The Way I See It puts Raphael Saadiq's love of 60s soul on full display, with Saadiq stating it was "the culmination of a lifetime of experiences informed by the music I grew up on." Recorded on vintage equipment, the set features Motown session musicians, guest appearances from neo-soul singer Joss Stone, R&B vocalist CJ Hilton, New Orleans collective The Rebirth Brass Band, a remixed bonus track from Jay-Z, and even a guest appearance by Stevie Wonder. Throughout the recording process Saadiq immersed himself in the aesthetics and styles of the decade, watching footage of Al Green, The Four Tops, Gladys Knight & The Pops, and others for further inspiration. The end result is an upbeat collection of songs, ranging from the romantic to the mournful, but frequently beaming with hope and positivity. The Way I See It racked up Grammy nominations for Best R&B Album, Best Traditional R&B Vocal Performance, and Best R&B Performance by a Duo or Group with Vocals. To this day it is considered one of the essential records of the classic soul revival, and one of Saadiq's finest career achievements.
Geese veröffentlichen ihr zweites Album '3D Country', den Nachfolger ihres Debüts 'Projector'. Im Sommer 2021 tauchte die Band wie aus dem Nichts auf und obwohl die 5 Jungs aus Brooklyn eigentlich vorhatten, nur ein paar Songs vor dem College zu veröffentlichen, wurde schnell ein Album draus, dass u.a. von der NY Times, Stereogum, Rolling Stone gefeiert wurde und ihnen Auftritte im TV bei Colbert und im Vorprogramm von Jack White einbrachte. '3D Country', von der Band und James Ford (Arctic Monkeys, Depeche Mode, Shame) co-produziert, entpuppt sich als ein abgefahrener, wilder und unvorhersehbarer Ritt, der eine Welt unter die Lupe nimmt, die nicht mehr so ganz die alte zu sein scheint.
After her featurings on the king of funk' tracks, Dabeull (DX7, You & I, Day & Night), the french r'n'b singer Holybrune returns with a solo EP 'JoyRide'. Sung in English and French and composed by Dabeull and Rude Jude, this new project is a 90's funk drive into the summer heat. Out on eponym label : Dabeull Records.
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Night Lives is composer Kristine Tjogersen's second album on Aurora Records, and the follow up to the critically acclaimed debut album Between Trees from 2024, it's now being released on vinyl for the first time Kristine Tjogersen 's Night Lives (2023) is an excursion into the shrouded world of nocturnal creatures. Produced in a multidisciplinary collaboration with the Norwegian contemporary music ensemble Cikada , biologist and writer Hanna Bjorgaas, scenographer and performer Ellen Jerstad, visual artist and lighting designer Evelina Dembacke, and artist and designer Marie Payan, Night Lives offers a fantastical imagining of how bats, moths, owls, micro- organisms, and other nighttime dwellers communicate, immersing audiences in wonders that are beyond our human eyes and ears.
Delivering four precise, direct techno weapons with expertise and personality in abundance, Efdemin arrives on Dekmantel with Mirror Phase.
Phillip Sollmann has been an enduring source of inspiration and originality within the techno scene since he rose to prominence in the early 00s. As Efdemin he's found a sweet spot between warmly melodic expression and constantly curious textures, holding true to techno's original MO as a bittersweet soul music while delivering his own distinct take on the tradition. After last year's more introspective LP POLY he makes his Dekmantel debut with a sharp, incisive bundle of workouts that champion unfiltered techno of the highest calibre. In Sollmann's own words, it's a loving tribute to the original Detroit architects of the sound.
"All four tracks are based on studio jams using mainly analogue gear, and were done pretty quickly," he explains. "They all nod to the roots of my idea of techno, which is very much informed by the Detroit-Berlin legacy we all benefit greatly from in many ways. In a way, this EP is a deep bow to this."
The sense of tribute behind the music manifests explicitly on opening track 'Mirror Phase', which features a fully cleared sample of DJ Minx's sultry spoken word intro to Kevin Saunderson's 1997 entry into the seminal X-Mix series — a formative release for Sollmann on his journey into electronic music.
With adventurous synth lines and tweaked samples rubbing up against chiseled 909 drums and a generous serving of emotive machine soul, Mirror Phase EP is a perfectly-formed slice of techno done properly — classic, timeless, futuristic and eternal in equal measure.
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Sophomore album by Brighton based multi-instrumentalist and vocalist, Marlon Bianco. Concept album with the A-side sticking firmly to terra firma and the flip blasting off into outta space. Psychedelic spacetronics mixed with soulful vocals and soundtrack sounds. Marlon is helped along his journey by his clones including SFJ's Oscar 'Sholto' Robertson, David Bardon (who both also produced it) and a host of other talented musicians: Dante Notar, Jonathan Chung, Laura Gallon and Federico Bersano.
