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Flat & Round return once again with deep house aficionado Demarkus Lewis and the highly sought-after Southern Goods EP.

A deep house classic and a serious piece of vinyl gold dust, original second-hand copies regularly exchange hands for £60+, making this one a must-have for fans of Demarkus Lewis and deep house alike.

A true secret weapon that deserves a permanent place in your bag.

Nachdem seine legendären Aufnahmen aus den 1970er Jahren zu grundlegenden Meilensteinen des modernen Reggae geworden waren, setzte der einflussreiche Musiker und Produzent Augustus Pablo in den folgenden zwei Jahrzehnten fort, neue Ausdrucksformen seines einzigartigen Sounds zu entdecken. Ob er nun seine Dub-Meisterschaft mit digitalen Techniken verfeinerte oder die instrumentale Palette seiner basslastigen Melodica-Grooves erweiterte - der wegweisende jamaikanische Künstler blieb während seiner kurzen Zeit auf dieser Welt stets ein Innovator. Nur wenige Wochen vor seinem vorzeitigen Tod im Jahr 1999 erschien ,Valley Of Jehosaphat" - das letzte Album von Augustus Pablo und ein zeitloses Statement eines Künstlers, der seiner Vision stets treu blieb . Mit einer Produktionsqualität, die die körnigen Klassiker seiner frühen Karriere bei weitem übertrifft, erklingen die fesselnden Instrumentalarrangements dieser Sammlung mit Klarheit und fangen die friedliche Essenz von Pablos Kreativität ein. Jetzt erscheint ,Valley Of Jehosaphat" zum ersten Mal überhaupt als vollständige Vinyl-Veröffentlichung. Dank Nature Sounds und dem neu gestarteten Label Rockers International enthält diese 2-LP-Vinyl-Edition außerdem fünf Bonustracks mit seltenem Material von Augustus Pablo aus den 1990er Jahren.

With ZURNA OBSESSION, Türkiye Edition, MoBlack explores the rich musical heritage of Türkiye through a collection of collaborations united by the unmistakable sound of the zurna. Powerful, expressive and deeply rooted in Turkish folk traditions, the instrument becomes the centerpiece of a project that bridges cultural identity and contemporary club music. Across four productions, traditional melodies, regional influences and Afro House rhythms come together in a celebration of musical exchange, with MoBlack acting as the connecting force throughout the entire release.

2026 Repress

Following his recent appearance on Blueprint, Mark Broom returns to the label with a unique project, revisiting the work of techno pioneer Regis. Entitled "Power Is Neutral", the release sees Broom rework a selection of seminal Regis recordings originally released on Downwards Records across the albums Gymnastics (1996), Delivered Into The Hands Of Indifference (1998) and Penetration (2001).

Known as one of the key architects of the Birmingham techno sound, Regis (Karl O'Connor) helped shape British techno through his work as co-founder of Downwards Records and a catalogue that continues to influence generations of artists.

For Mark Broom, few artists embody British rave culture quite like Regis. Drawing on source material that has long stood as a cornerstone of UK techno, Broom approaches these edits with both respect and imagination. As Regis puts it, "Mark Broom is like some modern day Bagpuss... he has fired up his techno mouseorgan and polished old relics to make them all shiny and new."

Power Is Neutral delivers six expertly crafted reinterpretations that bridge the raw energy of Regis' original works with Broom's unmistakable contemporary dancefloor sensibility, bringing these timeless tracks to a new generation of listeners.

HYPER PEARL'S ICONIC TRANCE ANTHEM "CAN YOU FEEL THE PAIN" RETURNS WITH NEW REMIXES BY BIESMANS AND ZZINO.

First released in the mid-1990s, Hyper Pearl's cult classic Can You Feel The Pain is set to make a powerful return. Released via Serious Beats Classics, the new package features brand-new remixes from Biesmans and Zzino, alongside remastered versions of the original mixes.

Biesmans: "I grew up with the Serious Beats compilations and started buying my first vinyls around the time "Can You Feel The Pain" got released. Remixing this project really felt like a full circle moment for me."

Joining the release is a brand-new remix from Zzino, one of the pioneers of the Belgian techno movement and a key figure behind Hyper Pearl. His version reconnects directly with the track's roots while bringing fresh energy and perspective.

Together, these remixes celebrate the enduring legacy of "Can You Feel The Pain" while introducing the track to a new generation of listeners. The release highlights the lasting influence of Belgian electronic music and demonstrates how truly great records continue to evolve across decades.

About Biesmans:

Biesmans is a Belgian producer residing in Berlin, composer, and DJ known for his cinematic approach to electronic music. Blending elements of house, techno, synth-pop, and ambient music, his work has earned support from tastemakers and audiences across Europe and beyond.

About Zzino:

Zzino is widely regarded as one of the founding figuresof Belgium's techno scene. As a DJ, producer, label owner, and creative force behind numerous influential projects, he has played a pivotal role in shaping the country's electronic music landscape for more than three decades.

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

2026 Repress

Italian proto house vibes on this new Clone Royal Oak 12". An elegant Whodamany & Dario Di Pace production that's ready to be a regular force on dancefloors from Rimini to NYC and the Chitown. The classy vocal heavy club mix is backed up by the re-mix and freak-appella!

Techno innovator Regent has already made his mark on Mutual Rytm with two previous outings highlighting his refined but powerful style. The Berlin-based artist joins the dots between bold percussive grooves and distinct cerebral layers, with his productions continuing to receive wide support from DJs and tastemakers across the globe. This return to SHDW's flourishing label features one of his most anticipated tracks to date - a truly timeless warehouse anthem that marks an exciting new chapter for both Regent and the label.

'Permean' is a raw but sophisticated piece of techno that merges powerful drums with hypnotic pads. It brims with surgical sound design. While the groove is fierce, a haunting melodic touch adds a soft and deeply emotional edge
as Regent explores the tension between permanence and decay, delivering a timeless and essential track.

The first remix comes from Steve Rachmad under his Sterac guise. This version channels the spirit of his early work - pure, stripped-back techno at its finest. Tightly programmed and deep, it features burrowing bass and impish synths dancing up top to occupy the mind while the body moves.

Next comes a remix from one of the most innovative producers of our time, Rene Pawlowitz, under his Head High alias, a project reserved for his more house leaning sounds. His 'Power Tool Mix' brings his signature loopy style with thudding kicks, raw hi-hats and twitchy synths - already shaping up to be a summer hit. Pawlowitz then steps out under his renowned techno alias Shed. His 'Forceful Pressure Mix' is a blistering and unrelenting weapon, with rusty textures and powerful bass locking you in its glitches, unresolved loops and booming low end.

2026 Repress

The sonic movement once known as downbeat continues to cast a long and intimidating shadow over the Austrian electronic music scene, with influential figures like Kruder & Dorfmeister reigning atop a metaphorical mountain of venerable dubplates, resembling ancient gods.

