Search:ra

The anonymous Only Music Matters crew serve up another EP of smoking sounds for discerning crowds. It's the smart sampling of a classic motif from jazz-house great Saint Germain that makes the opener 'AAA001A' so enchanting as a bluesy vocal drifts in and out of a dry, dubby, minimal tech beat. 'BBB001B' is more driving and gritty, a clipped tech cut to keep things moving in the dead of night, then 'BBB002B' brings another supple groove, this time with rays of synth rising out of the mix like the morning sun. Quirky sound designs and a skipping rhythm make it irresistible.

Get ready to move your feet as Charly Records, in association with Screenbound Pictures, announces the release of a special edition, 4-track vinyl EP celebrating the critically acclaimed documentary, Northern Soul Still Burning released on 15 May 2026. This highly collectible vinyl lands just as the film takes UK cinemas by storm this Spring.


A Piece of Soul History — This special edition vinyl is housed in an exclusive, stunning picture sleeve featuring an original photograph shot inside the legendary Wigan Casino in 1976 by celebrated British photographer Red Saunders. It is a visual and auditory time capsule that perfectly captures the sweat, speed, and style of the movement.

Critically Acclaimed Across the UK — earning a staggering string of 4-star reviews:

"Thumping celebration of the legendary underground club scene" ★★★★ Peter Bradshaw, The Guardian

"It really tells you what makes the scene so special... a really interesting bit of social history" ★★★★ James King, BBC Radio 2

“Watching the doc you get the sense that you kind of are there… it works really well” Mark Kermode, Kermode & Mayo’s Take

"Wonderful footage... a soundtrack that will keep your feet tapping, director Alan Byron has captured the energy and power" ★★★★ Dan Carrier, Camden New Journal

From The Times to The Daily Mirror, the consensus is unanimous: this film—and its soundtrack—is a passionate, joyous valentine to a youth culture that refuses to die.

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

Justin K Broadrick (GODFLESH) and Mick Harris (Napalm Death) drop militant, hard techno on split LP.

New album doubles the track count (and runtime) of the duo's last collab.

Stalwart Birmingham, UK innovators Justin K Broadrick and Mick Harris have connected again as JK FLESH and MONRELLA to deliver the warehouse-destroying hard techno LP SHOUTING THE ODDS, five years after their last EP, SEE RED.

Featuring four tracks from each artist, SHOUTING THE ODDS invokes both the feeling of listening to late night pirate radio and sweating in a darkened warehouse as the rafters shake, complete with the perfect amount of analog wow and flutter. Brimming with gnarled, unrelenting kicks hovering between 130–140bpm, the split format deftly showcases both artist's individual strengths, while displaying undeniable commonality.

Broadrick's side leans traditional hard techno, filled with mesmerizing, minimal synth arpeggios and contrasting toplines, all aligned and maligned by shrewd transitions. Harris' section presents more experimental and house influences, using bright, distorted synth hits and a touch of forlorn melody. The tracks take on a life of their own through expert use of filters and just the right amount of delay, stutter, and glitch.

Never before has an album filled with such shining, shimmering synths been so black and threatening. JK FLESH and MONRELLA have hard techno down to a science.

“No-nonsense old school flavoured techno bangers. We're flying the flag for outsider techno." - Justin K Broadrick

German techno producers Brian Sanhaji and Monoloc unite under their collaborative project FORMS for a powerful new release on Modularz. Titled Objectz, the six-track EP explores the more driving dimensions of contemporary techno, built around muscular grooves, tonal rhythmic structures, and dark cinematic sonics engineered for warehouse spaces and late-night dance floors.

Each track demonstrates the duo's refined approach to hypnotic movement and precision-crafted sound design, balancing raw energy with atmospheric depth. From relentless percussive frameworks to immersive textural elements, Objectz delivers a versatile collection that functions equally well as a peak-time weapon or a deeper journey into subterranean techno territory.

Adding another dimension to the release, Modularz label head Developer contributes a remix that further expands the EP's sonic landscape while maintaining its powerful rhythmic focus.

A dynamic and versatile package from two of Germany's most respected producers, Objectz stands as a strong statement of modern warehouse techno—functional, immersive, and built for maximum impact on the dance floor.

Stanz Amor delivers a five-track EP that blends crunchy sound design, tribal influences and driving grooves into a cohesive statement of energy, movement and atmosphere. Hailing from Blackpool UK, Stanz Amor emerged in 2023 with a distinctly old-school approach, channeling groove, rhythm and intensity into a modern context, which he showcases on his Backspin Records debut EP 'Mercurial'. ??Opening with 'Kong', the EP sets the tone with an old school spirit reimagined through a contemporary lens. Loopy structures, banging percussion and textured, gritty elements create a hypnotic flow designed for peak-time moments. 'Mercurial' raises the intensity, propelled by fast-paced hi-hats and shimmering rides that injectconstant motion, while a rolling low end gives the track serious weight. A striking Latin vocal lingers throughout, leaving a lasting impression long after the track fades. On the B-side 'Count' shifts the energy into a groove led by rolling bongos, underpinned by a heavy sub and catchy, repeating vocals that lock into a tight, circular rhythm. 'Yawhoo' follows with a punchy kick, rumbling foundation and driving percussion, elevated by a cheeky vocal and a whistle straight out of the 90s rave era, adding a playful, nostalgic edge. The closing track is a remix of 'Count' by Steve Redhead, who reinterprets the original with forceful yet hypnotic percussion and finely detailed vocal work. A Belgian techno mainstay since the early 2000s, Redhead is known for his uncompromising, groove-driven sound and lasting influence within the underground. ??With this release, Stanz Amor delivers a focused and effective collection built on groove, repetition and dancefloor functionality. Released on Regal's Backspin Records, a label rooted in the underground and dedicated to honoring techno's origins while pushing its future, the project balances nostalgia with modern clarity, designed to resonate in clubs and leave a lasting impact.