BABON is a psychedelic instrumental band from Indonesia, formed in 2023 by Wahyudi T. Raupp, Rayi Raditia, and guitarist Rori Jiwa Putra. Their music blends traditional Indonesian genres such as Keroncong and Dangdut with global influences like Middle Eastern grooves, Latin rhythms, Spaghetti Western motifs, and Afro-funk, creating a sound they call "Tropical Desert" music. Their debut album, Tropical Desert, follows the 2024 release of the singles "Desert Rose" and "TNT" on London-based label Batov Records. Beyond their genre-bending sound, BABON is deeply rooted in environmental advocacy, using instrumental music and visual storytelling to address ecological issues. They are currently producing a live session featuring four tracks from the album, set against cinematic footage highlighting Indonesia's natural landscapes and environmental challenges.
BABON's distinctive sound has earned them strong international recognition, with radio play from major stations including BBC Radio 3 and Soho Radio (UK), RBB Radioeins and Byte FM (Germany), CBC Radio One (Canada), Triple R and 2SER (Australia), and WYEP and KALX (USA). Their 7-inch vinyl release was nearly sold out, further signaling their growing global appeal. The album's cover and packaging were created by Indonesian retro surrealist Christian Candra, contributing to the band's cohesive artistic vision. BABON is represented worldwide by PR and radio agency Only Good Stuff, helping to amplify their message and music to audiences across the globe.
"Stare Away, the solo project of New York City-based musician Ben Nelson, deals in music where atmosphere isn't decorative — it's load-bearing. In Absence, his seven-song debut EP on à La Carte Records, is built on brooding, synth-driven arrangements and melodies that linger well past their welcome. Rooted in the emotional vocabulary of post-punk and new wave without feeling like a nostalgia exercise, the record carries the shadowed grandeur of The Chameleons into firmly present-tense territory.
From the urgent propulsion of ""Parting Ways"" to the cinematic sweep of ""Familiar,"" In Absence moves between moods with deliberate precision — restless, melancholic, and impossible to shake.
With Tarabesque, his powerful new album, Firas Zreik delivers his boldest and most visionary work to date. Fearlessly placing the kanun—the shimmering Mediterranean harp—at the center of a jazz quartet, a hybrid ensemble, and an Arab Takht ensemble, Zreik reimagines the instrument as both a rhythmic engine and melodic force. He builds a world of Maqam-driven melodies woven through rich harmonic and modal landscapes that feel fresh, organic, and defiantly new.
Based in New York City, Zreik is a Palestinian composer and kanunist who recently received Grammy recognition as a songwriter and performer on Residente's award-winning album Las Letras Ya No Importan, and composed The Art of Kanun, a film music album commissioned by Universal Music Production France. He is an official showcase artist at WOMEX 2022, a MacDowell Fellow, and has performed at Lincoln Center, Joe's Pub, and The Jazz Gallery.
With Tarabesque, Zreik signals the emergence of a new musical language—merging Tarab, the ecstatic listening state central to Arab musical traditions, with global influences to create a sound timeless, urgent, and entirely his own.
Terri Lyne Carrington + Social Science ― Matthew Stevens, Aaron Parks, and Morgan Guerin ― delivers their sophomore project, Trip the Night Fantastic, on Candid Records. GRAMMY® nominated for Best Jazz Instrumental Album for their 2019 release, Waiting Game, this acclaimed collective returns ― boasting an illustrious roll call of emcees, spoken word artists, and instrumentalists ― this time exploring systemic and contemporary themes that demand our attention, call us to action, and add stunning breadth to the time-honored tradition of amalgamating art and activism. Women’s empowerment, climate change, immigration, gender justice, body autonomy, community building, and animal rights are all elucidated with a freshness, depth, and creative brilliance that can only be birthed from someone whose creative core is rooted in empathy and humanity.
Featured throughout this new recording are vocalists Ledisi, Arooj Aftab, Michael Mayo, Miki Howard, Fatoumata Diawara, Debo Ray, Christie Dashiell, Lizz Wright, Vuyo Sotashe, Safa, Imani Rousselle, and Ian Michael; instrumentalists Brandee Younger, Marc Ribot, Larry Goldings, Rashaan Carter, Simon Moullier, Riley G, and Brenda Navarrete; emcees Nappy Nina, Kokayi, Kassa Overall, and Khemist; and spoken word artists J. Ivy, Aja Monet, Tarriona ‘Tank’ Ball, and Moor Mother.
Rigid box. The Complete Island Recordings includes 11 albums (12 LPs) packaged in a rigid card box with lift top lid, and wrapped in silver paper that simulates the brushed metal finish of a zippo lighter. The box includes all nine Bob Marley & The Wailers studio albums recorded for Island Records, featuring their most celebrated releases, including Catch A Fire, their 1973 label debut, and Rastaman Vibration, their 1976 breakthrough album in the United States, along with two live albums Live! and Babylon By Bus. Bob Marley was a Jamaican reggae singer, song writer, musician, and guitarist who achieved international fame and acclaim. His music in the 70s established his worldwide reputation and produced his status as one of the world's best-selling artists of all time, with sales of more than 75 million records.
