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180g Heavy double vinyl LP with liner notes by Tyran Grillo. Limited Japanese Obi for the first pressing. Original artwork by Russell Mills and photography by Jean-Baptiste Mondino.

The third Time Capsule is a body of dub reinterpretations by celebrated producer Bill Laswell of Ethiopian singer Gigi. Curated by Tokyo record collector, music researcher and seasoned reissue supervisor Ken Hidaka, it is the first time Illuminated Audio is pressed to vinyl after its CD release in 2003.

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell.

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.”

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”.

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents.

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’.

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell's music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.

Back in print. Mirimur vinyl issue of the 1981 dub classic by Scientist, easily one of his best.

180g vinyl, excellent quality pressing

Taking place in the Paras district, Cangallo province, in the Ayacucho region of the Central-South Sierra of Peru - this is a recording of a ritual held on February 5th 2020 for the one year anniversary of the death of Mrs. Sofía Miranda de Bellido, recorded by her grandson Hánkel Bellido.

At noon the coffin of "Mamay Sofía" was presented, so that her relatives could say goodbye for the last time. Following tributes from family members, these songs dedicated to her life and her passing were sung.

The townspeople were notified of the events by the sound of bells that produce a peculiar and powerful sound, and that can be heard in the other nearby towns of Paras. It is said that these bells were greased with human fat, and brought from the Cerro de Pasco region during colonial times. The bells must be played all morning until the change of mourning takes place.

At midnight the songs of the Almakunapaq (also known as San Gregorios) mass began. These are unique to the Andean peoples - a fusion of Andean and Christian syncretic traditions - and are said to help the dead to enter the eternal Kingdom.

It was 4am when the change of mourning took place, and in accordance with traditions, the friends & family announce the presence of harp and violin players, to liven up the proceedings with songs of joy and merriment until the next day.

"Mamay Sofia, manan wañukunkichu, kawsakuchkankim sunquykupi; sichus qunqarusqaykiku, chaymi ichaqa wañukunki!"

"I have not died, I will die on the day that you forget me!"

To celebrate the 10th anniversary of the iconically brutal-yet-stylish Hotline Miami, the head honchos at Devolver Digital, Dennaton Games and Laced Records picked up the phone and made the call to bring back two killer soundtracks to vinyl.

This Standard Edition of the Hotline Miami 1 & 2: The Complete Collection 8LP box set includes traditional black vinyl.

Every in-game track from Hotline Miami and Hotline Miami 2: Wrong Number is present and correct, including Castanets’ “You Are The Blood” (not previously available via the HM2 Steam soundtrack release.) 76 tracks remastered for vinyl will be pressed to heavyweight LPs that come in spined inner sleeves, contained in a rigid board lift-off lid box with spot UV highlight.

Also included in the box are two 12” art prints of the front and back cover pieces, and a 50 Blessings symbol felt slipmat and metallic sticker.

The box set features brand new eye-exploding artwork by long-time Dennaton collaborator Niklas Åkerblad — aka El Huervo aka Beard — alongside illustrator -IZMA-. El Huervo’s grisly covers depict contradictory accounts of a berserk face-off between Jacket and Biker, replete with entrails. -IZMA-’s disc sleeves explore scenes from the series’ lore, tapping into the violence, psychedelia and nihilism that pervade its characters and themes.

10 years on, neon-soaked indie hit Hotline Miami has become a cultural touchstone in a way that few video games ever achieve — and the electronic soundtracks for both series titles are held up as modern classics that have transcended gaming. At turns brutal and laid-back, pulsating and aimless, coked-up and checked-out, these two ultracool compilations were at the heart of the retro-’80s synthwave scene that swept the Internet over the 2010s.

Spiritual, intimate and revolutionary, yet firmly rooted in Brazil's folklore. Africadeus was the breakthrough album of the mighty Naná Vasconcelos, in which he discovered the berimbau to the world and took the instrument to a universal level, abstracting it from its original context of capoeira. Having played in the shadows for other artists such as Milton Nascimento, Gato Barbieri or Som Imaginario, Naná is here finally in the spotlight.

Recorded in 1973 in France for Pierre Barouh's Saravah label, this is the album that definitely imprinted Naná's name in the international scene, on his track to becoming one of the best percussionists of all times.

Immensely proud to offer a quality reissue of both his early 70s albums for the French label Saravah.

Africadeus comes in its original gatefold cover, and is available in standard black vinyl and a limited edition of 200 copies on red transparent vinyl.

The Nu’rons were a family group consisting of two sets of brothers and cousins, the four young men in question being brothers Daryl Howard and Raymond Gibson (Daryl’s mother registered him under his father’s surname of Howard and Raymond under her maiden name of Gibson) together with Otho Bateman and Charles Bateman. They were all born and raised in Salem, New Jersey and from the age of ten and eleven began singing with a fifth member and Gibson brother Rudolph as a group called The Gospel 5. They eventually decided to crossover to secular music and as a group known for their energetic dance routines they came up with the new performing name of ‘The Nu’rons’ (taken from the word ‘Neuron’ which is a cell that transmits nerve impulses). However Rudolph was soon to leave the group due to physical illness. Also Daryl Howard and Charles Bateman had also been part of a working group known as The Devotions prior to becoming The Nu-Ron’s.Following hours of practice The Nu’rons eventually felt confident enough to put their own shows together and began to perform at local dances and parties around New Jersey and Philadelphia, often being used as a non-paid warm up act for bigger named artists. They moved between several different managers including Jimmy Bishop (Duo Dynamic Productions) until they came under the tutelage of WDAS radio DJ Georgie Woods (his wife Gilda, being the owner of the Philadelphia Gil, Dion and Top & Bottom record Labels). It was Georgie who introduced them to Manny Campbell who in turn invited them to an audition at his and partner Charles Bowen’s Emandolynn Music studio in Chester P.A. The song The Nu’rons chose to audition with was the self penned “I’m A Loner”, the audition went well, as during late January/early February of 1970 Manny and Charles took The Nu’rons into the Sigma Sound Studio’s with Tom Bell and the TSOP musicians to record “I’m A Loner” and “All My Life” which was released on the Nu-Ron label in April of the same year. The two studio takes presente don this release came short after the band moved on from the collaboration with producer Emanuel Campbell to take music matters in their own hands. Beside recording "Disco Hustle" to be part of the disco boom in Philly of the times, they recorded also “You Came Thru”, a rough yet beautiful heavy bassline driven soul funk recording, and the just amazing “Hurry Up Tomorrow”, here presented in one of the original Studio takes.

Best Remixes is an album by Two Brothers On The 4th Floor, released in 2023. Best Remixes includes a.o. the following tracks: “Dreams 2016 (will Come Alive) (louis Bailar & Dimitris Kops”, “Dreams (will Come Alive) (twenty 4 Seven Remix)”, “Do You Know (where You're Going To) (ferry Corsten Remix)”, “The Sun Will Be Shining (ferry Corsten Remix)” and more. The album is a Coloured Vinyl, High Quality, Gatefold Sleeve dance 2-LP.

Genesis' Foxtrot is the band's fourth studio album, released in 1972. Regarded as one of the seminal albums of the progressive rock genre, it marked a significant milestone in Genesis' discography.

AllMusic's Stephen Thomas Erlewine says Foxtrot is where where Genesis began to pull all of its varied inspirations into a cohesive sound. The startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power, he writes, giving the album a 5-star review.

"There's might and majesty here, and it, along with 'Get 'Em Out by Friday,' is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer "Supper's Ready," a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose." — AllMusic

This is the rare art-rock album that excels at both the art and the rock, and it's rightly celebrated for its enduring impact on the progressive rock genre, making it an essential listen for Genesis fans.

Analogue Productions has given Foxtrot the deserving full reissue treatment: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Chicago's finest lyricist MC Juice, infamous from the mid 90s from beating Eminem in the Rap Olympics, is back with a scorching 9 track EP (3 instrumentals and an accapella included) on 12" vinyl! Following on from his two 45s on Nobody Buys Records and well as the hit album The Man, all of 3 of which rapidly sold out this is some of Juice's best work displaying his razor sharp wordplay and effortless flow to its fullest. The sound scape provided by Bankrupt Europeans for their 3rd collabo with Juice ranges from the upbeat & funky original version of All Day to the murky oboe of its remix, the dramatic strings on Where You Go and the sinister vibes of Unseen, in short, the perfect set up for Juice to get loose! We are beyond excited to be delivering some of MC JUICE’s finest ever work and there is a general feeling around Nobody-Buys-Records HQ that this may just be our finest release yet. Between the absolutely incredible artwork by the immensely talented Big Crunch, the beautiful marble vinyl, and the exquisite beats and rhymes, this EP is quite simply the perfect summer package. As always, every record is hand numbered!