Now, emerging from the depths of this mountain, comes "Triangle," poised to rejuvenate the genre with its eponymous album, brimming with the purest liquid downbeat gold.

Featuring an abundance of dusty breaks, reggae vocals, atmospheric keys and strings, dub stabs, wonky acid sequences, and deep basslines, these tunes check all the right boxes without ever feeling like mere imitations. The overall vibe remains warm, mellow, and hazy, while each track seamlessly weaves in an array of peculiar soundbites.

After a second listen, you may well conclude that this album is a rediscovered DAT tape from the 90s, unearthed from a Viennese basement.

Dive into the depths of "Triangle," an album that bridges eras of timeless electronic soundscapes.

he four tracks of his 2013-released „Feldspar“ EP see Romanian producer YVAT at the absolute peak of his sonic journey.
Roughly operating within the confines of IDM, Braindance, Phonk and Post-Dubstep YVAT serves a highly seductive sonic menu for advanced late night dancefloors with this one, amalgamating his signature backbone of highly detailed and well crunchy beats, shimmering harmonies and warmly caressing, comforting, all embracing low end goodness for those in the know. Criminally underrated and for the first time available to a global
audience.

Press quote:
„You used to dig Autechre but you think their best days are long gone as they've lost their bouncy beats vs. deep strings and nice little melodies path? Went off into deconstruction?
I'm totally with you here and that's why I love Yvats's recent "Feldspar EP" on the great Minor Label so much. The man named Octavian Justinian Uta - and which is better known to his parents under this name - brings back this special and long time missed twist again, serving the best Electronica 12" I've come across in ages. Limited to 200 copies in greymarbled vinyl and hardly available via regular distribution channels. Get your copy, now! “
baze.djunkiii / nitestylez.de / 04/2013
Never officially distributed before and available limited quantities only.
Limited edition of 200 copies. Grey-marbled vinyl pressing

2026 Repress.

In honor of the January full moon, 2016.

Supported by Alan Backdrop, Claudio PRC, Ness, Svreca, Antonio de Angelis, Arnaud le Texier, Exium, Kwartz, Takaaki Itoh, The Noisemaker, Unam Zetineb, Vilix, Oscar Mulero, Eric Cloutier, Conrad van Orton, Acronym, Felix Lorusso, Jose Pouj, Nihad Tule, Nobody Home, Brando Lupi, Brendon Moeller (Echologist), Francois X, Gianluca Meloni, Artefakt, Iori, Rasmus Hedlund, Reggy van Oers, Retina.IT, Stefan Vincent, Antonio Ruscito, Sam Kdc and more.

2026 Repress

For the 004 release we teamed up with roots singer 'Kojo Neatness' delivering that true Kingston reggae vibe. Vocals wererecorded in the mythical 'Caveman Studio' in Jamaica with the help of the great late Nazamba.

2026 Repress

Son of sins.
Black days, asphalt jungle.
Silence,
while she was out there.

***
Early support by: Blawan, Surgeon, Dave Clarke, Tommy Four Seven, Speedy J, Chris Liebing, Gary Beck, Marcel Dettmann, Truncate, Pfirter, Rebekah, Chris Finke, The Public Stand, Radial, Clouds, Paul Birken, Kriz, Mr. Jones, Lag, Sunil Sharpe, Charlton, D. Carbone, Juho Kusti, Jeff Derringer, Pacou, Paula Temple, Erphun, P.E.A.R.L. , Thomas Hessler, Paul Mac, Henning Baer, Luis Ruiz, Gareth Wild, NX1, Sandrien, J. Tijn, Joachim Spieth, Exium, Nuno dos Santos, Octave, Markus Suckut, The Black Dog, Xhin, The Zone, Blindspot, Samuli Kemppi, Hans Bouffmyhre, Fran Hartnett, Christian Wunsch, Wire, Sawf, Inigo Kennedy, Hector Oaks, Kontort, Adam X, Rich Jones aka Operator, L.A.W, Mark Morris...

Analog Africa's latest essential compilation began with a ruined needle. Samy Ben Redjeb, who was newly back from a 2002 digging trip, dropped a stylus into a groove that censors at the SABC had gouged with a blade. The record had been marked "not suitable," and the story behind it runs through the whole compilation. The 22 tracks pull American soul, funk and disco toward jazz, reggae and local rhythm until the result sounds utterly Jo-burg. 'How Long?' and 'Take It' are the early standouts, though the Beat Set two-parter and Dudu And The Big Time Boys hold their own. The 16-page booklet fills in the context nicely on this well assembled deep dive.

Im Herbst 2007 veröffentlichte ein 26-jähriger Produzent aus Köln namens Daso Franke seine 12"-Single auf dem Label ,Spectral Sound" von Ghostly. Auf der A-Seite befand sich ,Meine", ein euphorischer, achtminütiger Höhenflug, der die Tanzflächen weltweit begeisterte. Seitdem ist die Single zu einem regelrechten Klassiker geworden. Anfang dieses Jahres bezeichnete Resident Advisor ,Meine" als einen der besten Songs des Jahrhunderts bis jetzt. Im April 2018 verstarb Franke nach einem langen Kampf gegen den Krebs. Mit der Unterstützung seiner Familie und auf Wunsch der Fans machen wir die ,Meine Idee"-EP wieder verfügbar - in Erinnerung an Dasos musikalisches Vermächtnis. Resident Advisor fährt fort: ,Der Song ist unglaublich positiv, was erklärt, warum er jahrelang ein Favorit in der Panorama Bar war. In den letzten Augenblicken seines Lebens spielten Dasos Freunde ,Meine` über eine Stereoanlage in der Ecke seines Krankenhauszimmers. Es war die einzige Möglichkeit." Daso besaß eine einzigartige Gabe für anmutige Melodien, und die EP ,Meine Idee" fängt einen Moment ein, in dem diese brillant zur Geltung kam. Seine Musik wird weiterleben.

Moroccan-born producer Reda Senhaji, better known under the name Cheb Runner, presents 80K, the second installment in Beat Machine’s TERRA TEMPO series. A direct tribute to the cultural heritage of the Souss Massa Darâa region, the release reactivates ancestral rhythms and translates them into a forward-looking electronic language rooted in place, memory, and physical sound.

Drawing from traditions such as Ahwach, Gnawa, and other interconnected practices from the Souss region, the EP preserves original rhythmic skeletons while reimagining them through modern production and club-oriented structures.

Across six tracks, traditional instruments and electronic elements collide fluently, where the 808 functions as a structural force rather than an accent. From the rolling pulse of Iznagn Engines and the evocative contours of Azn Oudrar to the spiritual resonance of Gn-Awa, the B-side expands the journey with the sub-heavy Afouss Adar 808, the atmospheric Tarwan Ganga, and a reinterpreted Gn-Awa by Guedra Guedra, layered with intricate textures and low-end pressure.

Moving between bass, world, and electronic territories, 80K reflects a deliberate balance between preservation and transformation. Music that carries ancestral rhythms into new listening spaces, bridging generations, cultures, and sonic worlds within a single, cohesive experience.

