quête:perfect

Breakbeat Paradise Recordings returns with another heavy dose of raw funk and breakbeat pressure in the ever-growing Toxic Funk series – this time bringing together two seasoned groove specialists: The Fritz & Funkanizer. On Toxic Funk Vol. 21 the duo delivers two party-starting cuts packed with vintage breaks, heavyweight basslines and undeniable dancefloor energy.

Opening the A-side, Big Crush rolls in with chunky drums, infectious funk guitars and a soulful groove that feels tailor-made for packed club floors and sweaty late-night sessions. Flipping over to the B-side, Respect 900 turns up the heat with crisp breaks, old-school attitude and a driving funk workout loaded with signature Toxic Funk flavor. Both tracks blend classic funk roots with modern breakbeat production, perfectly capturing the spirit of the series.

With Toxic Funk Vol. 21, The Fritz & Funkanizer continue the tradition of delivering timeless DJ weapons for funk heads, breakbeat lovers and vinyl collectors alike. Another essential 7-inch release from Breakbeat Paradise Recordings, guaranteed to keep the grooves spinning and the dancefloor moving.

Ekkel guides Earth Dog to The Destination, a four-pronged psychedelic clinic in the finest Nordic electronic tradition.

Co-founder of Norway’s Ute collective, celebrated Oslo-based producer and DJ Ekkel revels in prog naturalis. Previous releases as Alvar and Shadowmages, his duo with S.O.N.S., perfected this tripped-out sound with a heavy emphasis on melody. Following last year’s celebrated appearance at an Earth Dog rave in Brooklyn, he returns to grace the crew’s fourteenth release with The Destination.

Opener Questions About Mindcontrol awakens the discordant synapses, an entanglement of melodies and rhythm with a certain progressive attitude. Home Or In A Dream (Miami Morning Mix) properly ascends with trance-like wonder and ecstatic lucidity, before So Quiet returns to dusk with a tek-no throb and acidic bite. Destination G concludes with a nocturnal shimmer, an unrelenting groove caught in its own hypnosis ‘til the finale.

New chapter on the internationally famous labels "Ocean Trax" and "Confidential Records"

“Shake That Brake” an energetic track that blends classic House elements with a modern club sound.

“Late Night” by The Rituals is a vibrant soul/funk/disco track infused with retro flair and modern polish.

Driven by groovy basslines, tight rhythmic patterns, and shimmering disco elements, the song delivers a warm, feel-good energy.

Funky guitar licks and dynamic arrangements blend seamlessly with soulful influences, creating a lively and infectious atmosphere made for the dancefloor.

“Let Me Show Ya” by Memi P & Andrea Tomei is a groovy soul/funk track packed with rhythm and attitude.

Built around a tight bassline and punchy drum patterns, the song delivers an infectious groove that instantly grabs attention.

Funk-driven instrumental touches and smooth vocal elements blend seamlessly, creating a vibrant, feel-good atmosphere rooted in classic soul energy with a contemporary edge.

“You Know How To Love Me” for this track Gianni Bini and Memi P. joins forces to create a new soul-funk anthem perfect for dancefloors all across the world.

With the help from Fatimah Provillon’s rich and expressive vocals this track has a timeless yet modern sound, a perfect fit for nu-disco, funk and soulful dance playlists.

“Feel The Rhythm” by Memi P is a driving house track built around a solid groove and infectious energy.

Steady four-on-the-floor drums, pulsating basslines, and vibrant synth elements create a dynamic club atmosphere.

The track balances rhythmic intensity with catchy vocal touches, delivering a powerful and uplifting vibe designed to move the dancefloor.

Portugal's Dextro returns for second EP of stylish deep techno on Mutual Rytm with ‘Planets And Stars’. Dextro’s tunes have long been a staple of Mutual Rytm label head SHDW's sets, with the esteemed veteran previously landing on the label with his ‘Covil Dos Abutres’ EP last year. His return with ‘Planets And Stars’ features a selection of his most requested IDs from recent times, with the Portuguese DJ/producers featuring as a longstanding favourite within the European underground since the 90s through his stripped-back, economical sound that is rooted in masterful design and intuitive grooves. He is a true studio craftsman, whether going deep or more destructive, and that range is on show here as he makes a splash for his sophomore outing. SHDW notes, “‘Planets And Stars’ feels like his most refined and focused work to date. It also further strengthens our relationship, rooted in a shared vision and values around music and how it should be presented.” The EP kicks off with the heavyweight ‘1000 Places’, a track that will rattle walls as eerie synth whispers and sonar blips snake through the mix. ‘Industria Acéfala’ is just as hypnotic with a deep blend of rolling bass and rooted kicks, while unsettling tension comes in the one-note synth loops and scratchy texture. ‘Planets and Stars’ provides an intergalactic trip with cosmic dust, conscious spoken words and an infinite horizon that has you gazing off into the distance. The all-consuming ‘Perpendicular’ is shadowy with impish motifs darting about the mix as watery droplets fall into cavernous kicks. ‘Winter Letter’ is the final 12”cut and is perfectly deep, linear techno with gorgeous ambient details that turn your thoughts inwards. Three digital bonuses expand the trip: ‘Torresmos com Pão’ is unsettling and sparse, ‘Historia da Vida’ ramps up the tension with oversized hi-hats and rising synth turbulence and finally ‘Ghost Particles’ has shimmering bell sounds evoking a spooky moon-lit church in the dead of night.

US IMPORT** **COMES WITH DOWNLOAD CODE inc EXTRA track** LIMITED COPIES available....

SK delivering an ace cover of a sublime rock obscurity backed with a dubbed out version from L.A. veteran, Secret Circuit. TIGHT.

" Suzanne Kraft covers Sugarcane's unforgettable soft-rock-meets-modern-soul ballad "What You Do To Me." Originally released as a limited 45 and featured on WDVE's first Pittsburgh Rocks compilation in 1980, and subsequently featured on the 'Soft Rock for Hard Times Vol. 2' Mix CD in 2014. Recorded and produced by Suzanne Kraft with a pitch perfect synthesizer solo by Jordan Czamanski (Jordan GCZ) - this version expertly matches the original song's private press essence with a full sound and dynamic arrangement that is recognizably Suzanne Kraft.

Secret Circuit delivers an extraordinarily heavy dub on the flip, launching Suzanne Kraft's cover forward with bass and drums under waves of delay and echo, bouncing the song towards the iconic synth solo which Secret Circuit sends into pure soundsystem bliss.

This is the debut release of the new Soft Rock For Hard Times imprint. "

Di Saronno hails from Italy and brings plenty of jack to his house sounds, as well as hints of fiery disco and an always timeless outlook. Ira James' Vessel Recordings Group is a perfect home for that sort of tackle and his 'Deus Ex Machina' EP kicks off with a funked-up and medical groove that's choppy and warmed through with some lo-fi and jazzy chords. 'Savoir Faire' is a still raw but has more breezy vibes with sultry spoken word samples and 'Keep It Real' then brings a clean, more punchy Keri Chandler-style house bounce. 'Planet 303' is a choppy closer with a monstrous bassline that brings the filth down below US garage drums. Well-crafted house that cannot be missed.

Daniel Akbar is a Constant Black regular and for good reason: his blend of house, minimal, tech and garage is a perfect fit. He continues his hot streak with this latest missive, starting with 'The Night', which marries Jaydee-style darkness with New York house bounce. 'The Walls' has a rugged, dirty minimal bump to it and a sci-fi synth edge. 'Trippin' is another sleazy and low slung house vibe, 'Care For You' brings a bit of garage shuffle and throwback bass filth, then 'Afraid' pulls back to a more seductive late night tease with hella catchy grooves and pure heads down energy.

Originally released in the height of the underground disco revival, The Sounds Of Revolution EP has since become a sought-after modern classic. After years out of circulation — and with original copies now trading hands for €80-100 on the second-hand market — this long-requested EP finally returns to vinyl.

Italian producer Giovanni Damico (aka G-Machine / Ron Juan) delivers four timeless boogie cuts that perfectly bridge vintage Italo, cosmic disco and modern club energy. From the euphoric synth hooks of the title track to the robotic funk of “Italians In A Line”, this EP captures everything that made Damico a staple in DJ bags across Europe.

Carefully reissued for a new generation of selectors, this release is equal parts heritage and dancefloor weapon — essential for fans of Italo, nu-disco, boogie and anyone building a serious disco collection. Expected shipping: End of May/begin of June 26.

Nonna Fab returns with the third release on his imprint, Movement and Soul Records, with a 5 track club-focussed EP 'Journey To The Outer Atmosphere'.

Following the success of his last release, we see a deeper dive into the more dance-floor orientated sound that Nonna is curating, spanning deeper soulful house across the release with influences of broken beat, jazz and percussive dance music.

The opening track 'Dawn Chorus' is a trip into a more natural soundscape and deeper arrangement of sound. A perfect track to take a steady dance-floor to higher heights.
The A2, 'Low Winter Sun', aptly named deep house music with no frills. Proper sub-bass tuned for tuned-up soundsystem use.
'Meditations' which is the final track on the A side has clear broken beat influences, percussive, deep and rhythmic. A breather for the dance floor.

The title track of the EP, 'Journey to The Outer Atmosphere' is a big peak time house journey to the cosmos. Expansive synths, 909 kit and if timed well, certified to blow the dance floor up. Clear François K inspiration here.
The final track of the release, 'First Light', is proper deep house music named suitably for an early sun rise roller with a huge hammond organ solo, enough to keep the leavers in the building.

Following on from their seminal Light As A Feather LP, Outubro (October) was originally released in 1980 and began Azymuth's run of prolific output for Milestone Records throughout the decade. Typifying the consummate craftsmanship of the three members' performances - each with such distinct personality and together so perfectly balanced - their perfectionist attitude to sound is maintained across the production on the album, beautifully colouring the expressionist fusion of samba rhythm, jazz progression, funk attitude and psychedelic electronics.

The album hosts a wonderful mix of tempos and styles, from Alex Malheiros' earth-shaking slap-bass on 'Dear Limmertz', which was to become a hit on London's underground disco and jazz-dance club scenes alike, to the late maestro Jose Roberto Bertrami's genial melodic Rhodes excursions on the vocoder laden, samba-jazz masterpiece 'Un Amigo', while Ivan 'Mamao' Conti's signature swing on 'Maracana' exemplifies the root of Azymuth's 'samba doidoi' (crazy samba) philosophy.

The two cover versions on the album consist of the title track which was originally penned by Milton Nascimento and Chick Corea's '500 Miles High', both of which magically reimagine the originals and further demonstrate the immense virtuosity of this cult recording. This Far Out Recordings release is mixed and mastered from the original tapes and will be released on 180g vinyl and CD.

