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In 1978 a newly formed Augusta, Georgia group Marshall, Donovan and Broomfield chose to record cover versions of two songs previously recorded in 1973 and 1974 respectively by Florida siblings group Cornelius Brothers and Sister Rose. These Eddie Cornelius penned songs “Let me Down Easy” and “Since I Found My Baby” would form both sides of Marshall, Donovan and Broomfield’s first 45 single, released on group founder John Marshall’s own Augusta label. The flipside “Since I Found My Baby” would eventually gain popularity across the pond with aficionados of the UK modern soul scene of the early 1980’s and beyond.

John Marshall began his musical career in a high school group called The Fabulous Gardenias who recorded the doowop ballad “It’s You, You, You” backed with the up-tempo R n B mover “What’s The Matter With Me” released on Tommy Brown’s local Liz label (named after his wife future Motown recording artist, Liz Lands) in 1961.The Fabulous Gardenias featured John Marshall, the late Atlanta alumni Calvin Arnold, “Little” Joe Jones Jr (later of the Tams) and a fourth guy only remembered as Harold. John Marshall later sang with another Atlanta group The Tams of “Hey Girl Don’t Bother Me” fame from 1970 through to 1978.

Later in 1978, John Marshall having relocated to Augusta, GA the previous year was casually emptying the contents of his mailbox outside his home when a car suddenly pulled up. The driver called out “Hey I recognize you, you’re John Marshall you used to be with the Tams!” The driver continued to introduce himself as John Donovan stating that he too was a singer, followed by an impromptu performance, and hey! sure enough he could sing! A later introduction to Charles Broomfield (John Marshall’s next-door neighbour at that time) would lead to the formation of the group Marshall, Donovan, Broomfield with the addition of Mary Marshall and Pat Donavan (the then, two John’s respective wives) as backing vocalists. The previously mentioned group’s first release the John Donovan led “Let Me Down Easy/Since I Found My Baby” was recorded at the now defunct Jam Studio’s in Atlanta. Upon release, the “Let Me Down Easy “side received considerable local radio play but only led to the group performing a handful of local shows. On the strength of the group’s first release a second 45 release followed in 1980 “Let’s Dance/That’s Love” both sides of this 45 were penned by Charlston, South Carolina native, Harold Thomas who John Marshall knew from his time with the Tams, Thomas having once been part of Bill Pinkney &the Original Drifters and later the Tams management teams. This second 45 never gained the same local attention of “Let Me Down Easy” and after three years together the Marshall’s, Donovan’s and Charles Broomfield went their separate ways. John Marshall lost contact altogether with his former group members and left the music business taking up employment at International Paper Mill until his retirement in 2013.

Due to the current resurgence in popularity of “Since I Found My Baby” with copies regularly selling for four figure sums, Soul Junction have reacquainted ourselves with John Marshall to you bring you “Since I Found My Baby” backed with “Let Me Down Easy” with the addition of the excellent and lesser, known stepper “That’ Love” making this an excellent value 45 release.