PeelingFlesh - The G Code Since their 2021 inception, Peeling Flesh have quickly emerged from the underground amidst a flurry of electrifying live shows. A reputation for utter carnage and a rabid fanbase created real hype. With a genuine crossover appeal rarely seen in the genre, PF seem to entice fans from all spectrums of extreme music fandom. After the band released a string of EPs leading to their signing by Unique Leader Records, tours with Devourment, Jesus Piece, Sanguisugabogg and many more paved the way for their latest offering…. The fastest rising band in modern slam return with their eagerly awaited new album ‘The G Code’. Featuring guest appearances from Despised Icon’s Alex Erian & Steve Marois, Cold Hard Truth’s Tim Louth, Matti Way (Ex - Disgorge/Liturgy/ Abominable Putridity) and more, ‘The G Code’ is a mixtape style record that invokes both nostalgia and forward thinking. A modern classic,

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

AUDIO VERSATILE RECORDINGS is an independent record label dedicated to producing and promoting high-quality electronic music. With a passion for discovering and supporting unique artists, Whether you're an artist looking for a label or a listener seeking fresh, cutting-edge tracks, Audio Versatile Recordings is your destination for diverse and dynamic electronic music.

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

“Onomatopeikoa II” follows on from Irazoki's 2017 Gitarra Onomatopeikoa release, and that album's sense of untethered, questing curiosity is not only carried over but expanded upon even further here. Combining a fully committed approach to the guitar with an almost egoless lightness of touch, this album builds upon the already impressively scopious range of Gitarra Onomatopeikoa to dizzying effect.

Irazoki makes full use of an impressively broad palette. Yet nothing feels forced, nothing is for show – there’s just a sense of open-hearted generosity.

In lesser hands such a whirlwind tour of style and form might risk failing to get its hooks in deep enough, yet not only does Irazoki have the imaginative scope to tackle these varying approaches to the instrument, he has the technical chops to pull it off. Each composition seems to have an openness of intent that is utterly disarming; all cards are on the table and nothing is held back, resulting in a creative tour de force that builds, piece by piece, to a unifying cohesiveness that makes the whole far greater than the sum of its parts.

Featuring contributions from long-time OTO favourites Rhodri Davies and Raphael Roginski,

“Onomatopeikoa II” is nevertheless unmistakably a work of singular craft and vision.

FFO: Jeff Parker, Loren Connors, Keiji Haino

Limited edition vinyl of 250 copies

presented by Hegoa with a cover designed by Pablo Mirón.

Crypt of the Wizard is proud to present Scimitar – Scimitarium I on vinyl and digital formats. Formed in 2024 by veterans of Copenhagen’s underground music scene—including members of Slaegt, Endless Glory, and Shaam Larein—Scimitar arrives as a fully formed force of nature. In their raucous wake lies Scimitarium I, a frenzied, whirling dervish of black occult rock. For those familiar with the members' previous efforts, this should come as no surprise. This piece of musical alchemy is a perfect knife-edge dance, seamlessly blending elements of black metal, post-punk, and occult rock. Dark and serpentine, onyx black, scaled and sacred, Scimitarium I unfurls itself like an endless snake wrapped tight around the world. With a dark heart and a head full of fever dreams, this is an album of breathless intensity. Shaam A.’s constant presence provides an abundance of rich, overflowing lyrics, delivered in her distinctive and haunting voice—written as if hurriedly scrawled in feverish reverie—and reinforced by winding, twisted narratives played out on violent yet harmonic duelling guitars, alongside a rhythm section of unyielding intensity. Scimitar has quickly become an indelible part of the city's fertile and ever-evolving metal scene—a place where stalwarts continue to push boundaries and break moulds with seemingly effortless zeal. This is an album of forged perfection, honed and sharpened like a curved blade—shimmering with lethal precision—driven straight into the heart of all matters

'Tense from the first note and decisively uncompromising ‘GHSTING’ is the debut collaboration by Polish artists Alex Freiheit and Aleksandra Słyż, an incredibly unique piece of work that mixes fiction, spoken word poetry, theatrical antics, dense synthesis, acoustic ensemble and dark landscapes all set within the backdrop of a sinister Eastern Europe hotel. The resulting sound is menacing, humorous, harmonious, tumultuous, and at times quietly erotic.

Alex Freiheit, a poet and vocalist, is widely recognized for her captivating work with the SIKSA duo. Over the past decade, she has delved into the realms of personal feminist storytelling, postmodern fairy tales, and queer legends, crafting unique and thought-provoking narratives. In this groundbreaking collaboration with talented composer Aleksandra Słyż, they are now delving into the herstory of lies and exaggerations, extracting the raw essence of these tales filled with stench, stains, secretions, and torn organs. Eyeless Freiheit haunts the hotel guests while dressed in a binder and holding a bottle filled with a corrosive substance. She shares compelling stories about the hidden activities and other secrets that unfold within the walls of hotels when no one is watching. Her gripping narrative is complemented by equally haunting and eerie music. Słyż divides the text into four chapters, skillfully intertwining synthetic and acoustic elements. She combines the sounds of synthesizers, woodwind and percussive instruments with vocals, creating a tense, dynamic soundscape. Freiheit’s voice possesses an earnest quality, where a frightening cadence suspiciously flips into a meditative cycle.

Together, Freiheit and Słyż have crafted a bold and suggestive story that feels like the mesmerizing soundtrack to a contemporary Eastern European horror film, captivating an essence that is hard to pinpoint but instantly recognizable. This is abstractly powerful music that pushes listeners into a kaleidoscopic spiral that channels ecstatic over loss.

Focus Track: Bear Hill Album Description: Raekwon’s The Emperor’s New Clothes is a sharp return to form, showcasing the Wu-Tang veteran’s lyrical precision and timeless street wisdom. The album is powerful with equal parts - high-quality bars and carefully sculpted production. Raekwon recruits a stacked lineup of guests, including Nas, Griselda, Method Man, Inspectah Deck, and Ghostface Killah, injecting the project with gritty energy and legacy chemistry. Marsha Ambrosius and Stacy Barthe provide smooth, soulful hooks, adding emotional layers to the hard-edged verses. Production comes courtesy of Nottz, Swizz Beatz J.U.S.T.I.C.E League and more. The LP is a reminder of Raekwon’s enduring power as a lyricist and curator. A veteran artist showing that mastery doesn’t need excess. The Emperor’s New Clothes is regal, streetwise, and sharply tailored for those who value craft.

Now, following great acclaim for Volume 1, CTR is proud to unveil another equally eclectic Post-Punk Era Selection Compiled by Jason Boardman ( Before I Die Records) Celebrated Manchester club-night curator & record Label Owner , DJ & digger - supreme.

A second compilation of late 1970s / early 1980s Post-Punk era bedroom & small studio innovations & DIY Inspirations - Featuring more rarely & never heard cuts from that period. Including tracks from the enigmatic Prana, Blank Students, Janet Armstrong & The Native Hipsters ..A rich vein .

Jason Writes Of Volume 2 :
"It was a delightful shock that No Ones Listening Anyway Volume One was so well received - thanks to everyone one who bought & enjoyed it. This led to John asking me to collate Volume Two, so here it is.

This time all the material was recorded & released in the UK between 1978 & 1984.

I was conscious that there was minimal female energy on Volume One so have tried to rectify that here on Volume Two. I have also tried to make it as varied as possible with none hit wonders, oddities, collectables, under the radar B-sides & a couple of previously unreleased on vinyl selections."

New single by Romperayo on 7-inch vinyl spinning at 45 rpm, released by the Austrian label discos
elgozo.
This record is a tribute to the sound of Cumbia Sabanera de Acordeón from Colombia, in dialogue with
Mexico’s Cumbia Sonidera. It also pays homage to the melodic line of the first generation of
Colombian accordion masters of Cumbia Sabanera such as Joaquín Betín, Emiro Caicedo, and
Policarpo Calle.

The two tracks are built on a solid rhythmic foundation of bass and percussion, accompanying a
melodic interplay between accordion and analog synthesizer.Mixed and produced by Pedro Ojeda Acosta at Romperayo Studios, both songs were recorded live, in
quartet format, at Mambo Negro Studios in Bogotá, Colombia, by Daniel Michel, featuring Iván
Medellín on accordion, Nicolás Eckardt on electric bass, Juan Manuel Toro on analog synth, and Pedro
Ojeda on percussion.
This single offers a first taste of Romperayo’s upcoming LP, set for release in early 2026 — once again
on discos elgozo.

Limited Edition of 1,000 Hand-Numbered Units on Ruby Red Vinyl. Includes never heard before audio and lyrics printed on heavy board inner sleeves!

40 years later - and still no one does it like this. We’re celebrating the unstoppable legacy of one of hip-hop’s most iconic collaborations: Doug E. Fresh and Mc Ricky D (now globally known as Slick Rick) “La Di Da Di" along with the pop dance tune "The Show."