Rawbeats Records returns to its main catalog with a heavyweight release from Mar del Plata’s own Juaan. Meticulously crafted between 2020 and 2022, these four tracks are essential peak-time weapons already backed by the scene’s biggest names.

A1. "Decihden" sets a relentless pace right out of the gate. It's built on a foundation of heavy, punchy kicks and a rolling, infectious bassline creating a high-energy, club-ready tool.
A2. "Fui Do Por", which shifts the EP into a slightly more hypnotic and spaced-out territory. Syncopated rhythms layered with dubby, atmospheric chords, create a solid tension that perfectly bridges the gap between warm-up and peak time.

B1. "Knt" goes straight for the business, heavy production, driven by raw drum work, acid-tinged squelches and underground flavor. Mixes into a perfect dark, constant, piece designed to lock the dancefloor into a pure trance-like state.

Closing things off is DC Salas Remix of KNT, Diego steps up to completely reinterpret the original, injecting a distinct percussive bounce and twisting the core stems into a darker, expansive journey. It serves as the perfect cerebral closer to a heavyweight EP.

Somewhere close to Manchester’s ever changing city centre, as the sun fades and peeks through the newest glass facade, you’ll find Shaking Hand. One part in shadow, the other basking in prisms of light as they sketch out their own sonic landscapes in the dusty redbrick mill they call home. One that is just about clinging on from the encroaching developments that surround them.

Against this back-drop where buildings are constantly torn down & built back again, the three piece craft away. Pulling from early post-rock, and 90s US alternative rock, crafting their own brand of Northwest-emo. Assembling something new, yet nostalgic. Looking ahead towards the transforming horizon. Shaking Hand’s music is built on tension and release – quiets that stretch, louds that overwhelm. Repetition that feels both hypnotic and destabilising.

The band’s musical DNA runs through experimental guitar outfits like Women, Slint, Sonic Youth, Pavement, and Ulrika Spacek, balanced with the melodic sensibility of Big Thief and the dynamic intimacy of Yo La Tengo. Their compositions push against structure: sudden jolts of tempo, polyrhythms that almost fall apart, and riffs that unravel into something fragile or ecstatic. Yet, as Ellis notes, there’s an underlying warmth too: “Like walking through an empty city late at night but catching flickers of life in the buildings you pass.”

Early ideas like ‘Night Owl’ and ‘Sundance’ grew out of George’s lockdown “bedroom years,” where new tunings (open E, drop D, and stranger Pavement-inspired set-ups) opened up uncharted textures. Later, in grim rehearsal rooms, the murky epic ‘Cable Ties’ and the hypnotic ‘Mantras’ absorbed the gloom and grit of the band’s surroundings.

The album was recorded with producer David Pye (Wild Beasts, Teenage Fanclub) at Nave Studios in Leeds, housed in a converted church. “The live room was huge and perfect for capturing our sound,” says George. Determined to bottle their onstage energy, the band tracked the foundations live, layering vocals and guitars later. Soviet-era microphones, odd mic placements, and even phone-recorded demos fed into the mix. “You’ve got to watch out for David though,” Freddie laughs. “He made me play four tambourines in one hand, really hurt, man.”

Lyrically, the record drifts between abstraction and lived moments. George’s words often spill out instinctively, words falling into place before their meaning becomes clear. “A lot of the lyrics look like they’re buried in abstraction,” he says, “but when I look back I can see what they were about — whether that’s an emotional response at the time or just an observation of what was happening around me”. There’s contrast at the heart of it all – optimism vs. doubt, the lightness of youth vs. the monotony of work, a city in constant redevelopment vs. the people drifting through it.

The album artwork is taken from unused plans for the 1970s redevelopment of Los Angeles by architect Ray Kappe, entitled ‘People Movers’. Hypothetical buildings for real people, it feels a complement to the band’s own constructions. One thing’s for sure, Shaking Hand’s debut is built to last.

2026 Repress
A notoriously jaw-dropping folk-funk classic, long treasured by the Balearic fraternity, the self-titled LP from the brothers Batteau nevertheless remains a criminally underheard gem. Appealing to fans stuck on Ned Doheny's scorching blue-eyed soul as well as Gene Clark's rich country-rock, it's an honour to present the first officially licensed vinyl reissue of this undoubted masterpiece of proto-Yacht-Rock.

Like a forgotten piece of baroque folk caught in 1973, Batteaux's eponymous album somehow sounds magically timeless. A full 45 years after the fact, it remains a mystery as to why they weren't better known. The lush production and virtuoso playing conforms with the ruling aesthetic of the time - well-crafted, melodic songs performed with precision and balance - whilst the shimmering AOR atmosphere and sun-dappled vocal washes align neatly with the best Crosby, Stills & Nash records.

Throughout, the beautifully penned tracks hold traces of Jimmie Spheeris, America and Seals & Crofts. The immaculately orchestrated percussion and additional instrumentation (electric piano and fiddle to name a few) are performed by perennially celebrated West-Coast cats including Tom Scott, John Guerin and Andy Newmark.

It's no surprise that the heavenly "High Tide" is such a Balearic touchstone. A free soul aqua-space groover, its sophisticated rhythms predict the swing of CSN's canonical "Dark Star" by a full four years. An alternative measure of its enduring magnificence can be gauged by MF Doom sampling Paul Horn's wonderful version, subsequently used by Ghostface Killah.

The highlights are many and memorable. Gorgeous opener "Tell Her She's Lovely" is the perfect example of the addictive, melody-driven songwriting which really should have earned them stardom. Moody ballad "Living's Worth Loving" is nothing short of heartbreaking whilst the chugging elegance of "Wake Me In The Morning" showcases their bewitching harmonies. The hypnotic yearning of "Lady Of The Lake" is an exquisitely string-drenched, piano-laced favourite that achieves a peculiar strutting-funk. It's that good.

This lovingly curated reissue enables a long overdue reappraisal of the hitherto buried genius of Batteaux. The serene aqua artwork which adorned the original jacket - their father worked on a dolphin-human communication project in Hawaii, hence the infamous design - and sumptuous inner sleeve have been faithfully restored. Whilst, with access to the original tapes, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

Nick Bike rides again with a new trip out on his Chosen Spokes label, and as always, these are on the money mixes for dub disco heads. 'Kiss Me Say It' is devilishly slow and purposeful with rotation dub and funky bass riffs rising and falling to irresistible effect. The strings bring sophistication and the chords a golden charm that swells the heart. The groove feels ever on the rise but never boils over. The flipside dub is even more focused, with the diva vocal doused in echo for a spaced out vibe. Pure perfection.

BLUE & WHITE COLOUR IN COLOUR VINYL

In the culinary arts, it’s easy to overcomplicate the final product. Theme, presentation, texture…they’re important but should work to complement the raison d'etre of any food. At the end of cooking a dish, it should taste good and feed people. Some dishes, like barbeque or provoleta, resist the tendency towards hollow showmanship. One of their expressions can be more or less aesthetic, but the first purpose is to be simple and tasteful. Argentinian provoleta goes so far as to blur the line between ingredient and dish. It relies on the inherent flavor of provolone being heated at the right speed for the perfect amount of time. You can add garlic or chives or red pepper to the slice, but ultimately they serve to bring out an essence that’s already there.

Los Angeles’ Cousin Feo has developed his rapping acumen in the five years since releasing Provoleta, but returning to the project today shows that he always had the penmanship, grit and delivery that christens an emcee worthy of remembrance. Like the bubbles rising up in the appetizer that is the album’s namesake, Feo showed that true profundity is found in the simple gestures.

Since dropping the project in 2019, Cousin Feo has expanded his vision of a world where hip-hop and football, two proletarian art forms, mingle in creative and compelling ways. He has collaborated across multiple continents, chronicled football histories, aided in canonizing legends, kept the flames high in age-old rivalries and constantly forced his audience to search for the last time they heard bars this hard. In anyone else’s hands it would be too great a task.

The maturity he showed on Provoleta wasn’t nascent, it was an inherent quality forcing itself to the surface. The songs refract his experience as a working class Angeleno through the archetypes of Argentinian football legends. The kernel that unites the two worlds is hustle. When Feo was coming up, missteps had greater consequences than crashing out in the group stage and street deals had the weight of a Boca-River Plate match.

Each track uses slightly different ingredients to let Feo’s underlying talent shine. “Maradona” feels salvific, fitting for a football legend canonized from the Andes to the Alps and a Los Angeles rapper looking to inspire similar hope in the neighborhoods that raised him. On “Di Stefano” Feo massages the instrumental with the same composure of the late forward, until he pierces through the headphones like one of Di Stefano’s arrows. It’s also refreshing to hear a song celebrating Messi before his meme-ification, focusing on the universal truths contained in his footballing talent instead of using number 10 as a stand-in to make a point in a fruitless argument. And he still finds space to show deference to Batistuta, Kempes and other members of the Argentinian pantheon who’ve been erased from the popular imagination by the national team's contemporary success.

Real ones know that true players, true rappers, and true artists will always stand the attacks of time and consensus. In Provoleta’s first verse, Cousin Feo says he moves with the hand of God. Maybe one day he’ll tell the whole truth and let us know how he was able to wrestle the pen away too. Limited edition of 300 hand-numbered copies.

■ The latest installment in the popular ocean themed compilation series “SALT... meets ISLAND CAFE”, curated by the beach life magazine/media SALT...,
is DEEP BLUE the series’ first ever ambient music compilation. Centered around the title concept inspired by the deep, tranquil blue of the ocean, the album
presents soothing music tailored to modern lifestyles, spanning chillout, Balearic, meditation, and healing sounds.

■ Ten artists each highly trusted by discerning listeners across the ambient, chillout, Balearic, and surf‑music scenes have created brand‑new, original ambient
tracks inspired by the theme. From pioneers active since the ’90s to cutting‑edge trackmakers, this compilation brings together a stunning collection of
ocean‑themed ambient music.

■ Mastering is handled by ambient/Balearic maestro Calm, who is also featured as one of the contributing artists, delivering an exceptional sonic experience.
Enjoy all ten tracks, each expressing its own unique interpretation of DEEP BLUE.

■ The artwork features an artistic photograph by Pedro Gomes, a Brazil born, Japan based surf photographer, with design by Masato Maekawa (tAnkers inc.),
known for his work across apparel and outdoor brands. Under the supervision of SALT..., the visuals perfectly capture the compilation’s immersive world.


[b] a2. [.que] / deeply

Brånd is one weird/post black metal act from the Upper Austrian town of Linz.

Started off in 2015 as a solo act by Vritra (also in Kringa and Weathered Crest) with the need for a form of expression free from perfection or boundaries, over the past ten years the ever-evolving project ventured into various soundscapes, from crude black metal to lo-fi ambient and from ferocious post-punk to psych downer rock, all while splitting releases with extreme underground torchbearers like Absolute Key, Calvary and Rosa Nebel.

