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Prolific duo Years of Denial return to Veyl with another genre bending, dance floor ready EP titled Love Cuts.
Acting as a transit between 2023’s Suicide Disco 2 and the forthcoming Suicide Disco 3, Love Cuts explores the various angles of love - ranging from the digital to the forbidden, toxic to erotic and beyond. A blend of death rock, future goth, EBM and rave, we once again find the project’s poetic, powerful lyrics fusing with motorized beats and 4x4 rhythms.
Kicking things off is the shadowy, death rock inspired, "Devil In a Skirt", an infectious ballad about a temptress that may not be what she seems. Next up, "Affaire de Coeur" delivers body fuelled stabs which elegantly bleeds into "Hide & Sick", a more high energy cut, set to scorch the floor. "We Are The Party" keeps the pulse pounding with your next EBM anthem while "In Your Bed" shatters sonic boundaries and leaves things drenched in acid rave. "AI Lover" closes things out with more future goth rave energy which acts as both a warning and a desire for more.
Love Cuts builds on Years of Denial’s previous work while setting the stage for what’s to come. Commanding vocals and dominating beats transmit a powerful message of both the dystopian and euphoric. Remaining uncategorizable, the project continues to evolve their unique sound while burning a path toward the future.

Fanzine Records is proud to present its 022nd release: "Heavy Mental", the highly anticipated new work from the master of dark electro, Dark Vektor.

Dark Vektor, known for his powerful sound and immersive atmospheres, has been a key figure in the electro scene since the early 2000s. His discography includes works on influential labels such as Electrix, Fundamental, and, of course, his previous releases on Fanzine Records. With "Heavy Mental," Dark Vektor promises to take his distinctive blend of hypnotic rhythms and unsettling melodies to a new level. Get ready for a sonic journey that fuses the raw intensity of electro with the depth of an introspective mental trip.

Wolfgang Voigt makes a return to Astral Industries, seeing the continuation of his long-running Rückverzauberung (Reverse Enchantment) series. In line with previous volumes, one may expect the unconventional, idiosyncratic sound Voigt is reputed for. ‘Im Tunnel’ however, takes a more concentrated viewpoint - a metaphysical transmutation that brings with it an experience of mind-melting drones and swelling intensity. 

Entering the tunnel is like opening a portal, but as the fabric of time-space begins to collapse on itself, it feels more like a rude awakening. Pulsing undulations rise and fall like the turbines of a spacecraft, marked by dissonant chords and a simmering cloud of complex and ever-shifting textures. Pushing thresholds and expectations, the unearthly nature of the tunnel over time disintegrates any proposed state of completion. 

A treacherous voyage, and possibly bewildering for some, the work is both unrelenting and uncompromising. Should one decide to step into the tunnel, be sure to take all necessary precautions and procedures.

As The Matrix ushered in the new millennium, voices of apocalypse and optimism alike wrestled for the narrative high ground over what the future held in store. Ever more inclined toward skepticism than hope, we have since grown prone to withdrawing in exhaustion when confronted by such gargantuan expectations — “lost in the Matrix,” if you will.

Less’s new album opens by building a bridge back to his previous album “Stranger” (released on the “Freude am Tanzen” label and conceived as an imaginary Blade Runner soundtrack). In the intro, breathy references from vocalist Alice immediately set the tone for the journey ahead: Electro, High Energy, Acid, Chicago, Italo Disco.

A full-fledged club album quickly unfolds—one that invites the listener to dance and switch off, while at the same time, if you allow it, provoking reflection through its lyrics. Now a Berlin-based artist with Thuringian roots, Less draws on deacades of DJ experience and channels it deftly into ten tracks. Less (real name Stefan Leßner) isn’t afraid to go “old school.” Classic touches like vocoder effects are as integral here as Alice’s irresistibly
cool spoken-word vocals—delivered in English (“I Care”, “Mirror, Mirror”) and German (“Alles was du willst”). This retro spirit even extends to his remix of the French-language Underground Cottage track “Canada (2003 Less Remix)” which surfaced in DJ Hell’s setlists last year—bringing things full circle.

