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Mike Shannon drops the ‘Off World Synthetics’ EP on Rekids. The Cynosure label boss follows up his ‘Shadow Moves’ EP on sister imprint RSPX on January 16th, 2026

Canadian DJ and producer Mike Shannon kicks off the year on Radio Slave’s Rekids with the ‘Off World Synthetics’ EP, landing 16th January 2026 and marking his first appearance on the label since 2023’s ‘Shadow Moves’ for sub-label RSPX. A long-standing force in Minimal and House with a discography stretching two decades, collaborations on Richie Hawtin’s Plus 8, and his own Cynosure and Haunt Recordings labels, Shannon has carved out a reputation as a respected staple in the booth and the studio.

Inspired by Alejandro Jodorowsky and Möbius’ INCAL graphic novels, Mike Shannon’s ‘Off World Synthetics’ EP opens with ‘Synthetic Salsateca’, where a static groove drives a playful, squelching synthline. ‘Back To The Hood’ follows with rattling, mechanical energy before the fl ip reveals ‘Off World Sparkle’, its wonky sequences bending around rubbery low-end. Closing cut ‘Only Noodles’ pushes deeper into warped clicks, scratches, and subtly shifting textures, rounding off an EP that’s raw, restrained, and devastating in the right hands and on the right system.

“The group has no niche, it doesn’t fit in anywhere,” explains Necessaries drummer Jesse Chamberlain in a 1980 Melody Maker interview. “We just state the facts about life in America, like The Clash did about England, but we’re not so heavy about it.” The Necessaries rose from the ashes of Harry Toledo & The Rockets, a little-known New York art-rock band playing gigs at Max’s Kansas City during glam’s metamorphosis into punk. —From the liner notes by Michael IQ Jones The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage To Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love Of Life Orchestra). First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them viable for commercial release, but due to tour commitments, the band had to put the sessions on hold to hit the road. While on tour, the band was shocked to discover that Sire had issued the unfinished tracks as their debut album Big Sky (issued in 1981). The band had Big Sky withdrawn and replaced with Event Horizon (issued in 1982) which included half the original tracks from Big Sky and continued to record throughout 1982 aiming for a follow-up. It was not to be and their final studio sessions remained unissued until now. Completely Necessary (Anthology 1978–1982) is the first authorized collection of recordings by The Necessaries and includes 37 tracks, 28 of which are previously unissued. Completely Necessary represents the most accurate musical history of the band laid out across three albums. Disc one is the band-approved first album Event Horizon, followed by Pilots Facing North, a disc collecting studio recordings spanning 1978–1981 and disc three finally sees the release of their final sessions, Songs From The Blue Colony. Album notes by Michael IQ Jones trace the history of the band for this compilation produced by The Necessaries’ Ed Tomney and Cheryl Pawelski (Omnivore Recordings). The audio has been restored and mastered by Michael Graves at Osiris Studio, and both the 3-LP and 2-CD sets feature previously unseen photos across the package. Finally, an essential missing piece of the late ’70s/early ’80s New York scene that was just slightly ahead of the college alt-rock soon to come, is finally available to rediscover—this time it’s authorized and absolutely necessary. BUY! HERE’S WHY! • The first authorized and comprehensive anthology by The Necessaries. • Mid-’70s/early ’80s New York rock/punk/art scene band included members: Ed Tomney, Ernier Brooks, Arthur Russell, Jesse Chamberlain, and Randy Gun. • 37 tracks, 28 previously unissued. • Liner notes by Michael IQ Jones, plus unseen photos.

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

It’s happening – finally! The second pressing of Das ist das Ja. This time, Play Boy Joe and Celli G Hustle join forces to share a record, each taking one side with their own productions. Born in the SoundCloud bubble under the alias Wrank Fright, DIDV002 marks the fourth EP in a growing
catalogue of collab releases from the duo. The „Hustle and Play EP“ is not a direct collab – it’s two visions of club music meeting on one record. Side A by Celli, Side B by Play Boy Joe. Different flavors, same spirit. You can hear how six-plus years of shared grind shaped their sound – raw, playful, and unapologetically underground.

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

We welcome Orlando Voorn, a bonafide LEGEND of Techno with a career spanning over 3 decades for a brand new 4 track EP. Each track has that 'classic' sound that OV is so good at. Absolute class. 3 out there Techno tracks and one House masterclass, plus the vinyl is a very limited edition (only 250 copies exist) with special technology I've not seen for decades that means playback occurs 'INSIDE OUT' (Plays from the label outwards). DON'T SLEEP !!

"Drop That Beat," the cult classic by Ixxel that became a staple in clubs and at festivals in the late '90s, is making its return. The iconic track receives a contemporary interpretation by Mosimann, plus a high-energy club remix from NightFunk. Together marking a rebirth that sounds both timeless and hyper-modern.

Mosimann, the French-Swiss DJ-producer, singer and showman, is a leading figure in the French electronic scene, known for his bold, modern and versatile sound. A six-time DJ Mag Top 100 DJ artist, he stands out with explosive live performances in which he not only mixes, but also sings, plays drums, and commands keyboards, a technical virtuosity that makes him a unique live phenomenon, comparable to showmasters like James Hype. His rework of "Drop That Beat" injects the track with that same hybrid energy and performance-driven power.

Mosimann: "This track is very important to me. Fred Rister was much more than an influence: he was the first to truly get me into music production when I was 20 years old. Before he left us, he handed me the stems of Drop That Beat and told me: 'If one day you feel like it, work on a version.' It took me years of reflection, doubts, and memories before I found the strength to do it. Today, with the blessing of the two original composers, I'm finally releasing this version. It's both a tribute to Fred, a nod to Jacky Core and the Captain where I played so many times, and a way to carry on the legacy of that '90s Belgian techno which, to me, still feels very present today."

