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Strut introduces the highly anticipated third volume in the Disques Debs International series, diving deeper into the archives of one of the greatest French Caribbean labels, Disques Debs, based in Guadeloupe. Founded by the visionary Henri Debs in the late ‘50s, the label and studio operated for over 50 years, releasing more than 300 7” singles and 200 LPs, making it a cornerstone of Caribbean music history.

By the dawn of the 1980s, Henri Debs had already established himself as a prolific producer, with a record of releases unmatched in Guadeloupe and Martinique. From its humble beginnings with a 2-track tape machine in the back of a clothes shop, Disques Debs evolved into a powerhouse, boasting a state- of-the-art studio in downtown Pointe-à-Pitre, retail shops for records and musical instruments in Guadeloupe, Martinique, and Paris, a nightclub in Gosier, and international distribution deals reaching Europe, the U.S., and South America.

Disques Debs played a pivotal role in shaping modern Caribbean music. The label bridged traditional genres like biguine and gwoka with contemporary styles like cadence, compas, and zouk, the latter becoming a global phenomenon in the 1980s with contributions from iconic acts like Kassav’ and Zouk Machine. The period also saw Disques Debs champion a new generation of artists while maintaining ties with legendary figures from earlier decades.

Volume 3 in this series spotlights one of the label’s most dynamic and influential periods as it expanded its global reach during the 1980s. Across 2 LPs, the release features a curated selection of tracks from the Disques Debs circle, highlighting both emerging talents and established artists who defined the era.

This collection not only celebrates Henri Debs’ unmatched legacy but also offers a snapshot of Caribbean music’s golden age, cementing Disques Debs as a cultural institution.

Das brandneue Studioalbum des brasilianisch-dänischen Garage-Rock-Duos! The Courettes präsentieren stolz ihr drittes Album, Back In Mono. Es ist ein Meilenstein in ihrer bisherigen Karriere. "Spit 'n'Snarl Garage Rumble-meets-Phil Spector Pop", der die Band in Bestform zeigt - großartiges Songwriting, Spector-esque Arrangements, mit weiteren Nuancen, Einflüssen und Produktionsqualitäten, die ihr Garagenrock-Rezept ergänzen. Vierzehn wagnerianische Teenie-Tragödien-Meisterwerke - es ist, als wären The Ronettes und The Ramones zu einer wilden Party in die Echokammer der Gold Star Studios eingeladen worden. Fuzz-Gitarren, laute Drums, trashige Pianos, Jingle Bells, Tamburine und dreiminütige Dancefloor-Garagenkiller, bei denen eine Wall of Sound die Songs aus den Lautsprechern schmettert! Produziert und aufgenommen von Soren Christensen in den Starr Sound Recording Studios in Dänemark und abgemischt vom Top-Produzenten und Wall of Sound-Liebhaber Seiki Sato in Japan.

2 cuts of timeless deep cosmic house from the MIQUIFAYE MUSIC "WITH YOU I'M BORN AGAIN (SPACE N TONE REWERK)" is ANTHONY's remix of the BILLY PRESTON/SYREETA classic. Re-imagined and reworked for the dancers and DJs. Vocal mix on the A-side and "InstruDUB" mix on the flip. Jazzy, cosmic house. Lush and melodic. vault. As always, ANTHONY demonstrates his unique ability to craft expressive musical environments that are as cerebral as they are physical, and guaranteed to take listeners on a journey.

Iconic Swedish duo Sally Shapiro’s 4th studio album is finally here. Sad Cities enters our atmosphere & we couldn’t be more excited to share it tonight.



15 years ago, their breakout debut 12” “Disco Romance” was released on Diskokaine by our dear friend Wolfram. No one was even close to doing what they were doing back then & the world quickly took notice. Two years later, Johan reached out to Johnny to remix Glass Candy’s After Dark classic “The Chameleon” & the two stayed in touch.



Emerging like a phoenix from a 5 year hiatus, the duo worked in deep seclusion & recorded a gorgeous bouquet of pure electronic bliss. Mixed by Johan Agebjörn & Johnny Jewel, the album includes features from Highway Superstar, Electric Youth, Tommy ’86 & our very own Jorja Chalmers.

Das Debütalbum der ghanaischen Frafra-Gospel-Queen Florence Adooni (auch Mitglied bei Alogte Oho & Sounds of Joy) ist ein inspirierendes High Life-Werk mit grandiosen Tracks wie der Gospel-Hymne "Mam Pe'ela Su'ure" oder dem mit Jimi Tenor aufgenommenen Clubtune "Vocalize My Luv". Produziert wurde "A.O.E.I.U." von Ethno-Funk-Pionier und Philophon-Betreiber Max Weissenfeldt. Florence Adooni ist mit ihrer achtköpfigen Liveband regelmässig auf Tour, begeisterte bei Festivals wie Roskilde, Down The Rabbit Hole und Überjazz und absolvierte 2024 mehrere Termine mit Erobique.