Phara returns with a second project under his In Glass alias. In 'Scratching the Surface', we're light years away from the heavier, more instructive dance records that have become synonymous with Phara's style. In this EP, the Belgian artist reaffirms his celestial, delicate sound in four tracks that delve further deeper into the emotional soundscape proposed in the first EP.

'Sally' begins the project with the most dance floor oriented of the four tracks, proposing an intoxicating blend of styles that bloom throughout its six minutes. Soft pads and bright keys twinkle along a cradling rhythm as In Glass delivers a truly musical piece that sifts through memories. Percussion is then taken out of the equation as 'All Things (424 Version)' comes and lands softly on the center stage. Lush, ambient waves come lapping at the shore of 'Scratching the Surface', describing nothing but space and serenity - a breath from everything. The dreamy tone of 'All Things' oscillates along reassuringly into the B side, keeping the tempo low and the sound design organic. Here, we step into In Glass's world of dub techno and adjacent sounds that defined his first record last year. 'Plateau' rises slowly from the wax with a round low end and suspended chords that hover high above. Opening stabs over a harmonic bassline make a head massage of a track that sways along. The raw emotion behind In Glass's music is inviting, flashing by as ethereal synths open and close to install a personal, meditative experience of electronic music. The percussion remains discrete, allowing the harmonic information to wash over the listener into the last track of the EP. He concludes with 'My Idle Hands', pressing further into the dub techno sound that echoes through a cathedral of memories. Blurry shapes pass by over a more determined rhythm section, confirming the intimate nature of In Glass's music. The music wanders along, its head in the clouds but with a full heart, telling stories of being lost and finding home.

With this album, Heleen Van Haegenborgh returns to her roots as a pianist.
In recent years, she has primarily composed works on commission for a diverse range of ensembles, from recorders to foghorns.
On this solo album, her entire journey of musical encounters and compositions comes together subtly.
Van Haegenborgh doesn't think in terms of stories or boxes, but rather in colours, energy, and texture - without drifting into the abstract.
She remains true to her personal inside piano world, including the use of wires she has been experimenting with since 2008. These are given a place here as fully-fledged musical elements, communicating on different levels, in various contexts and forms.
The electronics sometimes become completely one with the piano, but often follow an entirely different path: at times calm, subtle and refined; at other times nervous and under the surface. Always within specific atmospheres and with precise timing.
Van Haegenborgh took charge of every detail from start to finish - electronics, composition, and performance.

Brussels based pianist Giovanni Di Domenicowas born in Rome in 1977. Majoring in 'jazz piano' at music school - he further built on an encyclopaedic technique; rhythm, harmony and tone are informed by non-western traditions yet equally sensitive to Debussy's "Préludes", Luciano Berio's "Sequenzas", to the 'ambi-ideation' heard in Borah Bergman's Soul Note recordings, Cecil Taylor's polissemic density, Paul Bley's bruised transparency and of course, the most radical manifestations stemming from the underworld of pop music, invariably tied together by his own original praxis.
A distinction - one would call it generational - he shares with many of the musicians he has crossed paths with recently, of which we could enumerate Nate Wooley, Chris Corsano, ArveHenriksen, Jim O'Rourke, Alexandra Grimal, Tetuzi Akiyama, João Lobo or Toshimaru Nakamura.
At the request of W.E.R.F. Records, Giovanni created an entirely new repertoire, teaming up with saxophonist Alexandra Grimal and drummer Eric Thielemans. This collaboration resulted in Echolalia, a suite consisting of three parts: Aoede, Melete, and Mneme. The music is captivating, adventurous, and above all, fascinating.

Following their acclaimed debut album The Shedding of Skin (2022), the formation has deepened their relationship through numerous live jams, intense touring and story sharing, pushing both their skills and the boundaries of the project. For its successor, État Coupable, this growth has been enriched by various collaborations, including one with Lebanese-Canadian producer Radwan Ghazi Moumneh (Jerusalem in My Heart).

The first single, Freedom, Asshole, features live drums by Spooky-J from Nihiloxica. With lead vocalist Saif singing, 'I envy you because you can close your eyes, you can choose,' the track addresses those who need to be addressed in the Western world, resulting in a gutwrenching piece of raw electronica that delves into the very definition of freedom. Alongside the launch of the record , the single will be released on Bandcamp and other streaming platforms on Wednesday, January 29.

A series of live dates have been announced including gigs at Ment Festival (SL), Rewire (NL), Donau Festival (AT) and dunk!festival (BE) among others.

Belgian multidisciplinary artist and long time collaborator of the project, Youniss Ahamad, has shared a that embodies unease through distorted images, a black-and-white palette, and abstract bird loops.

