Nichols’ ability to fuse classic influences with a contemporary edge. Tracks like “Bending or Breaking” and “Killing Time” expand the sonic palette with subtle keyboards and cinematic string arrangements, adding depth without ever sacrificing power. Since his breakout debut, Jared James Nichols has built a reputation as one of the most electrifying guitarists and performers of his generation. Known for his unmistakable tone, fearless playing style, and commanding stage presence, he has toured extensively across the US and Europe, sharing stages with some of the biggest names in rock and earning praise from fans and critics alike. Louder Than Fate is not just an album — it’s a declaration. A record that speaks to resilience, conviction, and the unstoppable force of an artist who plays every note as if it truly matters. Loud, honest, and deeply human, this is Jared James Nichols at his absolute best.

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

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

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

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

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

Hit the North is a DJs’ movement
Not a label. Not a revival. A discipline.

Over the years, the collective travelled across multiple states in the US and parts of the UK, digging deep into private collections, basements, garages, storage rooms and forgotten boxes.

They weren’t looking for classics.
They weren’t looking for hits.
They were looking for attempts.

Artists chasing something bigger than themselves.
Trying to sound like Motown.
Trying to sound like Detroit.
Trying to sound like the records that saved them.

Many of them dreamed — at best — of becoming a one hit wonder.
Most never got that far.

Some never crossed a state line.
Some never crossed the street at the end of their block.
Some never played outside their hometown.
Some never played at all.

What they left behind were fragments.

Raw versions.
Unfinished recordings.
Alternate takes.
Rejected mixes.
Test pressings.
Acetates passed quietly from hand to hand.

Sometimes with real credits.
Sometimes with fake ones.
Sometimes with handwritten labels leading nowhere.
Titles that didn’t match the music.
Stories that changed every time you asked.

Often, the trail simply disappeared.

What remained was intention.

Energy.
Urgency.
Hope pressed into sound.

So the collective worked on it.

They edited certain parts.
Extended others.
Cut what didn’t serve the floor.

Not to modernise.
Not to rewrite history.
But to unlock the power that was already there.

The result sounds like Northern Soul pushed to its breaking point.
Fast. Physical. Emotional.
Built for movement.

Some circulated privately.
Others were never pressed at all.

Recorded in personal studios, borrowed studios, friends’ rooms, temporary spaces.
Always outside the system.

This is not nostalgia.
This is unfinished business.

Huge! Incl. Mihai Popoviciu Remix! Sublease Music proudly welcomes Vincenzo,one of the longest serving producers on the house circuit, with Assassin, a slinky, deep and rolling house cut.

DJ Pone returns to his roots with Bass Culture (out March 6, 2026), a new 19-minute mixtape. A renowned turntablist, DJ Pone delivers an immersive and mesmerizing mix. Following his success with Birdy Nam Nam, he has released several genre-blurring projects, including the cinematic Radiant and the deeply introspective 1978. These albums showcase a producer with a meticulous ear for detail, atmosphere, texture, and storytelling—at times overshadowing the full extent of his talent and charisma behind the decks. With this new release, he reconnects with his first love: sound collage, razor-sharp cuts, and the magic of real-time manipulation. The mix fuses a burst of tracks into a seamless journey, punctuated by precise breaks and UK and tropical inflections. The sound design feels both cathartic and transient—a subtle blend of beats and sonic landscapes that echo and dissolve into one another with remarkable finesse. From an opening manifesto paying tribute to DJ Shadow and DJ Qbert to a rawer section infused with urbex textures, recalling the energy of Company Flow, Pone crafts a narrative that is as thoughtful as it is intensely joyful—yet paradoxically soothing. Mostly instrumental but never lacking soul, Bass Culture is filled with glitched melodies and vocal samples, echoes of his recent travels to Barcelona and beyond. The project stands as a personal, tactile canvas—instinctive and unembellished—pushing back against an era dominated by digital excess. It resonates as a true statement of faith in the art of DJing, reminding us that, even as a producer, DJ Pone’s touch on vinyl remains grounded and almost magnetic, far removed from today’s passing trends.