“Living in the Matrix” on Lebensfreude Records is not merely a nostalgic reference to times past, but also counters exhaustion with a sense of trust in the future. It is, in essence, a call — an appeal — not to lose oneself in any kind of ‘Matrix.’ Accordingly, the album will be released both digitally and analog. The latter will come as a 180g double vinyl with a high-quality, thematically appropriate gatefold cover.

With two critically acclaimed compilations already under his belt, DJ / collector miche returns to Mr Bongo with the third instalment of his With Love series. Testament to his ever-expanding taste, Volume 3 isn’t just a subs bench call-up from the past compilations, it’s an evolution and progression casting the net deeper and wider than before.

Keeping true to the series, but with some fresh surprises along the way, this carefully curated compilation is a celebration of soulful, independently released music from across the globe, and the amazing (often unsung) musicians and vocalists that made these sublime records.

Across the third volume, miche explores a jazzier side of his tastes. “The deeper I went, the more I found myself gravitating towards jazzier music - not leaving soul behind, but following that same feeling into new territory”, he explains. Tracks like the gliding jazz funk found on Late Nite Music Band’s ‘Sundance’, or the glorious jazz-soul number ‘In Flight’ by Spectrym are shining examples of this.

That defining soulful thread of previous volumes is still in full effect throughout this latest edition. “There’s a healthy dose of impossible-to-find soul gems that have that unmistakable, heartwarming feel. Tracks like John Simmons' 'Ain't Nothing Like The Love', which I've adored ever since Zaf Love Vinyl played it, sit perfectly alongside records like Le Cop and New Way”, states miche.

The addition of some top-tier Turkish music showcases another side to his ever-broadening taste. Nükhet Ruacan's 'Gölge' is something unique, a floaty Brazilian-inspired gem recorded in Turkey and not what you’d typically expect from Turkish records of this era. 

It also wouldn’t feel right to leave out a stop in Brazil, with miche looking to the work of Carlos Bivar whose track 'Amargo Amar' carries that undeniable groove of samba-funk from Rio.

Spreading the With Love message far and wide the series has led to miche DJing across the globe, “from batucada sessions in Timisoara, to all-night sets in a club in Beijing, and even an eight-hour Root Down With Love stage takeover at We Out Here festival, joined by Danilo Plessow, Jeremy Underground, and of course, my mentor and buddy Rainer Trüby.”

Volume 3 then, carries that message even further. It’s an eclectic but intentional collection, built for the music lover who wants to discover something new. Working just as well as a soundtrack to cook dinner to, as it does keeping a packed dancefloor moving into the small hours.

A true family affair — Turning Point EP marks P.O’s third release on Griffé, following two previous EPs that helped cement his unique sonic identity. A longtime friend of the label, P.O delivers tracks that stay true to his signature style, each one holding personal significance and showcasing his evolving artistic journey.

The original 12”, first released in 1981, is extremely rare and has exchanged hands for in the region of £200, and since the recent loss of the legendary Roy Ayers from our music world, his songs and productions have become increasingly more in demand. TOTALLY EXCLUSIVE TO THIS ISSUE, the ‘B’ side is a never before issued instrumental version, both sides capturing the essence of the period of music and genius of the late producer Roy Ayers. Sylvia previously sang with Roy at Polydor, sang lead momentarily with Aquarian Dream and one album with Eighties Ladies. “Searchin’” is taken from the album “Give Me Your Love”, also on Expansion.

Slowly yet firmly blooming into focus, An Unfinished Rose is the new album from Australian duo Troth.

This is their first since relocating to Hobart, Tasmania and their introduction to Night School Records. With a detailed web of past releases on labels A Colourful Storm, Mammas Mysteriska Jukebox, Knekelhuis and Bowman’s own Altered States Tapes imprint, An Unfinished Rose is the group’s most realised and composed work thus far. While still drawing on the improvisatory and DIY practices that informed Troth’s beginnings, it points to a new incarnation of the duo’s music; an intentional language emerging from the fog of obfuscation and mists of uncertainty.