“For me ‘Freedom, Asshole’ is about fighting for freedom even when everything seems bleak”
– Youniss Ahamad

Die Synthesistin und Komponistin Emily A. Sprague verbindet intuitive Klangstrukturen mit ausdrucksstarkem Songwriting und schafft so weitläufige Klangwelten, die unmittelbar und mitreißend sind. Nach ersten Experimenten mit Gitarre und Keyboard als Teenager gründete Sprague Anfang der 2010er Jahre die Indie-Band Florist, mit der sie ein treues Publikum gewann, bevor sie sich 2017 unter ihrem eigenen Namen auf Umwelt- und Ambient-Kompositionen verlegte. Zu ihren Veröffentlichungen zählen mehrere Alben aus beiden Projekten, zuletzt Florists ,Jellywish" und ,Cloud Time" aus dem Jahr 2025 sowie nun die EP ,Double Moon". ,Double Moon" zeichnet psychische und greifbare Landschaften als parallele Welten nach. Durch beschwörende Wiederholungen und durchscheinende Klangfluten ebnet Sprague einen initiatorischen Weg mit modularer Komplexität und lyrischer Weitsicht, untermalt von V Haddads transparenter Stimme. Mit instinktiver Präzision offenbart ,Double Moon" sensorische Weite durch viszerale, szenische Komposition. Geprägt von gepatchten Farbverläufen, frostigen Winkeln und warmen, melodischen Wellen dreht sich jeder Klang um den nächsten, taucht gleichzeitig auf und verschwindet wieder in einem fesselnden Klangbogen. Dieser Track bewegt sich in schillernder Subtilität - die Farbe der Nacht, die sich über den Himmel zieht und die Silhouetten beleuchtet, die sie erst möglich macht.Der mittlere Track, ,Dusk (How to Fly)", ist seinem Titel getreu ein subtiles und bewegendes Experiment, das den Ausklang des Tages heraufbeschwört, zusammen mit einem flüchtigen Anflug von Erhabenheit und der nahen Möglichkeit des Fliegens. Faszinierend in seiner nachdenklichen Drift und leuchtenden Bildsprache verschmilzt der Track sanft synthetisierte Fäden mit einem langsamen akustischen Rausch - eine Melodie, die in grenzenlose Richtungen treibt. Geleitet von Spragues unverwechselbarer Gesangskaskade und briefartigen Fäden webt sich eine beschwingte Sequenz mühelos von grundlegenden Erinnerungen zu einer weiten emotionalen Öffnung und fragt: Wie könnten wir auf andere Weise hier sein? Wie können wir überhaupt etwas fühlen?« ,Double Moon (Andras Dub)" verleiht Spragues Originalkomposition eine strahlende Note: Der australische Produzent Andrew Wilson, alias Andras und eine Hälfte von Wilson Tanner, verwandelt die Textur des Originaltracks durch tiefe, strahlende Rhythmen. Jeder Takt springt und zerstreut sich, um etwas völlig Neues zu erschaffen.

With its fourteenth release, Barro continues cementing its identity as a techno label unafraid to take chances on fresh voices. This latest offering features Ari Jani —a multifaceted young producer whose unsettling soundscapes pull from a wide spectrum of influences, from EBM's mechanical pulse to harsh noise's abrasive textures.

Ari Jani's early work leaned toward rapid-fire, unrelenting techno, as heard on his SilentSøuls release. Beginning in 2022, his sound underwent a metamorphosis, shifting toward decelerated tempos laden with heavy atmospheres and industrial undertones—a transformation clearly audible in Reject Humanity, Embrace Nonexistence, his EP for Valhalla Records.

His Mass Memory project sees Ari navigating different sonic territories, centering on noise, ambience, and melody, yet never losing sight of the club's pulsing heart.

Includes Groof remix.

Mit Vol. 04: Happy Music For Happy Feet präsentiert Wagram einen weiteren Höhepunkt der beliebten Electronic Music Anthology-Reihe. Auch dieses Kapitel wird von FG Radio, einer der einflussreichsten Stimmen der französischen Electronic-Music-Szene, sorgfältig kuratiert und vereint ein erstklassiges Line-up an House- und Dance-Produzenten, deren Tracks über Jahrzehnte hinweg die Dancefloors geprägt haben. Die Kompilation spannt einen weiten Bogen zwischen zeitlosen Club-Klassikern, funkigen House-Grooves und elektrisierenden Dance-Anthems. Mit einer Mischung aus bekannten Hits, DJ-Lieblingen und stilprägenden Signature-Tracks liefert Happy Music For Happy Feet genau das, was der Titel verspricht: pure, positive, hochgradig tanzbare Energie. Perfekt für DJs, Sammler und für alle, die elektronische Musik in ihrer fröhlichsten, ansteckendsten Form lieben, steht diese Ausgabe für das, was House und Dance seit jeher ausmacht - Leichtigkeit, Euphorie und die Freude am rhythmischen Ausbrechen aus dem Alltag.

‘ИМА (Ima)’ is a work by KiMiMi, the solo project of a musician Shin-ya Ohno, which captures the layers of time and the presence of people inhabiting ‘Arimasuton Building’―a self-built structure created over 20 years by architect Keisuke Oka, located in Mita, Tokyo, and reconstructs them into music.

A multi-instrumentalist who masterfully handles a diverse range of instruments, with the gaida (an ancestor of the bagpipes) – which he studied in Bulgaria – at the core of his sound, KiMiMi has previously brought traces of daily life and folk melodies recorded during his travels back to the scale of home recording, weaving fantastical folk soundscapes through cassette tape works and stage music.

Alongside his musical activities, he has participated in the construction work for ‘Arimasuton Building’, recording the sounds of hammers and steel beams echoing on site, lunchtime chatter, the melodies of instruments played by others, and the sound of cars passing by. From the end of 2022, a zine titled ‘Monthly Arimasuton Building Urimasu’, based on this construction project, was launched. KiMiMi incorporates these recordings into the musical works he contributes to each issue, layering sounds from live instruments―including the gaida, accordion, guitar, flute, ukulele, piano, foot-pump organ, melodica and xylophone―alongside a few synthesiser tones, to shape a soundscape imbued with the humidity and breath of the site.