Belgian house star NightFunk complements this perfectly with a tight, club-ready remix that pushes the track straight onto today's peak-time dancefloors.

With this dual reboot, the essence of "Drop That Beat" remains intact, while both artists inject the track with their own signature touch. The result is an energetic release that resonates with nostalgic fans and a new generation of ravers alike.

This special edition will be released on vinyl via Serious Beats Classics, once again spotlighting the track's timeless character. A must-have for collectors and DJs eager to weave a piece of dance history into their sets.

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

‘Açid Blüüs Räägs Vol.2’ is the latest evolution of the sound of last year’s Volume 1. The debut album was described by Joe Banks for Shindig! Magazine as; “Shivering slabs of drone blues transcendentalism…a burning junkyard of sheet metal blues… Hot stuff.” Volume 2 builds on the skronk blues guitar, sax and electronic drones of it’s predecessor, to explore cosmic free jazz, concrete exotica and dub, channelling influences of Moondog, Terry Riley, 75 Dollar Bill and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's ‘Stalker’ and ’Solaris’, Jodorowsky's surreal desert western ‘El Topo’, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever evolving Invocation band, plus some superstar guest contributors.
Featuring five brand new tracks, including the forthcoming single; ‘Cosmic Fanfare’, has already picked up BBC 6 Music support from Gideon Coe. The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. “….Acid fried kosmiche blues meets drone raag transcendentalism”. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt’s avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3’s contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. THE JONNY HALIFAX INVOCATION follows Jonny’s junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall’s Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck and Melting Hand.

2025 Repress

Amotik recruits Norway's Kameliia and Dallas-based Decoder for the third split EP on his increasingly essential AMTK+ label.

Kameliia's hypnotic and atmospheric music has appeared on the likes of Overbalance and Unterwegs, where she has previously flexed her sophisticated take on sound design and heady soundscapes with driving and physical grooves. Decoder recently started his new Toca label with Jay York and has previously appeared on labels like Subsist, Float and Jeff Mills' legendary Axis.

Kameliia kicks off with the heavy and thumping 'Beyond', combining forceful drums and a slow, mystical synth lead that encourages you to follow it deep into the night. '8-12' is another perfect fusion of the head and body with supple percussion smeared with balmy and cosmic chords for a classy and immersive cut.

Decoder opens the B-side with 'Kalpavriksha', a twitchy and paranoid cut laced with bleeps and pulses, crafting a futuristic soundscape that grows ever more intense. 'Swayambhu' brings experimental shades with its tightly interlaced drums and synths beneath an unsettling synth line that whistles like a storm. Closing the release is the excellent 'Velinattu,' a buoyant track that's warm and full of delicate percussive layers.

A time capsule of Long Island boogie-funk history – officially reissued for the first time!


Founded in 1978 in Amityville, Long Island, VAP Records (Virgin Archer Production) became a cult independent label known for its infectious dance grooves, soulful vocals, and DJ-friendly 12” singles that lit up clubs from New York to beyond. Now, for the very first time, the label’s most iconic tracks are compiled on vinyl in one explosive package.
What’s inside?


This “final edition” includes the best of VAP’s rare 1979–1983 output, with tracks from the label’s flagship act Final Edition (“No Limit”, “Betcha Can’t Love Just One”, “We’re Moving On Straight Ahead”), alongside club favorite Broadway – “Let’s Make It”, plus deep gems from Kevin Keys, Jazzee, and Olivia McClurkin.
Why is this essential?


• “Betcha Can’t Love Just One” gained legendary status after appearing on General Hospital and HBO’s How to Make It in America.


• Armand Van Helden’s old-school remake of Final Edition’s B-side “I Can Do It Anyway You Want” went viral, surpassing 10+ million views on YouTube, proving these grooves still ignite dancefloors.


• Original VAP 12” singles are impossible to find and often sell for hundreds of dollars. This reissue brings those classics back, mastered from the original tapes.


Collectors, DJs, and boogie enthusiasts – this one is for you. With its blend of raw disco energy, soul-drenched vocals, and timeless funk, Best of VAP Records – Final Edition is not just a compilation, but a celebration of a family-run label whose legacy shaped the underground dance scene.

After the resounding success of its first edition, the legendary Lagoa club, temple of techno and hard techno in Menin, strikes back with LAGOA TRAX Vol. 2, a second vinyl release that promises to shake dancefloors with four explosive tracks crafted by the club’s emblematic resident DJs: DJ HS, Manu Kenton, Jamie Dill, and Max Walder.

Faithful to the spirit of Lagoa, these four pillars of the club deliver a new collection of powerful productions, raw, energetic, and forged for peak-time moments. Each track embodies the unmistakable sound that has made Lagoa’s nights legendary: relentless rhythms, hypnotic synths, and an intensity that ignites the crowd from the first beat.

Already tested and approved on Lagoa’s iconic dancefloor, these tracks have quickly become essential weapons in the sets of the club’s residents. LAGOA TRAX Vol. 2 is much more than a collector’s item, it’s a pure concentrate of the club’s energy, a sonic tribute to its unique atmosphere, and a must-have for all lovers of techno.

Français

Après le succès retentissant du premier volume, le légendaire club Lagoa, temple de la techno et hard techno à Menin, revient en force avec LAGOA TRAX Vol. 2, un second vinyle explosif qui réunit quatre morceaux inédits signés par les résidents emblématiques du club : DJ HS, Manu Kenton, Jamie Dill et Max Walder.

