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Black Truffle is pleased to present Radis, the first recording by the Oslo-based trio of Andrea Giordano (voice and organetto), Kalle Moberg (accordion) and Jo David Meyer Lysne (guitar and snare drum). Now based in Norway, Giordano is a native of Cuneo, in the Piedmont region in the north-west of Italy and her exploration of the Piedmontese language provides the starting point and conceptual anchor of the trio improvisations heard on Radis, which make use of the words of 20th century Piedmontese poets Nino Costa, Bianca Dorato and Oreste Gallina. As the musicians explain, the project is an attempt to preserve the beauty and singularity of a language at risk of extinction.

Fittingly, the first sound we hear on the opening piece ‘Fiorìa’ is Giordano’s unaccompanied voice. She sings a poem from Oreste Gallina as a kind of floating cadenza, the accompanying silence sensitizing the listener to the pellucid quality of Giordano’s voice and the unique sound of the Piedmontese language. The voice dies away and into the silence swells a single tone, sounded by Moberg’s accordion and—special guest on this opening piece—the alto saxophone of Mario Gabola. Extended techniques and preparations create unexpected timbres from the acoustic instruments: Gabola’s saxophone is augmented with tin cans and springs and Moberg’s unorthodox techniques allow the accordion to generate wheezing, buzzing textures and patterns of microtonal beating. Giordano’s voice returns, picking up the thread of the languorous opening melody, coexisting for a while with the shifting drone before the piece takes an unexpected yet organic left-turn into a delicate saxophone solo of sorts.

Recorded in several locations across Italy and Norway over the course of three years, Radis documents an ensemble who have developed both a distinctive sound-world and a remarkably sensitive group dynamic. Moving from folkish duets between accordion and Giordano’s organetto (the small accordion used in Italian folk music) to episodes of metallic guitar scraping from Meyer Lysne, the music is both quietly contemplative and gently chaotic. Ensemble roles shift with disarming ease. If on ‘Profij dëspers’ Meyer Lysne’s prepared guitar adds a haywire noise element to a lyrical episode of organetto and accordion, the next piece, ‘D’antorn a lor’, is grounded in chiming guitar chords of stunning beauty; once Giordano’s joins, the result calls up the most spacious moments of Maria Monti’s Il Bestiario. Throughout the seven pieces, the trio explore countless possibilities of group interaction and the margin between conventional euphony and pure abstraction: at times the voice floats against silence or seems almost disconnected from the gentle clatter of the instruments (sometimes reminiscent of Nikiforas Rotas’ haunting settings of Cavafy), while at other points the instruments touch on conventional harmonic accompaniment. What is perhaps most striking of all is the way that voice and instruments relate to each other, the extended technique reframing the voice as a kind of abstract sound object, while the melodic beauty of Giordano’s voice lends a contemplative, almost melancholic air to the wheezing and scraping of accordion and guitar.

Captured in gorgeously intimate recordings, Jim O’Rourke’s careful and beautifully spacious mix highlights the wealth of textural detail in each element. Accompanied by notes, session photos and the text of the Piedmontese poems, Radis is a work of stunning beauty that demonstrates the vitality of exploratory music in Norway today.

DJ Support: Kerri Chandler, Louie Vega, Dam Swindle, Jovonn, Brian Tappert, Grant Nelson, Mark Farina, DJ Mes, Cinthie, Floorplan, Kevin Yost, Fouk, Julius Papp, T. Markakis and more..

Raffaele Ciavolino is an Italian DJ, producer, and professional engineer who has carved out a significant niche in the global house music scene. His work is characterized by a sophisticated blend of Jazzy, Funky, and Deep House, often incorporating the high-energy "Jackin" house style that has earned him consistent recognition on major genre labels. “Come In To The Jazz”, the title of his new Album, gives you an idea of what to expect - jazzy melodies and sophisticated house beats. He does so with a modern viewpoint but also plenty of reverence for the glory days of jazzy house. Trumpets and guitars feature here and embellish the drums with quality, meaningful layers of melody and mood. As he merges the past and present, this richly textured work shines with improvisation and timeless deep house warmth.

Blue Hour distills over a decade of artistry into his debut album Selva, unearthing eight tracks inspired by ancient wisdom and forgotten worlds.
Blue Hour is the moniker of Luke Standing, a multifaceted artist, producer, and label owner navigating between past and present electronic dance music. Over more than a decade, Standing has built a career balancing transformative craft with a sharp curatorial approach, earning him respect across the global scene. After years of sonic experimentation, he now releases his debut LP Selva. “I never set out to make an LP – it just wrote itself,” he says. “I followed my intuition, and the music found its own path.”
Born and raised in the UK, Standing grew up in parallel with club culture, moving between Brighton, Bristol and Berlin while running club nights and establishing himself under former aliases Furesshu and Esoteric.
He launched his Blue Hour project in late 2013, shortly after relocating to Berlin. Initially a platform for his own music, Blue Hour quickly became a collaborative hub, blurring the lines between personal output and curation. Over time, Standing has cultivated an international ecosystem of like-minded artists while continuously expanding his own sonic horizons.
Selva marks his first full-length studio album, weaving a lifetime of influences into a cohesive narrative inspired by ancient wisdom and forgotten worlds. The eight-track double LP transforms his inner dialogue into a subconscious story pulling inspiration from a labyrinthine network of influence and experience. “I followed the music obsessively, reflecting and refining until the story revealed itself,” Standing explains.
“To me, the LP evokes Amazonian or Mayan jungles, themes of exploration, the mysteries of the natural world, wisdom passed down through generations. I didn't set out to write about these things consciously,
they just emerged on their own.” he adds.The album was shaped through intensive work in his studio and periods spent in subtropical locations.
Listening closely, Selva unfolds like a modern ceremony: the opening tracks channel his early UK dance influences, shifting into blends of traditional and contemporary techno, then expanding into melodic soundscapes before concluding with transcendental textures and atmospheres. The result is an introspective journey where functionality and emotive storytelling coexist, revealing a depth in Blue Hour we haven’t heard before.
Whether performing, curating, or producing, Standing operates with a deep commitment to sound, culture, and collaboration. More than an artist, he is an architectural thinker of what electronic music could become. “Every release is my own metamorphosis,” he says. “This LP reflects my current form, and I’m curious to see what the next chapter brings.” Few artists can unify a lifetime of genre-spanning influences into a sound as sharp and focused. On Selva, Blue Hour does exactly that, opening a new era of deeper
immersion from his Berlin-based label.