From its very first breath, this track reshaped sound, style, and storytelling — a cultural moment that became a timeless movement. Decades on, its influence is everywhere: sampled, quoted, reimagined — but never duplicated. “La Di Da Di”and “The Show” didn’t just belong to an era — they created one.

To mark this monumental anniversary, the Hip-Hop legends decided to drop a limited 12” 40th Anniversary Edition. The release features the original versions of “La Di Da Di” and “The Show” - plus a rare demo of "The Show" as well as an unreleased street version of "La-Di-Da-Di" recorded live from The Lincoln Projects in Harlem NY) that take you deeper into the sound that started it all with the Get Fresh Crew.

Dez Andrés, Detroit’s underground legend and genre-blurring maestro is back with another batch of reworked old skool bangers.

Since the late '90s, Dez has built a respectable catalog that blurs the boundaries between genres. One of motor city’s most prolific artists, his music can be summed up in one word: quality. Now he returns to DFM with a two-sided heater.


Dez flips Odyssey’s classic Native New Yorker into a gritty dembow style club weapon. With iconic vocal lines and signature piano riff, Dez injects his signature bounce and percussive punch, turning this disco anthem into a raw dancefloor destroyer.
Diving deeper, Dez revives Dr. Buzzard's Original Savannah Band’s classic Sun Showers, transforming it into a rhythmic, power groove tailor-made for sweaty basements, rooftop sets and smoke filled dance floors on red-lit nights that refuse to end.

Emotional Response presents the first of 2 EPs by Laura Sparrow aka LNS, the Calgary raised, Berlin based producer and DJ with 8 acid-tinged cuts that are equally expansive and inspiring, personal and inventive.

After her debut Malinge Range (cassette) on fellow native Canadian 1080p label in 2016, LNS moved to Berlin and has released a steady stream of 12”s, exploring ambient, dub, electro and techno. Initially appearing on Vancouver émigré’s Jayda G’s (alongside Fett Burger) Freakout Cult label before settling at DJ Sotofett’s cult WANIA label and more recently on the legendary and ‘original’ German techno label, Tresor.

A love of the Roland TR-303, alongside deep diving into breakbeat creation, manipulation, mutation and production, plus some intrepid mixing and post-production assistance, development and support with DJ Sofofett, have led to a collection of some of her favourite music to date.

LNS-ID 1 and LNS ID 2 are the result. Recorded during a burst of creativity through dedication, new studio equipment and learning techniques, as well the necessity of artistic expression in the moment.

Two sets of four tracks based on the acid tradition in the more restless corners of 90s and early 00s Braindance. Acid lines drive the melodies, while drums move between sliced break fragments and the familiar sounds of the Rolant TR-606 and TR-808.

Pads drift in with a warm glow or at times, quiet ghostly tension. The results are music that leans towards atmosphere and memory, something almost nostalgic that was built for those of us who still chase the more expressive edges of acid.

Emotional Response presents Volume 2 of the LNS-ID series. Atmospheric, infectious, at times nostalgic, warm yet ghosty, the tension of Laura Sparrow’s music is her exploration in electronic music.

An introduction to DJing and music production has been a natural progression, applying skills in new and fresh formats. Built on the heritage of Chicago and Detroit house, alongside old IDM and electro, her first productions might have been raw, but the creativity was lit.

While her recent productions have explored club orientated, loud cut records, in collaborations with DJ Sotofett, that represent the sound found in her residency on the Globus floor at the Tresor club, LNS’s interest in the solo productions of the LNS-ID recordings and more organic-style explored in the recent Misiats EP burns bright.

LNS-ID 1 and LNS ID 2 are her latest offering. Two sets of four tracks based on the acid tradition in the more restless corners of 90s and early 00s Braindance. Acid lines drive the melodies, while drums move between sliced break fragments and the familiar sounds of the Roland TR-606 and TR-808.

Pads drift in with a warm glow or at times, quiet ghostly tension. The results are music that leans towards atmosphere and memory, something almost nostalgic that was built for those of us who still chase the more expressive edges of acid.

Easygoing Acid Express, Alive Acid, Blue Acid and Gentle Acid. Get the message. We call it Acid.

Glenn Underground is the founding member of the Strictly Jaz Unit. He was raised on disco classics and freeform jazz in Chicago's Southside, the place where house music was born. Taking inspiration from Chicago's original pioneers, Larry Heard, Ron Hardy, Lil' Louis, and the like, Glenn has produced many sought after house gems for some of the most well respected deep house labels such as Prescription and Guidance.
The Jerusalem EP's, GU's second album for Peacefrog originally released in 1997 still sounds so fresh, so deep and so soulful. Blending jazz-tinged chord progressions with sax accents, and rolling basslines the album evokes the sound of late-’90s hypnotic Chicago house.
Timeless, quality, underground house music for the mind, the body and especially the soul.

Instant House returns with their long-awaited second 7-inch release, from one of the most respected and underground names of the 1990s deep house era. This essential edition features the out-of-print yet highly sought-after remix of “Hat Hat”, reimagined by the legendary Joe Claussell, a deep, spiritual reconstruction that stands as a true collector’s gem. On the flip side lies the timeless Instant House classic “Mellow Out,” a defining deep house cut that captures the pure essence of the early ’90s movement. Pressed in limited quantities, this 7-inch is a must-have for true deep house collectors and admirers of Instant House and the golden era of late ’80s / early ’90s underground house.

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records, received a Taite Music Prize nomination and saw them win Best Group at the 2025 Aotearoa Music Awards. They’ve toured extensively, sharing stages with the likes of Queens of the Stone Age, IDLES, Acid King, Brant Bjork and Kikagaku Moyo. With Dungeon Vision, Earth Tongue deliver their most immersive work yet, a richly human, fuzz-soaked journey that bottles the magic of their live show and cements their reputation as one of the most exciting psych rock acts on the planet.

“One foot out the door, another in the otherworld…”
So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in.

Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once.

Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting.

On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind… in decline, I take my time…” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up.

In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday…” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take.

Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.

"Delegation is a British soul, funk, and disco band known for their success across Europe, though they remained
relatively under the radar in the U.S. Formed in 1975 by Jamaican singer Ricky Bailey, the group’s music quickly
gained traction with their first single, ‘The Promise of Love’ and follow up ‘Where Is the Love We Used to Know’
became a hit in Britain. Despite frequent lineup changes, Bailey was a consistent member throughout as the band
recorded much of their music in London, including their popular Eau de Vie album in 1979. The band continued
to evolve until the early 1990s and put out new music back in 20121. This is a comprehensive Best Of across two
sides of coloured vinyl."

Melchior Productions Ltd. returns to his own My King Is Light imprint with a brand-new 12″—this time alongside Romanian-Russian pianist-producer Mischa Blanos, one third of the acclaimed Amorf trio, Jupiter Tracks pt. 1 is a beautiful record, deep and emotional, as if beamed in from another world—yes, Jupiter.

Across “Push,” “First Eva,” and “Spirit Of 23,” the pair interlace meticulous programming and crystalline sound design into an ever-shifting strain of minimal house. Dispensing with overt drama, the EP zooms in on nuance: textures flicker between digital shimmer and tactile grit, while Melchior’s trademark restraint leaves ample space for Blanos’s melodic Midas touch to radiate quietly.

Crying Outcast returns with its third release, landing close to home with legendary dub innovator The Rootsman. Bradford’s own and a true pioneering force in experimental dub since the 90s, The Rootsman’s influence runs quietly but deeply through the underground. Roots Return gathers three essential works from his catalogue, including collaborations with Celtarabia and Russ (The Disciples) as Pachakuti, alongside a light-headed reinterpretation from label head Miles J Paralysis. Spiritual and subtly psychedelic, yet deeply rooted in dub tradition throughout, drawing on influences from Pakistani devotional hymns and Celtic folk traditions. An essential modern day EP, displaying a meeting point between the heritage and the future sound of dub music.

East London's Jeigo works alongside North London perfume house Nosu on this quietly inventive release from Fleurella Records that extends beyond the usual club framework and intertwines scent and sound. Opener 'Placid Shimmers' drifts between organic house, lo-fi ambient and introspective worlds with swung rhythms and soft focus synths, while 'SPF 50' leans into melancholic breaks and 90s IDM echoes. It feels delicate but still moves you and is where texture and mood carry the groove into something subtly uplifting and tactile. A beatless version of the opener is included for pure dreamy escape.

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark.

The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play. Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows.

