quête:raw soul

This Nashville, TN combo 'DeRobert & the Half-Truths – provide soaring vocal power with a unfiltered examination of raw soul.

Line Up:

DeRobert - Boss

Nick DeVan - Drum

Dave Singleton - Bass

Mark Spain - Bari

Diana Lugemwa - Trumpet

Robert Long - Tenor, Flute

Andy Brown - Guitar, Alto/Tenor

Austin Little - Trombone

This isn't your abuela's salsa night - this is CHEO Y LOS CONSENTIDOS DE LA CASA. Funk-forward. Rhythm-obsessed. 100% dance floor approved. Cheo y Los Consentidos de la Casa is a dynamic, funk-infused Latin music project led by Cheo Pardo (of Los Amigos Invisibles). Serving as the house band for a bi-weekly dance night at NYC's Nublu, the group blends salsa, boogaloo, cha-cha-cha, and bolero with psychedelic effects and deep grooves. Their debut live album captures this high-energy fusion, reimagining Latin classics with a modern, electrifying twist that honors tradition while pushing boundaries. Born from a love of vintage Latin soul and the raw energy of NYC's dance floors, Cheo assembled an all-star crew of the city's hottest Latin players to cook up a high-octane blend of salsa, boogaloo, cha-cha-cha, and bolero - all filtered through wah-wah pedals, space echoes, fuzzy guitar solos, and a deep, unshakable groove. The result? A psychedelic, percussive party that's equal parts tradition and funked-out future. Their debut album, recorded live at Nublu, captures the heat, sweat, and sabor of their wildest nights - reimagining classics from Joe Cuba, Willie Colón, Eddie Palmieri, Mon Rivera, and more. Each track is a tribute and a reinvention, breathing new life into the old- school with a cosmic twist, and opening the doors for a whole new generation to feel that sabrosura in their bones.

For Fans Of: New Mastersounds, Soulive, Jimmy Smith, Khruangbin. Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans. Third full-length LP. Their KEXP video has over 8 million views and no other KEXP upload in the last three years has more views 60k followers on Spotify. Previous studio album entered at #1 on Billboard Jazz charts. “An obvious mastery of their craft….” MOJO // “keyboard cool recalling bygone times…” UNCUT // “…purveyors of the snappiest grooves…” SHINDIG

OVERVIEW: Brownswood Remix Editions 007 sees Brownswood Recordings return to two classic moments from its back catalogue, offering a new vinyl edition of standout reworks by Moodymann and Yoruba Soul. Both remixes have become favourites among collectors and DJs alike, and this release brings them together on wax for the first time in over a decade.

The A-side features Moodymann’s remix of José James’ “Desire”, a seductive and slow-burning reinterpretation first released in 2008. With his signature raw soul and deep house textures, the Detroit visionary stretches out the track into a hypnotic, late-night groove—balancing José’s smooth vocal delivery with dusty drums and smoky atmosphere.

On the flip, Osunlade—under his Yoruba Soul alias—reimagines Ben Westbeech’s “So Good Today”, transforming it into a gently percussive, spiritually infused house cut. Drawing from Afro-Caribbean rhythms and warm keys, the remix remains one of the most enduring and beloved versions of Westbeech’s breakout track.
Though both remixes have long been available digitally or on separate releases, Brownswood Remix Editions 007 brings them together in a unified edition that highlights Brownswood’s long standing commitment to collaboration, reinterpretation, and timeless sound.

Old Juniper is a new album from The Down Hill Strugglers, their first in seven years and first to feature all original songs and tunes.

"These guys are a first rate string band! Walker, Jackson and Eli have absorbed the old tradition, and the songs and tunes they wrote for this album are outstanding."
- Tony Garnier
(Bob Dylan, Asleep at the Wheel)

"From the first track “I’m Gettin’ Ready to Go” to the last “Let the Rich Go Bust", this is a wonderful collection of original songs and tunes by The Down Hill Strugglers (Walker Shepard, Jackson Lynch and Eli Smith).

Based in NYC they have been playing and recording together for 15+ years—this is their first in seven years and it’s a doozy. Old and new, evocative, current—all original. And I, as one who’s always had one foot in “old weird America” and the other in new weird America, love this recording.

The Down Hill Strugglers have, as Nathan Salsburg put it in his notes, 'an exquisite sensitivity to the seam where collective tradition and individual artistry meet….' I couldn’t agree more."
- Alice Gerrard

"If it’s possible to be at the forefront of something old, The Down Hill Strugglers are right there with this new recording! Imaginative arrangements of interesting tunes played with soul, all while reaching back to the best of the old mountain sounds."
- Bruce Molsky

"Throughout the record, the musical texture of Old Juniper shifts and blooms. Eli, Jackson, and Walker exchange roles freely— the banjo, fiddle, and guitar change hands almost every track. No matter their instrument, the three fall into place with the tune their guide. As these dynamics build and transform, a sound raw and beautifully sincere appears.

This album of new old-time tunes and songs will surely be a welcome addition to the well loved canon of American traditional music."
- Nora Brown

"How wonderful is it that The Down Hill Strugglers are releasing a new album? I’ve been a fan of theirs from the beginning and will happily spend time with anything they put out!

I see The Down Hill Strugglers as the primary successors of the great and longstanding tradition of urban interpreter-performers of American vernacular string band music - They pick up where the NLCR left off, with Cohen’s considerable creative guidance ever in their hearts and minds. “Old Juniper” is a testament to the vibrancy of this legacy."
- Jake Xerxes Fussell

Two titans of the underground link up for a sharp, cinematic journey through the realities of street life, loyalty, and legacy. On Checks & Balances, veteran lyricist Rasheed Chappell delivers thought-provoking bars with precision and grit, while 38 Spesh handles the boards and mic with equal finesse. The production is raw and soulful, driven by moody loops, neck-snapping drums, and minimalist flourishes that let the verses breathe. The chemistry is undeniable—this is a record that demands your full attention and rewards every listen with layers of wisdom, hunger, and mastery.