KiMiMi’s creative process is characterised not by planned construction, but by an attitude of entrusting the work to chance, intuition and the passage of time. Fragmented recordings are layered, set aside for a time, and then unearthed again. Through this repetition, the music naturally takes shape. This resonates perfectly with the process of ‘Arimasuton Building’, which was built up improvisationally, layer by layer, without any pre-prepared blueprints.

‘ИМА (Ima)’ marks the current stage of KiMiMi’s sonic journey and represents an attempt to gracefully transcend the boundaries between architecture and music, documentation and creation, and the individual and the community. The clamour of the city, the tranquillity of manual labour, laughter, and every sound resonating at the Arimasuton Building site blend with KiMiMi’s music, reflecting the very passage of time in which people live.

Salin, gefeierte Schlagzeugerin, Produzentin und Komponistin, geboren in Thailand, wohnhaft in Kanada, ist bekannt für ihre innovative Verschmelzung globaler Rhythmen. Ihr bahnbrechendes Album "Rammana" erhielt 2025 eine JUNO-Nominierung als "Global Music Album of the Year" und wird nun flächendeckend auf Tonträger erhältlich. "Rammana" ist eine zutiefst persönliche Reise, die die Klänge Nordostthailands mit dem psychedelischen Soul Westafrikas der 1970er-Jahre verwebt – gefiltert durch Salins modernen Produktionsstil. Inspiriert von traditionellen Trommeln und Volksliedern der Urak Lawoi, einem indigenen Nomadenvolk Thailands, ist Salins Album eine Hommage an die musikalische Migration und den Austausch zwischen Ost und West. Ihre Musik reflektiert Themen wie Identität, Spiritualität und Menschlichkeit, gepaart mit einer Prise Lebensfreude, und erschafft eine einzigartige Klangreise für die Zuhörer. Salin tourte durch Nordamerika und Europa (u.a. Jazztage Dresden, Überjazz, Trans4JAZZ-Festival, JazzOne+ Festival) und trat als Support für Kokoroko und Yussef Dayes auf.

Hiroshi Sato’s landmark solo debut album, recorded at Electra Studios in California with the support of local musicians including Amos Garrett and Joe Carrello.
The album features a self-cover of “Rainbow Sealine”, originally written for Minako Yoshida, as well as “F.W.Y.”, later covered by Chu Kosaka.
Original Release: LQ-7008 (May 25, 1976)

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

The fourth instalment in the Hutson Sevens 7‑inch series finds Home of the Good Groove Records taking a slight detour away from the vaults of unreleased material this time, but back to a pivotal moment in LeRoy Hutson’s creative journey.

Fear not: more unheard gems are on the horizon. But for this chapter, the label rewinds to 1994, a year that marked a meaningful renaissance for the soul legend.

After years of legal battles and persistence, Hutson finally reclaimed partial ownership of his catalogue in 1989 — a hard‑won victory that opened the door to a new era. Though celebrated as a musician, composer, lyricist and performer, the world of publishing was uncharted territory for the musical legend. By 1994, Hutson stepped confidently into that new chapter, signing his first licensing agreement with a Japanese label and publisher.

From that landmark agreement come two recordings now making their debut on 7‑inch vinyl, presented with the care and reverence they deserve.

The A‑side brings us “Lucky Fellow (’94 Mix)”, a track with a storied lineage. First recorded by Maurice Jackson in 1971, it became one of Hutson’s signature moments when he released it on his 1975 album Hutson — a version that remains a fan favourite to this day.

Nearly two decades later, Hutson returned to the studio to revisit the song once more, applying his unmistakable production finesse to craft a fresh, radiant mix. Initially released in Japan on Lucky Fellow: The Best Vol. 2 and then later resurfacing on a Deepbeats Hutson compilation album in 1997.

Now, for the first time, this ’94 version arrives on 7‑inch vinyl — a lovingly curated snapshot of Hutson’s evolution, and a reminder of just how timeless his artistry remains.

Hutson’s “Lucky Fellow” gets a striking reimagining here, trading the warmth of the original for a brighter, crisp production, lifting the melody into sharper focus. While the added vocal riffs don’t just embellish the track — they give it a fresh, expressive identity.

Think of “Lucky Fellow (94 Mix)” as the cool cousin who shows up uninvited and immediately steals the spotlight. It tightens the groove, brightens the melody, and sprinkles in a handful of sly vocal riffs that flip the familiar tune into something delightful and freshly polished.


The flip side of this release digs a little deeper into Hutson’s 1994 chapter, bringing the track “Reality” to the 7‑inch format for the very first time — a moment many collectors and soul devotees have been waiting on.

Originally recorded in 1982, the track spent twelve quiet years on the shelf before finally surfacing on a 1994 P‑Vine CD Hutson compilation. It reappeared twice again on CD throughout the following years and made its first vinyl appearance on a Deepbeats Hutson compilation in 1998.

Nearly two decades later, in 2017, French record label Saph Records reintroduced the track to a new wave of listeners as part of its Unreleased Boogie Tracks 12‑inch series, cementing somewhat of a cult status among Hutson boogie fans.

Cut during the sessions for Hutson’s Paradise era, “Reality” carries the unmistakable sheen of early‑’80s soul — a buoyant, melodic groove wrapped in Huston’s recognisable warmth.
Now freshly remastered in 2026 by UK’s Phil Ward, the track gains an added depth and clarity that enhances its rhythmic glide without losing its vintage charm.
It’s a notable moment in Hutson’s catalogue and a killer selection to finally receive the 7‑inch treatment — a long‑overdue spotlight for a track that has spent far too long in the 7-inch shadows.