It’s taken Sealed records more than five years to put this release together but finally it’s here. The one and only Bikini Mutants. The Bikini Mutants were from Yeovil, Somerset and part of the All the Madmen world. In their short life as a band they recorded two demos at Monitor Studios, Milborne Port in Somerset in 1982. Let's Mutate collects these two demos on one LP, along with a 20 page booklet featuring photos, lyrics, reviews, interviews and much more. The band played mostly in Yeovil and the West Country along with the Mob and the Review, and even though they were part of the West Country anarcho scene, the sound was a mix of scratchy post punk and indie pop. Members of the band went on to be in My Bloody Valentine and the Chesterfields. The songs are intricate, delicate and engaging with the drums and bass locked in, the fuzzed out guitar weaving on top and Christine Cole’s angelic voice taking each song to pop heaven. Think a mix of Girls at our Best, Au Pairs and the Marine Girls.

"Time Is Slipping Away is an album by American R&B/jazz fusion producer, composer, keyboardist and vocalist Dexter Wansel. It is the last of four studio albums released at Philadelphia International Records. The album contains songs with different styles from P-funk to sophisticated quiet storm music to instrumental jazz-funk. It features the two popular songs ""The Sweetest Pain"" and ""I'll Never Forget (My Favorite Disco)"". The former song features vocals by soul singer Terri Wells. Time Is Slipping Away is available as a limited edition of 500 copies on purple coloured vinyl and includes an insert with lyrics."

Making his first appearance on Flat White Records, NYC’s Malik Hendricks arrives with Stretching, a four-track EP that leans comfortably into the grey space between Deep House and Techno. Across three original cuts, Hendricks delivers warm, hypnotic, and quietly confident sounds that are unmistakably his own.

Rounding out the release is a remix from London-based, Spain-born producer Beringei. Known for his broken-beat excursions, Beringei with a 4x4 workout that still carries his unmistakable percussive touch, proving that even when stepping outside his usual lane, his identity remains firmly intact.

With previous releases on respected imprints like Eglo, Darker Than Wax, and Phuture Shock Muzik, Hendricks arrives in trusted company, thus making it an easy call to hand him the reins for our 15th release.

Born in the ’80s and raised in the ’90s, Malik Hendricks is a product of transatlantic club culture, drawing inspiration from Detroit’s futurism, New York’s grit, and the UK’s rhythmic experimentation. A DJ for over a decade, he approaches music with an almost academic curiosity, seeing the dancefloor as a shared space for cultural exchange.

Recently, his work has caught the attention of heavyweights like Eli Escobar, Byron the Aquarius, James Bangura, and Roy Vision, all stepping in to remix his material. With Stretching, Hendricks continues to prove that subtlety, craft, and groove still go a very long way.

Early DJ Support from: Shy One, LDLDN, Louise Chen, Dam Swindle, LTJ Bukem, Christophe Salin, Franck Roger, Jazzanova, Mr Redley, Last Nubian, Glenn Davis, Seven Davis Jr, Stonie Blue, Stu Clark (WOLF), Adriatique, Marco Weibel, Mr Ties, Tereza, Cottam, Joyce Muniz + MORE

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats.
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
Following on from the compilation Slutet began work on their next offering entitled Jihad. While the departure of J.P. left them temporarily without a guitarist, a chance meeting with Fjalar at a rave ushered in a new era for the band. “I met the drummer and the bass player at a psytrance rave in the forest. I didn’t have any band and I wanted to play music and I saw this fucking weirdo with long dreads and a Hellhammer shirt and I just went up to talk to him”.
After Fjalar joined the rather chaotic fray, songwriting duties were spread out more broadly and Jihad was rehearsed and recorded in a haze. First released as a cassette by Manifest Of Hate Creations, and later on vinyl in an edition of 100 by Goatowarex the release quickly sold out and became as legendary, and as incredibly difficult to obtain as the previous releases. “It has got some psychedelic improvs, some very unorthodox and quite genius vocal work, some electronic undertones, some noisy ambience, a message of existentialism; all this wrapped up in some sloppy but very authentic and intense black metal-ish music.”
“After the vinyl compilation was out (early 2015) we felt probably a bit directionless, and, having parted ways with a befriended and talented guitar player, we felt maybe a bit morally weakened to continue. First, for a year almost, we toiled on without the 6-strings and rehearsed quite lengthy material for a proposed upcoming LP. However, that material never surfaced. Then we got a new guitar player (Fjalar) and created and recorded this mess”.
It is with great pride that we make these albums available to a general audience and in a wider pressing without need for bloodshed.

Y-3, the pioneering sports-fashion collaboration between adidas and Yohji Yamamoto, has for three decades dwelled calmly within the ''tensions of existence''. In conceiving the brand's long-awaited return to runway format at Paris Fashion Week, these codes laid the groundwork leading up to the Spring/Summer 2025 season. Whilst the focus for runway is traditionally placed on garments, models, styling, environment, and the pageantry in between, it was crucial that music play an integral role in the conversation. Three seasons later, sound has informed creative direction from the very earliest phases of ideation. Commissioning all-original compositions has become a natural part of this ideology. The return to runway has invited the opportunity to define a new sonic palette for the brand, and beyond that, to usher in a new era of sound for Y-3 that echoes across music & culture. Following this ethos, and with a mandate to support obscure talent, Montreal duo Solitary Dancer have emerged as the first collaborators in shaping the intimate brand architecture of noise & feeling. With a body of work now spanning over a trilogy of seasons, the genre-defying Y-3000 imprint provides an outlet to disseminate & recontexualize the original compositions beyond the traditional runway. The label embodies Y-3's enduring commitment to explore innovation within opposing cultural forces. The works, originally released on Y-3000 as a series of white labels, are now being featured as a 6x 12'' vinyl compilation. Designed by Trevor Jackson and limited to just 99 examples, the recordings will also be made available both digitally and on streaming services for the very first time.

A reissue of Volumes 1 and 2, originally released on the Rephlex label in 2007. This time, both volumes are brought together in a superb gatefold sleeve 4LP, taking you on a journey through the very best of Andy Jenkinson's work: Cool music, a blend of such quintessentially British culture that swings from gabba to IDM, from rough techno to electro to acid and analogue sounds - all packed into over two hours of madness. Here we go again!

The world of discovering Soul music and artists can lead to sheer moments of jubilation. The thought of igniting a long lost sound, reviving the energy of a once exuberant individual . But not every story that's told is filled with joy. Some are peppered along the way with struggles and heartache. Over time artists have battled with over powering label owners, record executives who just don't back what you do. The story of Tommy Hill is one such story. Tommy along with friend and longtime collaborator Ricky Tarbo had a deal with Motown records back in the early 1980's which turned sour very quickly. His release "Flame"/"Super Star Of Love' was dropped pretty quickly with no promotion and record boss Sylvia Rhône calling the shots within the duo questioning skin colour within the group and even trying to get vocals wiped off the release to sabotage it.

This said the single didn't amount to much and nothing else was recorded for Motown records. The duo did record some 4 demo's in LA before Tommy headed to re-record them again in New York circa 1982.

The A side has never been released until now, which is such a crying shame as the quality is so damn good. It's an uptempo boogie cut called "All My Love" which we gave a sexy 45 mix so you get some slamming synth work half way in. Tommy Hill's vocal range is nothing but astonishing. Just check out the 2 step ballad of "Can't Get Over You", which was recorded and released back in 1980 by The James Simpson penetration Band written by Tommy Hill, who went back into the studio 2 years later to give the song much more depth not only within the production but also to his vocal range. Tommy Hill headed back to LA after not securing a record deal and a few years later tried to get this singing career back on track. Like many of the artists who have moved on to a higher place Tommy succumbed to his own mental health issues and took his life. We hope this record does you proud Tommy Hill

In 1979, Neil Fraser (artistically known as Mad Professor) founded Ariwa Sounds, the longest-serving and one of the most influential independently owned Reggae studios and record labels in the UK. From humble beginnings set up in the front room of Neil's home in South London recording on 4-track and homemade equipment, Ariwa would go on to record and release over 300 albums including works from some of the most impactful and storied artists of their time in the genres of Reggae, Dub, and Lovers Rock

Whilst our previous release in collaboration with Ariwa captured the label's early sound, a shared performance with Neil in Osaka and regular visits to his South London studio inspired us to assemble this 15-track compilation, showcasing the label's output across 45 years. Our release emphasizes some of the label's greatest vocalists: Johnny Clarke, Sandra Cross, Kofi, U Roy, Sister Nancy, Queen Omega, Aisha, Garnett Cross, Abel Miller, Horace Andy and more — presenting the Motown and Stax influences in the Lovers Rock, but also provides a glimpse into the dubbier and more experimental side of the label, showcasing Ariwa's commitment to quality but also their personality, philosophy and their humour. Love songs, break-up songs, socially engaged songs, dub experimentations — this compilation is not a "best of" Ariwa but a diverse and honest celebration of the label through the lens of Melodies International.

The compilation will be out in July in vinyl 2xLP, CD, digital formats, mastered from the original tapes by Frank Merritt (the Carvery), pressed at Optimal, artwork created by Jason Evans with design and assembly contributions from Nevil Bernard and Will Sweeney, animated teaser by Nevil Bernard and Melozine designed by Mafalda Meireles.