Joined by musicians to evolve old and new ideas, Brånd debut full-length album grew from 4-track demos gathered over the last decade to become an album of richly arranged songs from all over the fields of interest, breaking from their lo-fi tradition to new horizons.

To describe thoroughly “Tåg & Nåcht” is possibly the hardest task to do, given all the influences that are skilfully intertwined and perfectly balanced. In this witches’ brew the most schooled listeners will hear some angular post-punk à la Gang Of Four sustaining pagan declamations in the vein of Fenriz folk metal excursus Isengard. Straight forward dark anarcho punk assaults are mitigated by almost new age juxtapositions. Traces of 70’s German krautrock like La Düsseldorf are melted into a heavy metal cast, while wind instrument raids that are equally James Chance and Death In June seem to drop when least expected.

The sound is crunchy and surprisingly warm, contrary to what one might expect of a band emerging from a black metal background. But right now, Brånd is so much more than this: they can master a wide range of sounds that span from 70’s space rock, passing through 80’s post-punk and UK82, reaching 90’s black metal and 2000’s blackgaze, all in one incredibly coherent album. If this sounds too good to be true, suit yourself and press Play.
Split released with Tour De Garde in US/CA.

This expanded edition presents the soundtrack with previously unreleased material not included on the original vinyl release, offering a more complete overview of Micalizzi’s work. The package is further enhanced by an 8-page full-color booklet featuring original artwork, extensive liner notes on the film, direction, and score by journalist Fabio Babini, as well as a personal contribution from Franco Micalizzi himself.

Composed by Maestro Franco Micalizzi for the cult 1984 film Non C’è Due Senza Quattro, starring the iconic duo Bud Spencer & Terence Hill in a rare fourfold role, this soundtrack captures the playful spirit and global flair of the film.

Micalizzi delivers a vibrant and rhythm-driven score, infused with warm Latin influences, breezy melodies, and an unmistakable sense of lightness. The result is a richly entertaining listening experience that perfectly mirrors the film’s humor, energy, and escapist charm.

A joyful and sun-soaked addition to any collection, this release stands as both a nostalgic tribute and a testament to Micalizzi’s enduring legacy in Italian cinema soundtracks—best enjoyed, perhaps, with a well-mixed cocktail in hand.

©℗ 1984 – Beat Records Company. Reissued by Holy Basil Records under license by Beat Records.

Maybe it was inevitable that Vilhelm Bromander and Fredrik Rasten would find each other. A symbiotic musical alliance of suggestive combinatory magic that stretches back to the interstitial two day space that separates their dates of birth and manifests here as the movement between ‘perfect’ or ‘just’ intonation and the ragged, psychoactive energy of the slippages from and towards that togetherness that render otherwise simple patterns or generally understood repetitions as wildly other and alive.

Astral Twins shares ‘twin’ works by each composer. The patiently unfolding real time retuning of Fredrik Rasten’s guitars on the a-side’s Sojourns and Vilhelm Bromander’s quickened steps and spry looping melodies on the flip’s Partially Dancing.

Both artists have history of going deep into the aesthetic and acoustic impact of intonation (how you think about what is ‘in tune’). Where their first LP (...for some reason that escapes us, 2019, Differ Records) shared a gorgeous set of sustained tone colour fields, this time they lean more explicitly into the folk music traditions of Scandinavia and further afield, whilst echoing the zoned minimalist atmosphere of Arthur Russell’s classic Instrumentals.

Recorded up close and in real time at Fylkingen’s soon-to-be-abandoned temporary location in Stockholm’s southern suburb of Bredäng, Astral Twins sings with the possibility that one plus one can equal more than two.

Fredrik Rasten:
 Sojourns explores the live retuning of guitar and double bass in a sequence of just intonation harmonies. A guitar ostinato runs throughout the piece where the retuning becomes an integral part of the composition. The slow pace reveals every detail in the transition from one harmonic arpeggio to another — how interfering waves emerge and disappear as the tonal interactions settle in electric clarity. The double bass shadows the guitar's process and comments with occasional pizzicato tones and register jumps, at times providing a low foundation for the sound and sometimes soaring together with the guitar. This is music that is deeply listening; experimental and at the same time humbly inviting many kinds of being with sound.

Vilhelm Bromander: 
As the title suggests, this song has a partially dancing character. The title also has a double meaning with reference to the partials and harmonics that dance together. The basic idea was to write music in just intonation that instead of being drone-based is reminiscent of a lightly dancing folk music, where the joyous feeling of just being in the music — “musicking" — is allowed to lead the way.

The double bass plays repeated overtone double stops in an open harmonic progression with subtle modulations that is inspired in equal parts by Steve Lacy's persistent repetition of phrases as east-asian khaen music. The guitars and mandolin have a freer role, with plucked retuned strings that enhance the bass's modulations and provide forward movement. The music invites to both melodic and spectral listening, suddenly halting so that other focal points can reveal themselves. For example, a chord sequence suddenly transitions to a more spectral part where Fredrik is playing a bowed guitar with a chain, several plucking guitars, voices, and pitch pipes. I wanted to make something ‘orchestral’ with just two people and no overdubs: a dance of overtones and open resonant strings, where we seamlessly take turns standing in the foreground.

Back in 2023, Bruce was approached by a band of young and ambitious lads, who wanted him to mix their debut album 'Nacre'. Being fans of his music, they hoped to utilise his renowned, club-informed and emotive sound design to add a shade of hypnotism and psychedelia to their singular strand of post-rock. The band of course were Quade, and the union proved to make perfect sense: Bruce excelled in gracefully fulfilling the band's vision, sealing their relationship for projects to come.

A couple years on, both Quade and Bruce had really proved the scope of their abilities: the sophomore album 'The Foel Tower' won the hearts of fans and critics across the board, who celebrated its "gorgeous" and "tender" sound to great acclaim. The world they had built clearly stood defined and dignified, though at the same time, Bruce couldn't help but wonder if there was more to be said. Besides, the sheer abundance of emotion and rich textures therein, suggested a great deal of potential for further exploring. So with the band’s blessing, he embarked on versioning the album.

Bruce was off the leash: total freedom leant him the ability to dub in wild style, weaving and wrestling with drum, bass et al, connecting to the arrangements' true feelings and expanding them to full frame. The "doomer sad boy, ambient-dub, folk, experimental post-rock" of the original, was blown into a whole new, hypnotic realm: through rattling analogue distortion and huge spaced out effects, Bruce's efforts stand as an exploding supernova of dub and noise, refracted through the band's themes of grief, beauty and the great British countryside.

To be released on his label Poorly Knit, this remix album once again proves Bruce's deft of touch and skill in reworking material. Maximising the sonic potential of such a promising and talented band he marks his personal contribution towards what will surely continue to be a fulfilling and illustrious musical journey for Quade.

Available digitally and on super limited cassette (50 copies)

Multi award-winning film Sideways was the surprise box office hit of 2004 and its story of two disillusioned forty-somethings on a wine infused road trip around California still holds a unique mixture of comedy and pathos. Rolfe Kent's jazz inflected soundtrack accompanies them on their journey, its subtle lightness of touch the perfect accompaniment to their mid-life crises.
'Tickles the palate like a crisp Chablis in June' - Mojo
'The seduction, making midlife seem funky, is slow, shy and as narcotic as it is nostalgic' - Uncut
Sideways will be screened with pre-performance wine tasting and live music from the soundtrack on 30th September

BABY BLUE COLOUR VINYL

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

Godzilla’s/Eatin’ Dust is the most popular release in Fu Manchu’s 30 year recorded history. It is the combination of what were originally 2 distinct 10” releases: Godzilla (1997) and Eatin’ Dust (1999).In 2018, Scott Hill (vocals/guitar) found the original tapes from the Godzilla recording sessions produced by Josh Homme (Queens Of The Stone Age/Kyuss) and unearthed a secret that had been in his garage since 1996...The band had recorded 4 songs that had never been released. These extra songs are early versions of "Grendel, Snowman," "Strolling Astronomer" and "Urethane” (whose final versions appeared on 1997’s The Action Is Go) and a cover of Thin Lizzy's "Jailbreak" (which is a different version than the one which was released on 7” in 1998). The songs line up perfectly with the original tracklist, which includes the band’s crowd pleasing cover of Blue Oyster Cult’s “Godzilla” and fan favourites “Eatin’ Dust” and “Mongoose” (which was featured in a Super Bowl commercial for Toyota and included in the TV series “Sons Of Anarchy” and the films “Boondock Saints II” and “The Hot Chick”).In 2019, the band released a 2,000 unit limited edition of this new version in a triple 10" package. Due to the continuing demand after this version sold out, in 2020 the band issued a new limited edition version of 1,500 units neon green and white splatter double 12" gatefold package with 2 sided insert including the previously unreleased tracks at 45 RPM for the heaviest audio possible. Five years later, they are finally doing a repress of this 45RPM double 12” version on white with brown splatter vinyl in a limited edition run of 2000 units.

The collaboration between Luca Trevisi (LTJ Xperience) and Christian Lisi continues.
The Bolognese DJ and producer is known in the Dance world for his Funky and Nu Disco sounds, including tracks
like "I Don't Want This Groove To Ever End" and "Bad Side," featuring American singer Anduze.
He recently composed the soundtrack for the documentary about the legendary Bologna nightclub Kinki (where he
was a resident for years), and the upcoming double vinyl album, "Original Soundtrack: The Secrets Of The
Dancefloor." For their second release, Trevisi and multi-instrumentalist and producer Christian Lisi are joined on
vocals by Danny Losito, lead singer of the Double Dee (Found Love) project, and Kaigo, an artist who has been releasing international House, Soul, and Funk projects under his own name for years.
"Keep It Real" is the result: a visceral and essential soul funk track with a driving groove that perfectly complements
Danny's voice.
The 180-gram vinyl mix is released in a limited, numbered edition of 300 copies.

There are two versions of the record - classic black vinyl and transparent green limited edition (100 numbered copies) - both 180g with printed inner sleeve.

"PORTRETY" (Portraits) is a one-of-a-kind series – it focuses on artists known for their strong connection to the drums. Each person invited to the project is given freedom in their work. Ultimately, the track created for the album must be signed with the real names of our protagonists – that's our sole criterion.

This is how a kaleidoscope of sounds and eight original perspectives on music emerges.

LINER NOTES by Bartek Chaciński:"For part III of the compilation series focusing on Polish drummers, I’d like to start, as per usual, with a one liner…

There are three types of drummers: Those that can count, and those that… can’t.