Fidèles à l’esprit Lagoa, ces quatre figures incontournables livrent ici une série de productions puissantes, taillées pour le dancefloor. Des rythmiques percutantes, des montées hypnotiques et une intensité sans concession : chaque titre capture l’énergie brute et la signature sonore unique qui font la réputation des nuits Lagoa depuis plus de trois décennies.

Déjà testés et approuvés sur le système légendaire du club, ces quatre tracks sont de véritables bombes, prêtes à retourner n’importe quel dancefloor. LAGOA TRAX Vol. 2 s’impose ainsi comme bien plus qu’un simple vinyle : c’est une immersion totale dans l’âme du club, une déclaration d’amour à la techno, et un objet de collection pour tous les passionnés.

The Punky Rocking Christmas came over two different Xmas’s for the punk connoisseur. The first back in 1977 when the Sex Pistols took themselves up to Huddersfield to play a gig for the firemen but also as they arrived in the afternoon a gig for the local kids. After much cake throwing and high jinks and with the kids all cleared out the Pistols played the evening show for the adults. This it would turn out to be the Sex Pistols last show in England, as they went to America in January 1978 and imploded. That as they say is another story.
The second Christmas Punk bonanza took place in London’s Ladbroke Grove area when The Clash, possible inspired by the Sex Pistols previous Xmas gig, decided to play their own Xmas gig in 1979 on
Christmas Day at The Acklam Hall. The added bonus was they also played at the venue on Boxing Day. So there you have it the two biggest punk bands giving two xmas treats to their fans. To celebrate these festive treats Mal-One has written two songs to celebrate both events and dubbed up both versions for this Maxi-12” special. He has also provided two sleeves a Sex Pistols sleeve 250 copies and a Clash sleeve 250 copies plus a signed print in each. As they say what more could you want in your xmas stocking.

Ho Ho Ho and a punky rocking happy Xmas to you all.

LTDBLBL021 marks NicolA’s debut on Limited White Label: a warm, groove-forward blend of Jazz House, Deep House, and atmospheric interludes that lean into beat-driven hip-hop sensibilities. The record moves with an easy confidence — Rhodes chords, swinging drums, and smoky sample work forming a thread through all seven vinyl tracks, plus an additional digital-only bonus cut. Set for a mid-December release, this one lands right in the sweet spot between the club and the living room, carrying Nicolas’ unmistakable feel for melody and rhythm.

On 9th December Modern Obscure Music presents Cascades, the new album from Pedro Vian & Mana, which premiered during their immersive live set at the most recent Sonar Festival in Barcelona.
Cascades was recorded over a three-day studio session in Turin during the winter months, which is reflected in the musical narrative, as the eleven tracks flow gently like an icy river, filled with a mixture
of hazy melancholy, uncanny dream-states and euphoria.
Various recording techniques and instrumentation was utilised, including the Lyra-8 organismic analogue synthesiser, which takes principles from living organisms to produce sounds resembling a
conversation between nature and technology. The result is a spellbinding ambient odyssey that features a luminous synthesis of neo-classical strings and orchestral drones, together with strange
voices, and abstract passages designed to evoke Dante’s Inferno, which represent the soul’s journey.
Pedro Vian is a renowned Catalan artist who has released three solo albums (Beautiful Things You Left Us For Memories, Pedro Vian and Ibillorca) and a collection of singles on his Modern Obscure
Music imprint – a multi-disciplinary platform based on deep listening and music research. The ‘PRSNT’ compilation, which Pedro curated in 2021 and featured Laurie Spiegel, Ryuichi Sakamoto, and Visible Cloaks, received support from Pitchfork, Crack, Brooklyn Vegan, The Quietus, The Wire and Metal. Pedro has been remixed by Inga Copeland and Pye Corner Audio, and has recorded mixes for of Bleep, Self-Titled and Juno Daily.
As part of a new generation of Italian electronic music artists, Piedmont born composer and producer Mana has released two full length albums (Seven Steps Behind and Asa Nisi Masa) on Kode 9's
Hyperdub imprint, plus an EP on Nicolas Jaar's Other People label under his Vaghe Stelle alias.
Earlier in his musical journey, Mana supported Laurent Garnier, James Holden and Skream across the Torino club scene, and in 2011 teamed up with Italian friends Lorenzo Senni and A:RA to form
the experimental group One Circle.
Pedro Vian & Mana’s previous work as solo producers has pushed the limits of electronic music, and together they’ve garnered critical acclaim from the likes of Pitchfork, The Quietus, The Vinyl
Factory, Resident Advisor and more. They now join forces to traverse new sonic territories between electronica, ambient, drone, and trance-inducing soundscapes.

For our next physical release, FERMA welcomes back home one of the individuals running the project, Romphea. As a co-founder, he has long shaped the label’s uncompromising DIY ethos—placing experimentation, raw energy, and community at the heart of its vision. After releasing in a series of acclaimed platforms, the forward-thinking DJ and producer from Vyronas, Athens returns to vinyl with a genre-defying release. Building on the experimental pulse and reshaping the edge between electro, breaks and techno, Romphea continues that trajectory, weaving together tense polyrhythms, warped melodic fragments, and cavernous spaces.

This release features four, plus three digital bonus original tracks, aiming to provide a clear sound identity for the artist. The A-side opens with “Calls from Salem”, a dystopian slow burner that sets the tone with broken-beat percussion and dissonant synth stabs. “Steel Chair” surges forward with unrelenting force, propelled by serrated arpeggios and a barrage of fragmented vocals that rise and fall within the space, crafted for peak-time eruption.