With their ever-mutating brand of jazz-and-country-laced punk, Opus Kink have always cut a singular figure in a saturated landscape. Making their name with incendiary, cult-like live shows, the band - formed in Brighton (UK) in 2017 — has developed a sound as elusive as it is recognisable. Underscored by a formidable horn section and ragged, sardonic delivery, the band bear passing resemblance to post-punk and no-wave acts like The Pop Group, Birthday Party and Lounge Lizards, but it’s the weaving of older, more traditional influences - choral, folk, country, Latin, Weimar cabaret, cruise-ship-crooning - into the fabric of their music that sets them apart. Their highly anticipated debut album 'The Sweet Goodbye' is set for release on 31st July 2026 via So Recordings and follows a series of EPs and singles which have earned acclaim from NME, DORK, DIY, CLASH, SO YOUNG, BBC Radio 1 and playlisting on BBC Radio 6 Music. The album is produced by Grammy award-winning producer and mixer Craig Silvey (Arcade Fire, Florence & The Machine, Baxter Dury, REM, Kronos Quartet, Sam Fender), with album track 'The Head Tree' featuring The New Eves (No.1 Independent album in 2025). Opus Kink brings their alluring live show to audiences around the UK and Europe later this year, including a headline show at London's 2,300-cap venue o2 Kentish Town Forum, while the Summer sees them supporting The Libertines at Rochester Castle, Kent. TRACKLISTING A1. Come Over, Do Me Wrong A2. Will It Come For You? A3. I'm A Pretty Showboy A4. The Sweet Goodbye A5. Peckham Nocturne B1. I Have To Shine My Sunday Shoes B2. The Head Tree (ft. The New Eves) B3. 448C (The Colour of Love) B4. Crucify! B5. Oh, Irony QUOTES - ?"Horn-fuelled filth-funk, where punk and jazz combine in grimy circumstances." - NME - "One of the UK’s most exciting new bands?...A raucous, intense blast of guitar pop...as equally anxiety-inducing as it is sublime." - C?LASH - "Barnstorming, infectious" - Steve Lamacq, BBC 6 Music - "One of the most enjoyable genre fusions I've ever seen." - Nels Hylton, BBC Radio 1 - "(Their) ferocious live performances have earned them a reputation as? one of the best live bands in the country?." - So Young
With their ever-mutating brand of jazz-and-country-laced punk, Opus Kink have always cut a singular figure in a saturated landscape. Making their name with incendiary, cult-like live shows, the band - formed in Brighton (UK) in 2017 — has developed a sound as elusive as it is recognisable. Underscored by a formidable horn section and ragged, sardonic delivery, the band bear passing resemblance to post-punk and no-wave acts like The Pop Group, Birthday Party and Lounge Lizards, but it’s the weaving of older, more traditional influences - choral, folk, country, Latin, Weimar cabaret, cruise-ship-crooning - into the fabric of their music that sets them apart. Their highly anticipated debut album 'The Sweet Goodbye' is set for release on 31st July 2026 via So Recordings and follows a series of EPs and singles which have earned acclaim from NME, DORK, DIY, CLASH, SO YOUNG, BBC Radio 1 and playlisting on BBC Radio 6 Music. The album is produced by Grammy award-winning producer and mixer Craig Silvey (Arcade Fire, Florence & The Machine, Baxter Dury, REM, Kronos Quartet, Sam Fender), with album track 'The Head Tree' featuring The New Eves (No.1 Independent album in 2025). Opus Kink brings their alluring live show to audiences around the UK and Europe later this year, including a headline show at London's 2,300-cap venue o2 Kentish Town Forum, while the Summer sees them supporting The Libertines at Rochester Castle, Kent."Horn-fuelled filth-funk, where punk and jazz combine in grimy circumstances." - NME - "One of the UK’s most exciting new bands?...A raucous, intense blast of guitar pop...as equally anxiety-inducing as it is sublime." - C?LASH - "Barnstorming, infectious" - Steve Lamacq, BBC 6 Music - "One of the most enjoyable genre fusions I've ever seen." - Nels Hylton, BBC Radio 1 - "(Their) ferocious live performances have earned them a reputation as? one of the best live bands in the country?." - So Young
The collaboration we’ve all been waiting for is finally here! Thee Sacred Souls asked him to... and Victor Axelrod delivers with two massive platters sure to usher summer in with a swing.
Thoughtfully plucked from their sophomore album, Got a Story to Tell, the politically -charged ‘One and the Same’ gets a soulful reggae reboot from Axelrod and session team The Inversions.