Clock Poets returns with Get Down, the seventh release on the label and a floor-focused statement from Spanish producer Baltazar, based in Palma de Mallorca and founder of the Sapernika platform. Known for selecting and developing distinct, groove-centred voices from the underground, Clock Poets hands the reins to an artist who understands hypnosis, repetition and tension as tools rather than effects.

The A-side, “Get Down”, is a pumping minimal cut shaped by slightly tribal percussion loops and a locked-in groove that builds momentum through subtle shifts rather than overt peaks. Hypnotic male vocal samples circle like a mantra, weaving ritual into rhythm as the track steadily tightens its grip on the floor. On “Try On Trust Me”, the formula expands: a female vocal, washed in reverb and echo, floats between melodic textures and soft pads, creating a more spacious, emotive framework while maintaining the same disciplined drive and forward motion. Closing the record, “On My Way” dives deeper — a stripped-back 4/4 minimal construction infused with Arabic and double harmonic scale influences. Spatial, meditative and profoundly hypnotic, it stretches time and space, offering a moment of emotional suspension within the dancefloor continuum.

With Get Down, Baltazar doesn’t chase trends — he commits to groove, sophisticated repetition and unique atmospheres. In doing so, he both reinforces Clock Poets’ sonic identity and injects it with a fresh, trance-like intensity, proving once again the label’s consistency without predictability.

Bill Converse should be a household name in every head’s abode. He’s been DJing live with 3+ turntables since he was a teenager, always under the same name. Unfathomably envious record collection. Your favorite DJ’s as well as very likely your favorite DJ. Whether it is DJing or a live set, his presentation is head-spinning, hard-edged but hypnotic. His avalanching drum programming is as recognizable as Coltrane’s timbre. His records have been released on Dark Entries, Fit Sound, Texas Recordings Underground, Tabernacle Records, Immortal Sin, Acid Test, Feral Colony and Obsolete Future. Now Fixed Rhythms presents a 2×12” pack of Bill’s characteristically bewildering excellence.

The first 12” has four cuts. Woozy, heavy, bombastic machine workout opener “Stress Test” followed by the tension peaking sustainer “ZoneZone” on the A side. On the B side, “770” brings us to a new place of plucky bass lines and unconventionally tuned drum workouts, with “lure me” closing the first 12” with flexing low-end, percussive stabs syncopated with heavy snaredrum riffing.

Where does this music come from? Although you hear the decades of Midwest techno, jacking Chicago house, brain-tickling Warp Records cuts, and his dizzying skills as a DJ in the brew, his sound is uniquely Bill’s. The second 12” peels back the curtain a bit more, as the C and D side are two extended cuts from his live set at 2024’s Jackie O’Body Vol. 2 in Denton, Texas. We here at the label were at that gig. Pure energy. Sexy distortion. Rhythms that made you scream. After the set, the room erupted in a chant of “BILL! BILL! BILL!”. Dear reader, witness the power of Bill Converse’s raw, overdriven, drummy, jack house tech madness!

Up Ya Archives returns with its first release of 2026, ‘Northern Step’, from Manchester-based jungle producer & DJ Worsleyy. The track arrives ahead of his upcoming EP of the same name slated for a 13th March release via Up Ya Archives Records.

Fuelled by crisp, tightly swung drums and a smooth, rolling bassline, ‘Northern Step’ is a salute to its junglist roots. Drawing from the Manchester rave records he was introduced to by his dad, and with the help of legendary Mancunion music mixologist Chimpo, Worsleyy channels those early warehouse energies and pairs them with his own progressive and futuristic lens. It’s heritage and evolution colliding, rooted, forward-thinking and built for sweat-drenched dance floors.

When speaking about ‘Northern Step’, Worlseyy said:

“Northern Step is a proper nod to the junglist past with the lush floaty vocals, calculated drum choppage, a smooth rolling bassline and Chimpo hopping on to drive forward the sound of the North.”

Worsleyy is a familiar face across the UK circuit, having played sets at The Warehouse Project and supporting Nia Archives on her 2024 UK tour in Manchester. Drawing from UK rave lineage and contemporary club sounds, his productions balance nostalgia with futurism, channelling the energy of Manchester’s acid raves. His tracks have travelled far beyond UK borders, spun by the scenes most forward-thinking tastemakers like DJ SWISHA, Sherelle, Pete Cannon, and Nia Archives on dancefloors around the world. Worsleyy’s rise has been as visible as it is audible — bold, bass-driven, and impossible to ignore.

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

Beat Machine Records is proud to drop the sixteenth chapter of its iconic Swinging Flavors series, starring Newcastle’s own Nectax — a breakbeat alchemist pushing jungle and D&B into jagged, unpredictable territory — backed with a remix from forward-thinking bass manipulator Fracture.

Cool Runnings is exactly that: a hypnotic, mid-nineties-tinged jungle cut stripped back and dubbed out, but sharpened with modern production techniques that give every snare and sub-bass a punchy, alive quality. Razor-sharp breaks collide with rolling basslines, weaving a track that’s at once nostalgic and fully of-the-moment.

The B-side flips the energy with Fracture’s remix, injecting fractured percussion, jagged fills, and high-octane bass tweaks. It’s a modern take that preserves the original’s laidback groove while kicking it into full-blown club chaos. Together, the two tracks form a high-voltage 7” that bridges classic jungle aesthetics with contemporary sonic experimentation. “Cool Runnings is my take on a laidback mid-nineties tipped Jungle track. Stripped back, dubbed out, but with a subtle focus on modern production techniques to tie it all together,” says the artist.