Flipping to the B-side, “Paid Dividends” reaches full intensity, layering hammering kicks and percussion, while the low end rumbles with tectonic weight, amplifying the energy to fever pitch. Closing the record on a more contemplative note, “We Are The Universe” slows the pace, easing the tension and drifting into deeper territory. Echoing chords drift into space, layered with fragile percussive details and low, throbbing pulses. It’s a meditation on collapse and renewal, offering a moment of breath after the storm.

Straight from the source, defying the norms, devoted to the art. Do not sleep.

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

DOUBLE VINYL ALBUM RELEASE

Kraak & Smaak Announce New Album Velvet Seas.

Dutch electronic pioneers Kraak & Smaak return with their highly anticipated seventh studio

album, Velvet Seas. Penned and produced between their hometown of Leiden and the sun-

drenched sprawl of Los Angeles, the album channels a rich seam of West Coast psychedelia,

deep funk roots, and that unmistakable K&S groove, all wrapped in shimmering synths and

electronic soul.

The record captures the essence of the band's genre-defying journey, blending radiant nostalgia

with forward-thinking production. True to form, the Dutch trio have enlisted an eclectic roll-call of

collaborators: from the dreamy stylings of Kosta G (formerly known as PWNT and memebr of Rio Kosta) and Butter Bath to the powerhouse

vocals of Izo FitzRoy, plus contributions from The Undercover Dream Lovers, Kainalu, Iogi, and

longtime live partners IVAR and Berenice van Leer.

With hundreds of millions of streams under their belt and a legacy as industry tastemakers, Kraak

& Smaak are set to take Velvet Seas to the global stage, with a world tour slated for next year.

Channeling inventive sound design into incisive, characterful techno variations, Jurango returns to Livity Sound with an eight-track double EP — his longest release to date. Taíno Gold captures a moment in time for Bristol-based Nate Reece's continually evolving sound as it draws on the full spectrum of UK club music.

Following a debut for Livity's reverse label in 2021 and last year's An Amorphous Mass EP, Reece is more assured than ever tackling a variety of club-focused cuts. The tracks on the release all came together before, during and after a two-month visit to Reece's grandparents' home — an idyllic tropical environment in a small community at the top of a hill in the northern part of Jamaica.

Taíno Gold refers to the island's indigenous Taíno community and the legend of a witch luring Spanish settlers into a trap on the Martha Brae river. There are no messages explicitly embedded in the music, but the release is both a personal reflection of Reece's own experiences and family heritage, plus a reminder about the enduring sceptre of colonialism and the continued need to fight against it. From absorbing Jamaica's fraught history through museum and plantation visits to the abundant nature in the garden surrounding his grandparent's house, the double EP marks a place in time for Reece, with eight advanced, ear-catching tracks as the end result.

From the cascading arps of 'Black Torches' to the tunnelling chords of 'Waiting For Trelawny', the melodic dimension of the Jurango sound is more confident than ever. 'Hibiscus' is a shimmering celebration of dub techno and crooked drum pressure and 'Chalk On Trees' basks in aqueous, fathoms-deep pads to close out the EP. Elsewhere, Reece brings new textural and tonal detail to his percussive workouts, splashing acidic noise around the angular experimentation of 'Maybe It's Broken' and firing off double-time rhythms to inject 'Double Sevens' with infectious urgency.

With the space afforded by a longer release, Reece widens out the scope of his artistic identity while absorbing the particular scene and setting that surrounded him while making the tracks. Taíno Gold is a vibrant next step for Jurango and a natural continuation of his work with Livity Sound.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

2025 Repress

The fourth release on Amotik's AMTK+ label delivers two tracks from Orbe Records boss Fernando Sanz, aka ORBE, while Room Trax honchos and the appropriately hyped Angioma & BLANKA serve up a couple as their collaborations continue.

ORBE's tracks on AMTK+004 show two sides to the producer's hypnotic leanings. 'Inverted', a powerful and percussive roller, balances waves of percussive intensity while 'Exelon' builds on its companion track with a strong dose of mind-bending EFX and arpeggiated melody.

Angioma & BLANKA's contributions to AMTK+004 see the pair drop the minimalist, bleep-driven 'Mindset' alongside the precision layering, detail and looping of 'Bottomless'.

Set up to release artists Amotik is genuinely inspired by, AMTK+ is a sub-label to his eponymous outlet for his works. AMTK+004 features three artists who have a clear synergy with what Amotik does, and the result is a 12" that truly delivers.

Plastik People keep it deep once more with a new outing of their ongoing Collections series. There is plenty of ol' school nostalgia in the opening cut, Ricky Montanari's 'Back To Love', with its US garage snares and dusty piano stabs making for a great mix of drive and soul. There's a pared-back dub version too plus an amped up and sweaty Dave Charlesworth dub of Aurora B's 'Good Love.' Last of all is the hurried and soulful house whomp of 'Hard Times' (original 96 mix). Four very useful jams.

Advanced Art was formed in Tampere, Finland, in 1985 by Jana, Pete, and Vince. Too young to be part of the first wave of Finnish groups inspired by German synth pioneers and New Romantics, they instead forged their own path and soon became pioneers themselves. For the next ten years, Advanced Art defined and dominated Finland’s small but growing electronic underground. They inspired a new generation of Finns to experiment with synthesizers, built an international cult following, and were deeply involved in the local scene—running clubs, organizing events, and performing at some of the very first warehouse parties in the country.

Although the line-up shifted over time, the group’s creative drive consistently came from the partnership between Jana, who supplied the voice and words, and Vince, who shaped the music with his machines. Together they defined the band’s distinctive blend of sharp electronics and lyrical vision.