Josh Lane’s emotional delivery and impressive vocal range meld with the raw, heavy rhythms as if preordained—transforming the beloved tracks into something exciting and fresh whilst leaving its DNA intact.
A testament to what a skilled producer can do with rock- solid compositions. Comes complete with respective HEAVY B SIDE DUB VERSIONS. Get into it!
To mark its 10th Anniversary,
discover Awa Ly's Album "Five And A Feather" (Including one previously unreleased track) On Vinyl For The First Time !
One night, Awa had a dream.
The atmosphere was enchanted, almost mystical, enveloped in a setting that summoned the moon, the Earth, and the elements. An ancestral blend of Native American and African cultures, a shamanic being was there, speaking in an unknown language, narrating stories both real and imagined. She received these tales from others, made them her own, absorbed them, shared their joy, and soothed their harbored pain or sadness.
Upon waking, the shamanic narrator had vanished, but her presence was still palpable; Awa made her the storyteller of this new album: Five and a Feather.
Five, like all things counted by fives: the senses, the oceans, the lines of a musical staff, the fingers on a hand. And feather, the magical element that connects them-the very one Awa used to write and compose the ten tracks of this new album where, under the brush of SainaSix, she becomes the first Black woman immortalized in Mucha's Art Nouveau aesthetic.
Ballaké Sissoko's kora, Paco Sery's senza, Greg Cohen's double bass, Faada Freddy's vocals, the steel guitar, or the erhu (Chinese violin) are all elements that illuminate the shamanic storyteller's tales.
Produced alongside the duo Jean Lamoot and Pascal Danae (winners of the 2015 Victoires de la Musique in the World Music category with their band Rivière Noire), Five and a Feather faithfully captures the warm atmosphere of live-recorded sessions where instruments answer and interlock with one another, creating the perfect showcase for the album's principal instrument: Awa's voice.
Words that she delicately places or lets fall onto the notes like tears of joy or sadness, flowing from that source called love.
An album written, composed, and recorded like fine lace, starry with details that only reveal themselves to those who know how to seek them out.
I Never Knew Love sees Detroit house mainstay Chez Damier return to the iconic KMS catalogue with a timeless house classic, now available again on fresh 12” vinyl.
A staple of the deeper side of Detroit house, the release combines soulful vocals, warm grooves and refined production, reflecting the signature sound that has defined Chez Damier’s work across decades.
This edition features standout versions including the MK Extended Club Mix from Marc Kinchen, alongside additional extended mixes and a reconstructed version of Help Myself by Carl Craig, offering strong depth and versatility for DJs.
As a key release from the KMS catalogue, this record continues to hold lasting appeal across both classic house collectors and DJs seeking authentic Detroit-rooted material.
Back on fresh 12" vinyl, this repress brings an essential Chez Damier release back into circulation for a new generation of listeners.
An essential catalogue piece for stores supporting classic house and Detroit heritage releases.
The Sound Of Slip ’n’ Slide, Vol. 1 launches a brand-new series from the legendary Slip ’n’ Slide catalogue, bringing together a selection of timeless house and deep house cuts from some of the genre’s most respected artists.
Featuring standout productions from Blaze, Cassio Ware, Black Rascals and Alex & Rai, the release captures the soulful, vocal-led sound that helped define underground house music across the 90s and beyond. Including favourites such as Blaze’s Moonwalk and Cassio Ware featuring Sajaeda’s Fantasy (Klubhead Mix), this first volume brings together a selection of proven dancefloor records in one DJ-friendly vinyl package.
With warm grooves, uplifting vocals and timeless club arrangements throughout, these tracks continue to resonate with both long-time house collectors and DJs looking for reliable dancefloor material.
As the first edition in The Sound Of Slip ’n’ Slide series, this release offers a strong opening chapter for the new compilation run, now available on fresh black 12” vinyl. A strong catalogue addition for stores supporting classic house, deep house and soulful underground sounds.
Discrepant presents the LP edition of Tales from the Source, the original film soundtrack by Bear Bones, Lay Low and Laszlo Umbreit.
Originally composed for Belgian-Congolese artist Léonard Pongo’s 2024 film of the same name, this release reworks the film's audio into a continuous, fluid listening experience.
The album is built on a direct contrast between heavy electronic manipulation and raw environmental audio. Laszlo Umbreit captured the foundation of the record through field recordings and additional electronics, focusing on the quiet, tactile sounds of water, riverbeds, and natural spaces. These recordings were then processed and expanded by Bear Bones, Lay Low, who layered the tracks using synthesizers, samplers and various effects processors.