All The Hits is the speedy follow up to Myriad Myriads’ debut album, Shardcore (released on Trilogy Tapes in September 2024). 200 vinyl pressed. Myriad Myriads was FKA Bass Clef. Wrong Speed Records have released two albums by Bass Clef (the 2020 limited vinyl reissue of 2011 cassette Inner Space Break Free and 2021 album Magnetic Chapters). Both organic and beautiful, both differing takes on electronic dancefloor - from 70's Germany, late 80's UK, and 90's Detroit. Myriad Myriads closed out the 2024 Wrong Speed Fest Weekender in the back room of a rowdy pub in Glastonbury (real Glastonbury, not Pilton). To watch up close and see the physicality was rapturous, to hear this music at volume positively transformative. All The Hits, recorded in Myriad Myriad's hometown of The Hague, Netherlands, is Carl Stone meets Sonz Of A Loop Da Loop Era. Carl Cox meets Harmonia. It's a headphone monster. Through a PA it will destroy. At home it's a living room shuffle, a synapse burster. It's a privilege for us to somehow be in the position to release records by Myriad Myriads / Bass Clef. We've known him for a long time. He's remixed a couple of Hey Colossus tunes. Check out the recent Patrick Cowley/Jorge Socarras covers 12" You Laugh At My Face on State 51 Conspiracy. His 22-minute-long reworking is a masterpiece. We love to be connected. We love Wrong Speed Records switching from Part Chimp to Myriad Myriads and on to Deep Cabaret via Jacken Elswyth. All come from the same place, if you feel it you know. This is our record collection

Sharpening his modernist, hybridised club sound with the restless energy he’s made his name on, Breaka returns with Aeoui. Nodding to the vowel-only vocal samples he scatters throughout his tracks, this much-anticipated second album reaffirms Charlie Baker’s reputation as a many-sided bass music innovator.

Since 2019, Breaka has been primarily shaping his own destiny by self-releasing most of his music, and it’s afforded him the space to evolve his sound on his own terms. In the wake of his 2022 debut LP We Move, the consistently prolific producer had been looking for a fitting window to channel his work into a second full-length. The opportunity arose when he struck on a fit of jet-lagged inspiration in late 2023 and laid down two of the new album’s key tunes, ‘squashy track’ and ‘yolo bass rewind’. Jutting out at a distinct angle from his other work, Breaka knew he’d found the anchor point around which to build out the next phase of his sonic evolution.

This productive period also aligned with a new studio space to work in, leading to the album’s striking double-dose opening of ‘Aeoui’ and ‘Are We There’. With the flavour of his new album established, Breaka was able to comb back through his reams of existing ideas and find the remaining pieces that fit the emerging puzzle. There are enduring influences which bind together the Breaka sound — footwork, techno and dancehall continue to guide the infectious floor-ready pressure of the record, but he worked free of stylistic concerns to find a vibe that remained true to his independent spirit.

It’s clear the Breaka DNA reaches beyond purist club music — his roots as a jazz drummer from an early age guide the expressive flair in his beat programming, while he took a more direct influence from a mind-blowing Sons Of Kemet gig in 2022 to make psychedelic centre-piece ‘Roundhouse’. Elsewhere ‘Cascara’ pays tribute to the Afro-Cuban rhythm of the same name, which he fused with amapiano’s lithe log drums and shakers, Brazilian percussion and edgy sound design to create a maverick soundsystem wrecker.

The collision of organic and synthetic, crisp forms and chaotic energy are captured perfectly in the cover artwork created with Jordan Core. It’s a savvy sum-up of where Breaka is at right now, continually building out with clear intentions while embracing the unpredictable energy of lived experiences and the ideas that get sparked along the way. That’s why Aeoui sounds like no one else out there but Breaka.

For this special release, we’re excited to unveil something brand new: a triple vinyl, perfect for casting a spell on your Halloween night

Witches brew and cauldrons bubble, as Halloween stirs up an eerie trouble! Step into the world of spooky beats with Lofi Girl's 'Halloween 2024' compilation. Featuring talented artists from around the world, this potion of ghostly rhythms and haunting melodies sets the mood for a night of chills and thrills. Whether you're conjuring up potions or unwinding under the moonlit sky, let the witchy magic of these chilling beats take over your Halloween night!