Hiriketiya is a small, enclosed bay on Sri Lanka's southern coast, where jungle leans toward the water and the days unfold without urgency.
Passing through in early 2025 on the way to Europe, Alex Albrecht spent a week here at MOND's artist residency, allowing the rhythms of the place to quietly shape the work that followed.
During the residency, Albrecht recorded and exchanged ideas with Sri Lankan musicians Dhyan Basho on sitar, Dinelka Liyanage on electronics, Uvindu Perera on double bass and Pasindu Herath on saxophone.
Their performances appear throughout the album, sampled and re-contextualised, influencing its melodic language, pacing and emotional tone.

Much of the music was shaped directly by its surroundings. Field recordings were gathered across Hiriketiya, and instruments were played wherever it felt necessary. This included rocks beside the ocean where waves set irregular rhythms, tall grasslands where wind and insects blend into the recordings, and open decks overlooking the sea. 'Round Table' captures this approach most clearly. Recorded while sitting together overlooking the ocean, a large steel table in front of the group gradually became part of the composition, used instinctively as an unplanned percussive element.

Not everything could be captured. Some of the most meaningful moments occurred before recording was possible. Those sounds exist only in memory, and the album is shaped in part by an attempt to hold onto their feelings.

Rather than documenting the residency in a linear way, the album gathers fragments, recordings, electronic sketches and field sounds, assembling them into a continuous listening experience shaped by place and recollection. MOND owners Jess and Renato foster an environment that supports artists without directing them, creating space for focus, trust and connection.

The result is a record shaped by Hiriketiya's enclosed bay, dense vegetation, heat and night air. Music formed through listening, restraint, missed recordings and the sensation of being temporarily held by a place.

Yes folks, it's time to take it back to the roots...GAMM style.

Our very first release was a beautiful gem from Red Astaire titled 'Follow Me' - a track that defined GAMM's identity and helped pave the way for everything we've achieved since.
Now, 23 years later, GAMM has reached its landmark 200th release.

To celebrate this anniversary and honour our dear friend Fredrik Lager (aka Red Astaire), who sadly and unexpectedly passed away three years ago, we are re-releasing 'Follow Me' alongside remixes from some of our favourite producers. The remixes will be released across three separate 7 inch EPs featuring Soul Supreme, DJ Spinna, Ukokos and Kampinos.

The second instalment of the 'Follow Me' remix / rework series comes from GAMM's finest ghost producers, Ukokus & Kampinos. It doesn't matter who is behind the names; what matters is the quality of the production. The Ukokos version transforms 'Follow Me' into a killer Bruk / UK House monster that is guaranteed to make noise in the clubs, check that mad bass-drop!

On the AA side, Kampinos throws 'Follow Me' into a blender of percussive samba and 90's drum'n'bass rhythms...and it's a beautiful marriage.

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

There is an abruptness to waking up to the sight of the other person’s back, a quiet violence hidden in the impression of intimacy, that’s leaving an aftertaste of emptiness. The feeling of losing oneself completely in a love that is given but never returned. Or the slower, less immediate one - the gradual disintegration of a world into which so much was once invested.

Love, Diskito is like a worn out overdubbed cassette found in a drawer, with its underlying tracks flickering between contrasting emotional states. Written, produced and mixed by GbClifford, the release follows up on the elusive, multifaceted output of the Prague-based experimental artist, who dresses fleeting glimpses of youthful yearning, sentiment and fragility in the blunt apparel of distortion and immediacy.

Drawing from their idiosyncratic, collage-like approach to music production, GbClifford condenses on Love, Diskito a varied palette of field recordings, samples, distorted instruments and ambient sounds. They resemble doodles in the corner of a school notebook, tightly overlapping with the evocative, minimalistic artwork by Czech artist Kateřina Šípová.

The guidance of GbClifford’s personless, at times highly decomposed vocals modulates the emotional urgency of the recording and reflects on the past. “I’m so close to relapsing, I’m here for you, closer than ever,” echoes in the elusive track So Only Yours, carrying the undercurrents of surrendering to the sole necessity of caring, even at the cost of individual ache. While the album does not forgo its earthbound, bare setting, there is something deeply pastoral and sky-gazing in the layered, multi-pitched vocals, horn-like tones and sense of space that Love, Diskito evokes.

The new label R.I.T.M.O. launches its journey with a clear statement of intent: VOID RIFT QUANTUM, a six-episode cosmic voyage by WHITE SOLAR DOG, complemented by two premium remixes from UNIVAC and PROMISING YOUNGSTER. The EP opens with “VOID RIFT QUANTUM” a dark, expansive electro exercise where crushing basslines, syncopated rhythms, and a dialogue between vocoders and acid lines evoke an interplanetary landscape. On “I.N.S.I.D.E.” the intensity ramps up through driving percussion, tribal voices, razor-sharp breaks, and an almost ritual force that propels the body into physical and mental trance.

UNIVAC’s reinterpretation of the title track unleashes his full arsenal: a steely remix of relentless energy that pushes the original into a hard-edged industrial realm, stamped with the unmistakable signature of the Catalan producer. “MOVE YOUR BODY” showcases WHITE SOLAR DOG’s most direct side: classic electro with heavy bass, pads, and bright melodies, where the machine calls the dancefloor to action without compromise. The journey reaches its most ethereal point with “SING TO ME” where a female vocal intertwines with broken rhythms, crystalline atmospheres, and fresh acid incursions—cementing WSD’s personal hallmark: equal parts intensity and spirituality. The release closes with Promising Youngster’s remix, which takes the vocal elements of “SING TO ME” and guides them into a hypnotic state, suspended between the dreamlike and the club. With VOID RIFT QUANTUM, R.I.T.M.O. presents its inaugural catalog, distilling the power of contemporary electro and the otherworldly vision of WHITE SOLAR DOG. A debut that clearly establishes its coordinates: impact, exploration, and progressiveness, introduces itself to the world through an inaugural catalogue that distills the present and future of electro: mysticism, power, and precision.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

Passages in Time, the third album from Kasper Bjørke Quartet, traces the contours of a blend of spiritual jazz reverence and the calming grandeur of '80s ambient. Inspired by Christopher Nolan's observation that "time is the most fundamental part of our human experience," the compositions are approached as fragments of time and memory. Meditations on the elusive nature of time form the heart of the work, merging freeform jazz improvisations with cyclical synthesizer patterns that mirror its quiet undulations.
Dreamy synths intertwine with guitar, harp, trumpet, flugelhorn, saxophone, and flute, creating a spacious environment for contemplation. The music invites reflection on the choices that shape our lives and the lives of those closest to us, and on the quiet weight of our priorities within the brief span we call life on this planet. Each passage unfolds as a fleeting moment suspended in time. The subtitles hint at fragments from someone's diary, tender observations of love, parenthood, and connection. Together, the passages form a musical memoir of sorts, where memory and emotion are gently woven into the compositions.
Passages in Time does not impose structure or meaning, it reflects them, offering an open space as the instruments drift in and out of focus, tracing time's subtle rhythms and inviting the listener to infuse their own memories and meaning into these passages.
The album also marks a transformation for the Quartet project itself. Langstrakt (Claus Noreen), part of the original ensemble, continues to operate the synthesizers alongside Bjørke, while the wider constellation of contributing musicians has evolved. Strings and piano give way to flute and saxophone by Oilly Wallace, guitars by Danish ambient composer Anna Roemer, trumpet and flugelhorn by Malthe Kaptain, and cascading orchestral harp by Katie Buckley, principal harpist with the Icelandic Symphony Orchestra.
The cover painting is by American artist Marcus Leslie Singleton, courtesy of V1 Gallery, and reflects the meditative and timeless atmosphere of the music.
Passages in Time is released on Bjørke's own imprint, Sensitive Records, following the two previous Quartet albums released on Kompakt Records: The Fifty Eleven Project (2018), a debut that introduced Bjørke's ambient and neoclassical explorations, and Mother (2022), which expanded the ensemble's sound with emotive choir compositions and guest appearance by Sofie Birch (Unsound / Stroom). Together, these three albums trace a journey of artistic growth, from introspective experimentation to a fully realized, contemplative expression of time, memory, and human connection.

The Bobby Hamilton Quintet Unlimited's Dream Queen has been captivating jazz collectors ever since it was first released in 1972. Its meditations on spiritual jazz are profound as they are moving with the deft touch of band-leader Bobby Hamilton on keyboards weaving his way through subtle textures of sound. The backing band is an equally formidable force with each adding to the melting pot as it builds into a frenzy on third track "In the Mouth of the Beast".