Fust’s first record "Evil Joy" was a bitter domestic drama obsessed with the kitchen-sink passage of time measured by moments of leaving and returning. With "Genevieve", we find a different kind of leaving: leaving behind, leaving one’s old ways, starting anew, a small life together, in “Family Country.” Thus, Genevieve: an historical name for both the saintly and the ordinary, the peasantry and the family, the community and the wife, extreme devotion and absolute forbearance. While sonically and instrumentally louder than Evil Joy, Genevieve is thematically more quiet about its pains—more settled in its ways. It is a collection of pathetic love stories written in dedication to “small life,” moving from gentle exceptions (“I can take the late hours if you’re with me”) to pitiful admissions (“I’m never going to change when I leave…”). What comes with a quiet life? The highest forms of beauty, but we also find here songs of unspeaking companions, the sublime dread of having children, the balance of humility and humiliation, playing the fool for the greater good, and… budget birthday parties. With these stories of possible growth, "Genevieve" can’t help but also feature tried and true examples of crisis and repression: seeking a bygone lifestyle in an old friend who hasn’t changed much over the years, pissing contests, search parties as the form of community for melancholics with no clue what they’ve lost, old flames you won't let go and dying flames you won’t admit. "Genevieve" was recorded throughout 2021-2022 (mostly) at Drop of Sun studio in Asheville NC by Alex Farrar. The painting by Sasha Popovici is exactly right: a domestic scene yet unfinished. Many friends helped to make it much better than it was without them—Xandy Chelmis, Michael Cormier-O’Leary, Indigo De Souza, MJ Lenderman, Courtney Werner.

First time available on 180 grm black 180 grm vinyl 2LP . Revelation is the first album that was fully recorded & produced at Anton's recording studio in Berlin . It is the 14th full length release from the Brian Jonestown Massacre recorded from late 2012 to early 2014. With Anton Newcombe refining the 13 tracks that appear on the album Featuring Ricky Maymi an original member of the band plays on this album. It also features Joachim Alhund (Les Big Byrds) , Constatine Karlis (Dimmer), & Ryan Van Kriedt (Asteroid #4) . Plus vocal performance in Swedish by Joachim Alhund (Les Big Byrds) on the opening track . This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years. Two dozen band members later and numerous ups and downs' (some have been famously sensationalized in the media ), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe

Vince Staples is one of the most revered voices of his generation. Though he's a celebrated multi-hyphenate, making an impact in TV, film, & contemporary culture, music is where he most naturally pushes boundaries as an artist, storyteller, & creative force. Following a string of acclaimed introspective projects, Ramona Park (a melancholic tribute to his hometown) & Dark Times (deeper, more personal themes), Cry Baby is a more outwardly facing artistic statement and piece of social commentary.

Heartbreak Station, released in 1990, is the third studio album by American rock band Cinderella. The record climbed to No. 19 on the Billboard 200 and earned platinum certification the following year. VH1 described the album’s shift in direction as “bluesy and brawny,” a fitting summary for a project that produced three Billboard Hot 100 singles; “Shelter Me,” “Heartbreak Station,” and “The More Things Change.”

The album marked a deliberate move away from the glam‑metal sound that defined Night Songs and Long Cold Winter. Instead, Cinderella embraced a rawer, more stripped‑down blues approach. Speaking to the Los Angeles Daily News shortly before release, frontman Tom Keifer explained the evolution: the band aimed for a “rawer, simpler approach,” reducing reverb and overdubs to let the songs breathe. Keifer also noted that blues played a major role in shaping his songwriting during this period.

Adding to the album’s depth, former Led Zeppelin bassist John Paul Jones arranged the string sections for two tracks. The band sought him out after being impressed by his orchestral work for artists like The Rolling Stones and Donovan.

Heartbreak Station includes an insert with lyrics and is available on black vinyl.

Debut vinyl release from San Francisco indie pop trio The Kitchenettes. After a quietly beloved 2024 demos tape, The Kitchenettes return with their first vinyl release: a sparkling three-song 7" that updates the timeless indie pop template of Marine Girls, The Cat's Miaow, and Lois for 2026. Across the three tracks, the band moves gracefully between tender, jangling pop and brighter, upbeat moments, revealing an impressive range of mood, tempo, and texture. Formed by Morgan (The Umbrellas, Telephone Numbers) with Emily and Sequoia (The Snogs),writing collaboratively and trading vocal duties, the band crafts effortlessly charming indie pop built on jangly guitars, loose harmonies, and a homespun DIY spirit. Short, sweet, and full of heart, it's a perfect introduction to one of San Francisco's most charming new indie pop groups.