Following recent Swinging Flavors contributors like Ac1d Vicious, DJ Sofa, and Ornette Hawkins, Nectax marks the next evolution for the series: tense, textured, and unafraid to push the floor into new territory.
The release continues Beat Machine Records’ mission to highlight forward-thinking club music rooted in underground culture, with a sharp focus on physical formats and hybrid rhythms.

2026 Repress

Berlin's Scheermann debuts on Mutual Rytm with deeply personal EP, 'Viciosa'.

Scheermann is at the heart of the Berlin underground as a DJ/producer, but also working behind the scenes at the Intakt Berlin vinyl pressing plant, where he first met Mutual Rytm founder SHDW. As a resident of the Lorem Ipsum party series, he delivers cultured and compelling grooves, and is also an active member of the Wesertekk collective - supporting and pushing club culture to the forefront in more rural areas. His music comes from a deeply personal place, never chasing hype or headlines, and is usually found at home on his own imprint, SAMMLER. This new EP marks his first appearance away from the label as he unveils a collection of records crafted over five years, with each track representing different moments in his life.

'Viciosa' kicks off with paranoid vocals panning about as swinging, warehouse-ready drums pound heavily below. The gritty synth craft adds plenty of texture as filters build the vibe. 'Placid Sin' is even more intense with unresolved synths tripping you in a loopy state while coarse percussion and cantering drums march on. 'Don't Care' is a rave-ready cut that injects your soul with urgent synth energy over more minimal and moody drums. 'Kano' brings a more elastic rhythm with dubby undercurrents and sleek sonar pulses infusing it with mystery, while 'Reika' is a nimble cut with icy hi hats and curious synth notes layering in late night suspense. First digital bonus 'Resoclap' is a heavyweight swinger with dark, groaning voices, before the second digital bonus 'Mizu' provides a speedy and supple workout for body and mind.

Scheermann 'Viciosa' lands on Mutual Rytm on 22nd August 2025.

“My auntie asked me what’s my path?” spits Lord Jah-Monte Ogbon on his de but from the celebrated Lex Records. The lyric relatably references the cross roads he’s at in his current life, especially as someone right on the cusp of rap stardom. “Recently I’ve been thinking more and more about what comes next in my life,” the artist reveals.


It’s fair to say Ogbon’s Lex LP features less of the sh*t-talking court jester of old. Instead, there’s more of an imperfect man re-examining past mistakes so he can avoid any future forks in the road. There’s a particular focus on over coming heartbreak, inspiring Ogbon to admit he’s haunted by an ex so badly he now needs to call up the Ghostbusters for assistance.


Since emerging in the late 2010s, Lord Jah-Monte Ogbon has consistently lit up America’s underground rap scene and this is thanks to a refreshingly honest writing style. Amid the exquisitely wavy strings of 2021’s The Missing Link / The Sneaky Link, for example, he rapped: “Everyone thinks they’re play er, until their bitch doesn’t come home.” Biting and snappy, the nasally vocals carry the playful verve of comedian Richard Pryor bravely excavating personal Demons to solicit giggles.


All this brash, wry Redman-inspired storytelling continues on the new pro ject. Its first single is titled I’m Signed to Lex, Now I’m Up – a name that mirrors what a big moment releasing a project on the label that once housed MF DOOM represents for Lord Jah-Monte Ogbon’s legacy. “I’m really driven by being able to level up and give my family more financial freedom,” he hopes.
And, if auntie asked what his path was right now, what exactly would the rap per say? Lord Jah-Monte Ogbon concludes: “Auntie: this rapping thing feels like it’s finally about to pay off!”

ElCalefón

Salir Del Agujero

El Calefón's 1985 LP Salir Del Agujero is a rare bird.

Self-produced and privately released in Zurich, the albumdocuments one of the very few South American groups that were resident in Europe at the time, and certainly the only such band working in Switzerland. Co-founded by two Argentinians in Europe – the multi-instrumentalist, vocalist and composer Coqui Recaand the guitarist Pablo Miguez–the group consisted of Argentinian and Brazilian musicians, most of whom were present initially Europe as tourists, but had stayed on, without official sanction, as immigrants.Their music gathered its primary influences from the varied sounds of their home countries, fusing these elements drawn from the manifold indigenous styles of Argentina and Brazil with the international sounds of rock,jazz, pop and pan-Latin music.

Honed and polished by the steady gigging through which the group earned their living in Zurich, the music that appeared onSalir Del Agujero was sophisticated, original and filled with light. Resonating with a freshness undiminished in forty years, the album brims with possibility and hums with tropical warmth, bearing testament to the open-hearted musical freedoms of a mercurial musical era.

A label long synonymous with raw, off-centre electronics and uncompromising club tools, Bjarki’s bbbbbb recors welcomes a producer whose approach feels cut from the same cloth, London’s Henry Greenleaf. In an era where functionality often outweighs feeling, ‘Brawn’ is a record that doesn’t court approval; it insists on impact. Built for high-pressure systems and low ceilings, it channels force not as spectacle, but as design.

Greenleaf’s catalogue to date, spanning labels such as Par Avion, YUKU, and ARTS, sketches a restless trajectory between precision and collapse. His productions operate where rhythm becomes architecture: kicks land like poured concrete, subs buckle and flex beneath shifting percussive grids, and textures are stretched until they fray at the edges. Sound is treated as a physical material, layered and stress-tested, reshaped until the familiar mutates into something tactile and strange.

Across the EP, that philosophy takes full form. A1 ‘Brawn’ sets the tone with dense, piston-like drums and tightly coiled low-end pressure, balancing brute force with meticulous spatial control. ‘Jump Up To Be’ follows with a more fractured swing, percussive shards ricocheting across a framework that feels perpetually on the verge of rupture. On the flip, ‘Gawk’ strips things back to skeletal components, carving negative space between distorted pulses and menacing, warped rhythmic figures, before ‘UNTUNTUNT’ closes the record in driving fashion, delivering a raw, functional workout that reduces the groove to its bluntest, most hypnotic form.