Ok, but looking past the punchline, it turns out that there is, in fact, a third type: Drummers who can count, and pretty well too, but still struggle with triple rhythms. Amongst those who have ascended the heights of triple rhythm perfection you will certainly find, Piotr Gwader. One of the leaders of the movement, we could call an “Oberek Revival. He even proposed a new form: Footberk - splicing of Polish Folk dance and Chicago Footwork. He performed live with the OG of Footwork - RP Boo (Arpebu), but equally, he could successfully form a footberk duo with Jacek Prościnski, another protagonist from “Portraits 3”. Prościnski has been deeply immersed in the world of electronic dance music for years and offers us yet more proof of those interests here.

Triplets are also no stranger to Ola Rzepca (synonymous with the Drekoty Trio), in whose music there is no shortage of rhythmical complications and tempo changes. The same can be said of the improv-friendly contemporary jazz presented by Patrycja Wybrańczyk. These two Polish drummers show how versatile this discipline is on the Polish jazz scene. These qualities have already been well documented by Marcin „Groh” Grośkiewicz, but never so strongly as here.

Szymon „Pimpon” Gąsiorek is a musician who has made unconventionality the foundation of his individual style. Yet even in the piece by Jan Pieniążek (a dynamic and equally versatile drummer), we find an element of surprise in its melancholic atmosphere and construction, which introduces a triple rhythm while pushing the drum parts into the background. Portraits, on the other hand, does the complete opposite with its protagonists - it positions them in the foreground as the creators of specially commissioned original works. From this perspective, perhaps the most familiar names here may be Emade and Albert Karch, who are known as outstanding music producers and among the most interesting in Poland. “Portraits III” has presumably given them a momentary break from producing other artists, while for the music industry, it’s also a pleasant break in the rhythm and a shift of emphasis."

There are two versions of the record - classic black vinyl and transparent green limited edition (100 numbered copies) - both 180g with printed inner sleeve.

"PORTRETY" (Portraits) is a one-of-a-kind series – it focuses on artists known for their strong connection to the drums. Each person invited to the project is given freedom in their work. Ultimately, the track created for the album must be signed with the real names of our protagonists – that's our sole criterion.

This is how a kaleidoscope of sounds and eight original perspectives on music emerges.

LINER NOTES by Bartek Chaciński:"For part III of the compilation series focusing on Polish drummers, I’d like to start, as per usual, with a one liner…

There are three types of drummers: Those that can count, and those that… can’t.

Ok, but looking past the punchline, it turns out that there is, in fact, a third type: Drummers who can count, and pretty well too, but still struggle with triple rhythms. Amongst those who have ascended the heights of triple rhythm perfection you will certainly find, Piotr Gwader. One of the leaders of the movement, we could call an “Oberek Revival. He even proposed a new form: Footberk - splicing of Polish Folk dance and Chicago Footwork. He performed live with the OG of Footwork - RP Boo (Arpebu), but equally, he could successfully form a footberk duo with Jacek Prościnski, another protagonist from “Portraits 3”. Prościnski has been deeply immersed in the world of electronic dance music for years and offers us yet more proof of those interests here.

Triplets are also no stranger to Ola Rzepca (synonymous with the Drekoty Trio), in whose music there is no shortage of rhythmical complications and tempo changes. The same can be said of the improv-friendly contemporary jazz presented by Patrycja Wybrańczyk. These two Polish drummers show how versatile this discipline is on the Polish jazz scene. These qualities have already been well documented by Marcin „Groh” Grośkiewicz, but never so strongly as here.

Szymon „Pimpon” Gąsiorek is a musician who has made unconventionality the foundation of his individual style. Yet even in the piece by Jan Pieniążek (a dynamic and equally versatile drummer), we find an element of surprise in its melancholic atmosphere and construction, which introduces a triple rhythm while pushing the drum parts into the background. Portraits, on the other hand, does the complete opposite with its protagonists - it positions them in the foreground as the creators of specially commissioned original works. From this perspective, perhaps the most familiar names here may be Emade and Albert Karch, who are known as outstanding music producers and among the most interesting in Poland. “Portraits III” has presumably given them a momentary break from producing other artists, while for the music industry, it’s also a pleasant break in the rhythm and a shift of emphasis."

Friday Fuzz are a collec#ve of professional musicians now presen#ng “Much Funk About Nothing,”
an excellent piece of work with a retro flavor. With years of high-profile collabora#ons under their belts, Marco Leo, Cesare Pizze:, Elvin Be:, and Niccolò Barozzi have worked with some of the
greatest Italian musicians—including Tullio De Piscopo, Fabrizio Bosso, Paolo Tommelleri, Alessio
Bertallot, Rocco Hunt, Casinò Royale, and Aereoplani Italiani, just to name a few.
The album features a primarily instrumental sound that evokes 1970s funk and soundtracks. The
band is defined by its ability to create sonic atmospheres ranging from more sparse, introspec#ve
moments to rock and psychedelic horizons, always with funk as the common thread. The result is
“Much Funk About Nothing,” an album that represents the perfect synthesis of their sonic
explora#on and crea#vity.

A kickstart without brakes – straight into the heart of the German-speaking rock scene with performances at Rock am Ring, Rock im Park, Lollapalooza, and more. And all of this completely independently – without a label, without a booking agency, without a producer. Because wasting time was never on the agenda for the punk & alternative trio from Frankfurt since their very first performance in May 2023 at the Warsteiner Band Contest, which they won right away. If we ended the band description at this point, everything would sound perfect. But if you take a closer look at the dozen singles that Friends Don't Lie have released in just 18 months, you'll discover a second layer: vulnerable lyrics about self-doubt, fears, and big emotions. At the same time, it becomes clear that the band also takes a political stance. It's about discontent – against racism, resentment, selfishness – against all forms of hatred. Friends Don't Lie are thus becoming the voice of a generation, as we last saw with acts like Kraftklub and Casper. In May 2026, Uncle M Music will release their long-awaited debut album, Zenit der Dramaturgie. Ten German-language rock/punk songs that set the bar extremely high and bridge the gap between Donots and Kraftklub.

2026 Repress

It’s rare that a certain sound is entirely an artist’s own. Although undeniably a stew of impeccable influences – from blues to folk to Latin to dusty funk, soul and hip-hop – one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.
The cult skater from San Francisco is globally renowned as one of the original members of the legendary “Bones Brigade” team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who’ve basked in its blissful glow.
There’s something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it’s a kind of funk-fuelled, melody-driven, groove-based magic. There’s a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it’s two of his most vital LPs that we’re honoured to reintroduce.
The originals were quietly pressed on to a single piece of vinyl so we’ve worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.
Soul Food Taqueria continued Guerrero’s guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalogue.
Guerrero’s atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.
As ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO’s memorable artwork. Furthermore, the title’s hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero’s special blend, it’s always a pleasure to indulge in something so creative and adventurous.
Dubby, bass-heavy instrumentals give way to moody folk-soul – witness “It Gets Heavy”, featuring melancholic vocals from Gresham Taylor – whilst “Thank You MK” is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks – check “Lost Unfound”, “Another Brother Gone” and “Broken Blood” - built around minimalist, laid-back grooves and detailed guitar orchestrations which wouldn’t be out of place on the latest Jonny Nash release.
Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, “Falling Awake” is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. It brings proceedings to the most peaceful close. Seductively good, it reminds you just how great simplicity can sound.

A deeply hypnotic and beautifully crafted statement from one of the true masters of subtle groove and atmosphere. Playedby‘s label boss himself, returns to his very own imprint Tripsi Records with a stunning new vinyl release. Pure hypnotic brilliance, essential for selectors, collectors, and lovers of deeply crafted electronic music.
Tripsi Records is more than just a label. It is an audio-visual world created by Cristi Klebleev, where sound and image come from the same hand. Every release features only his own music, accompanied by original artworks painted by Cristi himself on canvas, making each record a fully personal expression, both sonically and visually. A perfect example of why Tripsi Records continues to stand out in a crowded world. Finest mastering and Cut, 180g Vinyl!

The debut vinyl release for Toronto’s hottest new 45s label, Baller Beats! BB-001 brings the perfect blend of dance floor ready cuts and drum-heavy, timeless soul. Suckaside breathes new life into a nostalgic Hip Hop classic with chunky breaks for the dance floor & DJ Goce revamps a highly underrated soul gem with his massive drums and larger than life sound. Don’t sleep on this limited first press!

Side A) Classic Hip Hop Bizness from the UK’s edit due, Suckaside. Retro vibes with punchy breaks and a loud press - Dance floor ready cut for your crates!

Side B) Goce does this OG soul sample justice in a big way! Massive drums, a huge string section, and the true original songwriter and vocal performance from a classic song. Later covered by a famous Motown group, this original recording didn't get it’s fair play... until now! An incredible tribute to the OG artist!

‘Black Butterfly’ is Brooklyn Funk Essentials eighth studio album and includes the bands recent hits ‘Never Give Up’, ‘Bust The Bus Stop’ and ‘Life During Wartime’. Playlisted on BBC Radio 2 and Jazz FM and supported by Craig Charles and Cerys Matthews at 6 Music as well as many stations across Europe and the Americas. The album was produced and co-written by bassist Lati Kronlund and features Alison Limerick, Ebba Åsman and Desmond Foster on vocals.

Kronlund and Limerick have been enjoying the recent renewed interest in ‘Where Love Lives’. Kronlund wrote and produced it for Limerick in 1990, it was remixed by Frankie Knuckles and David Morales and became a club classic and was featured in this year’s John Lewis Christmas TV Ad. Arthur Baker heard the original in a club in 1991 that he contacted Kronlund about working together and they then formed Brooklyn Funk Essentials.

Since then, Brooklyn Funk Essentials have built a devoted international following and notched up over 100 million streams. Fusing Soul, Hip Hop, Spoken Word, Jazz, Latin, and, of course,
Funk, the band’s journey began experimenting with drum machines and loops in Baker’s Shakedown Sound Studio in Jersey City—hunting for that perfect beat. The early recordings featured greats such as Maceo Parker, Lenny Pickett, Tower of Power Horns, Michigan & Smiley, and Dizzy Gillespie, leading to the acclaimed debut ‘Cool & Steady & Easy’ (1994). Fast-forward to April 2024, when Kronlund reunited with Baker in Miami, rediscovering recordings featuring percussion prodigy Bashiri Johnson, which inspired new creative sparks for the next chapter of Brooklyn Funk Essentials.

For decades, Dan Penn’s mid 60s Muscle Shoals demos were the Holy Grail among southern soul fans, feted by the likes of Rick Hall and Jerry Wexler as being better than the hit versions. When they finally became accessible to all, 40-plus years after they were recorded, they turned out to be just as good as had been stated.