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

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

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

UK-based reggae veteran Macka B takes listeners on a journey back to the roots of Jamaican music with the release of his new single, “Memories.”

Recorded over the powerful Diverse Doctrine Riddim, “Memories” is a tribute to the golden era of reggae, celebrating a time when Roots Reggae dominated the dance halls and the term “dancehall” referred to the sound system sessions rather than the genre it would later become.

With enthralling lyrics and authentic reggae instrumentation, Macka B reflects on the lively dancehall culture of the 1970s—a period when conscious roots music, militant messages, heavyweight sound systems, and spirited community gatherings defined Jamaica’s musical landscape.

Known for his commitment to positive reggae music and socially conscious storytelling, Macka B once again delivers a recording that honors the genre’s legacy while resonating with longtime reggae enthusiasts and new listeners alike.

House and techno's most innovative improviser, KiNK, lands on Mutual Rytm X.

Offering four more thrilling dancefloor weapons, the iconic talent lands on SHDW's new Mutual Rytm X Series to deliver the label's second release.

Legendary Bulgarian artist KiNK is widely regarded as one of the most respected live acts on the global scene. He is a noted tech wizard who creates loops on the fly, crafts killer drums and never fails to hypnotise dancefloors. He has released on almost every influential label of the last 15 years and taken his unrivalled live show to all corners of the world, often drawing on those sets to bring aspects and inimitable qualities from his performances into his tracks. This innovative approach has helped to solidify his reputation as a groundbreaking figure, inspiring a new generation of musicians and producers, and he once again showcases precisely why he's in a league of his own here with a first appearance on SHDW's newly minted Mutual Rytm X.

'Unicord' opens up this new EP in thrilling fashion with sleek, Detroit-style synth loops flashing up top as the heavy, pounding while warm drums drive things down low. 'Quantum Shake' brings 90s energy with new school sound deists - the dubby drums are fast and urgent, the synth craft is deft, and the percussion adds texture to a straight-up but sophisticated techno anthem. 'Pitch Down' then brings fantastically unhinged synth leads that spray and zip about the mix to boggle the brain. Rattling percussive loops and chunky drums keep things moving as those synths get even more wild. To close, the digital bonus 'Highpass Lowpass' is a masterfully muscular cut with rugged bass and taught synths interlinking to mind-melting effect.

2x12" 180g black vinyl
Gatefold
2x printed Innersleeves
Dl-Card
D1 "Running" exclusive track - only available via album vinyl

Monolink's second full-length musical opus, which follows on from the critically lauded release of his debut LP Amniotic back in April 2018, Under Darkening Skies features twelve exquisite new vocal-led compositions, including his internationally celebrated hit singles, Otherside and The Prey.
Speaking about the album: "Under Darkening Skies is an album that's connecting different dots in my life, representing phases or moments I went through. I wanted to go back to writing actual songs again instead of adding vocals to a beat, which gave me the freedom to express more musical facets of myself. Eventually it became the most diverse record I have made so far, influenced by a time of global social and economic uncertainty at an ever-increasing tempo of change, like a dark cloud approaching. "

2026 Repress
Efficient Space honours the memory of producer and MC Ali Omar with Hashish Hits, a posthumous selection from the dub rebel’s self-released discography.

One of ten children in working-class Liverpool, Omar drew deep influence from his father's Arabic heritage—a thread central to his identity and sample origins. After art school and a spell clubbing during Manchester's halcyon days, he relocated to Sydney, where he cofounded the blunted downbeat duo Atone with fellow British expatriate Andy Fitzgerald. As an MC, he infiltrated the city’s house, dub, jungle, and bass circuits, becoming a regular fixture at the Bentley Bar, where he commanded the mic with his versatile, rumbling baritone and charisma.

Freakishly talented in the studio, Omar was a pioneer of the Akai sampler and Atari, deftly recording live sessions straight to DAT. Drawing on industry insights from his sister, Merseybeat firebrand Beryl Marsden—who supported The Beatles on their final UK tour and was signed to Decca and Columbia—the non-conformist sought to build a self-sufficient business model. Between 1998 and 2004, he independently issued four albums on CD through his Hashish Studios imprint, hustling copies directly to local record stores and live shows for instant returns, even hand-sewing screen-printed hessian sleeves for his final release.

Uncompromising in his principles and refusing to suffer fools or charlatans, Omar relished the opportunity to collaborate with those who embodied the same spirit. Hashish Hits offers a snapshot of his inner sanctum—Fitzgerald on the opening track's billowing smoke stacks, the serpentine vocals of Gina Mitchell and the magic hands of mixer Louis Mitchell on 'On Release,' and Wicked Beat Sound System’s Kye on 'Poor Man Beggar Man Thief'. Meanwhile, 'Suicide Bomber' smoulders with the tension of a lost Muslimgauze relic, as the instructional 'Roll Up' and 'The Last Straw' spiral deeper into Omar’s signature production vortex— where space stretches in slow motion and walls reverberate with ricocheting delay.

A true icon of Sydney’s underground scene, the larger-than-life Omar passed away on 23 June 2009 after a valiant battle with cancer. He is remembered for his assertive spirit, larrikin humour, wild anarchic personality, and enduring mantra: “Love and live your life”.1

Hot on the heels of the massive Grant Dell release, GEMS Delivers another slice of underground house excellence, continuing its relentless journey of showcasing both timeless and forward-thinking underground house music with a powerful new release from Gideon Jackson.

A 3 track EP featuring Helpless (Original Mix) — The standout cut from Gideon’s Outa The Blue EP (1996), capturing the raw, hypnotic energy of the era. Helpless (Freeform Mix) — A previously unreleased 1996 remix, unearthed from the vaults yet sounding as fresh and relevant as ever. Sales In the Wind — A brand new production (2025), proving Gideon remains at the top of his game with a refined yet unmistakable sound.

true underground figure, Gideon Jackson has been deeply embedded in the scene since the formative days of tech house. Renowned for his vinyl-driven approach to house and techno, Gideon blends styles seamlessly, creating a distinctive and instantly recognisable sound.

Widely regarded as one of the key pioneers of the London tech house movement, his productions helped define the genre’s early blueprint — fusing bass-heavy rhythms with hypnotic grooves. His work has appeared on respected labels including Loaded, Pagan, and his own imprint Outa The Blue.

After stepping away from the spotlight, Gideon resurfaced in 2017 with a standout podcast for Strange, reaffirming his influence and deep-rooted musical identity.

His long-awaited return to the decks came in October 2025 at Archivio presents Wiggle in New York, followed by a November appearance at Wiggle at Gaffe — marking a powerful resurgence for one of the scene’s original innovators.

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

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

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

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

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

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

2026 Repress

NC4K, based in Kyoto, presents the third installment of their vinyl-only series. This four-track EP features House and Breakbeats tracks exclusively produced by artists residing in the Kansai region.