Rather than acting as a standard background score, the music functions as a detailed piece of environmental sound art. The tracks are edited to blend into one another without distinct gaps, mirroring the slow pace and visual flow of the film. Through the use of tape loops, filtering, and electronic processing, the natural landscapes are systematically distorted and rearranged. The result is a dark, slow-moving suite of electroacoustic music that strips away traditional melody to focus entirely on texture,
A cold sermon for warm-blooded sinners, Blasphemy pairs Ras Kass’ razor-edged theology with Apollo Brown’s sepia-toned soul loops—an album that feels like scripture rewritten in graffiti and gunpowder. Brown constructs a chapel out of dust-scratched vinyl: ironclad drums, gospel fragments, horns that sound like they’ve survived too many winters. Over that cathedral of grit, Ras Kass steps in like a rogue prophet, dismantling mythologies with scholar-level precision and West Coast snarl. His verses slice through religion, race, politics, and personal apocalypse—part history lecture, part street-corner sermon, part heretic’s prayer.
Guest appearances—Pharoahe Monch, Royce da 5’9”, Xzibit, and more—arrive like fellow priests of the unholy pulpit, sharpening the album’s edges without stealing its center. Blasphemy isn’t built for passive listening; it demands engagement, rewinds, and maybe even a dictionary. But beneath the intellectual shrapnel is feeling, too: bruised pride, survival-mode clarity, the restless search for truth in a world addicted to lies.
This is boom-bap as moral reckoning. A dusty-fingered gospel for those who don’t trust institutions but still crave meaning. A record that questions everything yet stands solid in its craft—Detroit drums welded to L.A. lyricism, both beating against the sanctimonious and the hypocritical with equal force.
Blasphemy is not here to comfort you. It’s here to wake you up.
Yup, he’s finally done it. Afters years of releasing some of your favorite DJ’s dance floor ammo, Sweater has started his own label. The inaugural release on Sauna Records is produced by the new label boss himself and features 4 tracks he’s held close to the chest for a bit of time now while testing dance floors, tweaking arrangements, and getting these baselines just right to ensure a hot & steamy dance floor experience.
The A1 “Chemical Reactions” races out of the starting line with a swampy bassline peak time heater full of classic rave sounds contrasted by Sweater’s signature lush pad and lead work creating a mad chemist’s auditory dream. A2’s “Yaoguai” bubbles with a thoughtful and playful bounce over an ear-worm bassline. B1’s “On & On & On” is the proggy tech piece of kit you didn’t know you needed to ensure “that” moment in a set. B2’s “One Chord” lands the EP in a calmer manner, acting as a production experiment to see if Sweater could keep you interested with one chord playing in the background the entire track. The result is an introspective, eyes closed, thoughtful bop.
We hope you enjoy Sauna Records first offering and use this record for the physical and mental detoxification through sweat therapy on a dance floor near you.
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After a critically acclaimed trilogy of albums and a 10-year hiatus, Romain Turzi, the underground pope of uncompromising French music, returns to the helm to compose and produce his new opus “Drop!”. He is joined on vocals by his longtime friend Oliver Gage, whose autobiographical and melancholic writing brings to life an intimate and redemptive musical epic, woven with oblique pop songs and club tracks that reconcile punks and dancers.
An album of diverse influences, it draws on the masters of film music (Goblin, Angelo Badalamenti), the titans of electronic and techno music (808 State, Dopplereffekt), the hedonistic spirit of ’80s Brit rock (Happy Mondays, The Stone Roses), the finely crafted melodies of timeless folk singers (Woody Guthrie, Neil Young), and the sonic power of My Bloody Valentine or the productions of Andrew Weatherall.
A record born of friendship and fearless creative freedom, “Drop!” is an invitation to escape the heaviness of the present and brush against a form of utterly necessary ecstasy.
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Best known as the DJ for multi-platinum band Sugar Ray, American DJ, musician, rapper, singer, record producer and radio personality Craig Anthony Bullock aka DJ Homicide_ has been active for more than three decades. His solo work finds him flipping a wide range of source sounds into his own fat, club-ready joints, all informed by years of working various crowds into party mode. He opens here with 'Se Acado Fl', and brings a light touch to heavy beats that are overlaid with impassioned Spanish vocals that add a florid edge next to the excitable horns. On the backside is Big Syphe'd 'Our Generation Flip' which is soul music welded to a low slung and dusty hip-hop foundation.