Over these 9 meditations on change, acceptance, renewal and rebirth, An Unfinished Rose finds Amelia Besseny and Cooper Bowman peeling back some of the roughhewn architecture that defined their earlier releases to reveal a masterful - if auto-didactic - use of space and melody. Composition and improvisation compliment and feed each other throughout, with locked-loop earworms providing the springboard for lines of clarinet or synth melody, and the negative space between chord clusters giving ample room for Besseny’s most confident vocal performances to date. Shaving off a little of the defining dissonance and tape compression of old reveals Troth’s music in radiant daylight, humbly accepting of its place in the world while yearning for better, more sympathetic modes of living. Leaning more heavily on acoustic instrumentation and post-production processes than previously, the result is a transcendent body of work infused with an almost zen-like presence.

Troth’s music exists in the border between forming and becoming, its goal to project a kind of preternatural beauty, leaving interpretation open to the listener. Field recordings, happenstance and improvisation may provide seeds for the duo’s compositions, particularly on Side A, but there is a deft touch of songcraft on show. Loam Loom Leaf Litter opens An Unfinished Rose, directly referencing natural cycles of life, death and regeneration, before the blissed-out drum machine groove of Gold Plum continues a discussion concerning the totality of nature and one’s place in it. Besseny’s vocal, swelling like an ocean churn in duet with itself is adorned with synthesised harp and a revolving synth pattern, conjuring plumes of medieval smoke. Thistle’s rounded, bass-heavy drums, nodding to the vast echo of dub, is a relatively new terrain for Troth. It’s propulsive and thumping, pulsing with a meaning and symbolism consistent with Troth’s past work, referenced overtly in Bessey’s lyrics - “Say it too much and it loses its meaning…”. Similarly, the sprawling modern-classical suite, Tides Reflected In Her Eyes, is intentional in its lyrical themes while traversing new ground, revelling in layers of bowed cello and vocal intonations. Side B’s 4 tracks feel like Troth’s most thoroughly accessible and affecting music to date. Leaning into their own detoured version of Synth Pop, Cocoonist explores downtempoisms via a crunchy low frequency synth, and dream-like, fuzzy trip-hop modalities, not unlike Besseny and Bowman’s other group, Th Blisks. Following on, Myrtle Mystes is an open and searching DIY pop song, forged out of drum machine, bass guitar and cello. (An) Unfinished Rose’s title-track is a clear stand-out, built upon an evocative rhythm sample that appears to change emotional resonance with each undulating repetition. Its cascading waves of affect, interjected with a subtle breeze of synth, bowed instrumentation and soaring, densely-layered vocals.

An Unfinished Rose is enveloping, warm, forgiving. Difficult, yet retaining a unique beauty. Troth’s music aims to celebrate the duo;s shared experiences of being in the world, despite the complexity often surrounding us all. Theirs is a message of hope and perseverance, learning and patience.

Hommage is the 20th studio album from prolific Detroit rapper Boldy James. In following the formula that has brought him success, Hommage continues the series of full-length collaborative albums that his fans have come to love, and marks his first project with fellow Detroit producer, Antt Beatz (formerly of Team Eastside, production credits for Lil Baby, 42 Dugg, Eminem, Tee Grizzley). Steeped in the styles and sounds of Detroit, Hommage does exactly that – pays homage to the city that Boldy & Antt Beatz came up in. From the beats, to the tasteful features (all from fellow Detroit artists), to Boldy’s iconic style, it’s hard to come across an album that represents The Motor City better - polished and magnificent yet undeniably gritty and humbly hardworking. Previously released singles include “Super Mario,” “Dead Flowers,” & “Street Cred.”

DESTIN CONRAD, is a sultry R&B singer hailing from Tampa, Florida. A newcomer to the music industry, DESTIN actually got his start on Vine, amassing over 1M followers. Years later he received his first major writing credits on Kehlani's Billboard #2 album, It Was Good Until It Wasn’t. DESTIN’s debut project, COLORWAY, was released in 2021 and has surpassed over 120 million streams. He spent 2022 on the road opening for artists Syd and Kehlani on their respective tours.

DESTIN CONRAD did his first headlining tour in EU and UK in 2023, where he sold out shows in Amsterdam, Paris, and three nights in London. His sophomore project, SATIN, was released November 2022 and has been just as successful as COLORWAY. Fader described his catalog as, "lush, intimate earworms infused with a gentle touch." The following releases, SUBMISSIVE, & SUBMISSIVE2, showcased a new era of growth for DESTIN, landing major features on both projects and embarking on a massive 47 show global tour.