Expect raw, impactful drums and skillful sample manipulation designed to deliver a jolt of energy to the dance floor.

London based Reposition Records return with ‘Electric Dream Romance’ - celebrating a brand new beautiful piece of braindancing house music from trailblazer Kim Cosmik. DMX Krew, dBridge, El Prevost and Kim herself all provide 4 distinct remixes.

With deep roots in UK soundsystem free party culture as a member of the legendary Spiral Tribe, Kim remains a fixture in the underground regularly DJing in spaces from London's FOLD to The Advent's Technoclub. Past releases across 20/20 Vision and her own label Cybersoul have explored the harder, industrial edge of techno. Electric Dream Romance turns toward the more heartfelt side of her production, finding a feel for classic dancefloor house, tantalising vocals and seductive chords wrapped around playful acid lines and Kerrier District-esque synth work.

The unique remixes then glide from DMX Krew's patient electro workout through to an off-kilter shuffling dnb remix from Exit Records boss Dbridge, an emblematically stripped back workout from Reposition co-founder El Prevost, and finally a broken techno interpretation from the EDR innovator herself, Kim Cosmik.

Uluru is back with another tasty 7”.

Making his debut on the label, Italian producer Mondocane jump into the dancefloor with a bouncy electro reggae tune.

Flip it to find label honcho Smile Davis ready to “blow ya mind”

The Mighty Diamonds are one of the most famous vocal groups to come out of the Jamaican Reggae scene.
Their perfect harmonies ride over the wholesome and Garveyite influenced lyrics to such great effect that they will always evoke memories of that time and place, but also like all great music never seems to date.

The Mighty Diamonds consist of Donald ‘Tappy’ Shaw (lead vocals) Fitzroy ‘Bunny’ Simpson and Lloyd ‘Judge’ Ferguson providing those fantastic harmonies.
They began their recording career working with producers Stranger Cole and Rupie Edwards but found their breakthrough success with producer Joseph ‘Joe Joe’ Hookim at the legendary Channel One Studios recording ‘Hey Girl’ and covering two foreign tunes namely ‘Country Living’ (The Stylistics) and ‘Stoned Out of Mind’ (The Chi-lites) which suited their vocal styles perfectly.

The vocal group also cut tracks with other famous producers of the time Joe Gibbs ,Gussie Clarke and Mr.Tappa Zukie of which we focus this release on.On listening, these tunes work perfectly with harmonies weaving together and lifting the songs to another level.
The group also leave some room for a history lesson in the shape of ‘Morgan the Pirate’ and the thought provoking ‘Do You Want to Spend Your Time Wasting Time’.
Well waste no more and enjoy this set by one of Jamaica’s finest vocal groups….

Detroit producer and DJ Kyle Hall joins forces with New Zealand drummer, producer, and current Fat Freddy's Drop drummer Cory Champion for a new collaborative 12-inch on Wild Oats Music, featuring the tracks "Acuna De Mar" and "Steppin'".

Hall and Champion first met in Auckland in 2016 while Kyle was touring Australia and New Zealand. They stayed in touch over the years, with Champion regularly sharing music from his Borrowed CS and Clear Path Ensemble projects—records that Hall quickly became a fan of and frequently included in his DJ sets.

When Hall returned to Australia last November, Champion had relocated to Melbourne. The two seized the opportunity to spend time together in the studio at Dune Castle, where their shared musical language naturally evolved into these two recordings.

Rooted in a mutual appreciation for jazz, deep house tradition, rich chord voicings, and rhythmic syncopation, "Acuna De Mar" and "Steppin'" capture the organic chemistry between two artists whose paths have crossed over nearly a decade. The result is a warm, groove-driven release that reflects both Hall's Detroit sensibility and Champion's distinctive rhythmic approach.

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

In the rapidly shifting tectonic plates of the global Afrobeats scene, few arrivals have been as seismic as that of Ahmed Ololade—better known to the world as Asake. With his breakout project Mr. Money With The Vibe, the artist didn’t merely debut; he effectively recalibrated the tempo of the Nigerian pop soundscape. The EP functions as a masterclass in synthesis, pulling from the ornate, percussive history of Fuji music and grafting it onto the driving, bass-heavy architectures of contemporary Amapiano. It is a calculated, deeply rhythmic hybridization that manages to feel both nostalgic and jarringly modern.

From a critical vantage point, Mr. Money With The Vibe is defined by its brevity and density. Asake treats each track as a focused vignette, utilizing a vocal delivery that oscillates between a melodic, almost liturgical chant and the staccato urgency of a Lagos street orator. The production—characterized by sharp, frenetic percussion and deceptively simple melodic loops—creates a high-intensity atmosphere that mirrors the relentless pace of urban life. He avoids the pitfall of bloated experimentation; instead, he doubles down on a "street-pop" ethos, prioritizing accessibility without sacrificing the complex rhythmic interplay that gives the genre its distinctive texture.

Ultimately, Mr. Money With The Vibe stands as a pivotal document of the current era, capturing the transition of Afrobeats from a regional powerhouse to a dominant global force. By blending the aspirational "hustle culture" narrative with an increasingly sophisticated sonic palette, Asake established a blueprint that has since influenced a new wave of artists. The project is a testament to the idea that authenticity, when paired with relentless precision, remains the most effective currency in contemporary music.

Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.

A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.

Long regarded as one of electronic music’s true individualists, Aubrey’s legacy stretches across decades of uncompromising, deeply musical productions — always balancing raw machine funk, psychedelia and emotional depth with a uniquely personal touch. Through Deep Series, Georgios DSR brought him on board for a release shaped less by trends than by a shared dedication to timeless underground music culture.
On the A-side, Aubrey delivers the shimmering and organically evolving *Insectos de la Luna* alongside the weightless, jazz-leaning groove explorations of *Flying Low*. The B-side shifts into deeper and more functional territory with Georgios DSR’s *Analog Ground (LiVRO’s Groove Shape)* and the hypnotic pulse of *Signal Drift*.

Rather than following contemporary formulas, *Shifting Phase* reflects a mutual commitment to atmosphere, movement and long-form dancefloor storytelling — rooted in house and techno traditions while remaining open, psychedelic and forward-thinking.
Previous Deep Series material received support from XDB at Dimensions Festival, generating a strong response around the label’s growing catalog.

RDS003 is another step in the ongoing evolution of Deep Series: music driven by conviction rather than hype.

VRNT presents VRLTD008, bringing together French producer Praymond with remixes by Guy From Downstairs and Cabanne. The label, vinyl-only, rooted in minimal techno and deep house, originally founded in Calgary and based in the Canada/USA-region, has built a reputation for high-quality, rhythm-centered releases. With L’odeur des rêves, Praymond delivers two originals and two reinterpretations that move in the micro-house and deep-house spectrum with subtlety and refinement. The A-side track presents a detailed groove with space and elegance; the Guy From Downstairs remix expands that vision with his signature swing. On the flip, “73 Infuse” anchors the release, and Cabanne’s remix reshapes the piece with clarity and finesse.
This 12″ (transparent vinyl, 140 g, four cuts) speaks to selectors and listeners who value texture, groove and mood ahead of showmanship. VRNT’s catalogue emphasises these traits, and this release slots in perfectly, warm, composed, and deeply musical.