Das Werk von JJJJJerome Ellis bewegt sich mühelos zwischen Stille und Möglichkeiten. Der schwarze, behinderte Künstler mit grenadischen, jamaikanischen und amerikanischen Wurzeln schafft mit Saxophon, Orgel, Hackbrett, Elektronik und Stimme atmosphärische Klanglandschaften. Improvisation ist der Kern - oft werden große Teile von Aufnahmen bearbeitet, um das Werk wie ein Marmorbildhauer freizulegen. Es ist eine expansive und interdisziplinäre Praxis, die es JJJJJerome ermöglicht, sich an jedes Medium und jede Form anzupassen, darunter aufgezeichnete Musik, Live-Theater und Performance-Kunst, Filmmusik, Spoken Word und Storytelling sowie multimediale/visuelle Werke, die Klang integrieren. Als Mensch, der stottert, fiel es ihm in der Kindheit schwer, sich mit dem Mund auszudrücken. Den Künstlernamen ,JJJJJerome" zu buchstabieren, rührt von der Erkenntnis her, dass das am häufigsten gestotterte Wort der eigene Name ist. Trotz einer kurzen Sprachtherapie als Kind - als er in der siebten Klasse zum Saxophon griff, machte es plötzlich Klick. ,Ich stottere immer noch beim Saxophonspielen, aber es ist anders." Als Künstler dreht sich sein kreatives Ethos nun um die Erforschung des Stotterns durch Musik, wobei er die Fähigkeit jedes Einzelnen, Zeit zu gestalten, näher erläutert. Er ehrt das Stottern durch Kunst. Er begann damit, zu CDs von John Coltrane und Billie Holiday auf dem Horn zu improvisieren. Aber als jemand, der sich gerne mit Grenzen auseinandersetzt, hat sich JJJJJerome seitdem zu einem versierten Multi-Instrumentalisten entwickelt, wobei jedes Instrument einen Wendepunkt darstellt, der neue Wege zu potenziellen Klangwelten ebnet. Seine Stimme wird zusätzlich von einer Ehrfurcht vor der Erde und den Vorfahren - sowohl menschlichen als auch anderen - geleitet. Aufgrund der familiären Verbindungen seiner Mutter zur Kirche und den unvergesslichen Geschichten seiner Großmutter, die als Pianistin und Organistin auftrat, hat JJJJJeromes jüngste Affinität zu Tasteninstrumenten eine bedeutende Gewichtung. Das kommende zweite Album ,Vesper Sparrow" (Shelter Press) ist aus dieser Verbindung zur schwarzen religiösen Tradition und zum Erbe entstanden. Es ist eine Fortsetzung der fortlaufenden Auseinandersetzung des Künstlers mit den Schnittstellen zwischen Musik und Klang, Stottern und Schwarzsein aus der Perspektive der Zeit. Das Album besteht aus zwei vollständigen Gedanken und dreht sich um ein aufgezeichnetes Stottern. JJJJJerome teilt die vierteilige Komposition ,Evensong" auf, indem er das Stottern in Teil zwei ausblendet und die Tracks drei und vier (,Vesper Sparrow" und ,Black-Throated Sparrow") dazwischen einfügt. ,Das Stottern wird zu einem strukturierenden Moment", erklärt er in Bezug auf die Möglichkeit, die entstandene Zeit zu füllen. Die Aussetzung wird somit zu einem integralen Bestandteil der musikalischen Sprache von JJJJJerome. Sowohl Stottern als auch Granularsynthese können Momente in der Zeit aussetzen und ,zu vielfältigen Arten des Verweilens, Durchquerens und Verbindens mit anderen in diesen Momenten einladen". Der Künstler greift auch auf Elemente der Pop-Produktion zurück - elektronische Texturen und Verzerrungen, die teilweise vom Indie-Rock inspiriert sind, sowie Spoken Word, Sampling und Audiomanipulationen, die aus der karibischen und afroamerikanischen Musik stammen.

Five classic house tracks written and produced by Dan Piu in the 90's!

Secretsundaze lands on Echocentric’s 20th release with Flashlight EP, a breakneck blend of UK breakbeat, Italian prog house and sound system heat. From the raw drive of Flashlight (Stripped) to ODF’s tech-garage rework and the balearic shimmer of Style (VIP), it’s a full-circle nod to 1980s Blues Dances. the hidden roots of UK club culture.

Elations Recordings presents "Tairen", an evocative cello recording marking the debut solo release of Melbourne/Naarm-based cellist LEM (Lauren Meath). This deeply personal work is an impressionistic reflection on place, memory and self at the intersection of classical technique and folk sensibility; expanding Meath's lateral, avant garde approach to sound with piano and textural percussion, resulting in a work that unintentionally falls into the post-minimalist tradition.