Unreleased Mix of Justin Hinds classic Once A Man Twice A Child , produced by Duke Reid. On the flip side is a rare track also fro Treasure Isle Studio by the saints which is sought after

This is a dance floor killer mash up destined to rock any radio airwaves and equally any dance floor. The classic Marvin Gaye vocal on top of this familiar funk rap groove, works well in a synergy like it could have been recorded back in the day, like it sounds now in the millennium. Limited edition 300 copies.

To get with down roots of the label you have to get down with its people. For one of these key roots, you have to hear and understand what David Guriev has to say with the audio message that’s getting translated to us as listeners. Being one of allies of the label and the non-stop behind the scenes inspiration, David has created a 5-track extended play named after one of his favorite female boxers named Erica Cruz. From the side of the cinematic importance, Erica has appeared momentarily in our lives, with a brief timing that the world has provided her. However she has never left the idea that has given the birth to this EP, and more or less has started the discussion of what it is to be or not to be like Shakespeare himself used to talk about after a good soul-searching session.

Following the underground cult success of Mystical Funk, Gerardo Frisina returns to the 7” format with a new double-sider aimed at dancefloors, collectors, and selectors with a taste for cinematic funk. A record that feels as though it emerged from a lost Afro-funk session, where cosmic funk and Afro-Latin grooves are filtered through a distinctly modern electronic sensibility.
On the A-side, “Duala”, inspired by the African city of Douala, pays tribute to Afro-funk in its most visionary era, evoking the unmistakable sound made famous by the great Manu Dibango. The track opens into a dense and hypnotic electronic funk journey: pulsating basslines, fluid guitars, psychedelic synthesizers, and a rhythmic tension that recalls the golden age of Afro-funk. A nocturnal voyage through rare groove and cinematic atmospheres, with the groove constantly remaining at the heart of the composition.
On the B-side, “Lindeza” is a tribute to the beauty and richness of Brazilian musical culture. A track that shifts perspective while keeping the temperature high: elegant, percussion-driven electronics with a Latin spirit, flowing at around 110 BPM. Warm and magnetic, the piece carries all the hallmarks of Gerardo Frisina’s sound, where futuristic jazz, tropical funk, batucada, and club culture meet in a refined production designed equally for deep listening and the dancefloor.

ICONIC FRENCH LABEL VULTURE RETURNS WITH A NEW CHAPTER.

Marking its 25th anniversary, Alan Braxe label Vulture looks beyond its archive, from the French Touch imprint of “Intro” and “In Love With You” to The Upper Cuts, entering a new phase.



This chapter opens with Femme d’Intérieur. Developed in close collaboration with Million Miles and Braxe, the debut introduces French lyrics to the label’s catalogue, shifting toward a nocturnal strain of French Boogie and soulful songwriting.



The B-side reconnects the project to the label’s club lineage through remixes by Shakedown and JKriv (Razor-N-Tape).

Original Funk Band from Paris

With just three years on the scene, Jéroboam is already considered as one of the most exciting and essential new voices in contemporary soul funk.

A true manifesto for live music and the dancefloor, this 11-piece live machine hits the stage like a juggernaut and doesn’t just play funk, they live and breathe it.

After a slew of certified underground classic releases on Space Grapes and Chuwanaga which have been supported worldwide by tastemakers and connoisseurs, Jéroboam is now presenting its long awaited first LP on Favorite Recordings.

From boogie-funk to 2-step soul crossover, Jéroboam delivers 8 heartelf songs, combining razor-sharp compositions with genuine and relatable lyrics.

Achieving such an exciting and challenging piece of work is the outcome of a long and inspiring process started more than 10 years ago in Paris.

From their early beginnings on the local scene, the core musicians of Jéroboam thrived on their mutual love for funk music under the name and concept of Echoes Of.

Building on these successful experiences and expanding its line up over the years, the band has been able to sharpen its sound, craft a distinctive crossover identity and create its own original music under a brand new entity : Jéroboam.

This momentum culminates in their debut full-length album, set for release in june 2026 on Favorite Recordings, a defining moment for one of Europe’s most vital modern funk acts.

After Maghreb K7 Club – Synth Raï, Chaoui & Staïfi (1985-1997) and Maghreb K7 Club Disco Singles Volume 1, 2, and 3, Sofa Records and Les Disques Bongo Joe team up again for a new project exploring funky, synth-driven tape music from the Maghreb.

This compilation brings together eight songs —delivering a Saharan pop sound melted with reggae, dub, new-wave and funk — by Yassine (Ahl) Nana, the iconic figure of Mauritanian pop music in the 1980s and 1990s. Yassine and his band recorded songs between Nouakchott, Paris, and Rabat, resulting in only a pair of rare cassette tapes. This music was definitively part of the vibrant wave of African sounds sweeping across the continent at the time, from Abidjan to Oran and Kinshasa.

This compilation features previously unreleased recordings, along with liner notes, interviews, and exclusive iconography.

Volume 16: The Original Masters is classic Triple Six Mafia down South
Hip Hop
DJ Paul has been a highly influential writer, producer, and artist since 1994. His
dark production, often referred to as Gangsta, Crunk, Horrorcore and sometimes
Hardcore Hip Hop, really stands apart from the corny rap of the current era. Paul
has created a truly unique sound that continues to resonate after all these years.
Featuring Koopsta Knicca, Gangsta Blac, Kingpin Skinny Pimp, Lord Infamous,
and the late great Gangsta Boo.

Neues Farbformat von "ghostholding", dem Debütalbum des gitarrenbasierten Alternative-Bandprojekts venturing der US-Künstlerin Jane Remover, das von der Fachpresse abgefeiert wurde. "Das neue Album der Künstlerin aka Jane Remover ist voller ausufernder, furchteinflössender Schönheit, sowohl kompositorisch straffer als auch strukturell rauer als ihre früheren Ausflüge in den Rock." - Pitchfork. Limitierte Auflage auf orchideenfarbigem Doppelvinyl.