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Puerta Negra presents “Metafísica”, the third chapter in the project’s subversive and revolutionary sonic vision. Moving again through the outer edges of EBM, industrial funk, and mutant electronics, the new EP channels the raw physicality of contemporary American body music, aligned with acts such as High-Functioning Flesh or Spike Hellis, alongside the fractured futurism of late-’80s Cabaret Voltaire and its mutant new beat mutations. The result is tense, hypnotic, and deeply confrontational. At the center of the record are the stripped-down, unfiltered vocals of María Aguirre, moving through broken, hallucinogenic rhythms that continuously destabilize and reconstruct the groove. Mechanical yet visceral, cold yet intensely human, the tracks unfold like transmissions from a collapsing future. With “Metafísica”, Puerta Negra continues to push its singular language forward: radical avant-garde body music for the most restless corners of the underground — perfectly suited to ignite a revolution. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
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Summer doesn't announce itself. It creeps in through cracked windows and lingers on skin long after the sun sets. It asks nothing of you but surrender. The South London DJ and producer, born Wilf Auty, raised in the fields of Devon before migrating to the city's sprawl, has crafted four tracks that move like heat haze off tarmac: shimmering, hypnotic, impossible to rush. This is house music stripped of its impatience. Rolling rhythms push forward with the inevitability of tide. Driving basslines push through the mix like warm air through an open car window. Something that feels like the longest day of the year. That moment when you realise the light's been golden for hours and nobody's checked the time. Wigs' sets at Meanwhile have become the stuff of whispered recommendation: progressive, modern, emotionally intelligent selections that build through patience rather than force. This EP is the studio distillation of that philosophy. Four tracks. No filler. Each one: unfurling. The reward comes for those who wait. The groove reveals itself in layers. The pulse becomes a feeling you can't quite name but recognise immediately, that elastic stretch of a summer evening when time loses its edges.
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Second Circle returns with a reissue of ‘Rainsong’ by Gus Till, presented here alongside a new remix from Japanese producer Kuniyuki Takahashi.
Originally emerging from Melbourne’s post-punk and new wave underground in the late 1970s and early 1980s, Gus Till has spent more than four decades navigating a remarkably diverse musical path. From early electronic experimentation with Third Eye alongside Ollie Olsen, through a pivotal role in the formative years of the global psy-trance movement and collaborations with artists including Michael Hutchence, System 7, Manu Dibango, Todd Terry and Bim Sherman, Till’s work has consistently resisted easy categorisation, moving fluidly between ambient music, downtempo, house, trance and psychedelic electronica.
First released on Japan’s Dakini Records in 2006, ‘Rainsong’ captures many of these threads in a single expansive composition. Built around a pulsating bassline, layered live percussion and soaring vocal elements, the track sits comfortably between the dancefloor and more immersive listening environments. Unfolding patiently across nearly thirteen minutes, it combines hypnotic rhythmic momentum with a rich sense of atmosphere and musicality.
For the B-side, Kuniyuki Takahashi offers a distinct reinterpretation of the original. His remix gradually unfolds from a patient introduction into a deep and richly textured exploration of the track’s core themes. Subtle spatial processing, nuanced arrangement shifts and his unmistakable sense of atmosphere transform the source material while preserving its emotional core.
'Rainsong' will be released digitally and on vinyl through Second Circle on July 29th. Sleeve art and design by Michael Willis.
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New 2026 Remix
Sun-drenched groove of the Caribbean meets the sensual pulse of Detroit house: “Kryé Mwen”, the standout hit by David Walters produced by Patchworks, finally available on 12" with a brand new Disco Club remix.
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The recordings on Volume II were captured in Copenhagen, Denmark on January 18, 2020. Guided as much by human instinct as by musical intention, the ensemble moved through the evening with a shared sensitivity…listening, responding, and trusting the moment as it unfolded. Though Morten McCoy admits to having felt quite ill that evening, nothing in the music suggests restraint. Instead, what remains is a vivid, playful exchange, where McCoy and Johannes Wamberg carry both Part I and Part II as a flowing conversation, speaking through sound rather than words.
Part I begins abruptly, almost throwing the listener back in time to the exact moment the improvisation was born. Jonathan Bremer steps to the forefront, providing a solid, melodic bassline as Kristoffer and Eliel, perfectly in sync, lay down a steady foundation for whichever voice chooses to rise above the rhythm.
This is also one of the few I Am An Instrument recordings to feature two guitarists. Johannes Wamberg leads the way, shaping the harmonic direction, while Steven Jess Borth II adds subtle rhythmic textures through muted palm work, deepening the groove without ever stepping into the foreground.
Part II unfolds with Morten McCoy on his Moog One, delivering a beautiful, expansive solo. Using a carefully chosen patch, the sound pulses through the rhythm, moving with the groove rather than above it, riding the beat like a wave through the ocean.
Shaped by trust, presence, and collective improvisation, Volume II captures a group deeply attuned to one another, allowing intuition and momentum to guide the unfolding form.