Conceived as a single piece across five movements and recorded between 2022 and 2024, "Tairen" reflects on memories of a formative place and period for Meath. Each movement scores part of an imagined landscape, mirroring the cliffs and expansive southern ocean of the coastal Otway ranges, remembered and reinterpreted. While tied to a place and time, ultimately "Tairen" is an exploration and expression of self.

Each piece explores this landscape, retaining its own identity while unified by recurring themes, moods and motifs. Meath emphasises restriction in her approach, creating subtly shifting layers of slowly evolving cello lines with expressive unstructured free playing bursting out. In all but one movement ("Bird"), cello is performed in a single take, utilising joined looping pedals on a semi acoustic cello from luthier Paul Davies. Equal parts meditative and expressive, uplifting and melancholic, the instrument becomes a proxy for the human voice creating a work that is intensely beautiful.

While Meath has a background in classical and pop, LEM has always been a more interior, personal project on the boundaries of minimalism and folk; in the past only as a live project featuring only herself, taking a lateral approach to sound through bow, harmonics and voice. While built on this foundation, "Tairen" expands Meath's typically minimal live approach with piano ("Sky") and additional textural percussion. Produced and engineered by James Tom and Danny Smith and with additional percussion from Dylan Lieberman. Mixed and mastered by Cam Parkin.

DJ Support: Antal, I Cube, Noel Watson, Colleen Cosmo Murphy, Sean Johnston, San Soda, Takaya Nagase, Tina Edwards, Pete Herbert, Kenneth Bager, Severino, Aaron Paar, Felix Joy, Harri Harrigan, Laroye, Telford, Darker Than Wax, Rocky (X Press 2), Shane Johnson, Dan Tyler, Felix Dickinson and many more

Having previously released selected retrospectives focused on the musical output of Ryo Kawasaki and Joan Bibiloni, NuNorthern Soul has now turned its attention to the vast back catalogue of Jasper Van’t Hof’s pioneering electro-acoustic, Afro-fusion collective, Pili Pili.

The band was established in 1984 by Van’t Hof, a Dutch pianist who began his career in Europe’s jazz scene of the late 1960s, as a way of combining his love of jazz-fusion and the music of North-West Africa. Van’t Hof already had a reputation for combining roles in traditional jazz combos with more experimental and abstract projects. These included a spell in violinist Jean-Luc Ponty’s first band, years spent masterminding jazz-rock outfit Jasper Van’t Hof’s Porkpie, the recording of an all- electronic album (1982’s Visitors), and a celebrated collaborative live album with the great Archie Shepp, Mama Rose.

Pili Pili, though, was another step forward for Van’t Hof. Working with percussionists and vocalists from Benin and Mali (including the now legendary Angelique Kidou) and a string of adventurous jazz soloists (saxophonist Tony Lakoto and trumpeter Annie Whitehead included), Van’t Hof’s collective frequently combined live and programmed percussion, electronic and acoustic instrumentation, and the talented improvisor’s own memorable melodies and impactful solos.

NuNorthern Soul’s retrospective focuses on the most productive and celebrated period of Pili Pili’s near three-decade history, showcasing tracks originally recorded and released on studio albums released between 1984 and 2002. The six tracks on show offer an essential glimpse into the musical gold to be found across the Pili Pili catalogue.

In keeping with NuNorthern Soul’s previous retrospectives, the vinyl version of Selected Works 1984-95 comes with extended liner notes telling the remarkable story of this most unusual of cross-cultural collaborations. These feature extensive quotes, reflections and memories from Jasper Van’t Hof and were written by music historian Matt Anniss.

South Street International return with the house goodness once again, reissuing Vick Lavender’s house anthem “The L.O.V.E. Song (From Chicago To New York)”. Originally self-released on his label Sophisticado Recordings by the Chicago producer and musician, this is one of those timeless deep house gems that’s become an underrated weapon for discerning DJs worldwide.