After several cassette demos and two 7-inch singles, Advanced Art signed to Poko Rekords in 1991. The EPs Scar and Time raised their profile both at home and abroad, especially thanks to valuable exposure on MTV Europe’s 120 Minutes. Known for their perfectionism, they finally released their debut album Product in January 1993. On Product the line-up was Jana (lyrics, vocals), Vince (music, production), and Factor (percussion, studio work). Having moved through phases of synth pop, EBM, and industrial, the album showcased Vince’s vision of a unified sound and style more clearly than ever before.

Force followed in 1994, conceived as a multi-part concept album (Update / Live / Retro). Recorded with live percussionist PW joining Jana and Vince, it expanded on the groundwork of Product with new beats, ideas, and a sharper, more defined identity.

By 1995, exactly ten years after their founding, Jana and Vince decided to bring Advanced Art to a close on the band’s birthday, 13 October. Their run had been precise: one decade of creative output, ending with a legacy that laid foundations for Finland’s electronic scene.

Now, conveniently coinciding with the band’s 40th anniversary, Advanced Art present Forced Product. This double-LP set, fully remastered, features Product in its entirety, alongside the Update and Retro sections of Force, plus additional EP tracks and remixes recorded between 1991 and 1994 at “Audible Art” – less a studio than a concept, existing wherever machines and people met.

Limited to 450 copies, Forced Product comes in a gatefold sleeve with poster and sticker, offering a definitive document of Finland’s pioneering electronic cult heroes — a band that helped invent their country’s scene and left a lasting influence far beyond it.

Originally released in 1995, Message From Home is a captivating fusion of hip-hop grooves, African rhythms, and spiritual depth, showcasing the unparalleled artistry of jazz saxophonist Pharoah Sanders. Produced by the legendary Bill Laswell, this album brings together a remarkable ensemble of musicians, including kora virtuoso Foday Musa Suso, keyboardist and vocalist Bernie Worrell, acoustic bassist Charnett Moffett, electric pianist and vocalist William Henderson, guitarist Dominic Kanza, and keyboardist Jeff Bova. Tracks include the mystical jazz hypnotic groove “Our Roots (Began in Africa)” plus five more mesmerizing soundscapes.
Now, for the first time since its original 1995 release, Message From Home is reissued on Music On Vinyl.

“The Mire Chronicles,” the latest album by Spammerheads, was born from the difficult experience of the floods that hit Valencia on October 29, 2024. During this time, the duo lost part of their studio and actively participated in the cleanup efforts in their city.

This was an experience filled with a mix of emotions—shock, helplessness, fury, resistance, solidarity, and resilience, among others—that shaped what may be their best work to date. Written as a chronicle, the album explores the personal and collective states of people affected by tragedies or catastrophes. The Valencian duo
(through a carefully produced edition released by Banshees Records) offers six tracks (plus two digital bonus tracks) to remind us that despite the difficulties we may face, we must always fight to get ahead, get back on our feet, and not be swept away by the current.

This album is dedicated to the people and communities who face extreme situations and never give up.

Pioneer of the electronic scene and co-creator of iconic projects like Age Of Love and BBE, Bruno Sanchioni returns with the fourth installment of his acclaimed series: Capture EP 4.
This new chapter delivers four powerful and hypnotic tracks, each crafted with the precision and flair that define Sanchioni’s legacy. With deep grooves, acid-tinged lines, and a finely tuned sense of progression, the EP invites listeners into an immersive and energetic sonic journey.

Capture EP 4 further cements Sanchioni’s reputation as a master of electronic storytelling—pushing boundaries while staying true to the spirit of the underground. A compelling addition to his ever-evolving discography, and a must-have for those who seek depth and intensity on the dancefloor.

French:

Pionnier de la scène électronique et co-créateur de projets emblématiques tels que Age Of Love et BBE, Bruno Sanchioni revient avec le quatrième volet de sa série acclamée : Capture EP 4.
Ce nouvel opus dévoile quatre titres percutants et hypnotiques, façonnés avec la précision et la sensibilité sonore qui font la marque de Sanchioni. Entre grooves profonds, lignes acidulées et constructions immersives, cet EP embarque l’auditeur dans un voyage aussi intense qu’élégant.

Avec Capture EP 4, Bruno Sanchioni confirme une fois de plus son statut de maître de la narration électronique — explorant de nouveaux territoires tout en restant fidèle à l’ADN de l’underground. Un disque incontournable pour les amateurs de sons authentiques, profonds et puissants.

Comes with DL card & 2P insert / wrapped in shrink + a sticker

At long last, Takao is back with his long-awaited second album, seven years in the making. His 2018 "Stealth" was (and still is) a much-loved set, mixing elements of ambient and environmental music; with this new release Takao breaks free of the gravitational pull of these earlier influences and strides confidently forward. "The End of the Brim" jettisons some of the more abstract elements of his previous work, embracing a “universal listenability” and a more concrete intensity, with a focus on supple rhythms and strengthened senses of melodic development and harmonic sophistication. This musical growth can be linked with Takao’s admiration of composers Ken Muramatsu and Toshifumi Hinata, who are generally associated with commercial “production music” and easy listening. Another contributing factor is his private study with veteran keyboardist Ichiko Hashimoto of Colored Music. The ten tracks here include three vocal tracks, with three different singers (Yumea Horiike, Cristel Bere, Atsuo Fujimoto of Colored Music) and seven keyboard-led pieces. The vocal pieces are integral parts of the album’s flow, rather than typical “songs” driven by the name and personality of the singer. All of these factors, plus the veteran presence of engineer Hiroshi Haraguchi, known for his work with Haruomi Hosono, who mixed half of the album's tracks, along with the use of excellent old-school synths, aligned with Takao’s forward-looking vision, have combined to give us an album with a unique sense of timelessness. A spotlight illuminating future paths for pop music, available on CD/Vinyl LP/Digital, with English/Japanese lyrics, and liner notes by Yuji Shibasaki.