Hypnotize Minds is proud to present Kingpin Skinny Pimp's King Of Da Playaz Ball on a limited edition orange crush double vinyl! Featuring classic Memphis rap such as "Lookin' for Da Chewin'" and "One Life 2 Live (feat. DJ Paul & Juicy J)"

Crash is a debut EP of Abel Dalum, aka KennyKrazyWorld. Often appearing on tracklists of many, now breaking through with his highly anticipated 4 piece solo, no-remix EP. Across four movements, KennyKrazyWorld sketches a system in flux: fragments of noise, texture, and space dissolving into one another. As he likes to say himself, "its all about the percussions".

Petrichor opens with the residue of a storm — metallic air, wet circuitry, the pulse of machines breathing beneath the rain and a broken up kick. Like a scene from Blade Runner or a concert hall opening somewhere deep in the megalopolis. The 10-minute track is there to pull in and not let go. Dust follows, bone-dry and disintegrating, rhythm shedding its structure until only motion remains, hooking the listener to lose himself in its enchanting wormhole of evolving percussions and atmospheres.

At its core, the 3rd "backbone" track of the same-named EP, Crash, is already breaking apart: percussive tension folding in on itself, and a memorable voice over to seal the deal. Divergent closes the loop — but doesn't leave the listener with breadcrumbs, rather with a feeling like a party in full effect being closed at 3AM due to some scumbag cops…
Crash is techno as erosion, but also a study of groove and flow — repetition worn into form, emotion distilled through pressure.

Holen Sie sich das bahnbrechende Album „Wheels Of Fire“ – so wie Sie es noch nie gehört haben! Entdecken
Sie die verschollenen Aufnahmen und die neu zusammengestellten Raritäten-Sammlungen. Erhältlich als
3-LP-„In The Studio Expanded Edition“ mit 26 unveröffentlichten Aufnahmen und als 5-CD-„Super Deluxe
Edition“ mit 37 unveröffentlichten Aufnahmen sowie einem 24-seitigen Hardcover-Buch.
Die „WHEELS OF FIRE 5CD SUPER DELUXE EDITION“ dokumentiert die gesamte Entstehungsgeschichte
und die Fertigstellung von Creams bahnbrechendem dritten Album.
Das Set enthält eine spezielle, neu remastered Stereo-Version des neunten Titels umfassenden Studio-Teils
von „Wheels Of Fire“. Ursprünglich 1968 unter Verwendung von CSG-bearbeiteten Aufnahmen veröffentlicht wurde, diese remastered Version präsentiert, von CSG befreite Version das Album nun phasenkorrigiert und liefert die Aufnahmen mit größerer Detailtreue und einem klaren Klangbild.
Ebenfalls enthalten ist eine neu zusammengestellte Raritäten-Sammlung mit 15 seltenen Aufnahmen, von
denen neun Tracks bisher unveröffentlicht sind. Diese Sammlung umfasst frühe Versionen, alternative
Mixe und Single-Versionen. Zu den Highlights zählen „WHITE ROOM (EARLY VERSION MONO MIX)“,
„DESERTED CITIES OF THE HEART (MONO ROUGH MIX / NO STRINGS)“ und „CROSSROADS
(MONO SINGLE VERSION)“ sowie sieben weitere alternative Stereo- und Mono-Mixe, drei Single Versionen und zwei seltene Live-Aufnahmen.
Abgerundet wird das Set durch ein Hardcover-Buch mit Begleittexten von Jim Faber und Fotos von Cream
aus dieser Zeit. Die fünf CDs befinden sich in einer Gatefold-Hülle und sind zusammen mit dem Buch in
einem stabilen Schuber mit silberner Laminierung untergebracht.
Creams bahnbrechendes drittes Album wird in dieser speziellen 3LP-Erweiterungsausgabe von WHEELS
OF FIRE: IN THE STUDIO dokumentiert.
Das 3LP-Set enthält eine neu remastered Stereoversion des neun Titel umfassenden Studioanteils von
Wheels Of Fire. Ursprünglich 1968 unter Verwendung von CSG-bearbeiteten Aufnahmen veröffentlicht,
präsentiert diese neu remastered, von CSG befreite Version das Album nun phasenkorrigiert und liefert die
Aufnahmen mit größerer Detailtreue und einem klaren Klangbild.
Ebenfalls enthalten ist eine neu remastered Mono-Version des Studioalbums. Diese Mono-Version, die aus
den persönlichen Referenzbändern des verstorbenen Cream-Produzenten Felix Pappalardi stammt, wurde
noch nie zuvor veröffentlicht.
Das Set enthält außerdem eine neu zusammengestellte Raritäten-Sammlung mit 11 seltenen Aufnahmen,
von denen acht bisher unveröffentlicht sind. Dazu gehören frühe Versionen, alternative Mixe und Single-Versionen. Zu den Höhepunkten dieser Sammlung zählen WHITE ROOM (EARLY VERSION MONO MIX)
und DESERTED CITIES OF THE HEART (MONO ROUGH MIX / NO STRINGS) sowie sechs weitere
alternative Stereo- und Mono-Mixe.
Diese Veröffentlichung auf 180 g schwerem schwarzem Vinyl wird in einem Gatefold-Cover mit metallischem
Pantone-Finish präsentiert

Golden Earring were together between 1961 and 2021, and their last and best known line-up included two founding members George Kooymans (vocals and guitar) and Rinus Gerritsen (bass, keyboard) along with Barry Hay (vocals, guitar, flute and saxophone) a member since 1968 and Cesar Zuiderwijk (drums) a member since 1970.