Lavender – known for his work with Glenn Underground as part of the legendary Strictly Jaz Unit – has been shaping deep and soulful house for over three decades, blending world music, jazz fusion, R&B and more into a sound that’s both spiritual and deeply rooted in the dancefloor. Here he brings the best of both cities into one track: the soulful musicality of Chicago, the cosmopolitan polish of New York. Warm Rhodes, fluid percussion, and vocal refrains ride over a groove that’s equally at home in a dark basement session or a sunrise terrace set.

With originals changing hands for eye-watering prices on Discogs, this official reissue makes this must have record accessible again. Lovingly remastered by The Bakehouse and presented on South Street International, This record is a must-have for fans of deep house, and anyone who believes in the eternal conversation between Chicago and New York.

Swedish DJ, producer and songwriter Johan Blende debuts on Hell Yeah with a journey to the heart of a grown-up dancefloor in the Med.

Blende is a master of mixing up retro 70s and 80s sound into modern dancefloor delights. He's been doing it for two decades on a wide range of cultured labels from Studio Barnhus to Eskimo, always with a rare charm and leftfield perceptive. With this EP, he taps into the magic of hazy afternoons turning into euphoric evenings by the sea.

'Off To Mallorca' jangles with taught bass notes and sunburnt vocals. Distant synths glow, the jumbled percussion injects just the right dose of ass-wiggling funk and this playful yet sophisticated cut builds toward a blissful rapture. 'Television' ups the ante with prickly acid panning about the mix over sleazy, low-slung drums. Tension simmers as edgy synth motifs stalk the groove and anticipation builds before the whole thing explodes into a cosmic disco payoff. It's raw, unpredictable, and perfect for when things start to get a little weird.

'Como No Brasil' gazes skyward and basks in a wash of shimmering melodies and breezy, wordless vocals that drift like clouds over layered, sun-drenched rhythms. It’s a dreamy, tropical float until a surprise acid storm rolls in and moves things from tranquil paradise to dancefloor hypnosis. Finally, 'Carousel Bagatelle' is a layered, late-night trip that feels both playful and introspective. Hypnotic synths swirl around screwy acid lines and supple, dubbed-out house drums that spin you into a daze.

Blende’s debut on Hell Yeah lands like a postcard from a perfect party - sun-dazed, acid-kissed and endlessly replayable.

A BAG FULL OF NASTY R&B, ROCKIN' COUNTRY SOUL AND CRUDE GARAGE ROCK!

Retro Party Dancing - The Best Performers - The Best Hits!

We The People were a vocal quarter who recorded a handful of singles between 1969 and 1976. Their most prolific release is this release from 1973 produced by Landy Mcneal. The music arranger was prolific Bert DeCoteaux Ace Spectrum (“Don’t Send Nobody Else”). Also Patti Austin, The Main Ingredient, Roy Ayers, Ramsey Lewis, Ben E.King, Sister Sledge, Lonnie Liston Smith and Marlena Shaw to name a few

as in, a borgesian term of imprisonment in which you come to learn that stasis is an illusion. you attune and collect evidence. long shadows swing from the room’s sharpened edges, contracting and rotating with each passage of the sun, cumulatively tilting toward the next season. the cyclical heating and cooling of the concrete inscribes what you eventually recognize as an insistent rhythm onto your skin. it feels as though you’re preparing yourself to haunt the place. the first visitation comes in winter. sound bubbles from a crack in the wall, a conversation you can’t follow and hardened repeating codes that splash off the walls like rain. it had to be, and you’re looking away.

Originally issued in 1996 and now re-pressed for the first time by A.R.X. and Krisis Publishing, Pressure of Speech ''Our Common Past, Our Common Future'' remains one of the best-kept secrets of 1990s British electronica. Founded by Mickey Mann, together with fellow explorers Luke Losey (lighting designer for Orbital) and DJ Stika (already part of Spiral Tribe), their elusive second album is an obsidian relic of screwed ambient techno, mutant breakbeat and hypnotic radical sounds excavated from the goldmine of the UK's post-rave underground.