2026 repress of classic fifth album by U.K. Psychobilly legends DEMENTED ARE GO! Originally released in 1993 on FURY RECORDS / U.K.! Spark "Douche" Retard - Screaming and Ranting * Antenormous "The Horse" - Death Beat and Keyboards * Lightning Lex Luther - "Geetar" And Distortions * Gray Boy "Get Off My Land" Grant - Big Bass Fiddle More classick (sic) DEMENTED ARE GO! This time around "Tangenital Madness On A Pleasant Side Of Hell", the Demon Ted's rumbling full-length from 1993 on Fury Records UK! Filled with thrill killers, "Tangenital Madness On A Pleasant Side Of Hell" is definitely one of the best 90's DEMENTED ARE GO records that was recorded, with hits such as "Brand New Corpse", "Mongoloid", "Zombie Stalk" and "Queen Of Disease". Sick! Sick! Sick! Black vinyl LP w/ printed inlay.

2026 repress of classic fifth album by U.K. Psychobilly legends DEMENTED ARE GO! Originally released in 1993 on FURY RECORDS / U.K.! Spark "Douche" Retard - Screaming and Ranting * Antenormous "The Horse" - Death Beat and Keyboards * Lightning Lex Luther - "Geetar" And Distortions * Gray Boy "Get Off My Land" Grant - Big Bass Fiddle More classick (sic) DEMENTED ARE GO! This time around "Tangenital Madness On A Pleasant Side Of Hell", the Demon Ted's rumbling full-length from 1993 on Fury Records UK! Filled with thrill killers, "Tangenital Madness On A Pleasant Side Of Hell" is definitely one of the best 90's DEMENTED ARE GO records that was recorded, with hits such as "Brand New Corpse", "Mongoloid", "Zombie Stalk" and "Queen Of Disease". Sick! Sick! Sick! Black vinyl LP w/ printed inlay.

On her second album, Sawt El Doumouh (The Sound of Tears), Beirut-based Sandy Chamoun summons flickers of light from sadness. Influences from the Arabic tradition of Tarab – one of the first styles Chamoun learnt to sing – and polyphonic Cantu are reinterpreted and reimagined through her voice and electronics, synths from her SANAM and Ghadr bandmate Anthony Sayhoun, and live percussion from Ali Hout.
Marked by its times, the record isn’t what Chamoun had planned. “I wrote the lyrics between October 2023 and September 2025,” she explains. “The plan was to write about nature, since the album’s concept was inspired by Cantu, a tenor Sardinian ritual that celebrates humanity’s victory over nature. I intended to visit several places and regions in Lebanon and write a track for each, but after the genocide and the war in Lebanon, everything changed.”
“I chose the title because many mornings during this period I woke up crying silently. I remember a dark story from school: a teacher yelled at a small boy while he was crying and told him to cry without making any sound. I feel we are still living in that condition in the region — forced to die or suffer without making any noise.”
Sawt El Doumouh is a gorgeous refusal to be silent. It opens with a booming drum. Over keening autotune Chamoun’s pure voice cuts through, burying the despair to illuminate rays of hope. On “Ward W Shok” a shuffling swing gives way to a righteous organ interlude. The title track sees a choir of Chamoun’s vocals lull and lap. Drums arrive and indignation stirs, what’s mournful begins to stride.
Chamoun’s tracks are as beautiful as they are defiant. Why write songs in the face of horror? Perhaps because music can hold onto something better. By turning to song, Chamoun catches the hopeful glints and sparks that persist and strive outside the terror. In SANAM and Ghadr she often borrows lyrics from Arabic writers through the centuries, listening to what their words say in the present while reminding us the world can and has been different to how it is now. Solo she writes her own words, and the way her songs alternately soar and sigh evokes hopeful pluralities and suggestions of other, kinder realities. Even hearing someone cry is a connection to humanity.
It’s a possibility conveyed in the album’s most jubilant moments. “Shahed” is an incandescent dance of percussion and levitating synths. “I wrote it after I saw a photo of a small boy on a horse on the beach in Gaza,” Chamoun recalls. “I imagined a fantasy where the boy lives in the water and watches the terrifying reality on the shore, trying to bring water to put out the fire. Shahed is the witness who lives far from the shore, enjoying the water and trying to help. You can hear this duality: the percussion is desert-like, while the vocals and synths evoke the feeling of water.”
Although it comes from darkness, in Chamoun’s music we can hear faith in something beyond it.