——
Volume III was recorded in Copenhagen on March 5, 2020. Little did anyone know that only days later, the world would be placed on pause for years. Captured just before that moment of global stillness, this session carries a heightened sense of presence, a final gathering before silence reshaped everything. Recorded in a space more commonly associated with a club atmosphere, the music draws on a different kind of energy and immediacy. With Eliel Lazo unable to attend, the group invited Victor Dybbroe of Girls In Airports to join on percussion, subtly reshaping the ensemble while preserving its core spirit. Part I opens with Steven Jess Borth II calling out on tenor saxophone, answered by Morten McCoy on Wurlitzer electric piano. The piece gradually unfolds into a meditative groove, patient and expansive, carrying the listener through an eight-minute journey of layered rhythm and restraint.
Part II begins with Jonathan Bremer on stand up bass, slowly joined by the rest of the ensemble as each voice enters with intention. Midway through, an unexpected vocal melody from Borth emerges, drenched in reverb and delay, later reappearing as a melodic line on the tenor saxophone.
Part III is led by Morten McCoy on Wurlitzer electric piano. His signature melodic language sets the direction, guiding the ensemble while leaving ample space for the music to breathe and evolve through collective improvisation. Reprise returns to the closing moments of Part II, its title reflecting its origin. The familiar groove reappears, transformed into a distinctly Jamaican-influenced rhythm, over which Borth delivers a final tenor saxophone solo, bringing the conversation to rest.
Any questions about any of these products feel free to get in touch and we'll help you out!
a a1. Part I [Vol.2]
[b] a2. Part II [Vol.2]
[c] a3. Part I [Vol.3]
[d] b1. Part II [Vol.3]
[e] b2. Part III [Vol.3]
[f] b3. Reprise [Vol.3]
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PROPER TECHNO ONLY. RM29 IS COMING. Amsterdam-based mastermind JSPRV35 makes his debut on Renegade Methodz with 'Aktivist'. 6 tracks of deep, banging and relentless loop-driven techno cut onto heavy vinyl. Mastered at Hardgroove, cut by Misjah. Pure dance-floor impact.
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KSRX003 introduces French producers Benales and Clotur. On the A-side, Benales delivers direct, groove-led tracks with solid low-end and tight drums, built for club use. On the B-side, Clotur takes over with a deeper, more hypnotic approach and a raw edge. The B2 switches to breakbeat, adding a different angle without losing flow. Straightforward tools for the floor.
Renascent' marks the long-awaited return of legendary Manchester outfit The Durutti Column, their first new studio album in over fifteen years, produced by Keir Stewart.
Around the guitar work of Vini Reilly, the album plays between sonic atmospherics and structure: warm ambient washes, piano, beats and guest vocal turns by a new generation (Caoilfhionn Rose on " Agonistes" and Lucas Elliot on CD bonus track "All they See is Fire ).
Both contemporary and otherworldly, and with a swathe of new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis), 'Renascent' is a timely and vital rebirth for The Durutti Column.
Artwork by long-time collaborators 8vo (who have worked with the band on many of their releases) and have joined forces again for this project
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Last delivered 42 days ago available to reorder, subject to availability
To celebrate the Ellis Dee Month we have repressed Ellis Dee Project Part One, a release that is iconic within the rave scene and one we are always being asked for. Originally put out in 1992 as a self-released 12" by Roy himself, we repressed it for him back in 2019 on black vinyl, that pretty much sold out straight away via Kickstarter, which is how we use to press releases back then. There was a very small repress a couple of years ago on a marbled grey vinyl, but again, that sold out straight away. Grab fast as they will sell out!
Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.
"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”
Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.
Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.
“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.
“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.
The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”
It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."
Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”
Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.
The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’
The Body"s landmark record Master, We Perish, originally released in 2013, found the acclaimed duo at a crossroads in their career. Recorded just before the duo of drummer Lee Buford and guitarist/vocalist Chip King were leaving their longtime home of Providence for Portland and released in between their breakthrough albums All the Waters of the Earth Turn to Blood and Christs, Redeemers, Master expanded on the duo"s love of layered worldbuilding with more precision and a stronger emphasis on percussive samples than ever before. The seeds of the duo"s celebrated collaborative inclination are evident as the album features Assembly of Light Choir leader Chrissy Wolpert, choir member Reba Mitchell, Otesanek vocalist Leslie Weitz, and guitarist David Lifrieri. With the expanded edition, the album"s striking cover painting by Providence mainstay Manifester aka Matt Brinkman (Mindflayer, Forcefield) is finally rendered in its original form. Master, We Perish is expanded with rare bonus tracks from The Body"s early days, taken from a pair of rare 7" singles Cop Killer/Dead Cops as well as a split with Get Killed. These storied singles mark the first time the band truly pushed the boundaries of sound in the studio and on record. It also marks the beginning of The Body"s practice of wielding the studio as a veritable weapon to translate their gargantuan sound with deeper impact on LP. The results are not only pushing the capacity of the album format but are sonically riveting. The bonus material was recorded at Machines with Magnets. The band described them economically: "NASTY."