True to the label’s ethos, ‘Brawn’ doesn’t chase trends or smooth its edges. It folds air and pressure into motion, pares club music down to its working parts, and leaves room for spontaneous chaos to erupt within the grid; moments where structure splinters, energy misbehaves, and control gives way just enough to keep things volatile. Engineered yet unpredictable, utilitarian yet unruly, the EP embodies the tension, unpredictability, and uniqueness that have long defined bbbbbb recors.

INDUSTRIAS MEKANIKAS is back with the third instalment of the ANTIKHRIST VISIONS saga. This release is particularly symbolic: it’s the ninth in the catalogue, marked by the infernal numerology that runs right through the whole series. It’s a descent into a sonic underworld, where noise becomes ritual and pleasure is just pure agony.

The artist tasked with opening this new chapter of the saga is the mighty Óscar Mulero, an essential figure on the national electronic scene and one of our biggest international ambassadors, whose career has left a deep mark on contemporary music. Here, with Faceless, he delves into dark, precise, and devastating electro territory; a spiritual machine that dictates the pulse of chaos.

Next up, we’ve got Pressurized Modulator with Reddrum: hard, crunchy, industrial electro, absolutely buzzing with electrical tension and twisted sonic matter.
Closing out the A-side is Jacko Volvone (aka Hoax Believers) with Quieren Cerrar Las Fábricas: a track that expertly blends electro, techno, and post-punk echoes, resulting in a tense, distorted, and combative sound, like a working-class echo shouting from the abyss.

Flipping over, the B-side opens with Hanging Nuts (made up of Waje Martín, Fake Robotik, and Ruben Montesco). They unleash a murky descent of filthy, distorted, primal electro, slashed through with guitars and raw, guttural vocals: a genuine chant from beyond the grave. The second cut marks the debut of Techselektah & Phil Fork with Champagne No Potable: a raging street anthem packed with fury, energy, and social criticism, where Spanish vocals emerge amidst EBM structures that have that ‘80s spirit, reinterpreted with today’s raw edge. And the big finish is down to HBK1 alongside Rigor Mortis, with Instinto Caníbal: a full-on explosion of electro-industrial and EBM that awakens the body’s most primitive urges.

Antikhrist Visions Vol. III is a sonic summoning from the lands of Hades: ritualistic matter, organic sound, and primal force. A testament to pleasure and torment—Tormento do Gostar—etched into the vinyl as if it were molten iron.

Memento Mori.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract. There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.

Amsterdam-based producer Retromigration makes his debut on the launch of a new Oathcreations imprint "KARAMÜRSELL?" with 'Can't Go', a hyper-kinetic and rapturous piece of dance music sure to ensnare any dancefloor.
Inspired by soul, funk, jazz, and hip-hop, his auditory identity is one of profound melodic effusion and expert percussive sequences, absorbed within life-affirming atmospheres.
'Can't Go' feels like yet another landmark, tuning itself into the pulsating energies of the club, drawing lines between bass music, footwork, garage and jungle.
The EP is completed with 'Distant', featuring fuller harmonies, a tear-jerking chordal line and a spiritual sax solo.

- For all fans of the Wamono series!

- All tracks selected by DJ Yoshizawa Dynamite. Includes the first ever vinyl release of The Peanuts' "Ohara Bushi" track, originally released only on tape in 1970.

- Fully licensed King Records masters.

- Mastering and lacquer cut by Jukka Sarapaa at Timmion Cutting Lab, Helsinki, Finland.

- 180g heavy vinyl pressing, reverse board jacket.

- Artwork by Nicolas Kerembellec (Nker).

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Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of Wamono music, Yoshizawa has published in 2015 the now-classic Wamono A to Z records guide book, which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene. He has also selected a large part of the music in our highly acclaimed Wamono compilations.

For this brand new chapter in the series, Yoshizawa explores King Records' legendary catalog and unearths exceptional, rare and unknown musical gems. King Records has been releasing music since 1931 and is one of the most prestigious labels in Japan. Traditional Japanese music, known as "Minyo", are ancient songs once sung by fishermen, coal miners and sumo wrestlers. They are reimagined here with vibrant afro latin, rock, rare groove and funky arrangements in this killer selection of music released on King between 1963 and 1979. Also worth mentioning is the track Ohara Bushi by The Peanuts, which was released only on tape in 1970 and is now available for the first time ever on vinyl format.

Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese funk, soul, rare groove and disco music developed throughout the years since the end of the fifties in Japan!

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180GWALP08 - Manufactured and distributed by 180g.

2026 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

SuckaSide know how to drop red-hot edits that perfectly balance club-ready grooves with catchy samples from contemporary chart greats from across a range of styles. This time they bring some fresh amapiano and Afrohouse versions on their latest 45rpm. 'Pink + White' (remix) is first and has a mid-tempo sway with heartfelt and tender piano chords and a vulnerable vocal, all serving to get you in a smoochy mood. On the flip are more bubbly beats and jazzy chords, lounge vibes and Percy r&b vocal samples courtesy of 'What Do You Say' (remix). It's an intimate sound for low-lit clubs when the air is thick with romantic tension.

The label Erdgeschoss celebrates the freedom of sound and vision at the bar of life, like football – only with a bass drum instead of a ball. And with beer. Because even with vinyl records, the ball has to go in the net.