* V Recordings and Tim Reaper's Future Retro London have joined forces to unleash "One Stop Mr Driver," a track that channels the raw energy of '90s jungle. This release features both the original mix by the legendary Krust and a fresh remix by Tim Reaper, bridging the genre's roots with its modern resurgence.

* Kirk Thompson, professionally known as Krust, is a seminal figure in drum and bass. Emerging from Bristol's vibrant music scene, Krust co-founded the influential Full Cycle Records alongside Roni Size, DJ Die, and Suv. His innovative approach has produced classics like "Warhead" and "Soul in Motion," tracks that have left an indelible mark on the genre.

* London-based DJ and producer Tim Reaper has been pivotal in the revival of jungle music. Through his label, Future Retro London, Tim has showcased a plethora of talent from the modern jungle scene, earning accolades such as DJ Mag's Best of British Breakthrough Label award in 2021.
* "One Stop Mr Driver" was a coveted dubplate from the '90s, never officially released but highly sought after by enthusiasts. Recognizing its timeless appeal, Tim Reaper has crafted a remix that preserves the original's amen break-driven intensity while infusing it with razor-sharp modern production.

* Bryan Gee, the visionary behind V Recordings, has long admired Tim Reaper's contributions to the scene. This collaboration marks a rare partnership in V Recordings' three-decade history. The fusion of Krust's pioneering sound with Tim Reaper's modern touch honors its roots while embracing the future of drum and bass and jungle music.

* "One Stop Mr Driver" will be available digitally and as a limited edition 12" vinyl release.

Madlib’s WLIB AM: King of the Wigflip Returns on Double Vinyl via BBE Music BBE Music is thrilled to announce the long-awaited rerelease of WLIB AM: King of the Wigflip, the final installment in the legendary Beat Generation series from none other than Madlib. Originally released in 2008, this masterful collage of dusty loops, raw beats, and left-field soundscapes remains a high-water mark in the Stones Throw producer’s sprawling discography.

Now, for the first time in years, fans can experience the album in all its analog glory with this deluxe double vinyl edition, carefully remastered to preserve Madlib’s signature warmth and grit. A tribute to pirate radio culture and late-night airwaves, WLIB AM weaves together a rich tapestry of hip-hop, jazz, and soul, featuring an all-star cas t of collaborators, including Talib Kweli, Guilty Simpson, MED, and Oh No. Each track showcases Madlib’s uncanny ability to blur the lines between genres, effortlessly flipping obscure samples into hypnotic, off-kilter rhythms. From the hypnotic bounce of “Blow the Horns on ‘Em” to the smoked-out groove of “The Plan Pt. 1,” this is Madlib at his most playful, unpredictable, and inspired.

This special double vinyl edition, released exclusively via BBE Music, brings one of the Beat Generation series’ most celebrated albums back into circulation for crate-diggers and collectors alike. With original artwork and a high-quality pressing, this rerelease is a must-have for Madlib aficionados and vinyl lovers who appreciate raw, unfiltered beat craftsmanship. Don’t miss your chance to own a piece of hip-hop history—WLIB AM: King of the Wigflip is back and sounding better than ever.

For our 100th Eccentric Soul 45, Numero returns to our Ohio roots with three replica 45s from the Capsoul universe. Marion Black’s timeless two-sider “Who Knows” b/w “Go On Fool” made a few blipsupon its 1970 release, but has taken on a life of its own soundtracking prestige TV and car commercials around the globe and finally going gold after 65 years. We discovered Ron Harrington’s “Because You’re Mine” demo amongst the Capsoul tapes, a demo cut for founder Bill Moss that never escaped greater Columbus. The mid-tempo harmony joint “It Happened To Me Again” adorns the flip, with a lo-fi funk backbeat tossed in for good measure. Capsoul’s crown jewel group harmony quartet Johnson, Hawkins, Tatum & Durr cut just two records in their short time together, but the quartet’s “You Can’t Blame Me” has endured as a classic example of the raw and unhinged soul sound that Numero is known for. Eccentric Soul from the heart of it all.

For our 100th Eccentric Soul 45, Numero returns to our Ohio roots with three replica 45s from the Capsoul universe. Marion Black’s timeless two-sider “Who Knows” b/w “Go On Fool” made a few blipsupon its 1970 release, but has taken on a life of its own soundtracking prestige TV and car commercials around the globe and finally going gold after 65 years. We discovered Ron Harrington’s “Because You’re Mine” demo amongst the Capsoul tapes, a demo cut for founder Bill Moss that never escaped greater Columbus. The mid-tempo harmony joint “It Happened To Me Again” adorns the flip, with a lo-fi funk backbeat tossed in for good measure. Capsoul’s crown jewel group harmony quartet Johnson, Hawkins, Tatum & Durr cut just two records in their short time together, but the quartet’s “You Can’t Blame Me” has endured as a classic example of the raw and unhinged soul sound that Numero is known for. Eccentric Soul from the heart of it all.

Pink Butter’s debut EP is a bold fusion of jazz, R&B, hip-hop, and indie, blending structured composition with raw improvisation. Rooted in deep grooves and spontaneous creativity, the project channels influences like J Dilla, D’Angelo, and Robert Glasper while carving out a sound uniquely their own.