May 2026 marks the arrival of TYGAPAW (aka Dion McKenzie)’s first full-length album on Tresor Records, entitled Together You Gather All Power Applied Worldwide. An acronym of its creator’s name, TYGAPAW’s third studio album is a deeply personal collection of music building worlds where Black queer and trans siblings can thrive, while unifying dancefloors worldwide. A proposition that collective wisdom liberates us from the matrix of domination we live within. The album unfolds as the latest chapter in TYGAPAW’s ongoing techno opera opus, continuing to center the voices of Black women, which surface as layered incantations rather than lyrics - powerful, haunting, sensual, activating.
With the process of creating the album starting in 2023, as TYGAPAW (Dion McKenzie) was in the first year of their transition, the music reflects the intensity of that period, where they were experiencing deplatforming as a response to the shift in their physical appearance: Tracks like ‘M32 Riddim’ and ‘Helicopter hovers over my Crown Heights Apartment’ feature high-paced rhythms intersecting with intense siren-like synths to form demanding compositions echoing a heightened sense of alert. Yet throughout the album, relief comes in the form of TYGAPAW’s vocal features, co-conspirators, and chosen family, whose voices are treated with reverb and echo, a sonic fingerprint that leads back to the pioneers in the legendary studios of TYGAPAW’s native land, Jamaica, an important reminder that the past will always inform the future. It is an album for dancers first and foremost, where joy, defiance, and integration with the natural body coexist, and every drop feels less like a climax than a transformation. Expect a bass that permeates your soul and melodic synthesized sequenced phrases echoing the dancehall eras of TYGAPAW’s youth, reshaped into hypnotic melodies that glow over industrial kicks designed to command attention, reasserting Jamaica's pioneering yet often overlooked contribution to electronic music.
In the opening track, ‘Can I Live’, Precious Okoyomon’s words feel like the beginning of a ritual; setting the intentions for the rest of the proceedings. As McKenzie puts it, their “work is about regeneration, resetting, getting integrated into nature, and about rebirth. That’s the tone I wanted to set at the outset of the album.” Ms Carrie Stacks continues this thread of support in ‘Don’t Panic’ with heavily processed vocals on top of a beat that takes inspiration from another important ingredient in the antidote to the oppression of isolation: Ballroom culture. “ I feel like I found my queerness in Ballroom, that’s why this track is very important to me.”
Echoes of NYC Black queer nightlife scene also permeate in the energetic drums of ‘Exorcise the Language of Domination’, in which Julianna Huxtable’s spoken performance complements the various movements and tones of the music. “My producer brain thought this was the one that Juliana’s vocals would be best suited for. I hinted: ‘what do you think of this one?’ She just went into her notes and picked some passages to go with the first section of the track. From there, it was a year-long process of development. It required time and space for this thing to evolve, but I think it’s one of the most powerful tracks on the album.” London’s SUUTOO contributes the album’s only musical collaboration on ‘B2B’, a track that emerged from sessions in McKenzie’s New York studio where the real objective was to connect and have fun; a time out from the demands of life outside.
The album closes out with a double hit of emotion in the form of ‘Effects of Resistance and Black Trans Masculine Experience’. The former features South African scholar Khanyisile Mbongwa drawing connections that exist between Africa and the Black diaspora, whilst looking to the future and calling for a shared sense of community.
The latter piece, an instrumental version of the piece which featured on the IMMIGRANT E.P. of 2025 is a gentle and deeply affecting end to the record, a place of peace and acceptance. This end-of-cycle tone is mirrored in the sleeve photography, which also ties back to IMMIGRANT by finally revealing what was hidden: a portrait of the artist fully self-actualized; a step towards true inner liberation. TYGAPAW is sonically defiant across this album; bass frequencies feel tactile — less heard than inhabited — infectious lead synth melodies remain with you long after the track ends. An overall sound that leaves asserting an urgent need for connection. From Detroit to New York to Berlin to Jamaica, despite geographic distance, this album reminds us that we remain in solidarity, recognising that meaningful world-building requires collective input and action, both personal and communal, if we are to move toward liberation.

"Disco Chimi" by Dominican-raised Cuban artist Charles is the second release on Coco Maria's newly found Club Coco label. Comes with 4 paged insert with liner notes and art.

Charlie Chimi — the alter ego of Charles Garmendia — is a globe-trotting, kaleidoscopic creator best known for La China de la Gasolina. A percussionist for legendary Zamrock band WITCH, L’Eclair, and other international acts, Charlie moves fluidly between roles as a live performer, studio musician, and visual artist.

Like the iconic Dominican street burger it’s named after, the Charlie Chimi project is a spicy mélange of Afro-Cuban rhythms, funk-driven basslines, and playful, inventive wordplay — touching on everyday rituals like making lunch, as well as the trickier themes of illusion, hustle, and deception in the animal (and human) world.

Charlie has assembled an international crew of “Chimis” to help him run the numbers, delivering a dizzying, theatrical live show that feels like peeking into the hazy back room of a bodega: old men slamming dominoes, bachata blasting, and a cosmic sandwich opening a wormhole to somewhere far stranger.

'We Fell In Turn' is the solo debut from Brooklyn-based trombonist, composer, and quartet leader Kalia Vandever. Vandever, who plays with Harry Styles and Japanese Breakfast, “sculpts her trombone’s golden tones into dazzling compositions” (Pitchfork), writing music that tends to “dip you into a feeling or a pattern or a breathing speed, and keep you there” (The New York Times). In 2022, Vandever released Regrowth, an album that “features the ecstatic, brilliant melodies that have become Vandever’s signature sound” (Bandcamp). This spring, Vandever brings contemplative reflection to We Fell in Turn, a brave and understated work from an ascending voice in American jazz.

Recorded over three days in upstate New York, 'We Fell In Turn' is improvisational — a stark palate of solo trombone, voice, effects, and little more. “My solo process has always been heavily rooted in improvisation,” says Vandever. “I wanted the process to feel similar to the way I perform. Lee Meadvin, who engineered and produced the album, had a heavy hand in the creative process as well. He would dictate prompts before I started improvising and those pieces ended up shaping a lot of the imagery that comes up throughout the record.”

Connecting the dots between Jeff Parker’s 'Forfolks', and early releases from Grouper, 'We Fell In Turn' is a study of space and patience, embracing vulnerability in its sparse adornment. At times, the album is reminiscent of Patrick Shiroishi’s 'Hidemi', both in its familial inspiration and solo instrument study, while sharing the ineffable feel of William Basinski’s 'The Disintegration Loops' — the traces of her trombone folding in on themselves in an organic loop. Emotionally generous throughout, Vandever acts as a torchbearer for jazz’s historical yearning for connection.

On 'We Fell in Turn' Vandever draws inspiration from childhood memories — events that shaped her approach to love, community, and partnership, and her maternal homeland of Hawaii. “We were exploring childhood memories, earliest experiences with disappointment and pain, and my Hawaiian roots,” says Vandever. “We Fell In Turn came after I titled the track "We Wept In Turn". Both come from the intangible feeling of waking up from vivid dreams, particularly the experience of falling right before waking up or waking up in tears.”

Through this exploration into her heritage, Vandever also found guidance. “In Hawaiian mythology, ‘aumākua are known as ancestral spiritual guides that manifest in different forms, whether physical or intangible,” says Vandever. “My ‘aumākua visits me in my dreams, usually with a reassuring hug or a reminder of my past. Memories and early experiences seem to escape me, but find their way back in dreams.” And now they’ve found their way into 'We Fell in Turn', Kalia Vandever’s stunning solo debut.

Ultimate bloody banger from the Desert Storm crew !!!

2 long Electro Techno tunes... The A side got a superb Dubstep intro turning Electro Techno while on the B side the beat brings a powerfull Bassline House beat. The record is quiet downtempo and groovy (130 BPM). Nice first release from Vibration Clandestine, THE center France free mag for music and cultures.

Dr. Silberman makes a welcome return to Atom Trance Force and kicks things off in 2026 with his EP 'Welcome To The Future'. Two mixes of the title track are included: The fast paced original and the trance mix. The original is a serious ode to the late 90s Hamburg hard trance sound, and you can hear the influence of labels like EDM, Tunnel & Spaceflower. For the trance mix, he brings the tempo back down to 140 and moves more towards older Positiva energy. Rounding off the EP is Friends & Enemies, keeping the energy high but the quality to match.