All of this has culminated in the release of DESTIN CONRAD’s debut album, LOVE ON DIGITAL, setting himself up as one of the new promising voices in R&B. Previously released singles include “The Last Time (feat. Teezo Touchdown),” “KISSING IN PUBLIC,” & “DELUSIONAL.”

Love From San Francisco – 'Keep Rockin' (+ Unreleased mixes)

A true underground classic returns via Mint Condition — 'Keep Rockin' by Love From San Francisco (aka Charles Webster) is back on wax in this freshly remastered 2025 edition. Originally released in the mid-'90s and long out of print, this deep house essential defined a generation of smoky after-hours and West Coast groove.

This deluxe 12" reissue stays true to the original deep, dubby sound but adds extra value for crate diggers and collectors alike with two previously unreleased mixes, recovered from the original DATs. These alternate takes give a new dimension to an already timeless track — stripped-down, hypnotic, and primed for modern floors. Pure vinyl heat from the golden era of deep house.

A little background info….



Miss Aranivah was previously released (in 2021) on the Ska Fever vol.1 EP (OGR806). It’s had a slight re-mix / re-master and it’s proved very popular in the live set that I’ve been playing with Junior Dell at Ska and Reggae festivals in Europe.



Likewise, the B-Side has gone down very well live and we re-recorded it with Junior Dell on vocals (he did not appear on the original version which appeared on Reggae Dynamite vol.1 back in 2020).

fka boursin is a DJ and producer out of Bristol, UK.
Previously known as DJ Boursin, he is recognized for his deep, ambient-infused house music that explores political dimensions of clubs and identity politics.
Welcomed into the Scissor & Thread fold, fka boursin shares two cuts of deep and introspective
electronic music.
The original Listless Intertext is a hazy trip through ambient soundscapes, shuffling rhythms and half-caught conversations, drifting across a 12 minute run time that slowly evolves and shifts with time.
"Listless Intertext is a track centred around the "failed" employment of cheap vocoder software that attempted to process explicit words and phrases across 11 minutes." says fka boursin. "Instead, the vocoder output made any words indecipherable and I was left with thematic vagueness. The final text of the track is simply a submission to its own limitations with some french thrown in."
When label bosses Frank & Tony step up for their Housebeat Dub, they keep the essential mood but introduce a thick, fat groove that works just as well in conveying the mood.
"Our remix is a strictly dancefloor approach," says Frank, "an extended psychedelic beat rework perfect for late night, early morning vibes".

Grittier than their previous work, they take techno themes we know and love in a decidedly personal direction, emphatically divorced from current tropes. Each song clearly captures a vibe, some of which are recognisable love letters to the genre and several of which are unrecognisable in a
great way. Their first album show how Neotex have been informed by parts of electronic music which formed a strong impression and then chose with clarity of mind to break with those patterns and carve their own path

Death Is Not The End release a second part collecting pre-partition film music, compiled by Gary Sullivan of Bodega Pop.

As the 1940s began, South Asian cinema entered a transformative phase. Playback singing, still a new idea in the previous decade, quickly became standard practice. Actors no longer had to sing, and singers no longer had to act, opening the door to a wave of dedicated vocal talent that redefined the sound of the industry.

Voices like Noor Jehan, Shamshad Begum, and Suraiya rose to prominence, becoming household names across the subcontinent. Behind them, composers like Naushad, Anil Biswas, and Ghulam Haider were expanding the sonic palette of film music, blending ragas with Western orchestration, folk tunes with jazz-era instrumentation. Harmoniums, sarangis, violins, accordions, and clarinets filled out increasingly complex arrangements, while ghazals and qawwalis continued to influence mood and structure.

Although the post-Partition years are often considered to be Bollywood's "Golden Age," thanks to filmmakers like Raj Kapoor, Bimal Roy, and Guru Dutt, the music started its peak just before the divide. By 1947, Naushad and others were producing some of the most emotionally rich and musically intricate work in the industry's history, compositions that would prove challenging to surpass in the decades that followed.