With live instrumentation at its core, the band brings an organic, dynamic energy that bridges classic and contemporary influences. Collaborations with legendary artists like T3 of Slum Village and Jermaine Holmes (D’Angelo) add an undeniable depth, reinforcing their vision of modern soul-jazz innovation. This release isn’t just a collection of songs—it’s an experience where musical chemistry and fearless creativity take centre stage.
Pink Butter is a Scandinavian collective of four musicians—Oskar Bettinsoli (guitar), Björn Lehnert (keys), Malte Bergman (bass), and John Bjurström (drums)—dedicated to the art of live performance and improvisation. Merging jazz’s freeform energy with the rhythmic pulse of hip-hop and the soulful depth of R&B, the band’s sound is both timeless and forward-thinking. Their approach embraces the rawness of live musicianship, creating a fresh sonic landscape that resonates with the essence of legends like J Dilla and D’Angelo. With a deep respect for both classic and modern influences, Pink Butter is not just making music—they’re redefining the space where jazz, soul, and hip-hop converge.

Pink Butter’s debut EP is a bold fusion of jazz, R&B, hip-hop, and indie, blending structured composition with raw improvisation. Rooted in deep grooves and spontaneous creativity, the project channels influences like J Dilla, D’Angelo, and Robert Glasper while carving out a sound uniquely their own.

With live instrumentation at its core, the band brings an organic, dynamic energy that bridges classic and contemporary influences. Collaborations with legendary artists like T3 of Slum Village and Jermaine Holmes (D’Angelo) add an undeniable depth, reinforcing their vision of modern soul-jazz innovation. This release isn’t just a collection of songs—it’s an experience where musical chemistry and fearless creativity take centre stage.
Pink Butter is a Scandinavian collective of four musicians—Oskar Bettinsoli (guitar), Björn Lehnert (keys), Malte Bergman (bass), and John Bjurström (drums)—dedicated to the art of live performance and improvisation. Merging jazz’s freeform energy with the rhythmic pulse of hip-hop and the soulful depth of R&B, the band’s sound is both timeless and forward-thinking. Their approach embraces the rawness of live musicianship, creating a fresh sonic landscape that resonates with the essence of legends like J Dilla and D’Angelo. With a deep respect for both classic and modern influences, Pink Butter is not just making music—they’re redefining the space where jazz, soul, and hip-hop converge.

When you’re immersed into something you never actually realize if the essence will project as bright as the efforts, as deep as the process and as loud as the intentions. WOW, the Roma Est duo of China and Leo Non, have never had to create magic or delve into mystique along their meandering path, it’s just been a long solemn wait for what life throws at them and actually sticks. Cause and reaction, because the essence is quietly there when the clamour fades away. Their new album ‘Rosa di Luce’ is as pure as they come, a crystalline documentation of a new family, new meanings and new languages where the only rule is to gently adapt and just let things flow.

Welcoming Mina Wow, a tiny creature, into the fold was never going to be easy for a life lead on the road and for a band as radical as WOW where nothing is sugar-coated or constructed behind the scene, a different approach was desperately wanted, needed and searched. Almost total disarm, doing the small things, undress, get rid of the unnecessary feedback. That’s why ‘Rosa di Luce’ more than ever showcases WOW’s other-worldy spectral capability of creating songs that contain immense and minimal emotions, raw but welcoming, sincere but cutting and could play out to be a career defining album. Loosely recorded between their house in Rome and a campsite in Southern Puglia (where WOW organizes their yearly Shawala Festival) these songs are masqued my a minimalist entendre that leaves space for China’s stellar vocal delivery, a haunted range with frequencies to tickle a soul and pierce hearts, with Leo’s resolute guitar playing leading a timeless revolution.

The center-piece ‘Le Montagne E Noi’ is a perfect example of their stripped-back nakedness hiding complex arrangements (the beautiful sax played by Ryan Spring Dooley and celestial flutes by Alessandra Lazzarini) that sound effortless and imperative. Spiritual orchestrations that match our times and most importantly their new family and definition of space. Peaks that can always be reached, forests that need crossing (La Radura) in order to find a sound. There is no pretension or conceit to WOW’s style, it is entrancingly vibrant yet melancholy, taking notes from the most visceral strand of Italian traditional music, yet, still, walking down a trail that is very much their own. A planet where Branko Mataja and Alice Coltrane are backed by Emahoy Tsege Mariam Gebru and Mina on a perennial quest for the ethereal. Music to remember the essence, this is what we are, like the ocean. “

Betty Harris (born 1939, in Orlando, Florida) is an American Soul Singer with a reputation that far exceeds her commercial success of the 1960s. Her recordings for the Sansu record label are highly sought after by fans of both Northern and Deep Soul.
In 1964, Betty Harris switched record labels from Jubilee to Sansu, a New Orleans label, where she was introduced to and produced by the legendary New Orleans producer Allen Toussaint. Her recordings with Sansu produced 20 singles. Of those, only "Nearer to You" charted (Billboard Hot 100 # 85), an atmospheric, dramatic soul ballad, now considered one of the milestones of deep soul. However, practically all of her recordings for Sansu featuring Allen Toussaint's raw yet sophisticated Southern Soul arrangements are considered prime specimens of the classic soul era. Notable recordings include "I'm Evil Tonight"; “Show It”; "I Don't Want To Hear It" and "Twelve Red Roses", favored among Northern Soul fans, plus "Can't Last Much Longer" and "What'd I Do Wrong".
In 1969 her Sansu recordings were compiled into a U.K. album—Soul Perfection—now highly prized around the world and reissued here in its original form for the first time.

DJ support - Alix Perez, Fracture, Lenzman, Kyle Hall, Doc Scott.

Introducing a new remix EP series from Rosebay Music aiming to connect the dots between soulful D&B and more disparate styles, tempos and scenes - with remixes coming in from a carefully selected group of artists reinterpreting tunes from the catalogue in fresh and unexpected ways.