From Atom - we thank you for your continued trust, and bigups to those supporting this release:

1995 Trance Sessions, Adam (Last Of The Mohicans) Apple FM, Adam Bellew Global Hard House Radio, Angie (FR), Busho, Choci, Digital Devil, Dimitri Kechagias, DJ Brisk [Stimulant DJs], DJs Present, Evolving Suns Audio [Cohesion / The Attic], Giuseppe Ottaviani, J.O.E [Tomorrows World], Jake Ayres, Jake Grace [TranceUnite / FCM Live], Jake Nicholls [Uprising], Loki [Terminal Trax], Louk / Hidden Identity, Mat Phat & Fugee Show [Newport City Radio], Mind Control [Noise Pollution], Mindflux, Paul Nineham [Brisk], Pete Morton [Harderfaster], Remnis, Renegade System, Rennz [Distorted Dreams], Rightsound [Dancesation / Timewarp], Rocco Jonsson [Collide / The Carnival Sweden], Spaceman [Tuned Flow], Spektral Noise, Suzy Solar, Tjerk Coers

Following “The Red Pill” and “Suicide Neighborhood”, VHS Horror Tape marks the next chapter in the sonic universe of Dutch synthwave wizard Adam Tristar. The album expands on his signature sound with darker tones, gritty analog textures, and a strong cinematic horror influence, evoking late-night VHS aesthetics, neon-lit nightmares, and retro-futuristic suspense. It’s a haunting journey that blends nostalgia with menace, pushing his synthwave style into deeper, more ominous territory. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK viny. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

“Música Para Caminar” is the new album by 80%Baul, and the record that confirms his definitive leap from revelation to legend. Following the critically acclaimed debut Ayer y Ahora, this release positions 80%Baul alongside the great names of Spanish post-punk, standing shoulder to shoulder with seminal acts such as Décima Víctima and Parálisis Permanente. Rooted in a dark, introspective sensibility, Música Para Caminar also connects seamlessly with the vitality of today’s Spanish underground, aligning with the current wave of forward-thinking artists, including labelmates like Yvgoslavia. But this album is not defined by sound alone. Once again, 80%Baul surprises with songs that function as poems—bleak, incisive reflections on a decaying, dystopian present. More than music, Música Para Caminar is a statement: music with intention, depth, and meaning—an artistic vision that transcends genre and cements 80%Baul as one of the essential voices of contemporary Spanish post-punk. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

In just five years, The Spy has gone from underground newcomer to one of the most talked-about names in the European electro and EBM dark electro scene. Early releases on Osáre Editions and Mechatronica quickly placed him on the radar of forward-thinking clubs and selectors across Europe. Now landing on Oráculo Records, he presents his most wave-driven and club-oriented material to date: pure, physical electro built for dark rooms and late hours. Driving basslines and sharp machine rhythms—infused with subtle, classic post-punk tension—define a sound that connects the dancefloor with the shadows, drawing clear parallels to artists like L.F.T, Credit 00 or Gesloten Cirkel. This is music made to move bodies without sacrificing attitude—raw, confrontational, and far removed from formulaic club clichés. Five years in, the message is clear: this is not hype, but momentum—an artist fully in command of a modern electro language built for the underground. 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).

The origins of Body System date back around 35 years. Dissatisfied with previous experiences, the project was conceived as a meeting point between Sheffield and Detroit techno and German and Belgian body music. At the time, it never fully developed and remained largely an idea, with only a few sketches recorded on DAT. More than three decades later, that original concept has been revived. Following an invitation to contribute the track In Your Mind to the soundtrack of Electronic Body Movie, directed by Pietro Anton, the project was reopened and reworked, taking shape in the present while remaining rooted in its initial vision. These five tracks reflect an awareness of both past and contemporary electronic music, filtered through an undiminished experimental approach and a conscious refusal to adhere to stylistic conventions or predefined genres. 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).

Some tracks don’t age, they just wait for the right dancefloor to hit again.

Originally released in 1985, Main Attraction by Toronto-based duo Yoh-Yo is one of those high-energy sleepers that quietly tore through clubs while never fully crossing into the mainstream canon. Produced by maestro Allan Coelho (Tapps, Click) and driven by the instantly recognizable vocal of Carlos Borges, it’s a pure shot of mid-80s Hi-NRG euphoria. Tight, glossy, and unapologetically emotional.

Fast forward to now, and Vintage Pleasure Boutique digs deep into the archives of Boulevard Records to deliver the ultimate collector’s package, bringing together all six officially released versions from the original 1985–86 pressings across Europe, Canada and Mexico. But this isn’t just a reissue, it’s a full-spectrum reconstruction of a club weapon.

From the Original Version, still hitting with that raw, uplifting drive, to the Sandy St. Alban Version, adding a slightly different vocal flavor for the heads who know, each cut reveals another angle of this underground anthem. The Instrumental and Hi-NRG Dub Version strip things down into pure mixing tools: extended grooves, pulsating basslines and synth hooks that lock dancers into a trance. The Remix pushes things further into peak-time territory, while the real gem for DJs lands on the B-side: the long-sought Hot Tracks Extended Edit by Gregg Denewith — originally exclusive to the US market and finally resurfacing in proper, playable quality. A true secret weapon for selectors who like their sets with a touch of authentic 80s heat.

This release is a love letter to Hi-NRG, to analog excess, and to the global club network that kept these records alive long before algorithms caught up. For fans of neon-lit nostalgia, sweaty dancefloors and that unmistakable Italo-adjacent pulse. Main Attraction is exactly what the name promises. Pure energy. No compromise.

It is often in times of crisis and upheaval that the most fascinating music emerges. It is clear that times are grim, not only but particularly in the USA. On the ‘Numb Denial EP’, Orlando Voorn reflects on the emotional climate in his adopted home and conveys his uncertainty, his pain and also his anger. He impressively expresses his emotional states musically through the instrumentarium of timeless Detroit-style technosoul. These tracks are among the most moving, immediate and beautiful he has created in his decades-long career. To quote Roxy Music: “Dance away the heartache, dance away the pain.”

ANNE Returns to Soma Records with "Sleepwalkers EP", Featuring Exclusive SLAM Remixes

ANNE delivers her fourth release on Soma Records, reinforcing her position as one of techno's most compelling new voices. The release also features two special remixes from Soma founders SLAM, adding heavyweight reinterpretations to
ANNE's original vision.

Sharp and uncompromising, this release is a statement moment for ANNE and a
clear reminder of Soma Records' enduring influence at the cutting edge of techno.

Mastered by Conor Dalton @ Glowcast Mastering.

Derailed Records x Planet Rhythm return with a focused new EP from Milo Raad, hailing from Belgrade.

This release sees Derailed adding its own VVS edge to the vinyl saga. Tougher, more direct, and forward thinking. The tracks are stripped back but intentional, designed to lock you in rather than overwhelm. Don't get it twisted though: there's still plenty of depth here, the kind you can lose yourself in if you let it run.

'' I Want VVS's More Than Ever ''

Artwork: Studio ANTM
Mastering: Audiosculpture
Distribution: Triple Vision

A new EP by Extrawelt is always something special, as they continually manage to reinvent themselves while remaining unmistakably true to their sound. The a-side „Moonster“ of their latest record forms a subtle and almost magical bridge to early musical influences such as Immortal Coil, Chris & Cosey, The Cure, and Throbbing Gristle.
In doing so, they reclaim, or rather reintroduce, a powerful, mystical element into their music, one that is integrated so naturally it feels as if it has always been an essential part of Extrawelt’s sonic DNA. Beyond that, the track unfolds through numerous facets, constantly shifting and evolving. Just when you think it is settling into a familiar direction, small variations emerge, keeping the piece remarkably alive and unpredictable.
You can clearly sense how much fun Extrawelt had working on this track. It is bursting with ideas, energy, and vitality, radiating a playful confidence that makes it endlessly engaging.

The b1 track „Bettermaker“ takes a different route, dedicating itself entirely to a single mood. Through subtle pitch bending and a carefully shaped tonal palette, the track unfolds with a slightly eerie, enchanted atmosphere.
From beginning to end, „Bettermaker“ remains focused and unwavering. There are no breaks or dramatic shifts in direction, instead, the piece commits fully to its initial setting. A monolithic, almost mantra like motif forms the core, creating a distinctive ambience, mystical, shadowy and faintly oriental in character.
This atmosphere is carried and reinforced by percussive, ethno inspired drums, which add an organic, ritualistic pulse. The result is a hypnotic soundscape that draws its strength from consistency and depth rather than contrast, inviting the listener into a secluded, otherworldly space.

The final piece of the EP „Popcorn Forever“ reveals another side of Extrawelt’s thinking. The track unfolds like a curious experiment in motion. Instead of building toward a predictable climax, sounds are gradually tossed into an ever running loop fragments, textures and small rhythmic ideas appearing almost casually, as if the piece were assembling itself in real time.
At first the elements seem loosely connected, sometimes abstract, sometimes slightly mischievous in the way they twist and bend. It almost feels like an impossible construction task. But Extrawelt’s experience quietly guides the process. Bit by bit the scattered parts begin to communicate with each other.
Repetition becomes the hidden engine. With every return of the loop new details slip into the structure, and what once appeared random slowly starts forming relationships inside the listener’s mind. The track never forces a clear explanation, yet the brain begins to tie the loose ends together almost automatically.
Popcorn Forever therefore works beautifully as a kind of transit piece within the EP. It moves between ideas, linking moods rather than closing them off. In typical Extrawelt fashion, the result is playful, slightly surreal and full of subtle discoveries that reveal themselves over time.