Limited vinyl release for aya's 2021 Hyperdub-debut album, a one-time pressing on Ecomix random colour-mix recycled vinyl. Originally released in 2021 as a book and digital album, im hole is now presented on ecomix splatter-effect vinyl. A welcome reminder ahead of new aya music in 2025. On im hole, aya distilled the incisive sonic experimentation of her early run of releases, the tongue-in-cheek giggles of her DJ sets and edits, and the identity-fluxing lyricism of her live shows. The album was immediately championed from all corners, 'Best New Music' in Pitchfork to DJ Mary Anne Hobbs Album of the Year, followed by incredible live shows which drew new listeners further into the net. Contorting language, dialect, gender and sexuality between intermittently controlled bursts of rhythm, noise and aural goop, aya sculpted a set of autobiographical vignettes that challenge established norms, question supposed truths, and affirm a spectrum of interlocking experiences. But while it's wide open and personal, im hole also challenges queer art's tendency to veer towards repetitive solipsism. Even the title itself references the unwieldy mix of self-actualization and sexualization that bogs down cultural perceptions of the trans experience. It's neither one thing nor t'other, just as much a sly nod to dissociative afterparty sloppiness as it is any self-congratulatory pinkwashed grandstanding. The music follows suit, fragmenting familiar sounds, twinned with familiar words, assembled in unfamiliar ways, full of sharp humour, even in the middle of despair. Stories are muddled with phonetics just as dubstep is macrodosed with microtonal drone.










j B4. If [redacted] Thinks He's Having This As A Remix He Can Frankly Do One

Don Kashew returns to Subject To Restrictions Discs with the album ‘Bellows’. A haunting, melodic, maudlin affair, as one would expect from the Zurich-based producer, with a variety of ‘breathing’ instruments as a fulcrum, that challenges any physicality.

The compositions draw from the pool of New Age music and neo-folk of the 80s and 90s. But ‘Bellows’ stretches and looks at the future, deliberately blurring lines that were supposedly anchored. So, Don Kashew has begun a new phase in his musical expression; quivering, but grounded and interwoven in a rich arras of synth work and overlapping woodwind sounds.

Multi coloured splatter vinyl repress of the celebrated debut from the New Zealand-born singer-songwriter, as well as the first album on Phantasy Sound. ‘Forever Dolphin Love’ is a psychedelic pop-folk celebration of a world between fantasy and reality, innocence and wisdom, a gateway to a world of Connan’s own… contains the singles ‘Faking Jazz Together’, ‘It’s Choade My Dear’ and ‘Forever Dolphin Love’.

Texas jazz, funk and soul group PHYREWORK were signed to Mercury Records in 1978 releasing an acclaimed self titled album. They measure up to the bands that inspired them: Sly and the Family Stone, Earth Wind & Fire, Tower of Power - to name a few.

PHYREWORK recorded a plethora of songs that went unreleased - this record documents the legacy of this brilliant band. We are proud to present eleven dazzling songs circa 1977 - 1982, nine of which are originally unreleased and two from the elusive early 80s 7” single.

We are honoured to have the liner notes written by David Ritz, author of the definitive books on Ray Charles, Marvin Gaye, Aretha Franklin, and many more.

Texas jazz, funk and soul group PHYREWORK were signed to Mercury Records in 1978 releasing an acclaimed self titled album. They measure up to the bands that inspired them: Sly and the Family Stone, Earth Wind & Fire, Tower of Power - to name a few.

PHYREWORK recorded a plethora of songs that went unreleased - this record documents the legacy of this brilliant band. We are proud to present eleven dazzling songs circa 1977 - 1982, nine of which are originally unreleased and two from the elusive early 80s 7” single.

We are honoured to have the liner notes written by David Ritz, author of the definitive books on Ray Charles, Marvin Gaye, Aretha Franklin, and many more.

Waxwork Records is thrilled to release PHANTASM Original Motion Picture Score by Fred Myrow and Malcolm Seagrave. In celebration of the iconic Horror film's 45th Anniversary, this special triple LP features the complete score sourced from the original 1979 master tapes for the first time in any format, a full LP of never before released cues from the Phantasm score recordings sessions, and the newly re-mastered original 1979 score album.

Directed by Don Coscarelli, Phantasm has become a horror classic due to its surreal and unconventional storytelling. Filming on weekends over the span of a year, and working with a budget of only $300,000, Coscarelli and his crew created a bizarre, gorey, and entirely original horror film. Some of the most famous aspects of the film, like the floating silver orb, come directly from Coscarelli’s dreams, which give the film an even more ethereal feel. Composers Fred Myrow and Malcolm Seagrave were inspired by the horror scores of Goblin (Suspiria) and Mike Oldfield (The Exorcist) to create the haunting sounds of Phantasm. Myrow and Seagrave were working with synthesizers in the early days of the instrument. Says Coscarelli, “The synthesizers we used back then were so primitive that you couldn't repeat something; you would program the synthesizer, which means setting all of these dials to create a sound, and you went back and tried to get it again and forget it - it was impossible.