Detroit’s Kyle Hall has been 1 of the cities main ambassadors of soulful, gritty house & techno over the last 15 years. Here he’s joined by instrumentalist Ian Fink to deliver a classic slice of deep and raw Detroit house music in his remix of Submorphics - Blastoff. This unforeseen linkup between Kyle Hall and Submorphics represents a rare joining of forces between 2 Detroit-born artists who have both repped their hometown’s aesthetic quite heavily in their respective scenes.

Noodles142 is the new alias of D&B star Satl - making fresh bangers fusing UKG, techno, dubstep and bass music in a classic-yet-futuristic way. Here he flips Submorphics - Hey Baby into deep, dark and dubby 140 territory paying homage to middle-of-the-night Detroit grittyness.

Primitive Instinct has quickly become one of the hottest upcoming names in D&B, repping Bristol with ultra-modern production, swinging drums, gorgeous synth work and amazing vocal sample manipulation. His stellar EP on The North Quarter convinced Rosebay to get him to remix Submorphics - Cinerama; and the result is a truly infectious dancefloor weapon.

The final remix comes from one of the current stars of 1985 Music: Trail. Repping the Toulouse D&B scene over the last few years, Trail has a unique knack for melody, harmony and groove that sets him apart from other modern liquid artists. Here he flips Submorphics, Zar & aya dia’s modern classic “Another Level Of Love” into a trippy and experimental heater. A diverse and eclectic selection of remixes from some very intriguing artists each existing in their own lane. Enjoy the ride!

We’re proud to present the first-ever official reissue of Les Nkenda — a rare and genre-blending spiritual gem from 1982, originally released in the Republic of Congo by the Cercle Biblique Évangélique (C.B.E.) of Pointe-Noire and produced by Adam Julien Koubemba on the small Adamsol Record Edition label. Pressed in extremely limited quantities and virtually impossible to find for decades, Les Nkenda has become a “holy grail” among collectors of African music. Fully remastered from the original tapes, it returns on vinyl for the first time since its initial release. More than a reissue, this is a revelation — a powerful fusion of gospel, psychedelic groove, folk, soulful funk, and Afro-Latin rhythms. Recorded in Pointe-Noire, the album channels the raw spirit of 1980s Congo with vibrant multilingual vocals and rich, polyrhythmic textures. Both hypnotic and deeply emotional, Les Nkenda is music made without compromise — once lost, now revived for a new generation of collectors, diggers, and seekers of the extraordinary.

Lela Amparo's debut album for Past Inside The Present is a smooth fusion of ambient guitar, IDM, trip-hop rhythms, orchestral arrangements and poetic vocals that draw from her American Southwest roots, international travels, and life in Gothenburg, Sweden. Amparo crafts a raw, worldly sound from these inspirations and mixes cinematic grandeur with tender grace, gorgeous melodies and head-nodding drum programming. Highlights include 'Space Us Out' with its emotional beat and piano loop, and 'You Say You Love' which combines harp and choral voices. 'Rose & Honey' reflects on isolation in Tokyo, while 'Wrong Thing' offers a Burial-style rhythm. Keep Your Soul Young is all about finding home within yourself.

This Chicago-based artist isn't just reconstructing soul music; they're reimagining it for a new generation. The album intertwines Soul Music’s rich history with contemporary production, creating a sound that's both familiar and fresh. St. James' unique vocals are rich and expressive -
soaring and soulful, conveying every emotion with raw intensity. But it's the songwriting that truly sets "Soul Nepotism" apart.

The album tackles weighty themes of personal struggles, family and heartbreak, but also celebrates the importance of freedom and self-confidence, all with a refreshing honesty and cleverness. Tracks like “Cocky (Can’t Tell Me Nothing” showcase St. James' sharp wit, while ballads (grooves) like “Saved By The Bell(s)” delve into the complexities of his past and self-discovery.

One of the most striking elements of "Soul Nepotism" is the use of vocal harmonies. Erthe doesn't just sing; he orchestrates a choir within the recording. The layers of harmonies are meticulously crafted and at times, swell like a full-fledged gospel choir, infusing the songs with an undeniable spiritual energy. This gospel influence adds another layer to Erthe's genre-bending mastery, creating a truly unique and unforgettable listening experience.

Ria Moran steps into a bold new chapter with Cubico, her debut solo album set for release in July 2025 via DeepMatter Records. A deeply personal and sonically rich project, Cubico sees Ria stepping forward as a producer and instrumentalist, blending R&B, neo-soul, and jazz with introspective songwriting that explores love, self-discovery, and emotional growth. The 12-track album moves fluidly between smooth R&B grooves and darker alternative tones, embodying the full spectrum of her artistry—sweet, emotional, moody, quirky, and fun. Ria made her long-awaited return in November 2024 with Take It or Leave It, a collaboration with Nubiyan Twist that showcased her evolving artistry and set the stage for Cubico and finding support from BBC Radio 6, Radio 1, Rinse Fm, Jazz FM, Worldwide FM, and more. Prior to this, her 2019 EP Moving into the Light gained widespread recognition from BBC Introducing, BBC Radio 6, and Worldwide FM, placing her among the UK’s most exciting contemporary soul voices. Her music sits at the juncture of forward-thinking UK soul music and nu-jazz, placing her alongside contemporaries including Ego Ella May, Yazmin Lacey and Cleo Sol, whilst also nodding to pioneers like Sade and Erykah Badu. Beyond her solo work, Ria has built an impressive career as a collaborator. Her contributions to Nubiyan Twist’s Freedom Fables earned a MOBO Award nomination, and she later appeared on Blue Note Records’ Blue Note Re:Imagined series, performing a BBC Radio 2 live session at the legendary Maida Vale Studios. She also worked with bassist Daniel Casimir on his acclaimed Boxed In album, joining a roster of UK jazz heavyweights including Nubya Garcia and Moses Boyd. Since 2019, she has been a touring vocalist with Gotts Street Park, sharing stages with Celeste, ENNY, and Pip Millett. With Cubico, Ria Moran is fully stepping into her own as an artist, delivering a debut album that is as raw as it is soulful, as vulnerable as it is empowering—a must-hear for fans of innovative and heartfelt music..