‘Signs Of The Time’ is a powerful, driving roots reggae anthem by Azizzi Romeo calling for global unity. The track features the legendary Max Romeo in what would be his final recording before his passing.

The track is fuelled by the lush, authentic arrangements of Denmark's premier 11- piece roots collective, Guiding Star Orchestra.

Blending heavy traditional rhythms with a modern conscious edge, the track boasts dynamic brass lines and an irresistible groove. Essential for modern roots, cultural reggae, and global conscious playlists celebrating the enduring legacy of a reggae icon.

The release comes with a dub version by Tippy I-Grade who weaves heavy, foundational basslines through echoed horn stabs and beautifully fragmented vocal chops that ripple seamlessly across the stereo field.

It’s an essential addition for listeners who crave the meditative depth of classic 70s dub reimagined through a modern, high-fidelity lens.

Around 1970, musician, music producer, and entrepreneur Fernando Arias founded the record label Discos Fernando Arias (Difa) in Lima, the capital of Peru. This label was crucial for the musical production, promotion, dissemination, and development of Peruvian tropical music; more specifically, the so-called “carretero style”, so named because it was rooted in the famous Central Highway (Carretera Central) of Peru, which crosses the country from west to east, from the coast to the jungle, through the Andes mountain range. This style is defined by sudden changes from ballad to fast and aggressive tropical music, with electric guitar lines drenched in fuzztone, reverb, and wah-wah. To this must be added the plaintive, melancholic vocal style characteristic of Andean Peruvian music.

LAURA GREENE, from Cleveland, Ohio, has enjoyed a long and successful career in the entertainment industry. She started out as stage actress before becoming a singer in the lucrative TV and radio jingle business. She has also modelled for many press campaigns and regularly appeared on TV chat shows. In 1968 she had a role in the film For Love Of Ivy with Sidney Poitier and a year later co-starred in the satire Putney Swope directed by Robert Downey Sr. It seems fitting that her 1967 non-hit 'Moonlight Music And You' finally found commercial success in 2003 when featured on a KFC TV advert. PEGGY MARCH was born Margaret Annemarie Battavio in 1948 and, although having a prolific recording career, is rememberred mainly for her million-selling 'I Will Follow Him'. Here we feature her Northern Soul waxing for RCA in 1968 that packed the dance floor at Wigan Casino a decade later!

Cover changed

With his Periodical EP, Isaiah delivers a six-tracker rooted in the foundations of early techno, built around percussion, groove, and stripped-back functionality. As a driving force in the underground scene, both as a DJ and the founder of the Frenzy and Vulged collectives, Isaiah meticulously designed this EP for selectors and club settings.

Opening with 'Monthly', the EP sets the tone with a punchy kick, crisp high-end percussion and a driving bassline, while smeared textures and subtle effects create depth within a minimal framework. 'Yearly' intensifies the approach, with sharper hi-hats and layered mid percussion pushing the energy forward, maintaining a hypnotic yet no-frills momentum.'Hourly' keeps the focus on rhythm, pairing dense percussion work with a bouncing bassline that locks into a steady groove, while occasional pad accents add flashes of brightness.

On the second half, 'Real' strips things back, centering around a rolling bassline and sparse percussion, with shimmering synth touches guiding the track into deeper territory. 'Everlasting' reintroduces a tougher edge, driven by a hard-hitting kick and a bouncing low end, while eerie synth elements add a darker tone. Closing the EP, Beau Didier, a rising force in the Techno scene and fellow Frenzy collective member, reshapes 'Everlasting' into a smoother, more low-end focused roller. Known for his heavy basslines and powerful rhythms, Didier brings the bassline to the forefront, softens the percussion and introduces vocal chops that expand the atmosphere.

On his debut EP on Regal's Backspin Records, the 8th release of the newborn imprint, Isaiahpresents a focused collection of percussive techno tools built for diverse sets, offering tracks for every moment while maintaining a consistent, groove-driven identity throughout.

There’s classics and there’s CLASSICS.

Roberta Flack & Donny Hathaway’s BACK TOGETHER AGAIN is truly a masterpiece.

The James Mtume and Reggie Lucas penned gem is timeless - as proved by this sumptuous remake by the unlikely pairing of Sarah Jane Morris (ex The Communards) and velvet voiced Italian growler Mario Biondo.

Unlikely yes, but the result is an instant Modern Soul classic snapped up for worldwide exclusive 7” vinyl release by
ANORAX. The duet, catchy and guaranteed to make you smile, brings back memories of Lisa Stansfield sparring with Barry White (Mario really does sound like the great man).

The sound of yesterday made for today with a touch of House prodding along a happy reincarnation of one of Soul Music’s most glorious moments.

Daniel Akbar is a Constant Black regular and for good reason: his blend of house, minimal, tech and garage is a perfect fit. He continues his hot streak with this latest missive, starting with 'The Night', which marries Jaydee-style darkness with New York house bounce. 'The Walls' has a rugged, dirty minimal bump to it and a sci-fi synth edge. 'Trippin' is another sleazy and low slung house vibe, 'Care For You' brings a bit of garage shuffle and throwback bass filth, then 'Afraid' pulls back to a more seductive late night tease with hella catchy grooves and pure heads down energy.

Keep Pushin’ Aun EP stays true to the label's spirit of "Ancient Future Music" and solidifies its unique sound. Insane Who Sane collaborated with emerging Detroit songstress DePeila to create this genre-blurring record. The EP ventures into the realm of neo-tech soul and includes a Late Night Remix by Reggie Dokes.

"Al Festa's musical genius was revealed at the age of 14 when was released ''Starway to Escher'' with the Italian prog rock band Bauhaus (1974). His talent continued with "Miss Manhattan" by Metropole Al Festa, Francesco Puccioni (aka Mike Francis), Claudio Giorgi, Sharon Russell vocalist), his very first disco-music song in 1981. Over his career - a dozen movie soundtracks and hundreds music videos - his involvement in the Italo-Disco scene of the early 1980s is noteworthy. Undoubtedly, his contribution to Kristal (himself Al Festa, with Anne Dattner and Max Liofredi) remains most memorable. "Ete Super" was written with Helene Chauvin, a close friend of the now legendary Jeanne Mas. Helene attempted success as Abilene with "Tout Tout Tout Mais Pas Ca" arranged by another Italo-disco legend, Pierluigi Giombini (1987). Returning to Kristal, what convinced Claudio Casalini - one of Al Festa's best friends - to create this vinyl reissue was not only the memory of this talented artist, who passed away prematurely, but also the track "Fallin'" on the B-side, which embodies all the composer's post-Romanticism, a song rich of emotional and sensitivity, with intimate and often dramatic tones. When you are about to purchase Kristal, keep this excellent B-side in mind. You will not regret the choice."