They had over 40 hits and released 30 albums, many achieving either gold or platinum status in their home country, The Netherlands. They are best known for their 1973 hit single "Radar Love" and their 1982 single "Twilight Zone".

Around 1992, the unplugged sessions on MTV were a trend; almost every rock band or artist was doing them. Bass player Rinus Gerritsen suggested to record an acoustic album themselves. The record company wasn't very enthusiastic at first so with a small budget the band recorded the album live in an intimate cafe in Amsterdam. The Naked Truth turned out to be the Golden Earring's best selling album.

The Naked Truth is available as a limited edition of 2000 individually numbered copies on purple vinyl. The 2LP is packaged in a deluxe sleeve with linen laminate finish and includes an insert.

After releasing his first beat & instrumental album "Alltimers" in 2020, Berlin based multi-talent V.Raeter is back and kicking off the champagne for his upcoming sophomore LP "Sunday on a Monday" - this time released via Kabul Fire Records, also known as the nourishing home of high class instrumental releases in proud HipHop fashion. Sunday on a Monday is a sample based instrumental gem that pays tribute to the laid-back atmosphere of late summer days.

As a follow-up to our previous work reissuing the recordings of Pau Riba, key figure in Catalonia's counter-culture and music scene, we now present "Juguetes de época y cajas de cerillas - Singles y rarezas. Primera época (1967-1969)," compiling songs drawn from rare releases in his catalog as well as his singles from this period. It includes previously unreleased material sourced from the artist's own tapes, along with an extensive booklet featuring notes and photographs of the artist. This collection brings together songs taken from rare releases in his discography-such as the album recorded at one of the concerts performed by Grup de Folk during its brief existence, "Folk 2" (1968)-as well as from his singles: "Taxista!" (1967), "Noia de porcellana" (1969), "Miniatura" (1969), "L'home estàtic" (1967), "Pau i Jordi" (1968), and "El Nadal no té 20 anys" (1967). Alongside these tracks, this compilation also releases for the first time part of the previously unheard material found on magnetic tapes discovered in the artist's studio after his passing. Among these tapes were the instrumental recordings of "Taxista!"-versions with slight differences from those issued on the original single, possibly prepared for television playbacks. These recordings provide further insight into the making of Riba's first release, particularly regarding the mixing process and the later addition of subtle details.

On his new album, Micha Acher rearranged compositions for bands such as Tied & Tickled Trio and Ms. John Soda from previous years.

Why are we interested in ghosts? What fascinates us about the eerie? According to cultural theorist Mark Fisher, the allure that the eerie possesses is not captured by the idea that we „enjoy what scares us“. It has, rather, to do with a fascination for the outside. For that which lies beyond standard perception, cognition or experience, as he writes in his book „The Weird and the Eerie“.

In fact, also none of the 15 pieces from Henry and the Ghost is really scary. On the contrary, they all feel strangely familiar. Like revenants or doppelgängers, which in fact they are. They have all been released before. But in a different form. In different line-ups. With different band projects such as Tied & Tickled Trio, The Notwist or the Alien Ensemble.

With the „Songbook“, Micha Acher's aim was, as he says, to find out how the familiar pieces sound in a chamber music instrumentation. Therefore he met with Theresa Loibl (bass clarinet, piano), Timm Kornelius (bassoon), Markus Rom (guitar, banjo, electronics) and Simon Popp (drums, percussion) in his living room for a musical séance in the summer of 2022. The séance lasted two days. Afterwards, Markus Rom (Oh No Noh), added some haunting electronical ideas.

The mood of most of the pieces is melancholic. There are surprising twists and siren-like melodies. Just as ghost stories should be. However, most of the songs sound very light-footed. With their feet in pop, folk, jazz and classical music. Pieces such as „Johanna“ with its wheezing harmonium and spooky piano, or the dreamy „Modest Farewell“ on the other hand have a cinematic flair. Immediately faces and scenes arise in the mind. But at the beginning, there is „Hamlet“. It starts with ghostly electronics and merges into a calm, almost classical guitar piece. Could it be that the ghost of Hamlet's father is hiding between the strings?

„34E“ begins with a banjo. Then the deep humming of Micha Achers sousaphone and the other brass instruments kick in. In the slow, solemn „Aelita“, the sousaphone starts a dialogue with a children's piano. With the banjo and the other wind instruments acting as mediators. The title of „All Tomorrow's Past“ brings Velvet Undergrounds „All Tomorrow's Parties“ to mind. Another ghost from the past. What connects the two pieces is free-floating percussion, which accompanies the sumptuous melodies.

„Arc“ takes us on an exhilarating voyage at sea, with the sousaphone providing powerful propulsion. Towards the end, things get quite turbulent. With the clarinet stirring up the water, before the sea calms down again. „Henry and the Ghost“ is characterised by a ghostly mood change between major and minor. In „Radio Four“ the banjo with its stoic chords keeps the lively brass section in check. „Solid Ground“ is imbued with melancholy. „Space Minor“ takes us into outer space, with the power of sousaphone and percussion.

„Tomorrows“ is filled with cautious optimism. And the concluding „Nordlead“ turns out to be a revenant of the instrumental „N.L.“ from The Notwist's legendary album „Shrink“ from 1998. In the new version, the piece sounds like a distant echo. One that also brings to mind how Micha Acher's music has evolved. Which new worlds he explored and opened up since the nineties. And yet Acher's signature is recognisable in every single note of this fascinating „Songbook“.