"I Became Birds feels like emo once again flipping the switch on its eternal energy source." - PITCHFORK // "One of the most arresting and interesting rock albums in recent memory." - SPIN // "Composed of self-deprecating wails, crashing guitar riffs, and a flicker of lyrical hope that almost feels naive _ in other words, the perfect foundation for classic emo catharsis." - STEREOGUM //// With I Became Birds, Florida's Home Is Where push their unique blend of whirlwind hardcore aggression and warm, open-hearted folksy melancholy to even further heights. Frontperson Brandon MacDonald's Dylan-esque eccentricities are on full display here, from the occasional blast of harmonica (like on early standout "Long Distance Conjoined Twins" or the disaffected, despondency-soaked closer "The Old Country") to their knack for abstractly evocative neurosis-as-poetry. But far from being a copycat act, Home Is Where's wearily raw-throated aesthetic and dynamically vivid compositions feel idiosyncratic and vital. The bittersweet folk melodies seep deeply into the band's DNA, adding an element of accessibility and immediate nostalgia to otherwise churning and angular song structures and sonic assaults. Vocals range from an intimate, gentle, and disarming croon to a full-bodied expectoration of the soul, oftentimes in the same song (like "Sewn Together from the Membrane of the Great Sea Cucumber," which splits the difference between mournful, gothic post-punk and staccato-heeled screamo with aplomb). A devastating rhythm section and nimble, versatile, yet powerful guitar work assist with the record's genre-bending, which ranges from maniacal chemical mixtures to gymnastic flips, twists, and turns. And yet, even amid the din, Home Is Where find ample time for hooks-- the oddball effervescence of lead single "Scientific Classification of Stingrays" and the shimmering, propulsive, delightfully off-kilter late-album stunner "Assisted Harakiri" are more than proof of that. Ultimately, I Became Birds shows Home Is Where hitting an early high-water mark. A brisk record-- six songs in roughly 17 minutes-- it never takes a dip in enthusiasm and inventiveness. Home Is Where's inexhaustible creativity and restless energy is bound to serve them well, and I Became Birds is all the proof anyone needs.

A deeply personal journey of an aspiring artist (Solene) navigating the harsh realities of Hollywood. An album that explores the emotional toll of being a hopeless romantic in a city full of predators and narcissists. A raw look at survival — and the trauma that follows. A narrative arc that takes the listener from LA to Las Vegas, only to find the same demons follow: addiction, vices, self-destruction, and the allure of illusion but ultimately setting on a journey of healing: picking oneself up, learning from pain, and choosing hope again and again. A love letter to Jazz, honoring Solene’s roots, with Hip Hop providing the fire and framework, produced by J. Rawls, to create something new: a genre-bending sound that’s soulful, futuristic, and fearless. Midnight Angel is not just an album — it’s a testimony of recovery, and of rebellion.

Better Than Money is an explosive collaboration between funk powerhouse Lettuce and legendary hip-hop lyricist Styles P from The Lox. Blending Lettuce’s signature groove-driven funk with Styles P’s raw, introspective bars, the track delivers a dynamic fusion of tight horn arrangements, relentless basslines, and gritty storytelling. It’s a celebration of the hustle, the passion, and the drive that push artists beyond material success — proving that soul and authenticity are truly better than money. This genre-bending anthem is set to light up playlists, moving both funk heads and hip-hop fans alike.

This album is notable for being Wilson Pickett's debut album and includes his early work before he became widely known for his later hits and marks Pickett's early steps in the music industry, showcasing his raw talent and emotional depth

The album features a mix of R&B and soul, with Pickett's powerful vocals being a standout element: the production of the album is relatively simple and straightforward, focusing on Pickett's vocal performance and the instrumental backing. Pickett went on to become one of the most infuential fgures in soul music, and "It's Too Late" stands as a testament to his early talent and potential. The album is often appreciated by fans and collectors of early R&B and soul music. The album's success helped Pickett paved the way for his future success in the music industry: "It's Too Late" is often cited as an infuential album in the development of soul music, showcasing Pickett's distinctive vocal style and the fusion of R&B and gospel infuences. Also for this reason Pickett's emotive performances and soulful performances on tracks like "If You Need Me" and "It's Too Late" infuenced countless artists in the soul and R&B genres.

Cinthie makes a welcome return to her own 803 Crystal Grooves imprint this June for its sixth release, the project comprises four original"s showcasing Cinthie"s many different sonic styles and influences.
The past decade has seen Berlin"s Cinthie moving from strength to strength, racking up milestone achievements like her DJ Kicks mix compilation and a steady stream of critically acclaimed material via the likes of Aus, Heist, Shall Not Fade and of course her own 803 Crystal Grooves label where she returns here with some fresh machine jams.
"Grooves" kicks off the package, a dynamic dance floor cut fuelled by processed vocals uttering the track title, murky bass stabs, heavily swung drums and gritty saturated stabs all dynamically evolving and unfolding throughout. "Boxer" follows next and showcases Cinthie"s love for dub-tinged sounds, laying down spiralling dub echoes, a snaking bass groove and hypnotic chord sequences atop a robust, swinging rhythm section.
"Hands Up" then kicks off the B-Side, shifting gears to a classic House aesthetic with dreamy keys, bright stab sequences, glistening synth textures and smooth strings, intertwined with soulful vocals and classic 909 workout. "She Wants It" then concludes the EP on a more cinematic tip with sweeping lead synths, fluttering arpeggios, elongated bass drones and vocal lines running with raw, crunchy drums.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Globally beloved Australian trio Sons Of The East have announced their highly anticipated second album, SONS, due out via MGM (Metropolitan Groove Merchants) The Sons Of The East -- Jack Rollins (vocals, guitar), Nic Johnston (vocals, keys) and Dan Wallage (guitar, banjo) -- originally hail from Sydney's Northern Beaches, but their unmistakable sound has carried them to every corner of the globe. Blending folk, blues, soul, and classic country, their music channels the raw vulnerability of Townes Van Zandt and Gram Parsons, combined with the soaring harmonies of Crosby, Stills & Nash and The Avett Brothers. Known for their deft songwriting and a palpable sense of joy that runs through every note, they've built a career on both timeless recordings and legendary live shows -- the kind that leave audiences singing along.