The Body"s landmark record Master, We Perish, originally released in 2013, found the acclaimed duo at a crossroads in their career. Recorded just before the duo of drummer Lee Buford and guitarist/vocalist Chip King were leaving their longtime home of Providence for Portland and released in between their breakthrough albums All the Waters of the Earth Turn to Blood and Christs, Redeemers, Master expanded on the duo"s love of layered worldbuilding with more precision and a stronger emphasis on percussive samples than ever before. The seeds of the duo"s celebrated collaborative inclination are evident as the album features Assembly of Light Choir leader Chrissy Wolpert, choir member Reba Mitchell, Otesanek vocalist Leslie Weitz, and guitarist David Lifrieri. With the expanded edition, the album"s striking cover painting by Providence mainstay Manifester aka Matt Brinkman (Mindflayer, Forcefield) is finally rendered in its original form. Master, We Perish is expanded with rare bonus tracks from The Body"s early days, taken from a pair of rare 7" singles Cop Killer/Dead Cops as well as a split with Get Killed. These storied singles mark the first time the band truly pushed the boundaries of sound in the studio and on record. It also marks the beginning of The Body"s practice of wielding the studio as a veritable weapon to translate their gargantuan sound with deeper impact on LP. The results are not only pushing the capacity of the album format but are sonically riveting. The bonus material was recorded at Machines with Magnets. The band described them economically: "NASTY."
The Alan Parsons Project"s critically acclaimed, multi-million selling album "I Robot" (1977), is reissued in this 2LP 180gm heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios, November 2024 on a customised Neumann VMS 80 lathe at half speed using high-resolution archive transfers that were made from Eric Woolfson"s rarely played mint condition duplicate masters. The album was a worldwide hit selling in excess of two million copies, achieving platinum and gold status in numerous countries including the USA, Germany, Australia and Canada.
"Nach der Veröffentlichung ihres von der Kritik gefeierten Debütalbums ""From The New World"" im Jahr 2024, das gesellschaftlichen Zusammenbruch, Überleben und Menschlichkeit durch eine fiktive postapokalyptische Linse beleuchtet, haben Allt ihr zweites Album ""Ataraxia"" angekündigt.
""Ataraxia"" markiert eine neue Phase in der Entwicklung der Band: Das Album ist in der Realität verankert und schöpft direkt aus dem Leben der Bandmitglieder, wie persönlichen Tragödien, Beziehungen, Erschöpfung, Sehnsucht, Rückfällen, Klarheit und den Momenten dazwischen. Die Songs fungieren als Fragmente von Erinnerungen und Gemütszuständen und bilden eine Anthologie der Reise hin zur Stille. Das Album stellt ""Ataraxia"" als einen Ort der Sehnsucht dar: Es ist kein Endpunkt, sondern ein Zustand, dem man sich nähert, den man für einen Moment bewohnt und oft wieder verliert.
Musikalisch entwickeln Allt ihren charakteristischen Sound des modernen Progressive Metalcore weiter und legen dabei größeren Wert auf emotionalen Raum und Zurückhaltung. Die Aggression bleibt bestehen, steht nun aber in direktem Dialog mit Verletzlichkeit. Das Ergebnis ist Allts bisher intimstes, menschlichstes und ehrlichstes Werk. ""Mit 'Ataraxia' wollten wir aus dem Ort heraus schreiben, an dem wir tatsächlich leben. Diese Songs sind Fragmente und Nacherzählungen unserer eigenen Erfahrungen, der Last, die wir getragen haben, der Dinge, die wir gesehen und getan haben, und dessen, womit wir auf unserem eigenen Weg zur Reife als Menschen und zur Suche nach Frieden und Stille in unserem Leben konfrontiert waren. Bei 'Ataraxia' geht es darum, zu lernen, in allem, was sich in deinem Leben entfaltet, präsent zu bleiben.""
Allt ist eine 2020 gegründete Progressive-Metalcore-Band aus Karlskoga, Schweden. Bekannt für ihr audiovisuelles Storytelling und ihren innovativen Ansatz im Metalcore, spiegelt der Name Allt - was auf Schwedisch ""alles"" bedeutet - die Philosophie der Band wider: sich niemals auf Genregrenzen beschränke"
Roh, laut und kompromisslos: Los Problemas aus Santiago de Chile liefern mit ihrer neuen 4-Track-Single puren Oi!/Streetpunk voller Working-Class-Spirit, Straßenpoesie und rebellischer Energie. Zwischen Nostalgie, Wut, Loyalität und durchzechten Nächten erzählen die Songs von echter Straße statt falscher Romantik - direkt, ehrlich und ohne Filter. 4 Track 7inch black Vinyl 300 Stück mit Einleger Smith & Miller Records SMR EP013
“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”
King Kashmere is an experimental musician from North West London.
Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.
After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.
A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.
“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”
King Kashmere is an experimental musician from North West London.
Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.
After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.
A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.