Utter presents Marshall Jefferson's previously unreleased meditation opus 'Yellow Meditation For The Dance Generation' alongside two remixes from French production maestro Joakim.

Marshall Jefferson: Chicago House music pioneer, creator of the anthemic ‘Move My Body’, an original collaborator of Adonis, Ce Ce Rogers and Roy Davis Jr., production mastermind of countless dancefloor classics such as Phuture’s ‘Acid Tracks’, Sterling Void’s ’It’s All Right’, Hercules’ ‘7 Ways’… and the soothing voice behind a 36 minute healing meditation guide. Yes, really.

But let’s rewind, slightly.

In 2017, Marshall was approached and encouraged by Ian ‘Snowy’ Snowball to write his autobiography and the pair set about putting Marshall’s account of the history of House music together. The book, ‘Marshall Jefferson: Diary of a DJ’ was published in 2019.

Following the book’s release, Ian and Marshall's collaboration continued and during the pandemic an outlandish idea arose to create a piece of music combining Ian's interest in meditation (he runs Club Chi specialising in Shibashi Qigong - a form of Tai Chi Qigong - which is a gentle form of movement therapy/exercise) and Marshall's willingness to experiment musically to see what might be possible.



The result is ‘Yellow Meditation For The Dance Generation’, where Marshall vocalises Ian’s lyrics in his instantly recognisable voice. The keen-eared out there may also recognise aspects of the music itself as a stripped back, lengthened and far mellower version of Marshall’s 1985 obscurity ‘Vibe’:

“I would take tapes to the Music Box and Ron Hardy would play my music. ‘Vibe’ was one of those tracks. I recorded ‘Vibe’ in 1985, but it became one of my tracks that I just forgot about until some guy on Facebook sent me a recording of it that was taken from a club. The only person who I ever gave a recording of ‘Vibe’ to was Ron Hardy. The other people I know who had copies of the track were Gene Hunt and Emanuel Pippin (DJ Spookie).

"The original version of ‘Vibe’ was made using a Roland 707, Roland JX-8P keyboard and a Roland 727 drum machine. I was still working at the Post Office at the time, and this was pre-‘Move Your Body (The House Music Anthem)’. ‘Vibe’ has the building blocks for ‘Move Your Body’ because it was using the instruments on the track that I discovered what I could do with the bass sound, to make a track like ‘Move Your Body’.”



Still, Ian’s initial intention for ‘Yellow Meditation’ was function and it was designed to be a ‘Sequential Relaxation Exercise’ focusing on the Solar Plexus. Bearing this in mind, Marshall took a bare-bones and hypnotic approach to this particular re-recording of ‘Vibe’ so that the voice takes centre stage and listeners (hopefully) find themselves on a meditative journey. In fact, this long-form track was always intended as a private tool purely for meditation at Club Chi rather than released to the public - after all, Marshall had also created and released a more drum heavy, ’traditional’ club-focused 'Vibe Three' instrumental version for that very purpose - but a chance airing of the full 36 minute version changed its path.



Much like those 1985 ‘Vibe’ cassettes, Marshall had sent the track to a few close contacts, one of whom was Kieran at Phonica Records who aired it over the shop’s basement soundsystem. Its unorthodox nature caught the ear of colleague Alex (of Utter) and the seeds of a physical release were planted.

Eventually, with the full-version carefully whittled down to a vinyl friendly length of 24 minutes, full track parts in hand and a b-side to fill, Alex sought out one of his favourite producers to take up the remix reigns: Joakim. The Tigersushi co-founder and Crowdspacer boss has a long history of boundary-pushing remixes that straddle both dancefloor functionality and experimentation. This time the original material resulted in Joakim coming up with a number of ideas and he finally delivered two versions - one club focused (‘Vertical’), the other more introspective and meditative (‘Horizontal’), both of which appear on the final 12”.

The limited edition 12” also includes a download code giving buyers access to all of the vinyl tracks plus an 18 minute extended version of Joakim’s ‘Horizontal’ remix, its instrumental counterpart (for those who can live without Marshall's voice) and full 12 minute acapella (for those who can't!)


Alex

a A1. Yellow Meditation For The Dance Generation (Edit) 24:00
b B1. Yellow Meditation For The Dance Generation (Joakim's Vertical Remix) 9:09
9:05

VELVET is back with an EP from Madrid based artist Alvaro Medina. Founder of Jazzy, presents this EP which includes two original tracks plus two remixes, Djebali and the owners of the JNJS label.

An EP with support from Enzo Siragussa, Raresh, Arapu and a long etc that mixes minimal, hiphop and techhouse sounds.

Olof Dreijer (ex-The Knife) returns to Dekmantel with Iris, a new 4-track EP out this September, just in time for his North America tour. Featuring remixes by Nidia and Verraco, Iris follows his 2024 collab with Diva Cruz, remixes for Björk ft. Rosalía and Röyksopp, plus acclaimed solo EPs on Hessle Audio and AD 93.

Think breakdance-era energy, sound-humour, and body-synth mischief. Iris plays like a garden of sonic creatures—synths mimicking bodily sounds, chopped-up vocal textures, and ‘90s-style chord stabs inspired by Olof’s high school b-boy phase. It’s playful, raw, and weird in the best way.

With over two decades of shapeshifting behind machines and decks, Dreijer’s been a force in electronic music—from festival headliners across Europe to pushing the boundaries with his Oni Ayhun alias. He also co-founded Stockholm’s Bamba Club, a hub for progressive, percussive sounds.