Yet this high point came during a time of immense upheaval. The Second World War, the Bengal famine, and the crumbling of colonial rule all loomed large. Film songs often reflected the uncertainty, sometimes mournful, sometimes romantic, sometimes defiant. And when the Partition finally came, it fractured the world that had created this music. Artists became refugees, studios were split, and careers were thrown into flux. Noor Jehan, who would go on to become Pakistan's most iconic singer, recorded many of her most beloved songs in Bombay. Khursheed, another major star, faded from public life after migrating. K.L. Saigal, a towering figure of the 1930s and '40s, died in Lahore just months before the split.

This collection spans those final years before Partition, a time of creative flowering and looming catastrophe. Like Part 1, these songs were sourced from immigrant-run music shops in New York and New Jersey. They are fragments of a vanishing world, each one a snapshot of the art, longing, and resilience that defined this extraordinary era.

A stunning reissue of Delano Smith's album on Sushitech, originally released in 2017.

This collection of previously hidden tracks from the master's archive was brought together into a beautiful album that has become highly sought after over the years, largely due to its exclusive vinyl only tracks.

This limited edition repress comes on special silver vinyl, released to celebrate the label's 20th anniversary.

In the previous episode, the Vibracid technique was discovered as a way to deactivate memories imposed by technocratic elites.

Now, with VIBRACID 2, its real deployment begins: a series of sonic attacks targeting control systems through rave vibrations.

Each track is a weapon. Each producer, a node of resistance. “Vibracid Advent,” the single that launched the assault, opens the mini album with acidic force — delivering the first sonic strike that breaks through imposed control. From the acidic and powerful aggression of Calagad 13 (Spain), through the modular precision and acid techno of C.C.O (Contra Communem Opinionem, Switzerland), to the dark, industrial electro of Mokotron (New Zealand). Atix brings the French 90s rave energy; Wicked Wes, from Florida (USA), builds grooves with bifasic rhythms and glitch textures; and Romphea (Greece) closes with distorted breaks exploring chaos and sonic escape.

Careful sound and mastering, and exceptional design for a limited edition of 150 copies on solid red vinyl.

ZUG is without a doubt one of the leading and most compelling forces in contemporary European body and minimal electronic music. Once again joining forces with Oráculo Records, they present a retrospective that traces the arc of their already extensive and influential career. The result is a powerful compilation that blends previously unreleased material with some of their most iconic tracks to date—specially remixed and remastered for this edition. Every piece captures ZUG’s signature approach: a fusion of machine precision and raw physicality that transcends genre limitations. Tailored for fans of truly experimental, humanized electronica, primal drum patterns, and proto, body-shaking basslines, this release is a visceral listening experience from beginning to end. This is body music in its purest form. Presented in a ONE-OFF, truly limited edition of 300 copies, lacquer-cut and pressed on 180g high-quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

With two critically acclaimed compilations already under his belt, DJ / collector miche returns to Mr Bongo with the third instalment of his With Love series. Testament to his ever-expanding taste, Volume 3 isn’t just a subs bench call-up from the past compilations, it’s an evolution and progression casting the net deeper and wider than before.

Keeping true to the series, but with some fresh surprises along the way, this carefully curated compilation is a celebration of soulful, independently released music from across the globe, and the amazing (often unsung) musicians and vocalists that made these sublime records.

Across the third volume, miche explores a jazzier side of his tastes. “The deeper I went, the more I found myself gravitating towards jazzier music - not leaving soul behind, but following that same feeling into new territory”, he explains. Tracks like the gliding jazz funk found on Late Nite Music Band’s ‘Sundance’, or the glorious jazz-soul number ‘In Flight’ by Spectrym are shining examples of this.

That defining soulful thread of previous volumes is still in full effect throughout this latest edition. “There’s a healthy dose of impossible-to-find soul gems that have that unmistakable, heartwarming feel. Tracks like John Simmons' 'Ain't Nothing Like The Love', which I've adored ever since Zaf Love Vinyl played it, sit perfectly alongside records like Le Cop and New Way”, states miche.

The addition of some top-tier Turkish music showcases another side to his ever-broadening taste. Nükhet Ruacan's 'Gölge' is something unique, a floaty Brazilian-inspired gem recorded in Turkey and not what you’d typically expect from Turkish records of this era. 

It also wouldn’t feel right to leave out a stop in Brazil, with miche looking to the work of Carlos Bivar whose track 'Amargo Amar' carries that undeniable groove of samba-funk from Rio.