Further acclaim awaits the recent discovery by Soul-4-Real of two more demo masterpieces, written and performed by Dan and Spooner Oldham while working in Memphis at American Studio in 1967-68. The tape box shows who they were intended for, and it’s a real shame that James Carr never recorded either as both would have been perfect for him. At least we got to hear fine versions of “Cheaters Never Win” from Tony Borders and Bobby Boseman in due course. The lovely “I’m Believing In You” seems to exist only in the version you hear here.

New ‘old’ music from Dan is always worth hearing and having. These wonderful performances are no exception…

For decades, Dan Penn’s mid 60s Muscle Shoals demos were the Holy Grail among southern soul fans, feted by the likes of Rick Hall and Jerry Wexler as being better than the hit versions. When they finally became accessible to all, 40-plus years after they were recorded, they turned out to be just as good as had been stated.

Further acclaim awaits the recent discovery by Soul-4-Real of two more demo masterpieces, written and performed by Dan and Spooner Oldham while working in Memphis at American Studio in 1967-68. The tape box shows who they were intended for, and it’s a real shame that James Carr never recorded either as both would have been perfect for him. At least we got to hear fine versions of “Cheaters Never Win” from Tony Borders and Bobby Boseman in due course. The lovely “I’m Believing In You” seems to exist only in the version you hear here.

New ‘old’ music from Dan is always worth hearing and having. These wonderful performances are no exception…

"This EP is that classic MYTHM 140 sound my fans know and love, and the vibe fits perfectly with Deep Medi." - MYTHM

Systematic Gent EP brings together four distinctive cuts from artists who each embody a different shade of the label’s sound. For this special various-artists release, Ghent-based Maxim Lany delivers the deep, driving, atmospheric and immersive “Noise”; Dimitri Andreas adds rhythmic drive and tribal energy with “Jungle Circus”; Robert Babicz contributes the hypnotic, progressive and emotive “Soul Traveler”; and Drumcomplex & Frank Sonic round out the EP with the powerful, forward-moving techno gem “Solar.”
Released on 12” vinyl, Systematic Gent EP arrives in perfect sync with the label’s showcase at Wintercircus in Gent on May 8, 2026, creating a direct link between the music on wax and the energy of the dancefloor. With a tracklist that balances atmosphere, groove and peak-time impact, the EP captures the essence of Systematic’s sonic identity while celebrating a special night in one of Belgium’s most exciting cultural spaces.
Marc Romboy, A&R of Systematic, says: “I’m very glad to present this EP, showcasing the different shades of music Systematic currently stands for. Each track could be an A-side on its own. The vinyl will be released on the day of our label showcase at the local record store GENX Recordstore in the city centre, as well as via our distributor, Word and Sound.”

Radhika Meera Dade: “Ever since I entered this realm, music has surrounded me in every way possible. The sounds of magic have been nourishing my soul since birth, the first memories I have as a young child are listening to my dad’s eclectic vinyl collection. I feel so lucky to have been exposed to such a range of music at a really young age: artists from Alice Coltrane to The Go-Betweens, all of these musicians have subconsciously and consciously inspired me musically in many different ways”.

Glass Modern is very proud to present the debut album by Radhika Meera Dade. Cine-Pop is a collection of songs that flow gently and easily in and out of each other - a suite, a short film, everything an album should be. Coming in at 33.3 minutes, it’s the perfect length for an album, it doesn’t short change you, it doesn’t stay too long - it’s designed to be played in one sitting. It’s like being in a friend’s house and noticing the things that are most important in their life - objects, family portraits, records, musical equipment, their curated accumulation. It reflects so many things - culture, community, fandom and the incredible bond between Radhika and her father, Sushil, the Future Pilot AKA. The record spans generations and continents but its home is always Radhika and the family jams she made with Sushil in various garages, bedrooms and garden dens - her soaring voice and love of all kinds of music from Bollywood to Goth Pop to The Glasgow School. The songs are collected from memory and the immediacy of time - one goes all the way back to her 10 year old self penning Future Me, an eco anthem. In different moments other musicians appear - most notably key collaborator, Eric MacDonald, on hazy synth and keys, and Radhika’s mother Vinita, who has a gorgeous voice too. The Glasgow School is very present - Mitch Mitchell (The Pastels) , Gerard Love (Lightships/ ex-Teenage Fanclub) and Tracyanne Campbell (Camera Obscura) all bring their casual magic to the table. Cine-Pop, mostly made in Glasgow at La Chunky Studio with the excellent Colin McGeogh (who also contributes flute, keys and electronics) is a one-off. It’s unrepeatable - there, gone. It’s the world through the eyes of a dazzling young Indo-Scottish woman. Everything she is has gone into it, is part of it and is there for a reason. Following on from the first single, Starry Eyes, which was played multiple times on BBC 6Music and other stations, other singles to be released from the album include Feline Bandits plus a version of the Strawberry Switchblade classic Since Yesterday. Radhika will also be collaborating with Glasgow-based film maker, Laura Meek, on promos and the plan is to play live throughout the year.

At last, Tokyo’s RAW DISTRACTIONS release their debut LP after a couple of demos and four singles on Hardcore Survives and Pogo 77. RAW DISTRACTIONS have been raised onthe catalogue of Beat the System, Clay Records and Riot City. They play lean and hard hitting UK82 punk with some raging guitar work and a gutteral vocalist who spits and snarls but never forgetting the hook. It’s instant, raw and unhinged and would sit perfectly next to Charged GBH, One Way System and The Exploited but with that Japanese magic dust. This is raw punk but hard and melodic rather than overblown.

On May 22, Mint Condion Records drops a new 7-inch featuring two standout tracks, also available on all
digital pla%orms:
"Emergence of Shadow": A soulful instrumental blending a melodic trumpet with bluesy undertones and a
sharp funk groove.
"Come on Closer": A deep soul cut featuring the unmistakable, rich vocals of Heidi Vogel (The Cinemac
Orchestra).
A perfect mix of instrumental grit and vocal elegance

Individually, each one is known as a first-call player capable of handling any type of musical situation, and their personal credits are simply too long to list. They've collaborated on a wide range of projects and session work, including recent live, recording, and touring work with jazz-funk globetrotters Incognito and the American guitarist Robben Ford. Every now and again, their packed schedules permit them to take time out to make their own music, drawing on their shared love of the Latin jazz tradition, and whenever this happens, they're collectively known as TRYPL. Recently, they've found themselves with some rarely shared downtime and the opportunity to commandeer the capacious Big Jelly Studios.

The next step was to assemble the tunes and contact their favorite singers and players, including pianists Alex Wilson and Ross Stanley, guitarist Giorgio Serci, bassists Javier Fioramonti and Davide Mantovani, and Roberto Pla, Edwin Sanz and Davide Giovannini on percussion, with newcomer Sophie Stevenson on voice and vibraphone. Family and friends dropped round to provide an informal in-studio audience. Drawing inspiration from their shared love of the classic salsa sound pioneered by Fania Records in 1970s New York, given a twist by their own individual musical personalities, they've created Phantasticus - an album of joyously uplifting music that distils all the conviviality and good humor with which it was created into a heady yet feel-good brew. It's the perfect antidote to our nervous, fragmented times.

When The Lights Gone is the new Album from Nostalgia 77. A set of simple songs in primary colours it explores Lamdin’s familiar themes of memory, time, truth and identity. After a hiatus of several years from releasing personal work Producer Benedic Lamdin has two albums set for release this year of which ‘When The Lights Gone’ is the first. When The Lights Gone renews Lamdin’s partnership with Berlin based singer Yosa. Her tracks with Nostalgia 77 are some of their most popular with 30 plus million streams. “It was great to reconnect with Yosa after years not working together. She was about to start a family in Berlin and it seemed like the perfect time to try and pick up - to catch something before that new phase began. “Becoming immersed in family life is such an all encompassing experience It’s sometimes dreamlike in its own way. I think this record has something of that - it is naive and childlike in certain ways itself.” This album is a private press release on Lamdin's new label but publishing a press support is provided by Tru Thoughts.

Bruiser Wolf’s razor-sharp wit meets Harry Fraud’s luxury street sound on Made By Dope, a collaboration that feels both raw and refined. Fraud laces the project with his signature hazy loops, velvet drums, and smoked-out soul, giving Bruiser the perfect canvas to deliver his off-kilter flows, animated storytelling, and punchline-heavy bars. The result is a record that balances Detroit energy with high-end production polish. Now available on vinyl, Made By Dope is pressed for collectors and connoisseurs alike, bringing the album’s textured sonics to life in full analog warmth. From the cinematic instrumentals to Bruiser’s unmistakable voice cutting through each groove, this physical edition captures the chemistry of two distinct styles meeting at their sharpest point. A must have for fans of the Wolf, and the Wave alike.

San Francisco style driving techno tinged with dark dubs and disco from two of the town’s most explosive producers.

Brick & Zero Idea represent the same city, blazing their own paths in San Francisco’s heady techno scene. Both manage their own labels / parties, Brick with Perfect Dark and Vitamin1000 a la Zero Idea respectively, but are no strangers in the studio together.

First up, two full-bodied techno timebombs from the duo: a mega sub’n’dubchord special alert on A1’s “West End” paired with a more refined, smoother, slippier companion on the A2 “No Room For Error”. Combined-strengths banger collabs for different moments and moods of a night.

Sticking with the theme, we see contrasting solo tracks on the flip side as well. Brick’s “Sigil” spotlights the producer’s laser focus for darker, hypnotic, full force synths in impeccable arrangement, while “Xhale” ends this release on an upliftingly funky bassline disco tip showcasing Zero Idea’s ease at blending techno sensibilities with French House techniques.

Seven years after the haunting resonance of Voids, electronic pioneer Martyn returns to the album format with Music For Existing. Arriving on 15 May 2026, the record is more than a collection of tracks; it is a profound exploration of what it means to remain devoted to a craft in an era of relentless noise.

The album’s announcement is heralded by the lead single "Heavy Sound." The track serves as the perfect bridge between Martyn’s past and present - a masterclass in tension and release that previews the album’s dialogue between the producer, the musicians, and the audience. We live inside a culture that has prioritised and monetised restlessness. The modern apparatus runs on the continuous production of "next," driven by algorithms that value novelty over depth.

Music For Existing serves as a love letter to the communal act of making music - something that is both healing and inherently defiant. For Martyn, a musician often finds solace in musical conversation with others; in the moment we press record, we simply exist together. This record is an invitation to build human infrastructure around what we love, leaning into the fluid nature of community and seeing exactly where the music takes us when we choose to listen.

The album is a sprawling, "off-the-grid" tapestry that echoes Martyn’s profound appreciation for jazz - free, instinctive, and bursting in every sonic direction. This collection features an expansive cast of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, and Mark Cisneros. The record is further elevated by the contributions of jazz talents Mischa Porte and Cees Bruinsma, alongside the evocative words of writer and poet Musa Okwonga.