Further recent highlights include co-producing tracks on Fever Ray’s latest album, producing Houeida Hedfi’s debut LP, contributing to projects by Planningtorock and Zhala, remixing Nine Inch Nails, Röyksopp & Robyn, and Emmanuel Jal.

Back on wax for the first time since its original 2018 release, Stay Cool returns as a limited edition green vinyl repress. This collector's cut includes the extended mix of Stay Cool, plus three versions of You're So Special - the original extended, a peak-time remix from Gerd Janson, and a rave-ready rework by Eats Everything, both appearing on vinyl for the very first time. A favourite among crate-diggers and DJs alike, this rare slice of modern electro-pop and club finesse is back for a limited time only.

A cafe in Paris, a cocktail lounge in Palm Springs, a beachside bar in Rio De Janeiro, a lokanta in Istanbul. Jill Barber’s French repertoire is played around the world and has earned her a following that transcends language barriers. Her music has become the soundtrack to an experience. It is a surprising achievement for an anglophone artist who only began her affair with the French language in her late twenties, following a moment during the Montreal Jazz Festival, where she sang a few notes of French to an enraptured crowd. Inspired by their reaction, Jill enrolled herself in an immersive French school in the South of France, eventually emerging with her own recordings of the songs and poets that inspired her most: Piaf, Gainsbourg, Aznavour. The album "Chansons" was released in 2013 and has since become Jill's most globally successful record to date, having been streamed over 120 million times - with more than 35 million listens in the past year alone. A full decade later, Jill has reunited with Grammy Award-nominated producer Drew Jurecka and the musicians that accompanied her on "Chansons" to produce "ENCORE!", its long-awaited sequel. "ENCORE!" is a delightfully arranged and lushly orchestrated album, featuring all new interpretations of classic songs by Edith Piaf, Charles Trenet, Blossom Dearie, Django Reinhardt, Robert Charlebois, Josephine Baker, and Barbara. “For me, singing in French is an embodied, sensual experience… it’s a new language in which to explore and express myself artistically- and be vulnerable.” The French have a saying for a particularly pleasurable sensation that is so unique, it’s difficult to put into words- when Jill Barber sings in French, there is a pleasing quality, a “Je ne sais quoi” that is hard to describe, but easy to enjoy. And now she’s done it again - ENCORE!

Yosuke Yamashita, Itaru Oki, Yuji Ohno, and Kimiko Kasai. An astonishing jazz workshop with a never-before-seen encounter. Japanese jazz was so sharp and original.

Yosuke Yamashita Trio, Itaru Oki Trio, Yuji Ohno Trio, and Kimiko Kasai. Three trios and one vocalist, Trio by Trio Plus One. This is a live recording of a jazz workshop held in 1970, and the original was released as part of Victor's "Japanese Jazz" series. Just looking at the lineup of musicians gives off an extraordinary atmosphere, making this a special work.

Yamashita was a leading figure in the scene as the darling of the times. Oki came to Tokyo from Osaka in the mid-1960s and attracted attention. Ohno was a man of supple musicality who played everything from modern jazz to new jazz. And Kasai is just about to blossom. Needless to say, each performance is powerful and fascinating, but this album also features a performance by a unique seven-person group consisting of the Oki Trio, Ohno Trio, and Kasai. This is a two-disc set of super-class that reminds us once again just how original Japanese jazz was.

Text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY

Nico Lahs returns to the mothership with his new EP, Do What U Feel. Three 100% club-proof original tracks, featuring his classic trademark sound, plus a remix by Chicagoan, Sound Signature-affiliated Specter. Once it's gone, it's gone. Not to be missed!

Limited edition transparent vinyl pressing of Tom Rowlands' first release on Phantasy. ‘Through Me’ is an all-cylinders, propulsive elasticated house track while ‘Nothing But Pleasure’ is eight-plus minutes of unstoppable Metallic KO disco. Both tracks reiterate the point that Tom is unarguably one of the greatest producers of club music around.

Clear vinyl comes in a stickered heavyweight reverse board sleeve..

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series - Such A Good Feeling: 1988-1995 – a euphoric celebration of a truly transformative time in music.

This stunning 3LP set pressed on blue, white and yellow vinyl showcases 46 essential tracks that soundtracked the dancefloors, charts, and airwaves from the late ’80s through the ’90s — an era when dance culture reshaped the mainstream, soundtracked a generation, and lit up the charts across the UK and beyond

LP1 – Side A opens in style with ‘Such A Good Feeling’ from Brothers In Rhythm, this collection’s inspiring title…followed by Black Box with ‘Ride On Time’ — the best-selling UK single of ’89, and one of dance music’s defining tracks. Massive club classics continue with C+C Music Factory’s ‘Gonna Make You Sweat (Everybody Dance Now)’, house anthems from Inner City with ‘Good Life’, and ‘Dirty Cash (Money Talks)’ from Adventures Of Stevie V, plus dance-pop gems ‘Not Over Yet’ from Grace, and Billie Ray Martin with ‘Your Loving Arms’…Flip the LP over for the pioneering ‘Theme From S-Express’, a chart-topper from 1988, before dancefloor earworms from Kenny “Dope” Presents The Bucketheads with ‘The Bomb! (These Sounds Fall Into My Mind)’, Nightcrawlers with ‘Push The Feeling On’ and ‘People Hold On’ from Coldcut and Lisa Stansfield. The influential ‘Beat Dis’ from Bomb The Bass is up next ahead of Tony Di Bart’s #1 ‘The Real Thing’, Saint Etienne’s sophisticated dance-pop nugget ‘He’s On The Phone’, and LP1’s closer from D:Ream with the Perfecto radio remix of ‘U R The Best Thing’.