Pariter return with a second archival reissue from three key figures of the original London tech house movement, David Coker, Timmy S and Justin Baileys.

This double header pairs a heavyweight house groover on the A side with a rolling acid tech house cut on the flip. The A side is driven by commanding vocal samples and Timmy's finely tuned engineering, channeling the raw, sound-system focused energy that defined the era's most enduring club records.

On the B side, a relentless acid-fuelled roller emerges from the vaults, a secret weapon that has remained deadly on underground dance floors for more than two decades, quietly championed by those in the know.

Now, 26 years on, original copies are nearly impossible to find in clean condition with rare copies regularly changing hands for hundreds of euros on the collector's market.

Carefully restored and remastered by Yossi Amoyal, this reissue revives a long lost and highly sought after underground classic.

Mutual Rytm spawns new sub-label ‘Versus’ with debut EP from longtime techno associates Regent and Chontane. Continuing to expand its creative world, SHDW’s Mutual Rytm imprint now introduces ‘Versus’ - a new sub- label crafted for creative symbiosis between two artists across one shared release. Opening the series with authority, Regent and Chontane man the debut offering - two close friends and native Berliners who have been shaping techno for more than 15 years. Both long-standing members of the Mutual Rytm family, having released multiple times here before, the pair have always created music informed by life immersed in their local scene. Having both mutually influenced one another over the years, here they present their shared interpretation of techno with individual artistic DNA, forming a unified sound that represents the best of both worlds. Regent goes first, leaning towards functional, anthemic, dance-floor-focused techno. ‘Ephemera’ is tight, minimal but forceful; ‘Slow Burn’ has synth tension rising through the dark, next to glitchy percussion; and ‘Afterglow’ lets in more light, bringing otherworldly synths that hang above the groove and consume your focus. Chontane then explores a more musical and unconventional approach. ‘Plaxaric’ is supple, warm, and deep techno that tunnels into an abyss. ‘Grounding Factor’ is just as economical in design, but with introverted funk and evolving layers of sound. ‘Mental Lab’ spins out into complex rhythms inspired equally by IDM, jungle, and techno. It’s a mental workout as well as a physical one. Both artists add a pair of digital bonus tracks. Regent’s ‘Control Room’ and ‘Rarely Enough’ deliver elevated, hypnotic tools, before Chontane’s ‘Escore’ and ‘Outside In’ bring extroverted drum patterns along with contrasting melodic unease

By the time Jackie Mittoo released this outstanding album (his 4th), he had already gained a big reputation in the early days of Reggae, Ska and Rocksteady for his contributions to the Studio One catalog and his work with the Skatalites. With his beloved Hammond organ, endless talent and a bag on influences that included Jamaican sounds, Soul and Funk, Mittoo created a cool, moving, warm and groovy sound that would explode in his amazing dance songs and has gained cult status among followers of Jamaican Music, Soul and Funk lovers. A great collection of reggae-soul instrumentals by one of the most talented figures of the genre.

2026 REPRESS + DOWNLOAD

Years Of Denial is back on Veyl with their second LP 'Suicide Disco Vol. 2'. The follow up to 2019’s 'Suicide Disco', the duo makes a triumphant return, elevating their distinct sound which fuses dark wave, goth, newbeat, post-punk, EBM, and techno. The LP features 12 tracks all written and produced at Ark of Noise studio, located miles away from the polluted noise of social turbulences, immersed in isolation, creative indulgence, and poetic writing.
From the start, 'Art Break' provides the perfect warm-up, gently cleansing the palette and re-introducing us to Barkosina’s lustful vocals with a slow-burning pace that only marks the beginning. 'Wrong' picks things up, injecting a dose of body music for an infectious piece that bleeds into 'La Pendue' which keeps the energy rising. Next up, 'Mr. Guillotine' delivers a razor sharp edge, carving out a fresh post-punk feel which then brings us to the brooding, 'Never Satisfied'.
'Lover’s Crime' marks the halfway point of the record and one of the album’s standout tracks. Undeniably seductive with an ominous feel, the pair keep this mood going with 'City Lights' and then smash things open with 'Dancing With Demons'. After the devious message sent with 'The Letter', we are submerged in the romantic melancholia of 'Death Of A Lover' and 'Regarding the Pain of Others' before closing things out with 'Social Anxiety' which features vocals by longtime collaborator Broken English Club. The result is an immersive journey through the pair’s self described, Suicide Disco sound, and further builds on the Years of Denial form and legacy.

"Neulust," the latest EP from Neuzeitliche Bodenbeläge, introduces listeners to the talents of Joshua Gottmanns and Niklas Wandt. Wandt's captivating voice invokes a sense of nostalgia, reminiscent of the era when Thorsten Fenslau was active, infusing tracks with poetic recitations. Wandt's drumming harmonizes perfectly with Gottmanns' warm chords and captivating melodies. Together, they debuted on Zurich's Lustpoderosa label with "Neulust," aiming to redefine their musical connection. Their presence in the central European underground scene has been marked by releases on Themes for Great Cities or Bureau B, accompanied by their vintage German Wave sound and lively performances. Regular touring has been part of their journey. "Neulust," recorded with minimal intervention, delves into themes of love, estrangement, and consumerism, blending haunting electro, deep house, NDW, and Euro Dance Elements. The EP signifies a significant stylistic shift and stands as the band's most compelling offering yet in their ongoing musical evolution.

Carly Simon’s No. 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios — where Beatles, David Bowie, and Elton John captured landmark LPs — No Secrets touts exceptional production qualities highlighted by this restorative reissue.

Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism.

Enhanced by an all-star cast — Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand — No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor.

While acknowledging her own regrets (“You’re So Vain”) and loss (“The Carter Family”), Simon champions the highs (“The Right Thing to Do”) and pains (“His Friends Are More Than Fond of Robin”) of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy,” and and takes ownership of her persona on a cover of Taylor’s “Night Owl.”

“We have no secrets
/We tell each other everything,” Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.

Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding.

The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements.

Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover — depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on — serves as a metaphor for the content within.

Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record.

On the soulful “Legend in Your Own Time,” also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love,” her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.

For all the wanting Simon pursues on Anticipation, her way of staying in control — vocally and personally — make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again,” somber “Share the End,” soothing “Three Days,” and sincere “Julie Through the Glass,” a tribute to her young niece.

Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.

Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.

A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.

There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique — and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game,” the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3,000 numbered copies, and featuring the bonus track “Diddley Daddy,” Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing — impeccably controlled, tense, brooding, steamy, smoldering, haunted — situated amidst stripped-down backdrops that allow every note to fully bloom and decay.

While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc.

The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.

Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off.

Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes.

Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.

That approach bolsters the title track, which suggests calm yet moves on ominous currents — its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed,” sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint.

Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway.” On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect.

“Trouble going 'round,” Isaak croons right as the album begins. “Trouble going down.” Damn straight.