While the acoustic textures and improvisational spirit of this record may feel like a departure, they represent a homecoming. Jazz has always been ingrained in Martyn’s work; even in his most stripped-back club tracks, the DNA of swing, syncopation, and free-form structure was always present, if not always visible.

Music For Existing marks the beginning of an exciting journey that will continue from the studio to the stage, celebrating the radical act of existing in the moment.

"Slime Wave 2" is the highly anticipated sequel to Hus Kingpin's 2019 album, immersing listeners into the gritty, yet hypnotic world of one of the waviest MC’s in underground hip-hop. Building upon the foundation laid by its predecessor, this album pushes boundaries, blending intricate lyricism with captivating production to create an auditory journey like no other.
Backed by an array of talented producers, the album's beats range from soulful and jazz-infused to hard-hitting and gritty, providing the perfect backdrop for Hus Kingpin's lyrical prowess. Each track is a sonic masterpiece, meticulously crafted to evoke a range of emotions and keep listeners captivated from start to finish.
"Slime Wave 2" features a killer lineup of guest appearances, adding layers of depth and diversity to the album's sonic landscape, with Bala No Judas, Shyheim, Supreme Cerebral, Skrilla and Tritty joingin Hus on this journey.
Behind the boards, a stellar lineup of producers brings their A-game to "Slime Wave 2," ensuring a diverse and immersive listening experience. From the legendary Madlib's signature soulful soundscapes to the gritty, boom-bap vibes of Macapella, Owltree, and Manny Megz, each producer leaves their indelible mark on the album, creating a rich tapestry of beats that perfectly complement Hus Kingpin's lavish lyricism.

XDCVR_ unveils 'I HATE THAT SHIT, I HATE ALL THAT SHIT' a blistering sonic manifesto on the 'performativity of decay'.

In a world saturated with digital perfection, the album emerges as a vital, hand-made act of electronic rebellion.

Framed as a "soundtrack for the end stretch" the record explores the notion that societal decay is not a passive process, but an active performance—a machine chugging along long after its wheels have fallen off.

This is cyborg music for a bifurcated reality: carbon-fiber toughness shielding a core of systemic rot. The sound palette is intentionally raw and imperfect, a direct challenge to the sterile, automated order of what the artist calls the "techno-fascist oligarchy."

Tracks eschew conventional temporality, mirroring the feeling of existing in two concurrent timelines—one hyper-aware of the collapse, the other numbly consuming it.

Drawing a line from the Cold War anxieties of the past to the data-farming dystopia of the present, 'I HATE THAT SHIT…' posits art as the last authentic incubator for societal change. It is, in the artist's words, "a deliberate 'fuck you' to the oppressive order of the status quo. This is not easy listening; it is a contested space, a lit fuse, and a necessary noise for our complicated times."

LIMITED TO 350 COPIES! 2 x 12" Gold Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

The 5th Groove to Grave release is here. Step into our spaceship and head toward Merov’ Galaxy, a universe where the funk, groove, and electro planets collide. This EP invites you to explore a musical cosmos of irresistible rhythms and richly detailed sound design, perfect for electro-funk lovers.

Each track is built around sharp Rhodes and Clavinet keys, laying down cosmic, groove-heavy foundations. At the heart of the tracks, deep textures and bleepy FX create a hypnotic space, while the synths deliver airy, futuristic leads, giving every cut an interstellar dimension.

In 1978, Muddy Waters released one of his most essential works towards the end of his career.

Titled I'm Ready, the album was produced by Johnny Winter and followed Hard Again, their first collaboration.

It was immediately hailed as a blues classic.

The collaboration between Winters and Waters resulted in three albums, which blues fans describe as a unique combination
that showcased Muddy Waters' rawness and years of experience to perfection. The impressive roster of featured artists included
“Pine Top” Perkins on piano and Walter Horton on the harmonica, making it a dream late-career collaboration.

I’m Ready won the Grammy Award for Best Ethnic or Traditional Folk Recording.

I’m Ready is available as a limited edition of 1500 individually numbered copies on pink coloured vinyl.

For our second record, we would like to introduce you to Fonos, after quality releases on labels like Workbench, doeasy & Agaric's imprint " WEARE ": he joins Goldmin Music.
Keep it raw. Keep it underground. Play quality Music and play it on vinyl... is Federico Pedron alias Fonos's state of mind and that's far enough to introduce him !!
Freshly made with analog synthesizers, grooveboxes which bring this awesome warmness & analog imperfection this 4 Tracker Vinyl perfectly illustrates Federico's music.


Feedbacks:

Patrick Bateman: dub mix of "youknow" is pretty cool, thanks !
Jakob Seidensticker ( Wareika ): nice mood, big sound, well done, love it !
Tom Dazing: Downtown is a bomb, thanks !
Agaric: Far out stuff from a far out talent - dope house tracks
Alejandro Mosso: i'm not

Fresh as morning dew, “Sundays” marks Module One’s debut EP on Luck of Access. Throughout this beautiful release, the Berlin-based artist continues exploring the deeper shades of electronic music, our favorite, as he has done for the past decade. The EP is complemented by an ambient rework from Leafar Legov’s new alias “rfl”, making it the perfect closing piece, and the ideal soundtrack for a reflective Sunday at home.

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

Essential compilation of long lost hard to find Detroit classics! Now & Then features five 90s original tracks and 2 brand new remixes from Detroit In Effect and Terrace. Top that up with 2 unreleased 90's tracks from John and we have the perfect compilation for the true heads, TIP!

Shawn Lee, the Silver Fox, did it again! He managed to persuade David Fostex to reord a follow up to his intriguing 2023 offering "Dark Yacht" with an even more cutting-edge venture into the world of sinister, mysterious world of the super yacht sounds and releases "Dark Yacht 2" including 10 new, original compositions written during a frosty, starry night somewhere near Marina Del Ray.

"As I find myself entering into the new era of my personal musical odyssey, I reflect back to a simpler time -a kinder, more gentle world where people listened without hearing," says David Fostex. "An artistic genius such as myself could easily live a life of excess and luxury without even breaking a sweat. I now find myself slaving away in a hot cramped home studio perspiring profusely over childlike chord structures and rudimentary themes. However, I am still reaching for musical greatness and to be perfectly honest, I am creating sonic masterpieces beyond the shackles of my so-called peers- if you can even call them that. My work speaks for itself and I speak for myself. So it is with great pride that I present to you ,Dark Yacht 2', an intimate journey into the mystical world of DAVID Jeremiah FOSTEX the living legend and purveyor of all things good and true. You will laugh-you will cry… Find a friend or a loved one… hold them close and listen to the splendour of what no doubt will be considered to be one the greatest albums of all time. You're welcome".

"Tapping into a shared affinity for early trance – as in short for transcendental – Function and Nastia Reigel come together on Dekmantel with ‘Devocion’. Bridging the past and the future, this partnership draws deeply on brooding, melancholic early-90s sounds and supercharges it with the immensity of modern techno.

The project began when Nastia Reigel shared a series of discoveries with David ‘Function’ Sumner – records rooted in the rave-leaning edge of the era, spanning labels like R&S, FAX and EXperimental. He responded that this was precisely the music he had been absorbing while coming up in the thick of New York’s club and rave scenes and beginning his journey into DJing. The excited exchange of deep digs around this niche of dance music history naturally led to a conversation about collaborating on music in this vein, and Devocion is the result.

Familiar genre touchstones are everywhere, from the plaintive bleeps and understated breakbeat roll of 'Eternity' through the sad-eyed arpeggios strafing on the edges of 'Reverence' and on to 'Flowstate's blue-hued acid lines and 'Orion's sky-scraping gated pads. But Reigel and Sumner deploy these strongly coded elements with poise, feeding into a richly rendered production that feels anything but old-school. The emotive streak is wielded with care, spelling out the mood without losing the steely, shadowy sensibility that tracks through their respective catalogues.

In a perfect demonstration of honouring the past while embracing the present, Devocion EP lands as a distinctive artistic statement on its own terms."

Work of Art is not merely a sophomore album; it is a victory lap run with the precision of a master artist. Following the stratospheric global ascent of his debut, Mr. Money with the Vibe, Asake faced the kind of pressure that usually demands a pivot. Instead, he treated that intensity like clay, sculpting a project that feels at once more expansive in scale and more intimate in spirit. Released in 2023, the album serves as a definitive statement on Asake’s sonic identity, deepening his signature fusion of Amapiano, Fuji-inspired percussion, and Afrobeats while moving with a newfound sense of deliberate poise.

If his debut was a high-octane sprint to introduce his sound to the world, Work of Art is a confident stroll through his own creative museum. Anchored once again by the masterful production of Magicsticks, the album serves as the perfect architectural space for Asake’s erratic, infectious flows. The record feels richly textured—brimming with pulsating log drums, soulful samples, and the specific, ecstatic chaos of Lagos nightlife. Asake successfully bridges the gap between traditional Yoruba heritage and the deep, percussive basslines of South African Amapiano, resulting in a sound that feels simultaneously ancestral and futuristic.

The project thrives on a unique duality: it is introspective, yet undeniably club-ready. Tracks like "Amapiano," featuring Olamide, provide the anthemic energy his fans crave, while cuts like "Basquiat" showcase a lyrical swagger that frames his life as high art set to a relentless four-on-the-floor beat. By leaning into his "Mr. Money" persona with added vulnerability and a clearer focus on the craftsmanship of his vocal delivery, Asake avoids the dreaded sophomore slump entirely. He proves that he isn't just making pop songs; he is curating a moment. Ultimately, Work of Art captures the feeling of an artist standing at the peak of his powers, looking out at the landscape he has helped reshape, and confirming that, indeed, he belongs there. It is not about reinventing the wheel—it’s about proving that the wheel he built is a masterpiece.

In Sheep’s Clothing announces the long-awaited vinyl pressing of Marc Leclair’s beloved 2005 album Musique pour 3 femmes enceintes. The album will also be available on streaming for the first time via Community Music Group.

For years after Marc Leclair released Musique pour 3 femmes enceintes, he heard from listeners who had lived with the record in an unusually intimate way. Many described how the music became part of the emotional landscape of the months leading to birth. “I never expected that,” Leclair says. “Many women told me they listened to the record throughout their pregnancies. They said it made a real difference, that it helped them. It became more than just a record.”

First issued on CD in the early 2000s, Musique pour 3 femmes enceintes (Music for Three Pregnant Women) now returns in a new edition from In Sheep’s Clothing Hi-Fi, appearing on vinyl for the first time as a double LP. The record is being pressed in Detroit at Archer Record Pressing, the historic plant behind deep-groove classics by Juan Atkins, Kevin Saunderson, Underground Resistance, UR’s Jeff Mills, and J Dilla.