Welcome to New Fair Tracks, a new and fair story in the New Fair Deal canon. Phase O'Matic, the young yet already prolific UK based artist, presents the first chapter with his potent style of new wave techno beat. With nods to EBM, acid and the early rave days, Phase O'Matic captures the raw and hypnotic sounds of the 80s and 90s with the precision and refinement required to carry forth through the 2020s and beyond. Four tracks for every phase of the night, the 'New Crusade' is geared to get floors moving in dark rooms around the globe. Will you heed the call?

A trans-generational meeting of raw frequencies and spiritual drive, BTB007 bridges the roots of freetekno. On the A-side, 69db a true pioneer of the underground, delivers two live-crafted pieces that channel decades of improvisation and sound system energy. One track, reflects on the ongoing genocide in Palestine; the other turns its gaze toward the performative side of modern culture. Flipping the record, Gen Unit, the collaborative project of Kaisei Kitada and Scam Artist, respond with two dense compositions forged in the spirit of old-school freetekno: raw, hypnotic, and relentlessly physical. Together, they form a dialogue across generations and geographies, between chaos and control, analog heat and digital clarity, perfectly embodying the spirit of Beyond the Bridge.

Kucera & Delayed Sentence Present the Analog Rhythms EP

Scrap & Delete continues its trajectory as a home for uncompromising techno with the Analog Rhythms EP. A collaborative release from Kucera and Delayed Sentence that merges their respective strengths into a tightly honed four-tracker of futuristic machine music.



Opening cut "Analog Rhythms" sets the tone with raw propulsion and hypnotic focus. Anchored by a driving low end and jagged synth pulses, it balances grit with surgical control. A track built for long blends and warehouse immersion.

"Between Networks" dials into a more kinetic space. Its interlaced groove patterns, off-axis drum programming and haunting vocal grooves create a feeling of constant shift, evoking unstable connections and digital interference while maintaining absolute floor impact.

On "Synthax," the duo lean into sci-fi atmospheres. Bleeding-edge textures swirl through a thickly percussive dancefloor orientated framework, creating a dark yet spacious momentum that's equal parts cerebral and physical.

Closing cut "Twisted Ankl3" is the EP's most unhinged moment. A wonky workout full of broken signal bursts and twitchy rhythmic grooves. It's a subtly evolving sequenced post-industrial DJ tool, leaving dancers disoriented and locked in.

With Analog Rhythms EP, Kucera and Delayed Sentence showcase a shared vision rooted in sonic discipline, hardware fluency, and unrelenting energy. This is high-functioning techno at its most distilled. A perfect fit for Scrap & Delete's refined catalogue.

The beginning of a long journey in search of all the small details we have been fortunate enough to encounter and collaborate with. This is the genesis of Various Details, the first music series that Small Details Recordings is releasing, exclusively on vinyl. The idea is to create a space where different artists can recount their research through music. So, it's time to start the music and hear all the details and nuances that these artists have to offer.

Swiss-born, Berlin-based artist Stallo makes his anticipated vinyl debut on Casanova Bar Records with Mifepan EP.

After first appearing on the label in 2020 with a contribution to CBB007 a digital VA, he now returns as the main artist on CBR008, delivering two original tracks that define his signature sound.

The EP opens with Bleenthal, a hypnotic journey built on rolling drums and immersive textures. On the flip, "Wavoom" pulsates with a constantly evolving synth, pushing forward with relentless energy.
Elevating the release, Japanese techno legend Takaaki Itoh delivers a raw and powerful remix of Wavoom, while Italian innovator Fabio Florido reinvents Bleenthal with his cutting-edge sound design.
Mifepan EP is a bold statement from Stallo, an immersive exploration of deep grooves and evolving driving textures.





d B2 Bleenthal Reinvented (Fabio Florido remix)




Reinvented (Fabio Florido remix)

Housmose launches its new CLUB CUTS series with Vol.1, a curated five-track vinyl showcasing the raw, deep, soulful, and garage-inspired sounds that define the label’s spirit.