Collecting orders for Repress

Clone Classic Cuts continues their re-issues series for one of the most influential techno acts ever... Drexciya. The second selection of tracks including favorites such as ''Bang-Bang'', ''Positron Island'', ''Anti Vapour Waves'' and ''Journey Home'' complimented some lesser or unknown tracks. Raw, uncompromising music made with soul and creativity always has been the trademark of Drexciya (and also from their original label Underground Resistance) and this album is another showcase of their talents.

This album is one that is always going to be reissued until the end of time. It's pure, raw, inescapably good soul music that was popularised in recent years by Floating Points and his Melodies International label. The 1976 debut album by Chicago soul, rare-groove and jazz-funk fusionists Tomorrow's People was led by the Burton Brothers. This reissue comes on red vinyl for the first time and is full of a dynamic blend of styles-from the sax-driven disco-funk of 'Let's Get Down With The Beat' to the doo-wop-tinged 'Hurry Up Tomorrow' and the fiery 'Hurt Perversion'. The 20-minute title track, Open Soul, is a mesmerising space-soul journey which kicks off this highly sought after gem in style.

FCL presents Can We Try — A Deep House Anthem remixed and
remastered for 2025 including flips from Jimpster, Ben Hixon & Deetron

The ever-reliable FCL—aka Belgian house heroes San Soda and Red D—are back on the block with this remastered remix package of Can We Try, a soul-drenched dancefloor meditation that taps into the timeless tension of love and longing. With its raw vocal hooks (courtesy of Lady Linn), analog warmth, and stripped-down groove, the original cut is pure FCL: emotionally rich, effortlessly deep, and aimed straight at discerning dance floors.

Bringing fresh heat to the 2014 original, three heavyweights of house and techno step in for remix duties—each reworking the track in their own signature style:
Jimpster injects his trademark deep, jazzy finesse, flipping Can We Try into a swirling, soulful roller—lush pads, Moog flourishes, and enough swing to keep bodies moving and hearts locked in. Ben Hixon, the Dallas-based underground wizard, lays down a chunky, hardware- heavy rework full of crunchy drums and woozy funk. It's lo-fi soul with hi-fi intent. Deetron closes it out with a peak-time bomb—big room pressure, hypnotic bass, intense stabs and the kind of tension-release dynamics that only a true craftsman can deliver.
This limited-edition white label 12" vinyl is circulating in the wild—no frills, no hype, just a nod to those who know. Pressed loud and cut for the floor, it’s already making waves in the bags of tastemaker DJs from Berlin to Brooklyn. Can We Try is a reminder that dance music doesn’t need to shout to speak volumes. With this return, FCL prove they’ve still got their finger on the pulse—and their heart in the mix

Back by demand and dirtier than ever, Apollo Brown & CRIMEAPPLE’s new underground classic This, Is Not That returns with the Dirty Money Edition — a fresh press on cream & green vinyl that bleeds grit and opulence. This updated release includes two brand new bonus tracks, adding new weight to an already no-nonsense body of work.

This, Is Not That pairs Detroit producer Apollo Brown’s signature soul-soaked boom-bap with New Jersey emcee CRIMEAPPLE’s razor-sharp wit and bilingual venom. The result is an album steeped in realness — raw, reflective, and resonant, laced with wordplay that sticks and production that slaps.

Whether you're just discovering the project or stacking your collection, this edition is a must-cop — a celebration of bars, beats, and the beautiful grit of hip-hop.

When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating “You Oughta Know” in 1995, everything about the Top 10 song communicated it wasn’t the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity. Morissette, and both the lead single from and her entire American major-label debut — the profoundly personal Jagged Little Pill — represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream nearly three decades later.

Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame’s list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It’s a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.

Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time. A key part of the record’s appeal and accessibility — Glen Ballard’s smooth production, touches that help Morissette’s exposed-nerve fare seem more accessible and melodic — comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist’s songs that much more real and visceral.

The singer’s distinctive mezzo-soprano deliveries — the octave-rippling highs, dark-hued lows, dramatic crescendos, belted choruses, wispy reflections, occasional yodels — resonate with full-range ardor and depth. As crucial as anything on the record, Morissette’s confessional words take center stage like never before. Ditto the instrumentation and atmospherics that form the magnetic backgrounds of the songs. Key in on the contributions from Red Hot Chili Peppers Dave Navarro and Flea on “You Oughta Know” to Tom Petty & the Heartbreakers' co-founder Benmont Tench’s organ playing on six tracks.

The deluxe packaging of Mobile Fidelity’s Jagged Little Pill UD1S set underscores the work’s distinguished status. Housed in a slipcase, the LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this UD1S reissue is for listeners who prize sound quality and desire to engage themselves in everything involved with the album, including the now-iconic cover art that juxtaposes two portraits of the then-21-year-old singer-songwriter and features typewriter font.

That script — which suggests a raw, blood-on-the-floor document created without modern aids like spell check or language correction — hints at the heightened level of unvarnished intimacy, honesty, and catharsis Morissette offers throughout Jagged Little Pill. Named after a phrase uttered on the astute “You Learn,” the album explores the frank emotions, inherent contradictions, and wishful desires people feel everyday but are often too afraid to express. Morissette displays no such fear or shyness.