Listeners who know the Montreal-based Leclair through his better-known work as Akufen might be surprised by the tone here. During the same years he was shaping the intricate micro-sampling tracks that made Akufen a cult figure on labels including Perlon, Force Inc. and Trapez, Leclair was quietly developing this far more personal project. The meticulous craftsmanship remained the same, though the focus shifted from the hyper-detailed cut-up rhythms of his dance records toward something slower and more atmospheric. “I always compare my work to a jeweler,” Leclair says. “It’s really very precise. I’m a bit of a detail freak. I can spend hours or days on just one phrase in one song. Everything has to be perfectly put together.”

The project began almost accidentally. A few members of Leclair’s circle became pregnant nearly simultaneously, including one who had long believed she couldn’t conceive. The first track he recorded for the project wasn’t meant to advance a larger concept, he says. “It was meant to highlight the fact that three of my closest friends became pregnant at exactly the same time.”

Leclair was already a father with a three-year-old daughter, so the emotional terrain of early parenthood was familiar. Gradually the idea expanded. “I began thinking, why not make a whole album that celebrates this and also follows the entire pregnancy, the nine months,” he says. The music developed piece by piece, including a track originally commissioned by the Berlin experimental duo Rechenzentrum that would later become the album’s opening movement.

Nearly seven years passed between the first composition and the finished album, and the music mirrors the strange arithmetic of pregnancy itself. What begins as a single idea multiplies outward, sounds layering and branching until the album feels less like a sequence of compositions than a living process unfolding in time. “I work very slowly,” Leclair says. “Everything has to be something I’m completely behind. I never want to rush anything. I want things to come naturally.” Across its 72 minutes, the album blossoms with the patience of a long meditation on time, growth and emergence.

When Musique pour 3 femmes enceintes first appeared via Mutek, it circulated quietly but steadily. Critics who discovered it later recognized its unusual scope. In a 2006 Pitchfork review, Mark Richardson gave the record an 8.1, calling “150e Jour” “an unfailingly gorgeous and tightly sequenced quilt of guitar and piano samples reminiscent of Tangerine Dream,” and describing “85e Jour” as infused with “viscous pop ambient drift, the gauzy synth pads ebbing and flowing with rhythm.” Boomkat described the album as “a majestic opus from a producer that's always promised so much — here delving into a panoramic construction of almost visibly radiant music that works so beautifully through each and every second of its 72 minute lifespan.”

The new In Sheep’s Clothing Hi-Fi edition finally presents the record in the format Leclair long imagined. “I always thought that record deserved a vinyl edition,” he says. Spread across two LPs, the music now has room to unfold at its natural pace. More than twenty years after it first appeared, Musique pour 3 femmes enceintes remains what it was from the start: a carefully shaped meditation on transformation and the quiet miracle of life beginning.

With Burn The House Down, Ghalia Volt delivers a raw and electrifying blend of blues, garage rock, and roots-driven energy. Fueled by gritty guitar riffs, hypnotic rhythms, and her unmistakable raspy vocals, the album captures the spirit of stripped-down, high-voltage rock’n’roll. Recorded with an organic and live feel, the songs pulse with authenticity and urgency, balancing infectious grooves with a rough-edged charm. Ghalia Volt’s performance is both fierce and soulful, channeling the essence of traditional blues while pushing it into a more modern, rebellious direction. Burn The House Down is a bold and uncompromising release—perfect for fans of The Black Keys, Larkin Poe, and raw, unfiltered blues rock

The Voodoo Universe is now complete! The masterpiece combining the Trilogy 1-3 will be released on November 27th and is a magnificent work show of the multifaceted genius.

Concerts by successful musicians often have an air of church-mass: Fans pay homage to their idols, hailing them, giving the impression of following them blindly. Parov Stelar, a globally successful musician from Austria, is one such artist. Is this art of seduction a kind of Voodoo, Black Magic even? Who can tell? It makes no difference whatsoever, as to his fans Parov Stelar easily passes as a High-Priest of grooves that perfectly understands how to put them in ecstasy.

In Voodoo, Bondieu, a higher being communicates to the masses through priests called Loas. Parov Stelar manages to do so with his music. Voodoo Sonic was born and delivered with the idea to replace the conventional album with several EPs, allowing greater musical freedom and the possibility to explore the many sonic landscapes of Voodoo Sonic.

Now the Voodoo Sonic Universe is complete and celebrated with all three parts combined into one ultimate and highly demanded package. It's a Parov Stelar work show which makes it possible to enjoy his diverse sound world in all of its facets.

The Artwork for Voodoo Sonic was designed and painted by Parov Stelar himself. From the art studio to the recording studio, on to the dance floor in the form of art and beats. Parov Stelar is an all in one king of art.

The icing on the cake is the Voodoo Sonic documentary, which can be seen on all Parov Stelar channels available. (coming September 2020).

If you want to see Parov Stelar live, you will get the chance in summer 2021 at festivals in many countries following by a headliner tour across Europe towards the end of the year.

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

They Call Us The Lucky Ones is a road-worn portrait of modern Americana — songs about movement, memory, love, and survival, exploring the space between freedom and consequence where highways replace homes and connection becomes the true measure of success. The album tells stories of outsiders and drifters, chosen family and lost friends, broken systems and restless ambition — and the ghosts we carry no matter how far we run. Yet for all its hard-earned perspective, the record carries an undeniable sense of hope: a clarity that comes from a life lived in motion, the humor found along the way, and the simple joy of playing music with people you trust. It’s a record that knows how to have a good time without losing its soul. This collection of ten songs finds Ryan Bingham at his best — where life isn’t always about perfection or redemption, but about connection. Because no matter how far you go, how fast you run, or how loud the music gets, all that matters is the people and stories you carry with you along the way.

They Call Us The Lucky Ones is a road-worn portrait of modern Americana — songs about movement, memory, love, and survival, exploring the space between freedom and consequence where highways replace homes and connection becomes the true measure of success. The album tells stories of outsiders and drifters, chosen family and lost friends, broken systems and restless ambition — and the ghosts we carry no matter how far we run. Yet for all its hard-earned perspective, the record carries an undeniable sense of hope: a clarity that comes from a life lived in motion, the humor found along the way, and the simple joy of playing music with people you trust. It’s a record that knows how to have a good time without losing its soul. This collection of ten songs finds Ryan Bingham at his best — where life isn’t always about perfection or redemption, but about connection. Because no matter how far you go, how fast you run, or how loud the music gets, all that matters is the people and stories you carry with you along the way.

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

From dancefloor anthems to deep, soulful grooves-pure contemporary fire - a stunning fusion of soul, jazz, hip hop, and funk from Spain's most exciting artists presented in volume 5 of Sampladelia series. The Groove Family kicks off the compilation, Sampladelia 2025, with a dancefloor banger, while Carlos Abril takes us on a soulful journey, and producer Blunted Soul dives into instrumental hip hop infused with funk. From Jerez, Maestro Mutante delivers a distinctive sound full of contemporary soul, while Sr. Zambrana blends jazz, hip hop, and Japanese influences. Smart K., from Vigo, brings his signature Spanish-sung R&B, and guitarist Juanma Montoya proves that soul-funk and flamenco accents are a perfect match. Karmasound mixes jazz with electronic textures, MrFoxMad pays an elegant tribute to Roy Ayers, and Malage delivers a killer track for the dancefloor. Laboca joins Flavia Beaká with experimental, conscious hip hop, and to close the compilation, Pablo Torti represents the new wave of Spanish contemporary jazz. Enjoy this new volume of Sampladelia series!

Vinyl reissue of the debut album from underground legends CEREMONIUM.
Originally released in 1995, “Into the Autumn Shade” is a landmark of ominous underground death metal, remastered for vinyl by Dan Lowndes in Resonance Sound Studio for analogue audio perfection.

Jesse Royal was nominated for a GRAMMY award in 2022 for his second album, ROYAL Since then, he's continued a relentless touring pace, building up audiences around the world; dropped an anthemic elegy for his good friend Jo Mersa Marley ("Blessing"); and taken on an even bigger role within his community in Jamaica as a leader, mentor, and ambassador.

NO PLACE LIKE HOME is the full-length follow-up album which he has been writing and recording for the past few years. Singles released over the past two years, like "Blessing," "Light Of Mine," "Hope" (feat. Romain Virgo), and "Your Soul" are here, along with 6 new powerful tracks. New guest features include Canadian soulstress Melanie Fiona, GRAMMY winner Kabaka Pyramid, and Perfect Giddimani. NO PLACE LIKE HOME finds Jesse focused on his beloved island of Jamaica, trying to bring wisdom and inspiration especially to the youths of his country and beyond.

This curated compilation brings together the finest Brazilian bossa nova artists and international interpreters, creating the

perfect soundtrack for sophisticated cocktail moments. Featuring super classic compositions, performed by both legendary

Brazilian artists and international musicians who helped spread bossa nova worldwide, this release captures the essence of Brazilian atmosphere of 1960s cocktail lounges.

Cosmic Journey is the new album by Little Lion Sound, bringing together the sound system's most significant releases from the past two years. The album embodies the DNA and artistic evolution of Little Lion Sound, reflecting a deep love for reggae and sound system culture, as well as a strong ability to build bridges between generations and territories.

Born from sound system culture and firmly rooted in reggae, Little Lion Sound has developed an open and modern musical vision over the years, blending contemporary reggae with hip-hop influences while always preserving the essence of the genre. Cosmic Journey perfectly illustrates this approach through a coherent and immersive soundscape, driven by deep basslines and meticulous attention to textures and arrangements. The album also stands out for the richness of its collaborations, bringing together iconic artists and rising voices from the international reggae scene. From Jamaican foundations (King Kong, Capleton) to new generations, passing through Brazil (Jô), London (Brother Culture), and Trinidad & Tobago (Queen Omega), each contributor brings their own color, energy, and signature. The project also highlights collaborations with producers from France, Costa Rica, and Jamaica, further enhancing the diversity and balance of the album.
Cosmic Journey is a true invitation into their musical universe. A celebration of creativity, authenticity, and the collaborative spirit at the heart of sound system culture, this sonic journey is designed as a complete experience where tradition and innovation meet, uniting established artists and emerging talents.