Damian Dalla Torre returns with People Pleaser, a record shaped by movement, collaboration and an ever-deepening relationship with sound as environment.
The Leipzig-based multi-instrumentalist, composer and producer first found wide attention with his 2022 debut Happy Floating, and his subsequent album I Can Feel My Dreams was named the #1 Contemporary Album of 2024 by The Guardian, an accolade that broadened his audience and deepened confidence in his evolving voice. That second album, written between Europe and South America, opened unexpected doors and took Dalla Torre to stages across New York, Japan and Italy. “When you release music, it’s very intimate,” he reflects. “You show your emotions pretty raw. I was kind of scared. But getting so much positive feedback gave me a lot of self-confidence to try out more.”

People Pleaser begins in that quiet shift of confidence.

The title stayed with him for months before he committed to it. “It was a working title for a long time,” he says. “I didn’t actually think I would use it. But this term also felt somehow relevant in connection with the phase of self-negotiation during the development process. Some aspects are related to pressure, others are positive.” The ambiguity felt right. Rather than presenting it as a statement, Dalla Torre leaves it open, an invitation rather than a confession.
At the centre of People Pleaser is collaboration. Guitarist Bertram Burkert, whose playing stretches from classical delicacy to electric abstraction, joined Dalla Torre in the studio for an intensive three-day session, recording a wide palette of textures that would become the backbone of the album. Vocalist Laura Zöschg, a key live collaborator, harpist Babett Niclas, organist Felix Römer, tape experimentalist Markus Rom, marimba and vibraphonist Volker Heuken and Japanese artist Manami Kakudo also contribute, creating a sound that feels intimate yet expansive.

Damian Dalla Torre returns with People Pleaser, a record shaped by movement, collaboration and an ever-deepening relationship with sound as environment.
The Leipzig-based multi-instrumentalist, composer and producer first found wide attention with his 2022 debut Happy Floating, and his subsequent album I Can Feel My Dreams was named the #1 Contemporary Album of 2024 by The Guardian, an accolade that broadened his audience and deepened confidence in his evolving voice. That second album, written between Europe and South America, opened unexpected doors and took Dalla Torre to stages across New York, Japan and Italy. “When you release music, it’s very intimate,” he reflects. “You show your emotions pretty raw. I was kind of scared. But getting so much positive feedback gave me a lot of self-confidence to try out more.”

People Pleaser begins in that quiet shift of confidence.

The title stayed with him for months before he committed to it. “It was a working title for a long time,” he says. “I didn’t actually think I would use it. But this term also felt somehow relevant in connection with the phase of self-negotiation during the development process. Some aspects are related to pressure, others are positive.” The ambiguity felt right. Rather than presenting it as a statement, Dalla Torre leaves it open, an invitation rather than a confession.
At the centre of People Pleaser is collaboration. Guitarist Bertram Burkert, whose playing stretches from classical delicacy to electric abstraction, joined Dalla Torre in the studio for an intensive three-day session, recording a wide palette of textures that would become the backbone of the album. Vocalist Laura Zöschg, a key live collaborator, harpist Babett Niclas, organist Felix Römer, tape experimentalist Markus Rom, marimba and vibraphonist Volker Heuken and Japanese artist Manami Kakudo also contribute, creating a sound that feels intimate yet expansive.

To Cherish zeigt Northcote, das Projekt des kanadischen Singer-Songwriters Matt Goud, in einer Phase persönlicher und kreativer Erneuerung. Seit 2008 bekannt für seine warme Stimme, seine aufrichtigen Texte und energiegeladenen Live-Shows, hat Northcote durch Touren in Nordamerika und Europa sowie gemeinsame Auftritte mit Künstlern wie The Gaslight Anthem, Frank Turner und Hot Water Music eine treue internationale Fangemeinde aufgebaut. Das Album entstand in den Rain City Studios in Vancouver unter der Leitung von Produzent Jesse Gander, der den Songs eine kraftvolle, unmittelbare Klarheit verleiht. To Cherish spiegelt eine Zeit des Umbruchs wider - das Ende einer langjährigen Beziehung, eine wichtige spirituelle Übergangsphase und die kreative Aufbruchsstimmung nach der Rückkehr auf die Bühne. Musikalisch knüpft das Werk an die intime Dynamik der Duo-Tourneen an. Langzeitpartner Stephen McGillivray trägt mit seinem charakteristischen Gitarrenspiel maßgeblich zur Atmosphäre bei, unterstützt von Paul Rigby, Percussionist Mike Battle und Bassist Eric Paone. Die Songs vereinen lyrische Tiefe mit emotionaler Intensität und laden dazu ein, die Höhen und Tiefen des Lebens bewusst wertzuschätzen.

For The Bobby Lees, their fourth album and Epitaph debut New Self marks a thrilling new chapter for the band while doubling down on what"s always made them so magnetic. The Bobby Lees don"t need much in the way of introduction. Within a few seconds of exposure to their furnace-blast live shows or their bottled-lightning studio records, it"s easy to hear why they"ve earned fans in legendary musicians like Iggy Pop, Debbie Harry, and Henry Rollins. They"re as uncompromising in their sound and generous with their energy as any of their punk ancestors who first rewrote the rules of engagement back in the 1970s. Led by singer and guitarist Sam Quartin, drummer Macky Bowman, and bassist Kendall Wind, The Bobby Lees bring wildness and danger back into punk rock. You can hear the band easing into a new confidence -- one that"s both looser and more towering -- all throughout New Self, from the seething, fiery "Napoleon" to the rambunctious, offbeat take on PJ Harvey"s "50ft Queenie." This is the sound of a band who"s scrambled over shaky ground only to come back stronger than ever: more confident, more connected, louder and fiercer and secure in their own skin.