After a few years of silence, Underplay (Playedby sub-label) is back with its fourth release, welcoming Elia Nafzger and his Music Makes Me High EP.

A rising talent with a strong identity as both DJ and producer, Elia’s music has been regularly played by key figures such as Rhadoo and Praslea. Also part of the Sunrise Agency roster, he has already appeared at Sunwaves, Guesthouse and Supermarket Zurich.

Flex7 is flexing its muscles here, with the currently ultra-prolific king of the multitrack The Reflex doing what he does best. Everything this producer and Pikes regular touches turns to gold and this time the edit maestro adds his know-how to 'D-Y-D', a low-slung and playful funky disco cut with plenty of atmospheric crowd chatter and jazzy chords that swoon through the mix. After that slice of warm proto deep house, the flip features a B-Boy classic cut that is loose-limbed and irresistibly funky.

Ricardo Villalobos runs wild on Mohammad Reza Mortazavi’s Persian tombak hand drum actions, expanding a 4 min kernel of inspiration into 24 minutes of mesmerising polyrhythmic traction. From an original ‘Swamp’’ piece that practically recalls Ricardo’s style of slinky minimal techno sorcery to begin with, the Chilean-German maverick derives a more driving tract of rough hewn rhythmic grit bound to hypnotise ‘floors for the duration. Accentuating the undulating bass and dialling up the volume whilst retaining the frictional grind of the original, Villalobos gets right inside the groove with typically obsessive tekkerz, plucking out additional string
motifs and tempering the flow with signature, taut but sinuous, loosey goosey flex that cross-pollinates cultures and gets right under the skin of the thing.

Ricardo Villalobos (b. 1970, Chile) is a pioneering figure in minimal techno, celebrated for his hypnotic and groovy approach to rhythm. Raised in Germany after his family fled Pinochet’s regime, Villalobos was drawn early to percussion - he began playing congas and bongos at eleven, developing a tactile relationship to rhythm that would later inform his distinctive production style. Immersed in both Latin American folk traditions and the emerging house and techno scenes of late-80s Europe, he began DJing and producing in the early 1990s, quickly achieving cult status within global club culture. Mohammad Reza Mortazavi (b. 1979, Iran) is a virtuoso percussionist known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition - a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instruments. Since then, his music has continued to evolve, embracing new forms beyond tradition.

A portage is the stretch you carry across – the overland pass between two waters, where you shoulder the boat and the paddles and keep moving even after the current runs out. It isn't a break in the journey; it's part of it. TAMIZDAT's fifth release takes that as its shape: four artists carrying a single, measured groove from one shore to the next. Rooted in deep house, techno and minimal, Portage isn't built for the peak – it's an unhurried, warm, buoyant passage that stays light on its feet.

Genning is no stranger to this water — a MixCult regular since his 2018 debut, and his Sunlight EP was TAMIZDAT's second release. He returns from the heart of the family that shaped the label's dub-leaning sound.

Dot (Dotan Bibi) crosses over from Tel Aviv — an Israeli producer with roots in Detroit house. His Intergalactic Ride EP already landed on MixCult in 2024, and he returns here working out of his analogue home studio.

Overt has been a prominent MixCult voice since 2021, known for an ethereal, galactic juno sound that drifts easily into dub chords — records like his Simple Astral 12" mark him as one of the label's steadiest hands.

zekeN, the Romanian producer and one half of zekeniaN, brings more than fifteen years in electronic music: deep, energetic grooves, dreamy pads and percussive basslines that lean minimal rather than strictly rominimal. His zekeniaN project has surfaced on MixCult before; here he steps out on his own.

TAMIZDAT is a division of MixCult Records

By 2005, the Rob & Si partnership had found its stride. Working from Online Studios in Croydon, South London, Rob Pearson and Simon Copleston (Iteration X) continued to refine their unmistakable take on underground Tech House, combining deep rolling grooves with crisp percussion and slick production skills.

Originally released as EVA015, Just Add Water was pressed as a limited white label release during a period of distributor changes, meaning it never received a full release at the time. As a result, original copies have become highly sought after by collectors over the years, regularly changing hands for premium prices whenever they surface on the second-hand market.

The EP features the unmistakable Original Mix, alongside an alternative interpretation from each producer, with the Iteration X Remix and Rob Pearson Remix offering their own distinctive twists while staying true to the stripped-back, rolling sound that defined the era.

More than twenty years on, Just Add Water remains one of the hidden gems from the early Evasive catalogue and a snapshot of London's underground Tech House movement at its most authentic.

What Soul Media, led by Jiro Inagaki, ultimately arrived at was a tight, cool, and ultimate groove.

As Inagaki himself has stated that he “played black funk” on this album, the explosive jazz-rock foundation he had cultivated up to that point is fused with the stickiness, elasticity, and physicality of black music—elevating his musical vision to an entirely new dimension. Combined with the masterful arrangements of Hiromasa Suzuki, the groove is polished to a high sheen, growing richer, more fluid, and subtly seductive.

Every track stands out: the vibrant, driving energy of “Painted Paradise”; the coexistence of funkiness and mellowness on “Breeze”; and the low-slung, razor-sharp cover of Kool & The Gang’s “Funky Stuff”.
Now regarded as a definitive classic, this album remains in constant demand from listeners around the world.

LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

When Alan Parker recorded the killer library soul-funk LP The Voice of Soul with session vocalist Madeline Bell in 1976, some bright spark at Themes decided to also release all of the backing tracks as a separate, and equally innocuously title LP called The Sound of Soul. Thank goodness for bright sparks.
Released as a collection of unobtrusive musical backings in various rhythmic styles', the LP's original description dryly explains these tracks have been issued without melody and are therefore particularly suitable for use behind commentary. Female vocal versions of these tracks are issued on TIM 1021 The Voice Of Soul and it is possible to edit from vocal version to instrumental version or vica versa where commentary or scene changes occur'.Madeline Bell was backed by The Rhythm Section, who were for all intents and purposes the Themes International Music house band. So what we end up with here is entire album of instrumental work-outs by a band comprised of the formidable talents of Alan Hawkshaw on keyboards, Alan Parker on guitars, Barry Morgan on drums, Les Hurdle on bass guitar and Frank Ricotti on percussion.
Without Bell's vocals these backing tracks are given all the room they need to breathe. Each one more than stands up on its own.
The Sound of Soul is a real diggers' delight and, unsurprisingly, a must-have counterpart to The Voice of Soul.
As with all ten re-issues, the audio for The Sound of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Running Hot welcomes Bliss Inc. for RHR05 with the Monday EP, four cuts of warm, groove-led house music built for intimate spaces and long nights.

The EP arrives during a busy year for Bliss Inc., following a recent release on Punctuality and the start of a new residency at Tokonoma in Frankfurt, where he’s been regularly playing the Holo and Sakuru floors. Those smaller rooms have had a clear influence on the EP, with subtle shifts, detailed percussion and hypnotic grooves given room to unfold.