Pop Vampires Cologne will kick things off; their surrealist debut masterpiece, Karianne, was already released at Total 25 last year. PVC lives up to its name. Like vampires, oskø and Wassermann once again sample their way through the pop supermarket of unlimited possibilities.
Almost overnight, in their illegal, digital garage, they clone hybrid sound structures, saturated with both foreign and self-injected blood doping. Forbidden fruit is known to taste the best. Consciously, explicitly, and provocatively, PVC explores sampling as an indispensable stylistic device, a universal tool for quotation and pop networking. Equally daring and respectfully irreverent, they oppose the new, all-disenchanting AI search engines on the internet with the freedom of art. The rest is surrealism. Just like the accompanying video, which isn't a video in the conventional sense, but rather a kind of making-of with Sabine as the main front character. And the digital versions of some tracks may differ slightly from the vinyl versions.
Because: Anything goes…

Das Label Erdgeschoss feiert an der Theke des Lebens die Freiheit von Sound and Vision wie Fussball - nur mit Bassdrum statt Ball. Und mit Bier. Denn auch bei der Schallplatte muss das Runde ins Eckige.

Den Anfang machen Pop Vampires Cologne, deren surrealistisches Debüt-Meisterstück Karianne bereits im letzten Jahr auf der Total 25 erschienen ist. Bei PVC ist der Name Programm. Wie Vampire sampeln sich oskø und Wassermann einmal mehr durch den Pop-Supermarkt der unbegrenzten Möglichkeiten. Quasi über Nacht klonen sie in ihrer illegalen, digitalen Garage hybride Sound-Gebilde, getränkt mit Fremd- und Eigenblutdoping. Verbotene Früchte schmecken bekanntlich am besten. Bewusst, explizit und provokant arbeiten sich PVC am für sie unverzichtbaren Stilmittel des Sampling als universelle Zitat- und Pop-Vernetzungsmaschine ab. Ebenso wagemutig wie respektvoll respektlos, halten sie den neuen, alles entzaubernden K.I. Suchmaschinen im Netz die Freiheit der Kunst entgegen. Der Rest ist Surrealismus. So wie das dazugehörige Video kein Video im herkömmlichen Sinne ist, sondern eine Art Making Off mit Sabine als Frontdarstellerin. Und die digitalen Versionen einiger Stücke sich leicht von den Vinyl Versionen unterscheiden. Denn: Erlaubt ist, was gefällt…

Helena Hauff's Return To Disorder keeps it disordered with legendary producer DeFeKT next up with his vision of twisted electro. 'My Mother' has a dark undercurrent but is doused in synth radiance that provides great comfort, so if you ask us, it's a fitting title. It's texture that again stands out on 'Disastrous Infinity which has a squelch, acidic lead wriggling about the mix, pounding drums and crispy percussion that all pull back to reveal pixel-thin and eerie pads. 'No Coffee' is a dense and gauzy world of ice-cold melody and rigid grooves, and 'Soaked' turns the same vibe up to 11. 'Phaser' and 'Early Morning Tea' close out with opposing energies - raw and prickly, then more smooth and serene.

2026 Repress

French DJ/producer Mathys Lenne's artistic vision is rooted in his deep connection to rhythm. Telling stories with his sounds while drawing inspiration from poetry and cinema and blending hypnotic textures with raw intensity, his music is widely supported across the scene via labels like Mord, Hayes and more. Across five vinyl cuts and three digital bonuses, the four-deck wizard keeps it deeply atmospheric with his label debut on SHDW's Mutual Rytm imprint, combining elements of psychedelic rock, unique voice samples and saturated synths to create a sound that feels immersive and unrestrained in contrast to the fast-paced, visceral techno he has become known for.

'Detlev' opens up with hefty kicks that demand you quicken your step, while industrial effects and creepy design brings the detail that makes the track pop. The classy 'Natural Born Killers' rides on firm kicks with loopy percussive details tightly coiled, ensuring you are forever on edge as the drums march on. 'Choose Your Pill' is a stripped-back and pulsing deep techno cut with deft synths that peel off the groove, before 'Untidy Echo' delivers a cavernous sound with sparse hits and low-end rumbles that place you in the centre of an underground cavern. 'Enfer ou Ciel' featuring D.E.S brings a sense of melancholy in the occasional string sounds and watery droplets that float over more frictionless, meditative beats - while the trio of digital bonus cuts brings moody subterranean rollers ranging
from snaking and dubby to more drum-led and eerie tones.

On a Sunday in the early 70s in South LA one could asily find themselves experiencing the Pan Afrikan Peoples Arkestra doing what they do for the community, performing incredible music. "Live at Widney High December 26th, 1971" is a previously unreleased PAPA recording. It finds director Horace Tapscott conducting the band at Widney Career Preparatory & Transition Center, a special-education magnet high school in Los Angeles. The band played shows here between 1970 and "72, often sharing the bill with contemporaries John Carter and Bobby Bradford"s group, and at one point the Sun-Ra Arkestra. These weekend shows were free and meant for the surrounding Black community. On this date the PAPA performed a range of compositions from the Ark"s expansive songbook, including arrangements of tunes by Pharoah Sanders and John Coltrane.

London-based producer IZCO is set to release his latest single, “Guiding Star (feat. Reek0)”, blending soulful nostalgia with the raw energy of the capital’s underground sound.

Drawing from influences that span UK dance music, hip hop, and soul, IZCO’s music captures both the energy of the dancefloor and the emotion of lived experience. Over the years, IZCO has become a key figure in London’s cross-genre underground scene, collaborating with artists like Reek0, Greentea Peng, Sam Wise, Liam Bailey, and Novelist, and performing at iconic venues and festivals across the UK and Europe.

His previous releases, including tracks like soulboy - IZCO Remix, Beauty Inside, and OBiNRin - IZCO Remix, showcase his knack for crafting warm, sample-rich productions that balance classic influences with a distinctly modern edge. Whether behind the decks or in the studio, IZCO continues to push boundaries, creating music that feels timeless, authentic, and deeply rooted in community.

“Guiding Star” is no different. It pairs warm, vintage soul textures with the sharp percussion and bass-driven pulse that have defined IZCO’s sound across his discography. Featuring long-time collaborator Reek0, the single bridges eras and styles; a homage to the past while firmly rooted in the energy of today’s London.

Speaking on this release, IZCO says:
“Guiding Star. That classic shit, Combining the soulful sample with the London grit, real London track. Inspired by a mixture of 70s soul, US hip hop and UK grime.