Tracklisting:

The eagerly awaited return of WORM SHEPHERD, back after a two year hiatus and member shift. With new singer Ian and the addition of members of Ingested (Thomas O'Malley), Immortal Disfigurement (Harry Tadayon) and Psycho Frame (Leo McLain), DAWN OF THE ICONOCLAST is a masterclass in Blackened Deathcore. The band comment: "I’m very excited about the new lineup. I feel like we have the most talented members that we’ve had to date. Harry (Ex Immortal Disfigurement) brings so much to the table for writing and meshes with my style so well. Tom (Ingested) is an absolute workforce on the bass and really adds some flare to the rhythm guitars with his aggressive style and tones. I’m also very excited that Leo (McClain - Original drummer) is back in the band and having him back behind the kit for the Worm Shepherd sound gives some of that original tone from our first albums together. Us having this new sort of style that we’re doing, Ian (Archaic Epidemic) fits in perfectly with his aggressiveness and tonality of our new music and I can’t wait to see what people think. This is the beginning of a new era for Worm Shepherd." - Tre Perdue (Guitars)

As Corsica draws to a close, this is our homage to a space that has been our home for 18 precious years. A space that has nurtured us and allowed us to evolve - to find our own way of raving. The Rupture way. The Corsica way.

We wanted to celebrate 18 precious years with a release that truly embodies the spirit of Rupture at Corsica Studios. The music on this EP has mashed up the dance, time and time again!

Double O wrote ‘Corsica Jungle’ with the intention of capturing those peak 5am emotional Corsica vibes. Love and respect to dBridge & Skeptical for contributing to a project so close to our hearts with tracks that represent our sound so perfectly: dubwise, killer breaks and peak dancefloor energy! The EP closes with a spoken word poem from Mantra.

Viva la rave!

Corsica Forever!

As Corsica draws to a close, this is our homage to a space that has been our home for 18 precious years. A space that has nurtured us and allowed us to evolve - to find our own way of raving. The Rupture way. The Corsica way.

We wanted to celebrate 18 precious years with a release that truly embodies the spirit of Rupture at Corsica Studios. The music on this EP has mashed up the dance, time and time again!

Double O wrote ‘Corsica Jungle’ with the intention of capturing those peak 5am emotional Corsica vibes. Love and respect to dBridge & Skeptical for contributing to a project so close to our hearts with tracks that represent our sound so perfectly: dubwise, killer breaks and peak dancefloor energy! The EP closes with a spoken word poem from Mantra.

Viva la rave!

Corsica Forever!

Contemplating the role of the album format in an attention-deficient society, Speedy J presents Walkman -- a constantly shifting, 90-minute soundtrack to a journey of your choice. Jochem Paap's first solo album in over 20 years is a freewheeling, 20-track testament to his decades-deep studio skill and sonic versatility, running from skewed rhythmic rabbit holes to exploratory tonal abandon. For Paap, the traditional idea of the album had become obscured by listening habits and the non-stop information barrage of our digital lives. Having moved on from his breakthrough years releasing LPs and touring off the back of them, he was more inspired to develop his many-sided STOOR project and feed into a bigger artistic body of work than the temporary shelf-life of a single release. As is natural for any artist, his perspective shifted over time and he found himself drawn back to the idea of an album, realising he connected best with longer releases while he was on a walk, out for a run or generally in transit one way or another. With an endearing call back to the humble Walkman, he selected an hour and a half of material created during studio sessions at the beginning of 2025, perfectly sized to fit on two 45-minute sides of a cassette tape. As has long been the case for his studio practice, there were no fixed intentions when sitting down in the STOOR lab to start making noise -- just a wealth of experience and an expansive set of tools to start exploring with. From hours of jams Paap pulled together standout moments and moulded them into a mixtape-like narrative ranging from two-minute beat nuggets to full-tilt techno workouts and immersive ambient drops. Every sound is intentional, but the overall delivery is instinctive and curious, showing multiple new dimensions to Paap's sound and offering unpredictability at every turn. 'Arp Amp Chasm' opens the album up in a thick blanket of humming, harmonic waves with an electric emotional charge, while 'Ctrssalms17 (Cold Render)' journeys through evocative blooms of melancholic, gritty pads and rugged, half-submerged tech funk. 'Modern Birds (Origin Edit)' reaches skywards with grand sweeps of dynamic, brilliantly rendered synthesis. From the dexterous drum science of 'Drift Vector' to 'Osc Hop (Slow Collapse)'s lurching, beatless swamp of synths, on Walkman even the briefest snapshots leave an impression that lasts beyond the quick-scan cycle of the modern music experience. With his return to the album format, Paap's message is clear --put your headphones on, get outside and lose yourself in the sound of an artist constantly committed to moving forwards.

Swan is a warm, melodic, and emotionally direct album, blending guitars, pedal steel, and synths, with wry, heartfelt songwriting reminiscent of MJ Lenderman and David Berman- but with a distinctly antipodean voice. Fazed on a Pony is the alt country/indie rock recording project of New Zealand songwriter Peter McCall. Swan is his second full-length album. On swan McCall sings with emotional immediacy, warmth, and wit about living honestly in the face of inevitable uncertainty and disappointment. McCall's mix of wry humour, sincerity, and melodic instinct has drawn comparisons to MJ Lenderman, David Berman, and Sparklehorse. However, Fazed on a Pony lives within its own antipodean aesthetic and sound. Sonically, swan sees Fazed on a Pony expand from the Pavement-esque tuneful indie rock of previous releases to include pedal steel, fiddle, drum machines, and synthesizers. While there is a diversity of style, the album is rooted in the hallmarks of McCall's music: uplifting and catchy guitar lines that serve the song, paired with arrangements that feel both comfortable and surprising. Where the lyrics tell a sad story, the music betrays that it might just be okay in the end.

REPRESS ALERT! Long out of press and with copies regularly changing hands for close to £100 on the second-hand market, Air Miles are proud to present a limited repress of their inaugural release, “An Ode To Midnight EP’ by Jeigo.

The tone is set from the off with the eponymously named first track of the release ‘an Ode to midnight’. The tracks mellow break beat feel is met by warm rushing pads, ebbing and flowing between textures of the night before last.

Floor focussed, zero fussing ‘Wing Systems’ carries the front side at an orbital trajectory. No time for an intro, the drums jolt you into alertness, the wobbly bass perfectly counterpointed by gated, washing keys.

‘Lime Hawk’, melancholic euphoria brings the release back to the conscious. It’s structure toy-fully crescendos and builds, all while the Balearic synth peaks with the sub line keeping you grounded throughout.

Rounding off the record is ‘By My Side’ meandering the record into slightly darker territories. The shifting keys wash over, the siren call vocals penetrate and the thudding kick punches through, anchoring the track as an emotionally driven, cerebral affair.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

Straight from an alternative dancefloor, a recollection of stone cold classics from huge & influential post-punk pioneers. They called it white funk once, but here you can even catch echoes of latin, dub and club influences, a mutant disco manifesto from a series of British champions such as Medium Medium, Jah Wobble, Animal Magic, Blue Rondo' A La Turk, Nightmares In Wax, Tappa Zukie and many more.

Tracklist Side A:
Blue Rondo A La Turk - Sarava
Medium Medium - Serbian Village
Jah Wobble - Invaders Of The Heart (Mix One)
Perfect Zebras - What Dance Is This?
Splat! - Yeah... The Dum Du

Tracklist Side B:
Dancing Did - Ballad Of The Dying Sigh
Animal Magic - Get It Right
Nightmares In Wax - Black Leather
Tappa Zukie – Freak

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

Carrier’s debut album features eight elegantly rude arrangements that dance in negative space between Photek’s frictional syncopations, Rhythm & Sound’s dubwise minimalism, and Torsten Pröfrock’s fractured dynamics, bolstered on two tracks by contributions from Voice Actor and Memotone, summoning a noirish, jazzier frisson to his signature metrics and temporalities.

Since hard-snagging our ears and feet in 2023 with 12”s for FELT and his own eponymous label, Guy Brewer’s Carrier has become the go-to project for anyone who had almost given up on chasing these sorts of ultra-subtle but vitally distinctive new permutations in dance music. For the past two years, his unpredictable variations within a style have kept us all tip-toed and seat-edged with organisations of a finely chiselled percussive palette and smouldering ambient noise that distils the salient aspects and spirits of D&B, dub techno, electro-acoustic music, and trip hop with unique traction. In effect, he’s enacted a clear leap of imagination from previous work issued as part of Commix and solo as Shifted that only continues to reveal hallucinatory psychoacoustics on this first album detail.

»Rhythm Immortal« sees Brewer tilt the project into slower, resoundingly more atmospheric realms, better to luxuriate in the instinctive guile and integer-stepping style ’n’ pattern of his incredible sound. At the album’s poles, a vocal cameo by cult gynoid Voice Actor follows from Gavsborg’s on a preceding 7” single to ideally model his sound’s mutability and compatibility with trip hop forms, and Memotone helps seal the deal with a hovering glow lent to »Offshore«, whilst Carrier jostles the reins throughout with masterful control of his thing, crisply purposed to the album canvas. In that context, it’s perfectly adaptable to bodies both supine or in motion, ushering a hypnagogic sway with »A Point Most Crucial«, and hingeing around the slightest interplay of 16th-note hi-hat ruffles and recoiling reverbs on »Outer Shell«, or blissfully stepping on knife-edge 2-step on »Wave After Wave«.

The album conveys a deeply personal pulse and spiritual devotion to that kind of all-tension-no-release mode typical of so much music we love – from Kode9’s earliest re-factoring of Prince to Photek’s »Ni-Ten-Ichi-Ryu«, from T++/Dynamo and Traktor’s asymmetric dynamics to Burial’s shockout debut – refactored with a rare conviction in its unspoken powers to activate the eyes-shut imagination.

The Dubplate series comes to the label’s spiritual home of Hackney, the stomping ground of the Douglas “Dougie” Waldrop and his Conscious Sounds label with the spin off Dub meets Funk project. The music of the Dub Specialists is presented with extended re-edits by label owners Piers Harrison and Stuart “Chuggy” Leath, alongside rising selector star Millie McKee and studio master extraordinaire Matt Bruce (Vanity Project).

Formed in 1989, Conscious Sounds and the Conscious Music studio have been mainstays on the UK Digital Roots scene to this day, working with the likes Bush Chemists, Johan Dan, Kenny Knots and Pablo Gad. The Dub Specialists was a project created by Dougie to put aside studio sessions and explore a new interest in samplers, working with friend Chris Petter (Love Grocer) and his interest in Jazz and Funk.

Using the Atari 1040 running Cubase, with a Soundcraft mixer, drum loops and Reggae basslines were played over Funk samples and layered with Petter’s chords to create a series of short tracks for DJ play. Releasing 3 albums between 1995 and 1999 on the sub label Crispy Music, they have more recently been gaining cult status.

The tracks chosen all come from the first and increasingly sought after LP, Dub To Dub Break To Break and have been extended, stretched, looped and dubbed by the label family to form a club friendly EP. From the dance floor jams of Dub De Funk and Funkin’ Dub to the deeper Movin Ya (with additional flute by Millie) and Murderous Style, this is a unique fusion of Funk and Digidub that fits perfectly the ideals of the Dubplate Series.

Break The Mystery.