"I recently received notice that our long-term film storage vault in the basement of the historic Howard Hughes Headquarters building on the corner of Romaine and Sycamore in Hollywood was being permanently closed. During the process of moving out our negative materials, I came across the original three reels of Ampex 456 analog tape used in the Phantasm score recording sessions. Listening now to the score, including the outtake tracks, I am impressed with how inventive and adventurous Fred and Malcolm were in their approach to scoring Phantasm."

Waxwork Records is excited to release the definitive PHANTASM Original Motion Picture Score by Fred Myrow and Malcolm Seagrave as a deluxe 3xLP with features including the expanded and complete score sourced from the original 1979 master tapes, never before released score cues from the Phantasm recording sessions, and the newly re-mastered original 1979 score album. Each disc is pressed to "Silver Sphere" metallic silver colored vinyl and housed in a heavyweight triple gatefold jacket. Also included are exclusive liner notes by Phantasm writer, director, and producer Don Coscarelli, an 11""x11"" insert, and full album artwork by Graham Humphreys.

Crafted from solo recordings of 42 top-notch improviser musicians mostly drawn from Berlin’s multi-layered experimental scene, the monumental Phantom Orchestra project by Raed Yassin is finally getting released on Morphine Records. More than 1000 minutes of source material, recorded at the Morphine Raum during the fall of 2021, is distilled into a cogent work marked by a dazzling display of editing and blending, and packed into a double LP containing 7 “movements” of the Phantom Orchestra composition.

Crafted from solo recordings of 42 top-notch improviser musicians mostly drawn from Berlin’s multi-layered experimental scene, the monumental Phantom Orchestra project by Raed Yassin is finally getting released on Morphine Records. More than 1000 minutes of source material, recorded at the Morphine Raum during the fall of 2021, is distilled into a cogent work marked by a dazzling display of editing and blending, and packed into a double LP containing 7 “movements” of the Phantom Orchestra composition.

The Lebanese composer, musician and visual artist Raed Yassin has built a career straddling artistic mediums and communities, his devotion to improvisation, his connection to experimental electronic music, and his interest in the archive distinguishing a progressive impulse rooted in historic exploration. In 2020 Morphine Records released his wildly ambitious Live in Sharjah, made by a kaleidoscopic expansion of Praed, his duo with clarinetist Paed Conca. He resumes his interest in large-scale projects with Phantom Orchestra, conceived during the pandemic when most European improvisers were forced to redirect their energies into solo work,

Each set of the Phantom Orchestra’s solos was cut on a Dubplate, ready to be performed on 12 turntables routed to a six-channel setup, to create a unified and breathtaking composition from the spontaneous material. The resulting material was then edited and prepared to be cut on a Double LP format, marshalling a staggering variety of improvised footage into an air-tight collage that locates abstract consonance, stunning sonic rhymes, and unusual harmonies without shutting out the sort of exhilarating collisions and fraught tensions inherent in collaborative improvisations. With this final stage of the composition, Yassin offers a vibrant testimony to the diversity of Berlin’s community of improvisers, to say nothing of his own refined artistic sensibility in achieving such a remarkable feat of blending so many contrasting voices into a truly unified piece of music. “For me it's about how to learn to be a community again,” he says. “And how to live in a world together again, which is a very difficult question for me.”

“This Album was published with the support of the Arab Fund for Arts and Culture – AFAC”

Nach den zwei erfolgreichen Studioalben "Wo fängt dein Himmel an?" (2008) und "Bis nach Toulouse" (2010), die zusammen über eine Viertel Million Einheiten verkauft und beide den Goldstatus erreicht haben, wollte Philipp nach einem langen Festivalsommer 2011 zurück zu jenen intimen Momenten, die seine Konzerte in den Anfangsjahren für ihn und seine Fans so besonders machten. Alles Vorherige noch einmal unter die Lupe nehmen, neu arrangieren, sich mit der Band und Freunden in einer Tischlerei einmieten und eigene Bühnenbilder schreinern. Bis ins kleinste Detail den eigenen kreativen Kosmos auf die Bühne bringen und ihn in Eigenregie inszenieren. Das Ergebnis ist etwas, das der gegenwärtige Musikmarkt oft vermissen lässt: etwas Bleibendes, dennoch Flüchtiges, das sich vollkommen auf den Moment konzentriert. Philipp und seine Mitstreiter, darunter die wunderbare Alin Coen und ein Streichquartett, zauberten während der Tournee unvergessliche Momente, jenseits aller bekannten Konventionen auf die Bühnen. Irgendwo zwischen Unplugged Konzert, Varieté und Theater. Das nun erscheinende, gleichnamige Live-Album fängt die Energie und Magie des "Projekt Seerosenteich" ein, ist Erinnerung für alle die, die dabei waren und ein großer musikalischer Moment für alle Anderen.