Made this track without thinking much, the sample spoke for itself.
Reek0’s vocal was from one of the first sessions we ever did years ago, and it had never been released but it sounded perfect on this track. A taste of nostalgia, this track reminds me of good memories and friendships. Simple but meaningful. And an honour to use such a beautiful sample”

Later this year, fans will be able to own an exclusive 7-inch vinyl edition of Guiding Star, featuring both the original and instrumental versions - a collector’s piece for crate diggers and fans alike. Out on the 5th December.

With “Guiding Star (feat. Reek0)”, IZCO continues to carve out his place as one of the most versatile and soulful producers in UK production, grounding every beat in authenticity, emotion, and connection

Step into the spirit of the early rave years with “Parade006”, a high-energy EP rooted in the uncompromising sound of classic breakbeat. Drawing inspiration from the 90s, this release channels the raw pulse of a time when warehouse walls shook, kicks hit hard, breaks were chopped to the bone, and basslines pushed systems to their limits.

Right from the first track, the EP pulls you into a fierce rush of rough-edged samples, piercing rave stabs, and nonstop drive. Each cut blends heavy nostalgia with modern punch, fusing old-school hardcore attitude with contemporary production power.

Brace yourself for pure dancefloor pressure. Arms up. No restraint. The rave is back.



>>> comes in different marbled colored 12 “ Vinyl and ONLY on Vinyl <<<

Long considered a "Holy Grail" of Latin vinyl, The Booga Mambo Beat (1967) by Steve Hernández y Su Orquesta Latinoamericana returns.

This LP has puzzled collectors for decades: who was Steve Hernández, the shadowy figure behind this powerful orchestra including top Puerto Rican and New York musicians?

Arranged by Ray Santos and featuring vocalist Vitín Avilés, the album delivers a unique mix of mambo, boogaloo, descarga, proto-salsa and 1950s big-band swing. A rare bridge between the Palladium sound and the emerging salsa era. Originally self-released and barely promoted, the record became a cult favorite among DJs and collectors.

Sourced directly from the original master tapes, discovered in outstanding condition, this edition is pressed on 180-gram vinyl and includes extensive liner notes by Pablo E. Yglesias (DJ Bongohead).and a digital download code.


A must-have archival release for collectors, DJs, and anyone fascinated by the hidden corners of Latin music history.

2026 Repress

A landmark release for both the label and its founder as Kasra releases his debut solo EP. The Ski Mask EP features 4 tracks of rolling low end and marks the start of a new phase for him to make his mark as an artist as well as DJ.

Kasra says, "After 16 years of running the label I thought it was time I released a body of work of my own. It's quite daunting after all the incredible music the artists have given me to be doing this for the first time. I hope you enjoy it for what it is: raw, honest drum and bass."

There’s a special kind of feeling when everything falls into place - when the drums bounce easy, the bassline rolls steady, and a bright guitar line cuts through the warmth of tape. That feeling became the heart of the FULLNESS, from Marcus I meets aDUBta. The sound of FULLNESS is built on simple, living elements: real drums, deep bass, a warm sound, and melodies that leave space to breathe. It moves between Early Reggae, Rocksteady, and Roots - sometimes straight and solid, sometimes stretching out into Dub and Echo. With its voice, from singer and lyricist Marcus I, FULLNESS carries the message about gratitude, love, freedom, and the small moments of everyday life. While Marcus’s singing style nods to the great singers, he stays grounded in his own experience, which perfectly complements aDUBta’s production, giving him space to shine. This LP is a complete, warm, balanced, and uplifting experience from start to finish.

FULLNESS grew from a steady musical exchange between Marcus I and aDUBta - two people on different sides of the Alps (Marcus I in France and aDUBta in Germany), finding a shared rhythm. What began in early 2022 with a few Riddims sent back and forth soon turned into a regular flow of songs. Every week brought new ideas, new words, and new melodies. When they finally met in person at aDUBta’s Attic Roots Studio in Bavaria, Germany, it all fell naturally into place. Most of the instruments were played by aDUBta, and the whole LP was mixed live on his Tascam 388, keeping that raw, handmade feel. With several friends helping bring even more color into the music, aDUBta brought in Viti Sanchez to lend his expressive saxophone and horn lines, Michael Salvermoser with his warm trombone tones, and members of the Black Oak Roots Allstars - King HuHa and Jannis Klenke on bass and guitars, along with Morry 'Da Baron' (Dub Inc.) on bass. FULLNESS means the fullness of music, of life, of friendship, of gratitude. It’s what happens when music becomes more than a project - when it turns into a shared space where things just flow.

Fresh for 2026, Something System Records returns with its second four-track EP, showcasing a carefully curated selection of forward-thinking underground sounds from across the DnB and jungle spectrum.

A1 – Creativity
Oxford-based producer SR makes his label debut with Creativity. Having already built a strong reputation through multiple vinyl releases and production collaborations with JEMONE on Metalheadz, SR delivers a powerful opener defined by tense atmospheres, razor-sharp drum programming, and weighty sub-bass. Designed to move both dancefloors and minds, this is a standout introduction.

A2 – 3 Times Around The Sun
Duburban & Peeb return to Something System Records for their second appearance following a prolific period of releases on some of the scene’s most respected labels. This track channels lush, uplifting pads reminiscent of the golden era of Good Looking Records, underpinned by warm sub frequencies and expertly edited drumfunk breaks that evolve beautifully throughout. A deeply musical and rewarding listen.

B1 – Fresh Outlook
Bristol-based producer Loma returns to the imprint with Fresh Outlook, a finely crafted 140 BPM jungle roller. Featuring intricately layered breaks, precisely placed subs, and an immersive atmospheric backdrop, the track takes the listener on a dynamic journey. With previous releases on John B’s BETA Recordings, Loma continues to demonstrate a bright and promising trajectory.