Limited to 300 hand-numbered copies (200 black, 100 red), this first edition captures a timeless club essence - from punchy grooves to late-night introspection. Deeleegenz opens the record with “M.W.H.I.”, a fierce and energetic cut packed with garage swing and raw punch - the perfect statement for the series debut. On A2, Mike Ekim delivers “The Main Street”, a UK garage-driven banger built around crisp drums and rolling low-end pressure. On the flip, Reagan Mian’s “Memories” dives deep into emotional territory - a nostalgic deep house journey that blends warmth, groove, and a pure club spirit. Rawdio follows with “Mirari”, weaving hypnotic synths and lush pads into a dreamy early-90s atmosphere. Finally, Max Telaer closes the record with "Fair Weather", a jazzy, sample-rich groove that radiates soul and wraps the compilation with finesse. With striking artwork by Sozyone, CLUB CUTS Vol.1 stands as both a collector’s piece and a dancefloor weapon - crafted for DJs, diggers, and anyone who still believes in the magic of wax.

DJ Support: Laurent Garnier, Radio Slave, Carl Cox, Eliza Rose, Peggy Gou, Carlita, Skream, Hi Fi Sean, Riva Starr, Anja Schneider, Terry Farley, Heidi Lawden, Marcel Vogel, Alan Dixon, Mele, Jovonn and more

London-based DJ and producer Hilit Kolet is defining the sound of 2025’s fiercest dancefloors.

With a stacked discography on labels like Rekids, Bush, COD3 QR and Defected, and a track record of private re-edits being picked up for official release, her reputation as the go-to name for high-energy, forward-thinking club cuts is undisputed.

The brand new 'Hot M3ss Edits' series kicks off with three of HK’s most sought-after re-edits - once secret weapons in her sets - just in time for the party season.

Limited pressing - grab them while they’re hot!

Ever developing his evocative style and dynamic sphere of influence, ASC's latest EP is afurther evolution of the atmospheric legend's repertoire that simply cannot be missed.

A1 - Everybody

ASC opens his latest Spatial EP in subtle fashion, classic genre effects punctuating anunsettling intro before deliciously crisp drums seize the stage and build continually with hi-hats generating an urgency to the vibe. A series of micro melodies delivered withtrademark technical flair float across stunning breaks, before a rousing baseline caps off asuperbly evocative mix which delights the listener and dancer in equal measure.

A2 - Seconds To Midnight

Straight in with a purposeful 808 bassline, ASC delivers another powerhouse display ofbreakbeat fluency, jumping between chunky, juddery drum patterns with a choppedversion of a lesser-used but very effective break sample last heard on ASC's very ownclassic, Polaris. Epic vocal effects surround Seconds To Midnight with a tense aura whilesuitably pitched strings and synth work are dusted liberally throughout the piece.

AA1 - Restless Dreams

Amen fans unite! ASC's love for the most classic of breaks shines through once againwith an enthralling workout for the ages. Introduced with eerie pad work and a solobassline, the atmosphere is crafted through a plethora of pads and samples while theamens thunder on with a detailed array of editing skills on show - thumping kicks andsnares keep the energy levels high bar after bar leaving nothing in their wake.

AA2 - Core Memories

A gorgeous female vocal opens Core Memories, a track which uses the classic breakfeatured on the first ever Spatial release, Force Majeure. Here, a refreshing set oftechniques are on show from ASC as he carves and chops the break to the tune ofcautious horns, highlighting the serene yet uncertain backdrop to a wonderfully varied anddetailed collage to close this distinctive and progressive EP from the label head.

Words by Chris Hayes (Spatial / Red Mist)