Named after the Latin word for the humble house spider, Oonops started his career as a club DJ in the early 2000s and has been collecting and playing strictly vinyl ever since.

In 2013, he started his own radio show » Oonops Drops«, a monthly mixtape-style show featuring a host of international top DJs, broadcast on Brooklyn Radio in New York City. This show inspired the first volume of this compilation, which was released in early 2018 on Agogo Records, alongside the album and 7-inch releases featuring artists from his radio network. Then, exactly five years ago, Oonops finally founded his own sustainable music label bearing the eponymous name. Now, just in time for the 200th episode of his Brooklyn Radio show, Oonops returns to Agogo Records with Vol. 3, which is packed with favourites and rare gems discovered through his extensive community of like-minded collaborators. As you would expect, it includes many unreleased songs that were previously only available digitally or were incredibly difficult to obtain on vinyl – true rarities from the crates. Expect a broad selection of genres, ranging from Japanese jazz and head-nodding beats and hip hop to samba-esque funk, rare groove, reggae and Brazilian-influenced styles. Get ready, enjoy and rewind!

Steal Vybe are back on the cultured Seasons Limited label, this time with Stephanie Cooke adding some fantastic vocals. 'Change' first came back in 2017 in limited quantities on white label only, and now it gets a full release with some new remixes, original remixes and a fresh version from Steal Vybe. That one is balmy, soul-drenched and sun-kissed with a loved-up feel that swells the heart. The Dino & Terry mixes focus on pairing things back a little and going deeper, while French house legend Franck Roger ups the ante with some heftier drum weight.

You wait positively yonks for a new Amit record and what do you know, two turn up pretty much at once. Not that we're complaining, especially as this is quite a different beast to its dubby downbeat predecessor on the Slough producer's Amar label. A double sided collaboration with Bedford's Outrage, 'Trigger' showing the pair taking the most well worn of ingredients - crackling Amen breaks and disorientating synths - and turn them on their head, reshaping them into something you've never heard before. On the flip, 'Zulu' is another hardstepping big hitter with precision beats, plenty of drama, truly disgusting bass pressure and beats that evoke ancient memories of Digital at his most individual. There's drum & bass and then there's 'proper' drum & bass, and it doesn't get much more proper than this.

For the first time in more than a decade, Paul St. Hilaire (AKA Tikiman) presents a solo album – 100% Tiki.

Over his 30-plus year career, St. Hilaire has become one of dance music’s quietly legendary figures. Born and raised in Dominica, he moved to Berlin in 1994 and has lent both his voice and his musicianship to some of the most iconic electronic music from the German capital – and beyond. Renowned for his collaborations with Moritz von Oswald and Mark Ernestus (AKA Rhythm & Sound), he has also appeared on records with Deadbeat, Rhauder, Larry Heard aka Mr. Fingers and Stereotyp (G-Stone Recordings), amongst others.

However, few know the extent of St. Hilaire’s compositional and technical mastery. From his home studio in Kreuzberg, which includes an extensive collection of vintage hardware, self-built instruments and notebooks scribbled with endless lyrics, he has created a vast archive of material spanning ambient dub, avant-jazz, lush techno and lovers rock.

Tikiman Vol. 1 is a heady, downtempo tour de force of patois metaphors on education, displacement and personal vs. global histories, as is evident on slippy album opener “Bedroom in My Bag”: Mister, mister / Where are you going? / I’m heading for a faraway land / What are you having in the bag in your hand? / Help us to understand / He said, I’ve got my bedroom in my bag.

Overall, the album’s lyrics reflect on life between Berlin and Dominica, specifically St. Hilaire’s hometown of Grand Bay, where he has worked with various musicians famous for the island’s different genres of carnival music. St. Hilaire himself always favoured the island’s more “discrete” music, developing a sonic synergy between two different geographical strains of groove and minimalism, and combining them with foundational Caribbean mixing techniques, which provide the basis for his songwriting and distinct
baritone.

Tikiman Vol.1 offers a rare insight into St. Hilaire’s complex artistry, from the eyes-down grooves of “Little Way” and the guitar-heavy digi dancehall experiment “Keep Safe,” to the subtle hypnosis of “Ten to One” and the softly crashing synth waves of closer “Three And A Half”, evoking not only beaches but also coasts and borders. It’s a fitting expression of both the breadth of St. Hilaire’s work, as well as his history as one of the few black, Berlin-based artists who, despite remaining largely overlooked, has influenced the city’s electronic music culture since its beginnings.


Credits
Written & Produced by Paul St. Hilaire
Mastered by Stefan Betke
Artwork by Grant Gibson

Kynant Records was founded in 2015 by Richard Akingbehin, a British-Nigerian radio programmer (Refuge Worldwide), music writer and DJ. Originally specialising in deep techno and featuring artists such as Cio D’Or, Terrence Dixon and Donato Dozzy, Kynant has since launched a sub-label Kynant EX which focuses on ambient, dub and experimental electronics.

Several years after the release of ‘Metamorphosis’ (with Sid Hille), Multicast Dynamics (Samuel van Dijk) reemerges on Astral Industries with ‘Circles’ - an enchanting two-part work venturing into deep unconscious realms. Sonic landscapes unfold in a sequence of hidden spaces and intimate revelations, featuring detailed sound design and rich thematic content.

Circle One initiates the process, opening gently with glassy drones and the patter of distant voices. A faint light shimmers through swirling pools of liquid memories and melting forms. The atmosphere builds, and everything is engulfed in the act of transfiguration. 

Passing through the threshold, Circle Two traverses further into cavernous territories. Boundless drifting soon becomes a gravitational pull toward something deeper. Submitted to the powerful undercurrent, incoming primordial pulsations signal a quest that reaches its fated culmination. 

Perhaps the revelation of something long-lost, entering the Circle eludes to that which on the surface remains hidden, yet its rediscovery inevitable.

Comes with photo artwork 30x30 & Flyer info & digital download code.
LTD 100 copies.

Shrouded in mystery when it first appeared, Tiger & Woods’ debut album quickly took on a life of its own. With little more than whispers surrounding the project, the music spoke loud enough: a set of extended disco constructions carefully tuned, remixed, over-dubbed, sliced and diced by the elusive duo of Larry Tiger and David Woods. What began as a cult phenomenon soon caused a stir across dance floors and record bags worldwide.
Now, for the first time ever, that legendary debut finally arrives on vinyl. Through the Green captures Tiger & Woods at the moment their distinctive language of groove first took shape. Rooted in the spirit of disco edits but already stretching beyond the format, the album blends loop-driven funk, house-leaning propulsion and the unmistakable bounce that would soon become their signature.
It’s the sound of two producers refining a craft that would later blossom on albums like On The Green Again, where their approach expanded into a wider palette of boogie, electronica, Italo and uptempo house. But here is where the story begins.
Before world tours, live sets and the creation of their own T&W Records imprint, there were these tracks: hypnotic, playful and engineered with a dancer’s instinct for tension and release. Each cut unfolds like a perfectly extended club moment, full of warmth, swing and that unmistakable Tiger & Woods sense of fun and function.
Years after its original digital release, Through the Green remains a cornerstone of modern disco-house culture. Pressed to wax at last, it finally receives the physical format it always deserved: grooves built for the turntable, the dance floor and the crate.
The mystery might be gone. The magic, however, remains very much intact.

Nicolini is back with 'Quita Maldicion' - an album of hyper riddim tracks, mixing up Memphis-tinged beats, pitched vocal chops, blown-out bass, and fever dream Dembow. With guest appearances from Chimira, Sharp Shin, Cheba Tmax, and Toff Youth, 'Quita Maldicion' hits like the zaps of an alien rave defibrillator, reanimating your lifeless body for the dance. Remove the curse on this world!

Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

The experiment aboard orbital station Sequoia-4 began as a routine test of the acoustic array. The team attempted to synchronize an analogue resonator with a quantum audio synthesizer. The two incompatible frequencies were expected to cancel each other out. Instead, the instruments registered a stable wave. It didn’t fade, on the contrary, it did respond to every sound, every movement around it.

At first, they assumed a coding error, but the wave began adapting to the researchers’ voices, shifting its amplitude and rhythm. Within hours, its spectrum started to resemble a heartbeat. The recording was forwarded to the Analysis Division, where it was named Hybrid Dub — a hybrid resonance formed between the machine and the human senses. The phenomenon proved unpredictable: each listener described different effects, from gentle euphoria to vivid recollections of memories that had never occurred.

Even after the system was powered down, a faint signal persisted in the ether — as if the mechanism had learned to breathe on its own. Some claimed that, when replayed, traces of the ocean, rustling leaves, and distant voices could be heard — as though the signal had passed through layers of living matter and remembered them.

The project was shut down, and the archive sealed. Only one line remained in the final report: “The signal wasn’t created — it discovered us.”