B2 – Tell Em Purdie
Closing the EP, Something System Records proudly welcomes Pixl to the label for the first time, collaborating alongside Duburban & Peeb. A seasoned producer with releases on numerous highly respected DnB labels and founder of Loop Progression Records, Pixl brings depth and experience to this jazz-infused finale. Smoky club atmospheres, textured breaks, deep subs, saxophone lines, and a spoken-word sample referencing a legendary drummer combine to deliver a rich, soulful conclusion to the EP.

Our brand new Club Sweat compilation series has landed with Vol. 001 - a meticulously curated vinyl EP that captures some of our favourite releases from 2025.

The A-side features Watermät & James Mac’s magnetic Afro House dancefloor-filler ‘Make A Livin’, followed by the legendary Mousse T. with‘Some Kinda Feeling’ and the future-forward collaboration between Don Diablo & Tseba ‘The Devil Works Hard’.

The B-side begins with the beloved Whitesquare remix of Metroplane’s classic anthem ‘Be Where I Am’, before dropping into Sian’s gritty and hypnotic ‘Get Raw’ with Sacha Robotti & JOPLYN, concluding with Gabss’ atmospheric rework of Crooked Colours’ ‘I Can’t Forget You’.

A snapshot of Sweat It Out’s current influence in the global dance scene what a way to kick off 2026!




d B1: Metroplane, Alex Metric, Aeroplane - Be Where I Am (feat. Daniel Wilson) Whitesquare Remix

Both multi-instrumentalists and seasoned producers, J and Peter took an all-hands-on-deck approach to these original collaborative tracks. The sonic seeds of "Underappreciated" and "Facile" were planted by Peter, JKriv cooked up the demo of "Over Suffa", and all three were completed together in J’s Brooklyn production studio. With live-recorded guitar, bass, analog synths, and drums/percussion by and a cohort of Brooklyn accomplices, the Facile EP marries live elements with modern club-ready production.

The punchy horns and no-nonsense vocals on "Underappreciated" come via Peter’s long-standing stage and studio connection with Ibibio Sound Machine, Favorite Recordings staple singer Olivya delivers the soulful EP title track performance, and Samy Love’s insistent vocal on "Over Suffa" is a pleading message to end the war and suffering in his native Cameroon.

With a remix of "Underappreciated" by French producer extraordinaire Yuksek, songs in both English and French, and influences ranging from boogie funk, 80s R&B, and classic Zouk, the Facile EP is a varied and dazzling collection of music for both listeners and DJs alike.

2026 Repress

An anthology born out of isolation and deep introspection, Sky Dust Drifter is a cosmic medley of sun-soaked AOR, psychedelic folk, and soft rock. This soundtrack was driven by the lonesome cowboy, a lockdown savior leaving me adrift in desert winds and dimly lit country bars.

Long-distance trades and masked meetups yielded a collection of private press LPs and 45s from ten different artists spanning 1973 to 1980. This seemingly random stack of records revealed songs living entangled in themes of hard luck, heartache, and the inevitable loneliness of existence. Adorned in cracked leather and chrome, this album is an aimless wander from the soil to the stars.

Featuring an unreleased English version of the compilation’s title track “Sky Dust Drifter” (originally released only in Hebrew), the record shifts from laconic afterthoughts to bold proclamations. From Michael Andrews’ blue-eyed soul assertion “Something Bad’s Better Than Nothin’,” to the searing electric guitars and bold synths of Sunburst’s “Special Lady,” Sky Dust Drifter thrives on solitude in a universe of unconditional self-rule where loneliness is not darkness but rather a blazing light of autonomy.

New Calibre D&B album 'they want you'

All Vocals, lyrics and production by Calibre

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

Zwei Plattenspieler und ein Mikrofon. In der Klarheit dieser einfachen Schlussformel liegt eine Wahrheit - eine Wahrheit, die zugleich erahnen lässt, wie groß die Möglichkeiten innerhalb dieser Grenzen sind. Manchmal muss man daran erinnert werden.I Guess U Had To Be There, das neue Album des New Yorker Rappers ELUCID und des erfahrenen Produzenten Sebb Bash, ist genau so ein Fall. So frisch, als wäre es morgen entstanden - und doch kann man darauf wetten, dass man es auch 1989 hätte auflegen können und sofort alle Köpfe mitgenickt hätten.Es gibt Momente in der Musik, in denen Meister ihres Fachs sich auf dem Höhepunkt ihrer jeweiligen Schaffenskraft begegnen - Alben wie Madvillainy, Liquid Swords, Dr. Octagonecologyst oder Hell Hath No Fury -, bei denen das Ergebnis mehr ist als die Summe seiner Teile. ELUCID und Sebb Bash bewegen sich auf I Guess U Had To Be There genau in dieser berauschenden, scheinbar mühelosen Sphäre.Alles wirkt zugleich vertraut und bahnbrechend. Die Beats verschieben und wenden sich unter ELUCIDs Füßen, doch er balanciert sie wie auf einem Drahtseil - seine Performance so beweglich wie die einer Bergziege, Produzent und Rapper in perfekter Synchronität. Einige leuchtende Stars haben unvergessliche Gastauftritte: billy woods, Breezly Brewin, Estee Nack und Shabaka Hutchings. Doch im Kern ist dies eine Zwei-Mann-Show, und das Duo hält den Fokus genau dort, wo er hingehört.I Guess U Had To Be There ist ein fesselndes, konventionssprengendes Hörerlebnis und ein neuer Höhepunkt im Schaffen zweier der besten Künstler dieses Genres.

Black Truffle is thrilled to announce Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith and Keith Rowe, Reichel’s rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release.

Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely centre of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. As Reichel says in the charming archival interview with Markus Müller included here, he was ‘always a cuckoo’s egg at FMP’, a label that began as an outlet for roaring European free jazz. What strikes the listener right from the opening selection on Dalbergia Retusa—‘Return of the Knödler show’, from 1987’s The Dawn of Dachsman—is the extraordinary beauty of Reichel’s music, at once alien in the shimmering sonorities and unconventional pitch relationships made possible by his invented instruments, and deeply lyrical, even romantic in its harmonic content. Growing up in West Germany in the 1960s, Reichel’s formative influences were mainly British and American rock bands, a background that shines through in many of the pieces included here: ‘An old friend passes by’ is haunted by the ghost of Hendrix’s rhythm guitar, and the wild closer ‘Heimkehr der Holzböcke’, taken from a rare 1975 7” and the only piece to use overdubbing, layers errant hammer-on and slide tones over a Canned Heat boogie chug.