Akin to a woman reading from a diary, Morissette leaves nothing to the imagination as she skewers hypocrisy during the poignant “Forgiven,” seeks recompense on the vengeful “You Oughta Know,” and spills her guts on the soul-purging “All I Really Want.” For all the anger and bile ascribed to the singer and record, Jagged Little Pill is incredibly healthy and upbeat. Morissette uses the catchy pop-rock frameworks and moody ambience to suss out situations, to learn, to give hope. There’s the clever yearning of “Hand in My Pocket”; wry contrarianism of “Ironic”; kind-heartedness of “Hand over Feet”; the live-and-let-live spirit of “You Learn” – all positive and amiable.

Throughout Jagged Little Pill, the ever-approachable Morissette connects with listeners who recognize themselves in her — and has an intelligent conversation with anyone who wants to participate. It seemed almost everyone did. In addition to the mammoth sales that make the effort the 17th-best-selling album in American history, Jagged Little Pill collected four Grammy Awards, two American Music Awards, three Billboard Music Awards, and eight Juno Awards. In 2018, the record became the basis for a musical that netted 15 Tony nominations on Broadway.

Ironic? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening “All I Really Want,”, the album represents “deliverance” — “a place to find common ground.”

Underground Pacific is back with a new double vinyl compilation titled ‘The Only Good Wave is a Dead One’ that confirms, once again, its uncompromising taste for bold electronic music, psychedelic textures, and raw, electrified rock ‘n roll. This release brings together a varied group of artists, each of them adding something special to the journey.

The trip begins with “Excursions” by Gregory Moore, a piece that floats into a humid sonic world, between the nostalgic tones of vintage video game soundtracks, the Fourth World atmospheres of Jon Hassell, and the shimmering calm of ’90s Japanese ambient à la Takashi Kokubo.

Next comes Talee, the Rotterdam-based regular of the label, with “Makes Me Wonder”. Here, grunge-soaked vocals meet a tight dark disco groove, pierced by crystalline guitar chords that shimmer at the track’s heart. A song with its soul in the past and its feet in the club.

Label founder Cantor teams up once again with German duo New Hook on “Achtung! Achtung!”, an homage to the eponymous track by Italian producer Black Saagan. Fueled by vintage drum machines, punk-infused vocals, and melodies echoing the krautrock minimalism of Cluster, the track channels pure Cold War disco energy.

On “Scavengers”, Berlin based World Wild Web and Rasp Thorne deliver a pure mix of electro-rock noir – Suicide by way of David Lynch. Picture a never seen before episode of the series where Martin Rev and Alan Vega are playing live at the Roadhouse in Twin Peaks, while Laura Palmer slowly moves her head to the music, with a devilish smile on her face.

All the way from Grenoble to Berlin, H.L.M. deliver a dirty bass-driven anthem called ‘Fronde’. French spoken vocals spitfire over layers of distorted drones and hypnotic rhythms. The result is rough, hypnotic, and brings to mind the grooves of Death in Vegas.

New Hook return, this time solo, with ‘Unity’: a blend of groovy downtempo percussions, melancholic guitar riffs, and their signature brand of spoken word, a style that’s quickly become their sonic fingerprint.

Then it’s the turn of mexican-wave exponents Montessori featuring Vongold on “Ad Libitum”: a techy sunrise piece with soft pads, subtle build-ups, and an ecstatic sense of endlessness. After-party music for vast, open spaces.
Next up are SX2 from Ireland with their ‘Buttons’, offering a rolling tech-house banger laced with desert guitars. Psychedelic FX’s and whispered vocals drenched in delay slow the pace in a breakdown full of tension, preparing the floor to an euphoric release.

A dream from the pandemic era reappears: Cantor’s “Hannett’s Dream”, originally released in 2020 by Modular’s Project’s imprint ‘Nothing Is Real’ together with their own reworked version present also in two very limited vinyl-collector editions released by Underground Pacific. The introspection and hypnotic structure of the original cut here is replaced by a more stripped down arrangement, with a four-to-the-floor groove that is perfectly crafted for peak-time ignition.

Closing out the release is “Carissima” by the man behind iconic label Wonder Stories, Aimes – a Moroder-esque bassline and sensual vocals play on top of a warm groove that suddenly fractures into jazz-tinged, breakbeat mood, in the style of early Warp Records, just in time to get back into its disco-ish swing.

Contrary to what the title of this release might suggest, the wave isn’t dead at all. It’s well alive in the underground, reanimated by labels like Underground Pacific who are always ready to welcome artists who aren’t afraid to crash genres together and, above all, who are driven by the desire to make free-form, inspired pieces of music.

Efficient Space charts Ghost Riders’ North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte.

In the late ’60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighbourhood friends, the trio hammered out raw rhythms, drawing in Brooklyn’s wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making.

Also jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7”s on his newly minted Roundtable Records. To maximise his chances of courting major labels, he strategically assigned each release a different artist name - Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack.

Dennis’ emotional maturity and sheer talent bleed into the defining ‘Summer’s Over’, penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart - the candied ballad ‘Running Thru My Mind’ - delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovin’ Spoonful, and The Youngbloods.

Roaring like the Spencer Davis Group, Pure Madness’ organ-driven bruiser ‘Freedom Rides’ screams of biker gangs, yet its true subject - ’60s civil rights activists the Freedom Riders - looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus ‘Treat Me Like a Man’ digs back into Edelson’s catalogue, covering the Beatles-inflected Levittown group The Shandels.

Though Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge - a heartfelt homage to an unbreakable brotherhood.