Spreading the With Love message far and wide the series has led to miche DJing across the globe, “from batucada sessions in Timisoara, to all-night sets in a club in Beijing, and even an eight-hour Root Down With Love stage takeover at We Out Here festival, joined by Danilo Plessow, Jeremy Underground, and of course, my mentor and buddy Rainer Trüby.”

Volume 3 then, carries that message even further. It’s an eclectic but intentional collection, built for the music lover who wants to discover something new. Working just as well as a soundtrack to cook dinner to, as it does keeping a packed dancefloor moving into the small hours.

Repress!

Sophomore release from the acclaimed trio of Inspectah Deck (Wu-Tang Clan) And 7L & Esoteric. Features MF Doom, GZA, Method Man, Large Professor, Juju Of The Beatnuts, Ra The Rugged Man, & Meyhem Lauren. Packaged in a 70+ Page Hardcover CD Casebook / 2LP on Clear vinyl with Lyrics & Cover Art From L'amour Supreme (Mishka NYC). Includes a comic, written by Esoteric with artwork by Gilberto Aguirre Mata (El Ultimo Codice) & L'Amour Supreme. CZARFACE - Wu-Tang founding MC Inspectah Deck and veteran Boston duo 7L & Esoteric - isn't concerned with the glitz and the B.S. that modern consumer culture is pushing. And neither are the group's fans. In 2013, the trio appeared relatively unassumingly with their self-titled debut, which was chiefly produced by DJ 7L and included guests ranging from Ghostface Killah and Cappadonna to Vinnie Paz, Action Bronson and Roc Marciano. The soon-to-be acclaimed group found out quickly that there was a groundswell of hip-hop fanatics thirsting for the lunchpail, lyrics-above-all-else rap they fell in love with in the '90s. Several pressings of the album on CD, 2-LP and even cassette later, they are back and ready to up the ante. This time around the group is the same, but it's fair to say that all three men have stepped up their game. We knew how we felt about the last album, but weren't sure how it would be received by listeners,' explains MC Esoteric. But people really responded to it, even more than we had hoped. That gave us the confidence to really spread our wings and let loose on this one. The chemistry is even tighter this time around. We know exactly what lanes we are cruising in and what weight class we are fighting in for Round 2.' Inspectah Deck adds, Czarface is like the Danger Room for the X-Men, I can use all my weapons on there. When I'm in Wu-Tang, I have to come a certain way because we have a certain style of fan, when I'm here doing the Czarface projects, it allows me to actually be an MC, it allows me to actually just spit...I love that. I love when i can just spit freely and just be an MC.' The fighting analogy - whether drawn from pugilism or '80s wrestling, both which figure into Every Hero Needs A Villain - is an apt one, considering the unrelenting lyrical attacks that Deck and Esoteric unleash on track after track, each trying to one-up the previous verse. Best of all, it is friendly camaraderie, based around a loose theme of renegade mutant MC talents running wild. DJ 7L explains, All three of us are influenced by comics, sci-fi movies, TV, wrestling. Czarface encompasses all of that, and it helps with the visuals as well.' On the production side, 7L shows yet again - as he did with the group's debut - that he remains a formidable yet underappreciated musical force, constantly providing hard, funky and alternatingly ominous backdrops for the assembled MCs to use as lyrical luge paths. If that wasn't enough, it's all iced with a ridiculously intricate and beefy 70-plus page, hardcover CD casebook with lyrics and extensive artwork by Gilberto Aguirre Mata (El Ultimo Codice) and L'amour Supreme, and with Death & Abduction,' a comic written by Esoteric, and an explosive, comic-book-inspired cover by L'amour Supreme (Mishka NYC).

01. Don The Armor
02. Czartacus
03. Lumberjack Match
04. Nightcrawler (Feat. Method Man)
05. World Premier (Feat. Large Professor)
06. The Great (Czar Guitar)
07. Red Alert
08. Junkyard Dogs (Feat. Juju Of The Beatnuts)
09. Sgt. Slaughter
10. When Gods Go Mad (Feat. Gza)
11. Ka-Bang! (Feat. Mf Doom)
12. Deadly Class (Feat. Meyhem Lauren)
13. Escape From Czarkham Asylum
14. Sinister
15. Good Villains Go Last (Feat. Ra The Rugged Man)