Across the four tracks, rolling low-end sits alongside understated melodies and intricate percussion. The EP draws from the deeper end of house and minimal without ever sounding overly referential, and feels just as at home in a low-lit warm-up as it does deep into the night.

Zonate welcomes Sancra for its seventh release. Hailing from Italy, Sancra's sound strikes a fine balance between dark, driving energy and groove for the dancefloor, coupled with the emotional elements that regularly feature in his work.

The A-side delivers two peak-time cuts that put this on full display. Beyond The Skies takes a darker tone, blending Sancra's unique neo-trance and techno style. The Truth Behind The Mystery leans further into euphoric territory, built around a catchy, emotive melody.

Flipping to the B-side, The Road For Heaven reveals Sancra's versatility - a breaksy electro cut layered with a growling vocal. B2 closes things out with a dystopian ambient track, as eerie as it is hypnotising.

2026 Repress 10" coloured vinyl
Following on from last release's b-boy junglist outings, this time the ill behaviour comes in the form of two reggae-tinged Amen rollers, bringing new meaning to the word "delicious"

"This album is created over the past years with my brother Alfred. This period has been spiritually transformative for me. it reflects the playfulness and authenticity that comes out of releasing deep traumas and healing wounds. this music comes from a deep place of joy and connection with my brother and with the essense of being a child. being filter free and in contact with the most uncomplicated and loving parts of ourselves, still emphasizing magic and mystery, like childhood does without asking for permission or confirmation.

It took me a while to actually see the music as an interconnected piece. i have been taking in and out material, re mixing, removing, rearranging, re producing and regretting all along the way. but suddenly when we mastered this selection on a cassette tape recorder, the meaning started to reveal itself and drawing threads back in time.

Bivabippalukka is playfulness, intuition, transition and myths. the page of cups. the ideas rising, the energy flowing, flowers, stars and jumping creatures on the verge of dimensions. fortune telling, magic cards, secret caves and things that disappear right in front of you.
many talented guests playing with me and my visions on the album.

Bossa nova is the most comforting genre for me. and we need comfort in these times. we need comfort to heal and feel joy to be able to keep dreaming and manifesting - and transmuting the world.

I am not gonna play this music live in the form it appears. i will still continue playing spiritual ambient music. this work is something else. it is pocket of joy, a cup with a fish. it is a step on the journey, like everything else. "

For WOLFEP088, we’re welcoming an Italian stallion to the WOLF stable. DJ Soch is a renowned DJ, producer, and label owner whose roots in house music run deep. Beginning his journey behind the decks in the mid-1980s, he has spent more than four decades honing a sound shaped by house, techno, disco, funk, hip-hop, and the timeless influence of Detroit and Chicago. As the founder of Black Angus Records and a resident DJ at the renowned Italian club Serendipity, he has shared lineups with some of the best to ever do it, helping to shape Italy’s underground electronic music scene.

When his tracks hit the WOLF inbox, we knew we were onto something special. The first one we heard, ‘Let Me Tell You’, was an instant yes, must sign moment. There’s skippy drums, warm keys, church organ, a heavy bassline and a pleading, soulful male vocal. One of those tracks that should come with a neck-brace. Soulful, but powerful. There’s also a ‘Power Mix’ version that keeps all the elements we loved, but strips back the vocal and ramps up the church organ. Absolute Holy Ghoster! This is the type of track that would have torn up the dance floor at the Shelter, a real Timmy Regisford tops-off jam.

On the flip, there’s a hypnotic deep house groove entitled, ‘Chewing Gum’. This is proper stuff, heads-down, deep house for the dance floor. We’ve paired it with a remix from Prince Palmer, one of the standout remixers of recent years, and a great group of guys. The Prince has delivered a reinterpretation that gives a nod to 90s US Garage, complete with all the trademark production chops you would expect from a regular on the stellar Bobby Donny label. It’s a track that wouldn’t sound out of place on a peak-period Strictly Rhythm 12”, so that’s all you need to know.

Four belters, all on one record, designed for maximum listening pleasure.

Straddling an intriguing intersection of Drum & Bass, Jazz, Fusion and unidentifiable electronica, ‘You Won't Find Your Way From Here’ is the debut album from Jhauk.

An extremely talented multi-instrumentalist from Sheffield, UK, Jhauk came to Blu Mar Ten’s attention when, in 2017, he created a wild prog-rock inflected remix of BMT’s track ‘Titans’
Further conversations with Jhauk revealed the depth of his unorthodox approach to electronic music and unearthed a treasure trove of production skills, culminating in the album before you.

Oscillating between the late-night, moody calm of late 50s Miles Davis, John Coltrane & Bill Evans, the riotous 70s instrumentation of Weather Report, the modern cool stylings of Matthew Halsall and the gritty edges of modern D&B production, it’s scarcely believable that this collection of tracks came from one person working alone in their studio. With tempos and time signatures skittering all over the place, Jhauk uses genres as catalysts rather than containers, he finds the interesting stuff in the hinterlands of their structural relationships and tensions. 

Talking about the album, Jhauk has strong opinions:

“Drum & Bass emerged as club music, and club music comes with its own logic. Specific structures, specific build-ups, a formula that supports that context. 
That's fair enough, but almost 40 years later, why is 99% of D&B still made the exact same way when 99% of the time it's never heard in a club? The same structure, the same formula, barely any development beyond the core idea. Tracks where you can hear 10 seconds of the drop and know almost beat-for-beat how the next 5 minutes sound. No real musical depth or exploration. People regurgitating the same material ad-nauseum but never actually saying anything for themselves. 
This period of composition for me was about taking what I love about D&B, the rhythmic energy and potential for creative freedom it presents and really stretching it to its limits. Of taking drum & bass as a starting point and seeing where it ends up without an idea of what that destination might be. Most people would probably never call a lot of the results D&B, but that's okay because it was never the point.”

 
Dripping with melancholy, euphoria, longing and pure urgency ‘You Won't Find Your Way From Here’ is unlike anything else you’ll hear this year. The sound of an artist entirely unconcerned with impressing peers or performing on ‘socials’; you're hearing a true musician at work, expressing ideas through the skill of his hands, mind and ears. The album’s secrets aren’t revealed with a single play-through, but bears (or even requires) multiple listens to expose its layers.
In previous times, they called this ‘art'.

Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.

A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.

The Rockers Sound (aka Steppas) came from the mid 70's and was created during sessions with The Revolutionaires band at Channel 1.
Drummer Sly Dunbar came up with a new 'Militant' style double drumming on the snare drum that seemed to add some credence to the political /Rasta based lyrics that were so prominent around this time.

So for this compilation we have pulled together some of the best cuts from this period when producer Bunny Lee was on the top of his game and the sound in town to get on board with was 'Rockers'...
So sit back and enjoy another period in Reggae's history that still sounds as good as when it was created way back when...
EVERYTHING ROCKERS....




D a4 | DEVIL'S THRONE - Junior Delgado