LP2 – kicks off with a run of electrifying Eurodance – all massive club anthems. ‘Rhythm Is A Dancer’ from SNAP! leads off; a UK No. 1 and another defining track of the decade – followed by smashes from Corona, Real McCoy, Dr. Alban, Haddaway, KWS and Cappella, before the side closes with the techno-pop of Opus III with ‘It’s A Fine Day’… The party continues on Side B with an irresistible lineup led by Deee-Lite with ‘Groove Is In The Heart’, their brilliant fusion of funk, house and pop that continues to be a massive floor-filler… as is ‘Dreamer’ from Livin’ Joy, a 1995 No. 1 smash, and vocal house classic ‘Finally’ from CeCe Peniston. Urban Cookie Collective scored a huge hit with ‘The Key, The Secret’, which is followed by the rave energy of Oceanic, N-Trance, Felix – and Utah Saints who sign-off LP2 with the epic ‘Something Good’.

Kicking off the final LP, Side A explodes into life with massive feel-good tunes:- Yazz & The Plastic Population’s ‘The Only Way Is Up’ – a 1988 No. 1 and landmark UK house hit ahead of 49ers with ‘Touch Me’ and Baby D with their #1 ‘Let Me Be Your Fantasy’. Another run of floor-fillers from Rozalla with ‘Everybody’s Free (To Feel Good)’, JX with ‘Son Of A Gun’, Blue Pearl’s ‘Naked In The Rain’ and ‘U Sure Do’ from Strike follows and the side closes with the electronic acid house of ‘Killer’ from Adamski that hit the top of the charts and introduced Seal… and over on the final side, the collection moves toward it's close with stunning and enduring tracks of the era – opening with Soul II Soul & Caron Wheeler’s #1 ‘Back To Life (However Do You Want Me)’ blending soul, R&B and club rhythms to perfection, while Beats International’s fusion of dub reggae and house: ‘Dub Be Good To Me’ (another chart-topper) follows with its iconic bassline and leads us into the stylish and smooth ‘Turn On, Tune In, Cop Out’ from Freak Power. The journey through this incredible era is completed with genre pioneers The Prodigy with ‘Charly’, ‘Infinity’ from Guru Josh, and closing with ambient house, ‘Pacific - 707’ from 808 State, and the timeless ‘The Sun Rising’ from The Beloved.

An unforgettable journey through the sounds that defined an era:- NOW That’s What I Call An Era - Such A Good Feeling: 1988-1995 — the definitive celebration of a golden age of dance music.

The Belfast duo make ready this exceptional 6-Track Sampler from their forthcoming debut LP...

After showcasing their broad and boisterous tastes on a series of super limited Edits 12's, plus original releases on labels like Touch Sensitive, Hoga Nord, Duca Bianco and Optimo Music, we finally have a fully formed suite of original cuts which take us on a journey through their varied and vivid vibrations...

A general tip of the hat to the dark, post industrial basements illuminated by Weatherall's 9 O'Clock Drop comp.
From haunted dancehall, via beautifully throbbing ethno-chug and mesmerising clank-fests, to gloriously scuffed and foreboding Crammed Disc and Wax Trax! reminiscent offerings to the strobe gods.

One very limited press wrapped in screen-printed sleeves - one for the ages !

PDMV005 comes from the one and only Alexis Cabrera, blending jazz, minimal house, retro textures, rolling basslines and modular magic. A true multi-instrumentalist with genre-crossing skill, he delivers three standout cuts for this special vinyl edition, plus a killer remix by Sweely who flips Nonchalantly with his signature twist.

On Tuesday 3rd September 1963, the Beatles recorded all eighteen tracks for the last three Pop Go The Beatles shows. The venue was the Aeolian Hall in Mayfair, used by the BBC for the recording and broadcast of concerts and recitals. The standout track here is a very confident sounding Misery with Duane Eddy-style ending.

Along with From Me To You and Till There Was You from that session, we include here the rock’n’roll instrumental version of Pop Goes The Weasel that started and finished each show. Also featured on this EP is a seasonal medley version of Eddy’s Shazam plus some a cappella tunes sung by the boys for Saturday Club on 17th December 1963, including All I Want For Xmas and You Were Made For Me.

Retrospective of British mod / fReakBeat / pop-aRt heroes the eYes including all their cult classic 45s (“When the night falls”, “i’m RoWed out”, “MY degeneRation”...) plus cool rare tRacks souRced fRoM demos and acetates.
foRmed in london in 1964, the eYes took the earlY feedback experiments and pop aRt iMage of bands like the Who one step further. the band wore dyed parkas in various pastel colouRs and bRightly colouRed rugBY shiRts with huge eye symBols on the chest.
theiR raw, eneRgetic sound and distinctive stYle comBined aggRessive, fuzz-dRiven guitaR riffs with catchy melodies and a Youthful defiance that captuRed the eneRgy of the london mod scene. theiR music bRidged rawness fReakBeat with the eMeRging psYchedelic sound that would dominate the latteR half of the decade.
tracks like the feedback-laden “When the night falls” oR the fuzzed-out “you’re too Much” sounded YeaRs ahead of its time and they would influence the mod, garage revival and indie / shoegaze scene of the folloWing decades.
the eYes only released a handful of singles betWeen 1965 and 1966. theY disBanded in 1967 and unfortunatelY they never released a full album during their shoRt lifespan. heRe it is!
*ReMastered sound / *eight-page color insert with liner notes by paul “smiler” andeRson and rare photos / memorabilia / *doWnload card