With its vinyl-only releases, Phosphor pays tribute to true lovers of electronic music. Blending retro influences with contemporary sounds, the label’s identity is rooted in authenticity and modernity. // Retro influences and modern sounds define the label's unique direction.

Designed as an homage to the golden age of 2000s electro, Exploration Begins explores every corner of the genre, blending sharp percussion, deep basslines, retro 80s synths, and 'old school' vocals. The “shiny” Side A radiates luminous, featuring hypnotic, sun-soaked melodies, while the “dark” Side B dives into a deeper, more club-oriented dimension.

With Making Up My Mind, Blue Vision—the duo behind the Phosphor label—showcases their vision of a quintessential electro track: groovy basslines, soaring melodies, and relentless drums, all steeped in the unmistakable sound of the 2000s.

Parisian talent Occibel once again lives up to the high expectations placed on him. With Shake The Future, he demonstrates his knack for crafting vibrant bangers. The track’s catchy melody and signature percussion combine to deliver a sound that is equal parts radiant and danceable.

Cologne-based DJ and producer Kolter takes the lead on Side B of Exploration Begins. Dark and weighty, his contribution draws power from haunting vocals and evocative melodies. Venturing beyond his usual boundaries, Kolter leaves a lasting impression with Electronic Mind.
True to its name, Navigator is a journey through a spectrum of influences. Sometimes hard-hitting, sometimes brooding, yet tinged with moments of melancholy and hope, Eric OS brings this Various Artist release to a masterful close.

Tuning the Wind was created in 2022 as an installation piece. Since then, it has been adapted into multichannel, 4DSOUND, and stereo installations, as well as performed live on numerous occasions around the world. The piece has a duration of 36 minutes and 15 seconds. For the vinyl pressing, it has been divided into two parts.

Composer Aimée Portioli, known professionally as Grand River, recorded various types of wind and then reworked them through layering and pitch adjustment to create a musical piece where the wind itself becomes a prepared instrument. At times, the sound of the wind is tuned to the 440 Hz reference, while at other times, the instruments are tuned to the sound of the wind. In Tuning the Wind, nature and music merge seamlessly. Synthesizers and wind recordings become indistinguishable, blending natural sounds with human-made instruments. The boundary between a gust of wind and an instrument-generated sound fades away. Human artistry and nature’s symphony merge to become one.

Wind is air in motion. It makes no sound until it encounters an object. The sounds it produces depend on the strength of the wind and the shape and material of the object it touches. When the wind blows, trees sway, buildings rattle, materials move, and sound waves are generated. Some believe that temperature changes create layers of air, and that the friction between them forms a unique sound—perhaps the true voice of the wind, which birds may be the only creatures capable of recognising. Sometimes the wind howls; at other times, it sings or whistles, shifting from a gentle murmur to an angry roar. The wind’s range of frequencies, tones, and timbres is vast and varied. Tuning the Wind is a piece about the wind, made with the wind—an abstract expression of our ongoing conversation with nature.

Concept, composition and production by Aimée Portioli. Wind recordings by Aimée Portioli and Pablo Diserens.
Mastered by Rafael Anton Irisarri. Front cover photo by Bárbara Cameán and Aimée Portioli. Back cover photo by Maria Louceiro. Design by Daniel Castrejón.

MICHAEL GREGORY JACKSON 'FREQUENCY EQUILIBRIUM KOAN' EXPANDED!

DOUBLE VINYL LP & CD + 2 UNRELEASED TRACKS

Michael Gregory Jackson released "FREQUENCY EQUILIBRIUM KOAN" as a 4 track digital release in 2021. We got in contact with him to make an LP copy, as historic loft jazz recordings like this don't crop up every day, and this recording with Julius Hemphill, Abdul Wadud and Pheeroan aKLaff deserves physical form.

To make it even more irresistable a project, Michael said he had 2 more tracks from the same session that we could add to the collection, making this our first Moved-by-Sound double vinyl release, and our first record that's not a reissue.

The LP is limited to just 500 copies