German/Canadian outfit ANiML is a collection of artists with long histories in electronic music. They founded the Stratasonic label as a way of working with friends, peers and legends without any genre restrictions. Following the ‘Star Walk’ album, which was a comprehensive deep dive into their sound with improvisation and off-the-cuff collisions of a wide array of moods and grooves, it now gets remixed by three underground mainstays.

Detroit's Seth Troxler is one of the most iconic characters in the scene. His left-of-centre sets and sounds have taken him to the world's most notorious clubs, festivals and labels over the last 20 years. His take on 'Breather' is a richly layered minimal groove with suspensory pads rising up through a cosmic sky. There is a mystic quality to the pads and tripped-out atmosphere that will hypnotise dance.

Next is the legendary Mathew Jonson, a notorious synth magician and live show maestro with a jazz schooling and countless seminal tracks to his name. His understanding of dance floor dynamics and meaningful melody runs deep and shines through his remix of 'Baby D.' It's a wonky, off-balance rhythm with shimmering melodies and soulful vocal snippets. Fractured percussive sounds, muffled horns and golden keys marble the mix, which is psychedelic and wonderfully woozy.

Brooklyn-based Galcher Lustwerk has been at the forefront for more than a decade with a signature blend of experimental house and stream-of-consciousness rap informed by funk, rhythm, and blues. His compelling take on 'Bruv' is powered by a bubbly, acidic low-end with shadowy vocal whispers bleeding in and out of the raw, ice-cold beats.

Detroit’s own Brian Kage returns with Timeless Times Remixed, a interstellar re-imagination of his album "Timeless Times" featuring an all-star lineup of remixers. Timeless Times Remixed brings together some of the finest minds in house and techno, delivering deep, timeless grooves with Detroit soul.

Brian Kage, a staple of Detroit’s electronic music scene, brings together a heavyweight lineup of producers to rework key tracks from his latest album. The legendary Delano Smith infuses Detroit Techno City with his signature deep and hypnotic touch, while Scotland's Milton Jackson reworks Just The Groove with a dose of his classic rolling house energy. The collaborative Reference (Luke Hess & Brian Kage) Remix of Nordhouse leans into peak time dub-techno atmospheres, while Detroit's newest and finest young talent from the Submerge crew Max Watts takes Galaxian into raw, driving 808 Electro terrain.
This essential four-tracker bridges deep house, techno, electro, and dub, while staying true to the classic and timeless sounds of Detroit’s roots.

BerettaMusic has long been a cornerstone of Detroit’s underground dance scene, launching the careers of renowned artists like Seth Troxler, Ryan Crosson, Luke Hess, and many more. With its latest release, the label continues to cement its legacy—this time with a standout record from label boss Ryan Sadorus.

Sadorus has been on a production streak, making waves not only in Detroit but across the globe. His recent work includes the deep and driving “Down Below” on Norm Talley’s esteemed Upstairs Asylum label. Now, he teams up with the incredibly talented vocalist Simon Black to deliver a fresh slice of Detroit house music.

Their track “Hot in the D” captures the raw, moody, and hypnotic essence of the city’s signature house sound. While Detroit is often synonymous with techno, its deep and soulful house scene has also made an undeniable global impact. The track has already been turning heads at underground parties in Detroit, with dancers and DJs alike asking, “What is this?!” and “When can I get it?!”

On remix duties, Delano Smith—a true pioneer of the Detroit sound and someone that needs no introduction—delivers his signature deep, rolling, and hypnotic style to “Hot in the D”, making this release a must-have for house music lovers globally. Stay tuned—this one is destined to move dance floors everywhere… Already getting heavy rotation from Jimpster, Gilles Peterson and DJ Harvey to name a few.

Unearthed from the vaults of funk veteran Tim Tucker, this fantastic Got That Energy EP delivers two unreleased boogie gems from the 80s that have been reworked by SoCal DJ and producer Knoe1. A lifelong musician and unsung hero of the scene, Tim always brought raw authenticity, while Knoe1 sharpens the sound for modern dancefloors. Title track 'Got That Energy' is a high-octane ass-shaker packed with punchy bass and irresistible swagger. On the flip, 'Don't Hesitate' slows the pace by blending emotional vocals and synth-soaked soul. This is pure summer heat for a range of different settings.

generic sleeve 2025 repress

Oxygeno returns to his label Lost Verses with Pure Devotion, an EP that fuses hypnotic, raw, and relentless techno with a satirical and defiant critique of the Churchs values.

Side A opens with Soul Absorption, a track with a heavy low end, absorbing synths, and an atmosphere that plunges you into a deep abyss. Next comes Haunted, which takes the darkness further with a haunting, psychotic synth sequence and a heart-rending bassline that keeps you on your toes.

On the B-side, Infectious delves into shadowy territory with a modulated synth line that simulates something infectious and consuming. Finally, The Weight Of Guilt closes the EP with the heaviest and most aggressive track. Thunderous percussion and a crushing bassline capture the intensity and gravity reflected in its title.

Pure Devotion is a sonic journey designed for the dancefloor, where the body moves to the beat while the mind ponders and grapples with the ideas woven into each track.

Brownswood Remix Editions 006 continues the label’s tradition of outstanding remixes, revisiting its archives with a spirit of exploration and reverence. This latest edition focuses on Como Como by Mala featuring Dreiser & Sexto Sentido—originally featured on Mala’s acclaimed 2012 album Mala in Cuba—and presents both the original track and a striking reinterpretation by Theo Parrish. Together, they offer two essential cuts that embody Brownswood’s dedication to pushing musical boundaries.


Theo Parrish, a key figure in Detroit’s house and techno scene, is renowned for his deeply soulful, genre-blurring productions and DJ sets. His remix of Como Como draws on his signature style, combining raw grooves, layered percussion, and an expansive sense of space that reframes Mala’s original with hypnotic intensity and depth.