Reichel was an important source for the development of Oren Ambarchi’s own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel’s work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. On a piece from his very first LP, played on an 11-string instrument (partly strung with piano strings and using a schnapps glass a slide), we hear his intensive exploration of fret-hammering to create zither-like, chiming tone, which Reichel would hone further in later years with a double fretboard guitar specifically designed to be hammered rather than fretted and picked. On a piece from 1979’s Death of the Rare Bird Ymir, Reichel uses two steel-string acoustic guitars at once, with beautiful results: ‘some even say too beautiful’, he jokes in the interview included here. Many of the pieces from the 1980s make use of varieties of the ‘pick behind the bridge guitar’, instruments of uncanny harmonic richness primarily designed to be played on the ‘wrong’ side of the bridge. At times the unexpected behaviour of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realised solely through Reichel’s unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel’s own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel. Rarely has music been at once so strange and so beautiful.

2026 Repress

Welcome to the brilliant Herbie Hancock with the always in-demand slinky groover Stars In Your Eyes on the much coveted 11.21 "special disco remix".

This is quite simply one of the smoothest Disco rides you will ever take with a production made in heaven and a vocalist supreme with Gavin Christopher taking it to another level. Find an original U.S. promo of this if you can.

There's lookalikes about which are inferior quality! As if that wasn't enough, we've only gone and paired it with the hugely rare U.S. promo-only 12" "special disco remix" of the scintillating Saturday Night.

This is as rare as hens teeth and you'd be lucky to find a mint one for less than £50. Featuring an extended percussion break from the fantastic Sheila E, this a very different mix to the original album version and was never widely circulated at the time.
So another nice rare gem. As double-siders go, this really takes some beating. Order with confidence because this will still be selling for years to come.

For more than two decades, Eamon Harkin has helped shape New York’s communal pulse. As a founder of Mister Saturday Night, Mister Sunday, Planetarium, and Nowadays, he’s created and DJed in spaces where dance, listening, and connection blur into something deeper — places where people come together to make sense of the world through sound.

On his new album, The Place Where We Live, Harkin turns that lens inward. Drawing on 25 years as a DJ and curator, he moves between house, techno, and ambient currents with a sense of stillness and searching. The result is a record that feels both physical and introspective — the sound of the dance floor seen through memory.

The title comes from psychoanalyst D.W. Winnicott’s idea of “the place where we live,” the psychic space between the inner and outer world — where play, art, and culture help us build meaning. For Harkin, an Irish immigrant long settled in another land, that idea resonates both philosophically and personally. The Place Where We Live captures the tension and beauty of the pulse of the club and the quiet of reflection — an album about belonging, transition, and the quiet resonance of finding home somewhere in between.

We’re proud to present the latest offering from Promising/Youngster & UF0, on the sublime Deep Techno / IDM imprint out of the UK, Fourier Transform

A lush 4-tracker. Uf0 and Promising/Youngster are the answer to a desire for breakbeats and perfect melodies. Radio plays to come from Damo Bs’ Outer Limits, Marcelo Tavares’ Deep Space, Richard Sens’ DoYouRadio

Uf0 and Promising/Youngster are the answer to a desire for breakbeats and perfect melodies. This is Uf0s’ (Sergio Garcia) second release on the label and when asked who he would like to be paired with, he wasted no time in suggesting fellow electronic musician and Spanish resident – Promising/Youngster (Diego Cardierno). This EP begins with P/Y’s “Random Memories” as tried and tested live by him last year and its big sound simply fills floors and gets feet moving. The second track of his is with a more subtle approach to the dancefloor but the analogue arpeggios and breaks still rock. Uf0 and his opening track “Sashita” uses vocals sparsely to create atmosphere and an epic soundscape. Ending the ep “La Musica Non Riporta De Te” opens with his trademark lush pads which drop into breaks, more well-crafted gentle melodies and of course “Bass”.

Between them both they have appeared on an impressive roster of underground labels - Wave Modulation, Analogica Force, Further Electronix, Adepta Editions, Altered Sense, Withold, Gated. Limited to 200 copies on marbled Eco vinyl, with painted sleeve, a sticker and an insert “Fun in the Sun”, giving you some interesting activities and experiments you can do using the power of the sun. Radio plays to come from Damo Bs’ Outer Limits, Marcelo Tavares’ Deep Space, Richard Sens’ DoYouRadio.

Limited to 200 copies worldwide!

Eine Disco-45 mit zwei heißen Tracks von Say She She's neuester LP ,Cut & Rewind". Die NYC Punk-Chic, Discodelic Funk Band hat letzten Oktober ihr drittes Studioalbum rausgebracht. Es ist ein politisch aufgeladenes, Dancefloor-zerstörendes Album, angeführt vom kraftvollen Gesangstrio Piya Malik, Sabrina Mileo Cunningham und Nya Gazelle Brown. Die A-Seite, der Titeltrack ,Cut & Rewind", ist ein Post-Punk-Femme-Funk-Track mit den mitreißenden Harmonien der Gruppe und einer unverkennbaren Funk-Base/Basslinie. Der Song ist hauptsächlich autobiografisch, enthält aber auch subtile Hommagen an Songwriting-Legenden. Die Gruppe hat kürzlich die B-Seite ,Disco Life" live bei Jimmy Kimmel gespielt. Der fröhliche, groovige Track verurteilt den Rassismus und die Homophobie von Steve Dahls ,Disco Demolition Night" aus dem Jahr 1979 und fordert die Tanzfläche als ,Spielfeld, auf dem alle frei sind" zurück.